After you have listened to your required quota of George Jones, you may need something a “little” perkier to bring you back.
I wonder how many calories Gabriela can burn just sitting in a chair.
Category Archives: Music
George Jones
George Jones, who died today at 81, was an acquired taste for me, one I acquired well after the peak of his popularity — though I can actually remember when someone first identified him for me on the radio 49 years ago. I see him now as a male Billie Holiday in his ability to convey the emotion of a song — and I do consider that the highest praise.
This essay about Jones — and so much more — is simply incredible. If you read nothing else about the singer, read this.
Music and Our Brain
First posted here six years ago today.
Music of the Hemispheres
“Listen to this,” Daniel Levitin said. “What is it?” He hit a button on his computer keyboard and out came a half-second clip of music. It was just two notes blasted on a raspy electric guitar, but I could immediately identify it: the opening lick to the Rolling Stones’ “Brown Sugar.”
Then he played another, even shorter snippet: a single chord struck once on piano. Again I could instantly figure out what it was: the first note in Elton John’s live version of “Benny and the Jets.”
Dr. Levitin beamed. “You hear only one note, and you already know who it is,” he said. “So what I want to know is: How we do this? Why are we so good at recognizing music?”
An intriguing article. One thing though. If you attend a concert by any well-known performer there are always those that react to the first few notes. But there is the larger group that doesn’t seem to catch on until the lyrics begin.
But more from the article:
Observing 13 subjects who listened to classical music while in an M.R.I. machine, the scientists found a cascade of brain-chemical activity. First the music triggered the forebrain, as it analyzed the structure and meaning of the tune. Then the nucleus accumbus and ventral tegmental area activated to release dopamine, a chemical that triggers the brain’s sense of reward.
The cerebellum, an area normally associated with physical movement, reacted too, responding to what Dr. Levitin suspected was the brain’s predictions of where the song was going to go. As the brain internalizes the tempo, rhythm and emotional peaks of a song, the cerebellum begins reacting every time the song produces tension (that is, subtle deviations from its normal melody or tempo).
“When we saw all this activity going on precisely in sync, in this order, we knew we had the smoking gun,” he said. “We’ve always known that music is good for improving your mood. But this showed precisely how it happens.”
Funny how they keep finding out that sex, drugs and rock and roll really are good for you. As if we didn’t know.
This Is Your Brain on Music: The Science of a Human Obsession
Christmas Music
On iTunes I have 469 tracks identified as Christmas music. I’ve created a playlist with them that automatically drops a track off after it’s been played. At this writing I have 369 left to hear this year. 🎅
The types of music vary widely from Classical to Country, Jazz and New Age, but include of course the usual standards of which I suppose Bing Crosby’s “White Christmas” is the archetype. (Of the 469 tracks, 12 are in fact versions of “White Christmas” including two copies of Bing.)
I have a lot of favorites. I grew up in Catholic schools, so am nostalgic when I hear the carols, and have several albums of guitar versions by artists like John Fahey and Eric Williams. I particularly like Christmas in Santa Fe by Ruben Romero & Robert Notkoff, Winter Dreams by R. Carlos Nakai & William Eaton and Navidad Cubana by Cuba L.A. — it gets you dancing around the old árbol de Navidad.
And no collection is complete without Vince Guaraldi’s A Charlie Brown Christmas.
But when it comes down to it, this may be my favorite. It’s an OK video but the point is to enjoy Clyde McPhatter and Bill Pinkney’s bass.
Have Yourself a Merry Little Christmas
The great Lou Rawls.
Most ‘Popular’ Christmas Songs
According to Billboard, “the most popular seasonal songs, according to all-format audience impressions measured by Nielsen BDS, sales data compiled by Nielsen SoundScan and streaming activity data from online music sources tracked by BDS” —
Mariah Carey’s 1994 classic “All I Want for Christmas Is You” tops the inaugural chart this season.
. . .
Given their many years of serving as soundtracks to holiday cheer, several decades-old favorites populate the latest Holiday Songs top 10. Brenda Lee’s “Rockin’ Around the Christmas Tree” decorates the list at No. 2, followed by Nat King Cole’s “The Christmas Song (Merry Christmas to You)” (No. 3), Bobby Helms’ “Jingle Bell Rock” (No. 4) and Burl Ives’ “A Holly Jolly Christmas” (No. 5). Ives’ chestnut tops Holiday Airplay with 23 million in listenership.
The Grand Ole Opry
… began broadcasting on this date in 1925.
Soon after going on the air, National Life hired one of the nation’s most popular announcers, George D. Hay, as WSM’s first program director. Hay, a former Memphis newspaper reporter who’d most recently started a barn dance show on Chicago radio powerhouse WLS, joined the station’s staff a month after it went on the air. At 8 p.m. on November 28, 1925, Hay pronounced himself “The Solemn Old Judge” (though he was actually only 30 years old) and launched, along with championship fiddler, Uncle Jimmy Thompson, what would become the WSM Barn Dance.
Hay’s weekly broadcasts continued and proved enormously popular, and he renamed the show the Grand Ole Opry in 1927. Crowds soon clogged hallways as they gathered to observe the performers, prompting the National Life company to build an acoustically designed auditorium capable of holding 500 fans. When WSM radio increased broadcasting power to 50,000 watts in 1932, most of the United States and parts of Canada could tune into the Opry on Saturday nights, broadening the show’s outreach.
I Think I’ll Have Dinner Today at Alice’s Restaurant
Where you can get anything you want.
