Sunday, November 22, 2009

Thanks And Appreciation: Thanksgiving Day



























"You don’t have to be a rock star to have fun,
You don’t have to be a soldier to carry a gun,
You don’t have to be a postman to mail a letter,
Be content with your life - it may not get any better..."

Says it all really. This comes from Johnny Dowd´s wonderful debut album Wrong Side Of Memphis, which he recorded at the ripe age of fifty. Wisdom does come with age I guess.

Thursday, November 19, 2009

Jailbait: Don’t Stand So Close To Me



The Police: Don‘t Stand So Close To Me

[purchase]

Like Susan, I was taken aback when I saw our theme for this week. How did we get here so soon after Domestic Violence week? But, I didn’t have to deal with it right away. I had work to do for my own blog, that occupied most of the start of this week. And then Susan’s post appeared. So I needed more time to figure out how I wanted to deal with the Jailbait problem.

For me, it was not clear cut. Yes, many jailbait songs objectify young women. And, as my daughter just started high school this year, I can condone that less than ever. And yet, I do have a fondness for some of those songs. I can remember my high school days, and I know that my hormones gave me just that point of view for quite some time. I’m not proud of it, but I am honest about it. And that became a key for me.

Don’t Stand So Close To Me is a perfect example. Sting gives the listener both points of view, and both teacher and student find themselves in the throes of lust. It is obvious to all around them, and becomes the subject of rumors and accusations. And yet, they never do anything about it. The both know they should not, and somehow they resist. But that does not help their reputations.

I like the fact that Sting is honest about his characters’ feelings. They both recognize what they are feeling; perhaps they even discuss it during that rainy-day car ride. And perhaps they agree not to let it go any further. But the feeling is powerful, and it scares them. When Sting sings “...he starts to shake and cough, just like the old man in that book by Nabakov”, his character is feeling fear at the power of his own emotions.

One final thought. Many years ago, I read an interview with V C Andrews. Andrews was the author of Flowers In The Attic, which was the beginning of a series of books in which adults in positions of responsibility did horrifying things to the children in their care. Andrews was asked, in light of this, what kind of mother she was. She replied that she thought she was an excellent mother, because whenever she had the urge to do anything to her children, instead she wrote a book. So maybe, in listening to a jailbait song, we can vicariously work through our feelings of lust, so that we never act on these feelings in inappropriate ways.

Wednesday, November 18, 2009

Jailbait: I Know What Kind of Love This Is


Cry Cry Cry: I Know What Kind of Love This Is

[purchase]

I had originally been saving this song until the end of the week. But the diversity of posts so far - and the way in which each of us has come to the table using this week's theme to wrestle so well with a difficult issue - makes me feel the time is ripe sooner rather than later.

So here is folk supergroup Cry Cry Cry with a potent, poignant interpretation of a song originally by The Nields. The lyrics are so focused on the inner life of the young female narrator, they never name the ages of the people involved - it's never been clear to me if the experienced male perpetrator here is older, or even a teacher, or just a cool kid disdainfully deflowering a younger student because she feels like it will put an end to "a lifetime of wallflower shade" - but the song certainly speaks to the self-loathing which follows those who allow sex to happen to them too early because they think it's what they're supposed to do. In my mind, this is the swan song of the "jailbait" - originally willing, because sex seems to offer power; ultimately full of regret, with the important lesson learned too late.

I hope someday my daughters will hear this song, and recognize it for what it is, and learn from it that self-worth is never about what other people say is right. I hope they will learn to only say yes when it is in their hearts, and not in their supposed-to social minds. I hope they never, ever feel like the narrator of this song. And if it were not for this song, AND for the ability to point at songs which seem to celebrate jailbait lust, and say "is this really what you want?", I might not be able to say so as well.

*****

More generally, I want to take personal responsibility for picking this week's theme, and apologize for offending anyone in doing so. My intent was not to celebrate, but to provoke exactly the kind of unique and varied perspectives and voices which Anne points to so effectively in her recent post. I'm glad to see this has been the case - that no one seems to have come salivating, and that everyone, in their own way, has use the opportunity to expose the various cultural evils of the complex of juvenile fetishism that is so prevalent in our society. But this is no excuse for potentially alienating anyone, or creating discomfort, and I commit to working to try not to do that again.

That said: I accept that some people feel that the act of perpetuating the songs themselves celebrates an aspect of our culture - the media images which fetishize preteen sexuality, and the myriad of other princess and barbie and sexpot images which encourage us all to make unhealthy choices which hurt ourselves and others - which would be better destroyed, and as soon as possible at that. But as a teacher and parent, I happen to feel otherwise. I believe that pointing TO such things and speaking of them in critical ways is better and more effective in reaching the heart and mind of a culture than merely preaching. I believe that confronting such cultural problems, especially those perpetuated through the media, is difficult, but necessary, for pretending that such things don't exist is a way to let them fester.

And I think that our responses this week have only reinforced my belief that it is, in the end, our recognition that such songs are there which makes it possible at all for us to take up the mantle of saying "no" to such things. Without the exemplar, our lessons are that much more hollow. It is, as we've seen this week, the words we share here, not just the songs we choose or the themes we take on, which truly allow this space to be a sounding board, a space for discomfort to be shared as much as song, even a force for good.

But regardless of what you believe, readers and fellow contributors alike, I am proud of all of us - to Susan for coming forward with an anti-jailbait song perfectly on theme, and for bringing the conversation around to change; to Muruch for giving us a chance to out ourselves through confronting the songs and songwriters we love for perpetuating a malicious mindset; to everyone else for refusing to celebrate the sentiment even from our very first post, regardless of how we have each chosen to frame our own individual approaches. Being a part of this community has never felt so much like world-changing as it does this week. And though changing the world one discussion at a time can be a difficult path for all of us, it feels damn good, at that.

Jailbait: Little Dudes



Pee Shy: Little Dudes

[Purchase]

The strength of this blog is in the unique and varied perspectives it brings together through music. When we find out the theme each week, it is our own responsibility to interpret it the way we see fit, and different song choices show different sides to the same story. Posts like Susan's yesterday give us that perspective and allow this blog to not just be a grouping of random music, but also a place for people to express themselves.

That being said, I thought I'd offer a perspective that had yet to be touched upon this week, that of an older woman with her eyes on a younger man. These days the media can't talk about "cougars" enough, that is, the woman in her 40s who actively pursues younger men sexually or otherwise, and there's also been a lot of media attention about younger men with the hots for older women as well. In this song's case, it's mostly tongue-in-cheek, but what it does is creep you out enough to realize there's still a double standard.

Pee Shy was a Tampa, Florida based band in the late 90's. Two spoken-word poets with little musical experience are determined to start a band, and do so with a clarinet and an accordion. Their music is both artistic, and yet somewhat comical. So, despite the serious nature of the subject, the song is also sort of funny. Being a girl whose boyfriend is a good 5 years younger than her (which, over time isn't a big deal, but when you're 26 and he's just turning 21, it feels like a big difference), I understand the appeal of the younger man. As the song says, "they never try to tell you what to do", and they seem to be more in awe of the more mature woman's interest in them. I imagine the ladies in the song hanging out at an arcade or other high school haunt basking in the glow of their own influence and power to romantically intimidate the boys. Not to mention getting from them things they've not been able to get from men their own age, namely respect and admiration. So, are they taking advantage of these boys or doing anything against the law? No. But the point of the song, to me, is also that it creeps people out more to hear this than it would if it were a man singing about a girl.

Jailbait: Don't Do It Department



Jim Croce: Five Short Minutes

[purchase]

Steve Goodman: Death Of A Salesman

[purchase]

Here are two more musical examples that show what can happen to a guy who involves himself with under aged girls. And again, as in my previous post, neither of these condone, but rather they show the consequences.