Thanksgiving Day brings us a rare moment of coming together. A tradition that crosses boundaries. No, it’s not eating supper with family or even watching football. For radio fans and programmers alike, today’s holiday is best celebrated by the playing of one song, Arlo Guthrie’s “Alice’s Restaurant.” That song, which was originally released as the 18-minute “Alice’s Restaurant Massacree,” will be heard today ….
The song, which is usually broadcast in either the original album track form or the even longer 30th anniversary live version, relates a Thanksgiving story. In it, Guthrie talks about enjoying a Thanksgiving feast with friends in Stockbridge at the title restaurant. After that, things get weird. The singer relates taking out the trash and, having no place to legally drop it because of the holiday, dumping it illegally. This leads to a long, shaggy-dog tale of being arrested for littering that turns into both an anti-Vietnam War protest and a statement of human rights. Somehow, by the end, he has turned the song into a statement that in union there is strength. And the best way to demonstrate that communal strength? Everyone, as listeners know, must sing along with the familiar refrain: “You can get anything you want at Alice’s Restaurant.” As the singer points out, if we can pull ourselves together to do that, we can change the world.
The Boston Globe [subscription required]
A live performance from 2005. Audio only of original recording.
Alice Brock — the actual Alice.
Today Ought To Be a National Holiday
Hiram Williams was born 89 years ago today (1923). We know him as Hank. Arguably he is one of the two or three most important individuals in American music history. Hank Williams is an inductee of both the Country Music (the first inductee) and Rock and Roll (its second year) halls of fame.
Entering local talent talent contests soon after moving to Montgomery in 1937, Hank had served a ten-year apprenticeship by the time he scored his first hit, “Move It on Over,” in 1947. He was twenty-three then, and twenty-five when the success of “Lovesick Blues” (a minstrel era song he did not write) earned him an invitation to join the preeminent radio barndance, Nashville’s Grand Ole Opry. His star rose rapidly. He wrote songs compulsively, and his producer/music publisher, Fred Rose, helped him isolate and refine those that held promise. The result was an unbroken string of hits that included “Honky Tonkin’,” “I’m So Lonesome I Could Cry,” “Mansion on the Hill,” “Cold, Cold Heart,” “I Can’t Help It (If I’m Still in Love with You),” “Honky Tonk Blues,” “Jambalaya,” “Your Cheatin’ Heart,” and “You Win Again.” He was a recording artist for six years, and, during that time, recorded just 66 songs under his own name (together with a few more as part of a husband-and-wife act, Hank & Audrey, and a more still under his moralistic alter ego, Luke the Drifter). Of the 66 songs recorded under his own name, an astonishing 37 were hits. More than once, he cut three songs that became standards in one afternoon.
The words and music of Hank Williams echo across the decades with a timelessness that transcends genre. He brought country music into the modern era, and his influence spilled over into the folk and rock arenas as well. Artists ranging from Gram Parsons and John Fogerty (who recorded an entire album of Williams’ songs after leaving Creedence Clearwater Revival) to the Georgia Satellites and Uncle Tupelo have adapted elements of Williams’ persona, especially the aura of emotional forthrightness and bruised idealism communicated in his songs. Some of Williams’ more upbeat country and blues-flavored numbers, on the other hand, anticipated the playful abandon of rockabilly.
Hank Williams’s legend has long overtaken the rather frail and painfully introverted man who spawned it. Almost singlehandedly, Williams set the agenda for contemporary country songcraft, but his appeal rests as much in the myth that even now surrounds his short life. His is the standard by which success is measured in country music on every level, even self-destruction.
Again from American Masters:
It all fell apart remarkably quickly. Hank Williams grew disillusioned with success, and the unending travel compounded his back problem. A spinal operation in December 1951 only worsened the condition. Career pressures and almost ceaseless pain led to recurrent bouts of alcoholism. He missed an increasing number of showdates, frustrating those who attempted to manage or help him. His wife, Audrey, ordered him out of their house in January 1952, and he was dismissed from the Grand Ole Opry in August that year for failing to appear on Opry-sponsored showdates. Returning to Shreveport, Louisiana, where he’d been an up-and-coming star in 1948, he took a second wife, Billie Jean Jones, and hired a bogus doctor who compounded his already serious physical problems with potentially lethal drugs.
Hank Williams died in the back seat of his Cadillac. He was found and declared dead on New Year’s Day 1953. He was 29.
Yes, that is June Carter in the video.
Today Ought to Be a Holiday
Two country music immortals were born on September 8th.
Jimmie Rodgers, considered the “Father of Country Music,” was born in Meridian, Mississippi, on September 8, 1897. He died from TB in 1933. Jimmie Rodgers was the first person inducted into the Country Music Hall of Fame and among the first inductees into the Rock and Roll Hall of Fame.
James Charles Rodgers, known professionally as the Singing Brakeman and America’s Blue Yodeler, was the first performer inducted into the Country Music Hall of Fame. He was honored as the Father of Country Music, “the man who started it all.” From many diverse elements—the traditional melodies and folk music of his southern upbringing, early jazz, stage show yodeling, the work chants of railroad section crews and, most importantly, African-American blues—Rodgers evolved a lasting musical style which made him immensely popular in his own time and a major influence on generations of country artists.
Patsy Cline, the most popular female country singer in recording history, was born in Winchester, Virginia, on September 8, 1932. She died in a plane crash in 1963. Patsy Cline is an inductee of the Country Music Hall of Fame.
Cline is invariably invoked as a standard for female vocalists, and she has inspired scores of singers including k. d. lang, Loretta Lynn, Linda Ronstadt, Trisha Yearwood, and Wynonna Judd. Her brief career produced the #1 jukebox hit of all time, “Crazy” (written by Willie Nelson) and her unique, crying style and vocal impeccability have established her reputation as the quintessential torch singer.