Tuesday, November 17, 2009

Jailbait: Thirteen



Big Star: Thirteen

[purchase]

I have to admit that like Susan, I too was a bit surprised by this week's theme. It took me a while to figure out what direction to go in for my post, but I found the answer in this innocent love song...

"Thirteen" is a sweet song of adolescent love from Big Star's first album, the simultaneously appropriately titled and ironically titled #1 Record. (It didn't get anywhere close to #1 on the charts.) Buffalo Tom's Bill Janovitz does a better job than most at describing the song, and even he resorts to sharing some of the lyrics:

Won't you let me walk you home from school
Won't you let me meet you at the pool
Maybe Friday I can get tickets to the dance
And I'll take you, ooh

Won't you tell your dad, "Get off my back"
Tell him what we said 'bout "Paint It Black"
Rock & roll is here to stay
Come inside girl, it's OK
And I'll shake you

If it's so, well let me know
If it's no, well I can go
I won't make you.

It's a brilliant song that captures the mood perfectly, with a simple, acoustic arrangement.


Jim Boggia: Thirteen

[out of print]

The very talented Philly singer-songwriter (and human jukebox) Jim Boggia lo's the fi considerably for his solo version, recorded in 2003 on a 1960s Concord Transistorized 220 reel-to-reel tape recorder and released on one of his "homemade records", Transistorized 220 - Volume 2.

Jailbait: I Think About You


Collin Raye: I Think About You

[purchase]

I've been having a backchannel exchange with Boyhowdy since mid-day, and his as-always eloquent and informed responses gave me the courage to go public with my privately-expressed feelings – below is a copy-and-paste of my side of the dialogue:


I've been writing this e-mail in my head since this week's theme was announced...

I was so proud of Star Maker Machine when we covered Domestic Violence and Sexual Abuse - this week's Jailbait seems so utterly counter-intuitive. The former respected and defended women and, in my opinion, the latter objectifies and dishonors them - we have daughters, so we should be especially sensitive to this issue...

I believe, in this case, the theme does indeed conjure inappropriate responses - first of all, by using the moniker Jailbait, a lascivious, nudge-nudge-wink-wink tone is established. Secondly, how many songs are out there telling people (specifically guys)... *don't* look/don't touch/etc.? - rather, a Humbert Humbert/Lolita mentality is invoked...


The Domestic Violence/Sexual Abuse theme felt like a teaching opportunity, bolstered by the many powerful songs we were all able to offer up - I find it hard to believe lust for underage girls can be flipped to express outrage, when the "don't stand so close to me" message is so prevalent, especially in the rock and roll milieu...


I don't want to sound like a preacher... or a prig (neither of which I consider myself to be)... and I initially thought I'd just make a conscious decision not to post this week, and jump back in with the next theme – however, I am a firm believer in the "silence condones" life philosophy: if I don't speak up regarding something I feel strongly about, by my non-intervention I am allowing it to perpetuate...


So... please consider my grievance voiced - despite how popular opinion weighs in on this matter, “I don't see the truth in it” (a borrowed catch-phrase that allows me to remain honest to my own belief system)...


P.S. If I were really courageous, I would have sent my previous note out to everyone... or I would have submitted
I Think About You (the Collin Raye song, written by Steve Seskin) to SMM to show another viewpoint - alas, I feel I'm already viewed as the schoolmarm... and maybe I didn't want to reinforce the stereotypical misconception (shame on me)...


All that being said... I have no desire to shut down the lines of communication and/or further posts on this theme... but I did want to make sure I spoke my mind... and now I have – thanks to all for listening...

Jailbait: Jail Bait



Andre Williams: Jail Bait

[purchase]

Seems hard to pin it down exactly but the term 'jailbait' seems to begin sometime in the 30's. The earliest song I know of that references jailbait is Jail Bait by Andre Williams. I'd be curious to know if there is an earlier recording that does so. Andre 'Mr. Rhythm' Williams has worked with folks like the Dramatics, Stevie Wonder, Mary Wells, Bobby Bland, Edwin Starr, Amos Milburn, Ike Turner, Berry Gordy, George Clinton, Alvin Cash, and many others. He was given the nickname Mr. Rhythm by Redd Foxx. Still going strong in 2008,with the New Orleans Hellhounds, they released 'Can You Deal with It?'.

In this one,from '57, and seemingly well acquainted with the topic, Williams gives some good advice.

Jailbait : Good Morning Little School Girl


John Lee "Sonny Boy" Williamson : Good Morning Little School Girl

[purchase]

This topic made me think of Chuck Berry, of course, but I thought I'd rather take you to where Chuck came from. Old blues songs were full of underage beauties, and among them, this classic recorded by John Lee "Sonny Boy" Williamson, the first Sonny Boy Williamson, born in 1914 in Jackson, TN and dead in June 1946 when a jealous husband pierced his skull with an icepick. John Lee was a very influential harmonica player . Probably borrowed from Sleepy John Estes'repertoire, this song, recorded on his very first session in 1937, became an instant succes, a blues standard and was covered by Junior Wells and the Yardbirds.

Monday, November 16, 2009

Jailbait: Stray Cat Blues


The Rolling Stones: Stray Cat Blues

[purchase]

I'm not their biggest fan, but there's something about the slow, sultry strut and wail of this Beggar's Banquet b-side that crawls right under my skin. The way the guitars run from slow intro stretch to driving verse to slightly sped-up chorus wail in seconds flat mimics the adrenalin rush of jailbait lust so perfectly, the lyrics are hardly necessary, but just in case you weren't sure, note that pretty much any song that works so hard to convince itself that "it's no hanging matter/ it's no capital crime" and bets that its wild, kittenish fifteen year old subject's mama "don't know you scream/spit/scratch/bite like that" has got it going on.

For the curious, the jailbait in the photo above is Mick Jagger's 17 year old daughter Georgia May. I'll take the high road, and eschew any suggestion of what she might have screamed like two years ago. Though I strongly suspect that Jagger-the-dad has his own qualms about the message that Jagger-the-young-dude sent through this song.

Jailbait: Crazy Little Thing





























"If you're too young, girl, you know you're gonna be the ruin of me...
They call her crazy, but I'm hot and she's cold,
Crazy little thing, crazy little thing, how old, how old, how old..."

An audibly excited Captain clearly wants to make a pass at the crazy little thing, ´cause, man, she moves so sweet and lazy, and she talks real low like that... Hmmm, just might be under age though...

"She got the answer to the answer,
And my only question is: how old, how cool, how low can you be?"

"Won't find out from me..."

Saturday, November 14, 2009

Name-Droppers: Barenaked Ladies Edition


Barenaked Ladies: Brian Wilson

[purchase]

From 1992's Gordon, Canadian musical group Barenaked Ladies tells the story of a man whose life parallels that of Beach Boys member Brian Wilson, referencing his diagnosis of mental illness via the mention of psychologist Dr. Eugene Landy, as well as Wilson's weight gain during that time - I never fail to be touched by the wry use of the "fun, fun, fun" lyric...

An interesting factoid I learned from Wikipedia: "Brian Wilson rearranged and sang this song a cappella with his new band at live concerts, one of which was recorded for a live album he recorded in 2000. One of the stories the band often tells is about the time he came to their studio while they were recording Maroon (having an association with producer Don Was) to play the track for the band. They played him a bunch of their new songs, and then he played them his version of "Brian Wilson". At the end, he turned to them and asked, "is it cool?" Upon his departure, his advice to the band was "don't eat too much." The band described the entire experience as surreal. In honor of his covering their song, in recent performances the band has started singing the first chorus a cappella, eliminating all instrumentation (the rest of the song continues as normal)."

Barenaked Ladies: One Week

[purchase]

This song, from BNL's 1998 One Week, is an hysterical and historical rapping tour-de-force of a couple enmeshed mid-argument, wherein the narrator name-drops not only three musicians (LeAnn Rimes, Sting and Bert Kaempfert) but also movies, food and numerous Japanese references - it became one of the band's signature songs and is their best-performing single on the charts in both the United States and UK. What's not to love about the rapid-fire delivery and pop-culture lyrics? - "how can I help it if I think you're funny when you're mad, trying hard not to smile though I feel bad, I'm the kind of guy who laughs at a funeral..."

Barenaked Ladies: Be My Yoko Ono

[purchase]

In this song, the narrator is clearly willing to emulate the relationship between Yoko Ono and John Lennon, willing to give up everything to be with the person he loves - BNL imitates Yoko's trademark warble quite effectively ("don't blame it on Yokey"... :-)

Another Wikipedia gem: "In 1993, a professional video, directed by Larry Jordan, was made. It features the band playing in a dark room and imitating many of Yoko Ono's avant-garde performance art pieces, including "Cut Piece" in which audience members used scissors to cut off her clothing until she was completely naked. The video is also interspersed with various film clips of Yoko and John, which she sent to the band herself after her son, Sean Lennon, (after seeing the band perform) brought her a tape of the song.

In 1992, MuchMusic produced a TV special about Barenaked Ladies to celebrate the release of Gordon. In the special, MuchMusic managed to interview Yoko Ono to get her reaction to the song. Ono said she enjoyed it, but that she liked "If I Had $1000000" more."



As a six-degrees-of-separation bonus, here's Dar Williams' viewpoint, a reverential name-drop of Yoko, and poking-fun-at-herself-in-college live intro - this narrator asserts that, like Ono, she values her own artistic contributions, and wants to make sure that the object of her affection is worthy of her time and love...

Dar Williams: I Won't Be Your Yoko Ono (intro only - live)

[purchase]

Dar Williams: I Won't Be Your Yoko Ono (studio recording)

[purchase]

Name-Droppers: Joni Mitchell Edition



Joni Mitchell’s early career was marked by confessional songs about her relationships. It wasn’t hard to find out who each song was about, and people did. But, at that point, Mitchell never dropped a name in her songs. For this reason, these early songs possess a universal quality that makes them just as relevant to listeners today as they were then.

So what was it that inspired Mitchell to drop a name later in her career? It happened twice.



Joni Mitchell: Furry Sings the Blues

[purchase]

Furry Lewis was a blues musician in Memphis in the 1920s. At the time, Beale St, his chosen haunt, was a center of lawlessness of every kind. Gambling, drinking, prostitution, and drugs all thrived here. And so did the medicine shows. A medicine show would feature musical and other entertainment, and then the main event would be a pitch for some sham medication. Lewis was a noted medicine show performer.

For thirty years after that, Lewis disappeared from view. Then, in the folk revival that began in the 1950s, Furry Lewis was rediscovered along with so many others. But many of these revival artists made artistic compromises to try to stay in the game. Even the great Lightnin’ Hopkins plugged in. But not Lewis. He played his music just as he had thirty years earlier. And he continued to do so for the rest of his life.

Joni Mitchell had sung songs about resisting artistic compromises in the past, For Free being one example. So I think this is why she was drawn to Furry Lewis in particular. Furry Sings the Blues appeared in 1976, and Lewis would still sing for another five years. He passed on in 1981.



Joni Mitchell: Goodbye Pork Pie Hat

[purchase]

Mitchell’s version of Goodbye Pork Pie Hat is an unusual example of vocalese. Charles Mingus wrote the original, instrumental version in 1959, as a tribute to Lester Young. Mingus counted Young not just as an admired fellow musician, but also as a friend. The song became a jazz standard. Twenty years later, Mingus had asked Mitchell to collaborate with him on what would be his final work. As they got to know each other, Mingus shared his reminiscences of Lester Young. Mitchell then shaped these into the lyrics for Goodbye Pork Pie Hat. What is unusual is that this version features an entirely new musical arrangement, done in collaboration with the creator of the original work.

Mitchell was going to do Goodbye Pork Pie Hat in any case, due to the extraordinary nature of the project it was a part of. But Lester Young was also uncompromising. In his case, this applies to not only his music, but also to his resistance of the social pressures of his time.

Friday, November 13, 2009

Name-Droppers: Reverse Chain Letter Edition



Bob Dylan: Song to Woody

[purchase]

So here we have three songs written from an artist to one of his influences. Bob Dylan's "Song to Woody" is the most direct of the three: it's a love song to Woody and his songs. It was one of only two self-penned songs on Dylan's eponymous debut, and he nicked the music from Woody's "1913 Massacre". It's obvious Dylan sees himself as the next link in the chain here, and he wants his listeners to know that, too.


David Bowie: Song for Bob Dylan

[purchase]

Nine years later, David Bowie, of all people, picks up the chain and writes "Song for Bob Dylan" for his Hunk Dory album. It's still written in the form of a letter from artist to inspiration, but it's a bit harder to follow the narrative. Who exactly is "the same old painted lady from the brow of the super brain"? I have no idea.


The Brian Jonestown Massacre: (David Bowie I Love You) Since I Was Six

[purchase]

Twenty-Five years on, the Brian Jonestown Massacre find themselves conjuring up one of their influences in "(David Bowie I Love You) Since I Was Six". This is not a gushing fan letter. The lyrics don't even mention Bowie. But the title and the borrowed melody leave no doubt about who they were thinking of.

I don't know (yet!) of any songs written to the Brian Jonestown Massacre.

Name-Droppers: We're The Replacements


They Might Be Giants: We're The Replacements

[purchase]

I mean, for months we were on the road behind 10,000 Maniacs. We were playing the same cities, and in a lot of cases, the same venues -- but just, like, a day before, or a day after. You just come to realize that...every hotel you've stayed at, they were there the day before. Every highway you drive down, every truckstop you go in, every... venue you play, every PA guy you meet -- they've JUST MET these other people, who you thought you had nothing in common with, and then you realize you're living the same LIFE as [that other band]. So... the denotation of The Replacements is kind of a pun. - John Flansburgh


FiL posted a TMBG track just last week, but his Replacements tune below reminded me of this relatively obscure B-side name-dropper, and I couldn't resist the chance to drop one of our own names into the mix.

As noted above, this is just another song about life on the road, as was my earlier post for this week's theme. The band name in question makes for a perfect nod to "the replaceable nature" of bands on tour. I've never been on tour, but I suspect the feeling of anonymous interchangeability is a universal one. Must be pretty humbling.


Bonus points to Art Brut for their great and grungy 2009 song The Replacements, which describes disbelief at having discovered the genius of the band in question so late in life [a sentiment I can certainly sympathize with]. We don't post new music here on SMM, but the tune is available free to stream at last.fm, and well worth the listen.

Name-Droppers: Dropping Names Edition



Everclear: AM Radio

[purchase]

Narrowing down my long-list for this weeks theme from nearly 200 songs has proved to be quite a task. I knew of many but there were many more that my research revealed. Fortunately, some of them have already been posted thereby making it slightly easier for me to pick a few others.

Anyone who grew up in the 70's can identify with this one. ''You could hear the music on the AM radio", even "the Led Zeppelin" !

Travis Tritt: Outlaws Like Us

[purchase]

Hank Williams is mentioned in more songs than I care to count so for me to not include at least one would be unacceptable. This one by Travis Tritt has a few others artists singing on it too.

Paul and Storm: Old Keith Richards

[purchase]

In April of 2006 Keith Richards dropped out of a palm tree in Fiji was taken to a New Zealand hospital with a mild concussion. This song is somewhat a chronicle of the event. Ol' Kieth did more than just drop a name there.

Steven Brust: I Was Born About Ten Million Songs Ago

[purchase]

...and lastly,this guy is such a liar!

Name-Droppers: Vocalese Edition


Eddie Jefferson

I’m sure most of you have heard my news. If not, head on over to my blog, Oliver di Place for that, and then rejoin us here. I’m sure I will have my good and bad days for a while, but tonight I feel up to posting. And I had this one planned before everything happened. Without further ado...

Vocalese. Don’t feel bad if you don’t recognize the word. Neither does my spell check program. Still, it is a real word. Vocalese is a technique of jazz singing, where the singer takes a particular version of a tune, and writes lyrics to the melody and the solos in that version.

Eddie Jefferson: Body and Soul

[purchase]

Eddie Jefferson is widely credited as the creator of vocalese. Body and Soul is a jazz standard that became one of Jefferson’s best known songs. The name-drop comes at the very end, when Jefferson credits James Moody as the artist responsible for the version of Body and Soul he used.

Manhattan Transfer: Birdland

[purchase]

After Eddie Jefferson, the next artists to become known for vocalese were Lambert Hendricks and Ross. This trio were active as a group from the 50s into the early 60s. Perhaps their best known song, because of Joni Mitchell’s cover, was Twisted.

Lambert, Hendricks, and Ross remained active separately for many years. Their work as a group inspired many, including Manhattan Transfer. So when Manhattan Transfer decided to turn their attention to vocalese, it was only natural that they would turn to Jon Hendricks for help. Hendricks wrote the lyrics to Birdland for them. Birdland was the legendary jazz club in New York City in the 1950s, and the lyrics mention some of the jazz legends who played there. The song first appeared on the Manhattan Transfer album Extensions, which also includes their version of Body and Soul.

Thursday, November 12, 2009

Name-Droppers: Sweet Soul Music



Arthur Conley: Sweet Soul Music

[purchase]

"Do you like good music?" asks Arthur Conley at the start of his biggest hit, "Sweet Soul Music". Apparently we do, because it made it up to #2 on both the Pop and R&B charts in the U.S. in 1967. The rest of the song is one big feel-good shout-out to some of the then-current royalty of soul: Lou Rawls, Sam and Dave, Wilson Pickett, James Brown, and Otis Redding (who co-wrote the songs with Conley).

Aside from being a great song, "Sweet Soul Music" also gave its name to the title of an highly recommended book about southern soul music by Peter Guralnick. I read the book years ago, but as I hold it in my hands, flipping through the pages, I'm thinking it's time for a re-read.

Wednesday, November 11, 2009

Name-Droppers: His N.D. World



Mary Lou Lord: His N.D. World

[purchase]

After seeing Anne's post, I just had to post this one.

No Depression was a magazine that charted the rise of alt-country music in the late '90s to such an extent that its name is one of the many alternate appellations for the genre. Mary Lou Lord cleverly reworked her song "His Indie World" into "His N.D. World", thus affording her the chance to name-drop a couple dozen more artists.

This version of the song was recorded at KGSR, a excellent radio station in Austin, Texas, and was released on one of their annual Broadcasts charity collections. Every single one of them is highly recommended, and they usually sell out quickly.

Name-Droppers: His Indie World



Mary Lou Lord: His Indie World

[Purchase]

I was reminded of this song after reading and listening to Susan's submission of the Todd Snider track. This is another song that consists almost entirely of lists of artists. In this one's case, it's a song about how she doesn't feel like she fits into a guy's life because his life is just one long reference to the indie rock bands he loves, and she'd rather sit around listening to "Joni, Nick, Neil and Bob". The references are used so familiarly at times that they're merely first names that only an avid music fan would be able to get the reference right away.

The song was released on her first EP which came out in 1995 and the references are to the indie music of that era. It's an adorable little two minute guitar-and-girl ditty that always makes me smile.