http://youtu.be/-3XsHMOEQGc
Sublime.
Category: Music
Carolina Chocolate Drops Cover ‘Jackson’
Billie
It’s the 99th anniversary of the birth of the person we know as Billie Holliday.
April 7th ought to be a national holiday.
McKinley Morganfield
… was born 99 years ago today. We know him as Muddy Waters.
And how important was Muddy Waters to early Rock?
You’ve heard of The Rolling Stones, and “Like a Rolling Stone,” and Rolling Stone magazine. All named for Waters’ early hit, “Rollin’ Stone.”
Muddy Waters transformed the soul of the rural South into the sound of the city, electrifying the blues at a pivotal point in the early postwar period. His recorded legacy, particularly the wealth of sides he cut in the Fifties, is one of the great musical treasures of this century. Aside from Robert Johnson, no single figure is more important in the history and development of the blues than Waters. The real question as regards his lasting impact on popular music isn’t “Who did he influence?” but – as Goldmine magazine asked in 2001 – “Who didn’t he influence?”
Call March 25th What You Will
I’ll call it a national holiday.
Because it is Aretha Franklin’s birthday.
She’s 72.
Aretha Franklin is the “Queen of Soul” and the first woman inducted into the Rock and Roll Hall of Fame. She is a singer of great passion and control whose finest recordings define the term soul music in all its deep, expressive glory.
Johnny Cash
A few weeks ago I read Robert Hilburn’s biography of Johnny Cash, an interesting if somewhat longish and discouraging look at the Man in Black.
Today at Open Culture there was a link to the first episode of Cash’s music-variety show. The program from June 7, 1969, included guests Bob Dylan, Joni Mitchell and Doug Kershaw. And the Carters, of course. Not a bad way to visit 45-year-old music history.
In Any Civilized Nation March 2nd Would Be a National Holiday
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Miles Davis began recording “Kind of Blue” on this date in 1959.
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It’s anniversary of the birth of Lou Reed (1942).
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Author Tom Wolfe is 83 today.
Author John Irving is 72 today.
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Dr. Seuss (Theodor Seuss Geisel) was born 110 years ago today (1904). The Writer’s Almanac had good background in 2010. When Geisel/Seuss was awarded an honorary degree from Princeton in 1985, the entire graduating class stood and recited Green Eggs and Ham. At one time Green Eggs and Ham was the third largest selling book in the English language — ever. |
Rhapsody in Blue
George Gershwin’s phenomenal blending of jazz and classical music, premiered at Aeolian Hall, in New York City, on February 12, 1924, 90 years ago tonight. Gershwin wrote the piece in three weeks, reportedly improvising some of the piano parts during the premiere.
Rhapsody in Blue was one of NPR’s 100 most important American musical works of the 20th century. You can listen to the NPR report from NPR Music.
This video (audio with photographs actually) is an acoustic recording made in June 1924 with Paul Whiteman and his Orchestra with Ross Gorman playing the clarinet opening as he did during the premier, and the composer at the piano.
http://www.youtube.com/watch?v=1U40xBSz6Dc
Lively Up Yourself
Imagine
Imagine there’s no heaven
It’s easy if you try
No hell below us
Above us only sky
Imagine all the people
Living for today…
Imagine there’s no countries
It isn’t hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace…
You may say I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will be as one
Imagine no posessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world…
You may say I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will live as one
John Lennon (1940-1980)
Lennon was killed 33 years ago tonight.
Because I Cannot Imagine Being Able to Do This
. . . it just fascinates me.
From the September 1980 Playboy interview published in January 1981:
PLAYBOY: Then let’s talk about the work you did together. Generally speaking, what did each of you contribute to the Lennon-McCartney songwriting team?
LENNON: Well, you could say that he provided a lightness, an optimism, while I would always go for the sadness, the discords, a certain bluesy edge. There was a period when I thought I didn’t write melodies, that Paul wrote those and I just wrote straight, shouting rock ‘n’ roll. But, of course, when I think of some of my own songs — “In My Life” — or some of the early stuff — “This Boy” — I was writing melody with the best of them. Paul had a lot of training, could play a lot of instruments. He’d say, “Well, why don’t you change that there? You’ve done that note 50 times in the song.” You know, I’ll grab a note and ram it home. Then again, I’d be the one to figure out where to go with a song — a story that Paul would start. In a lot of the songs, my stuff is the “middle eight,” the bridge.
PLAYBOY: For example?
LENNON: Take “Michelle.” Paul and I were staying somewhere, and he walked in and hummed the first few bars, with the words, you know [sings verse of “Michelle”], and he says, “Where do I go from here?” I’d been listening to blues singer Nina Simone, who did something like “I love you!” in one of her songs and that made me think of the middle eight for “Michelle” [sings]: “I love you, I love you, I l-o-ove you . . . .”
PLAYBOY: What’s an example of a lyric you and Paul worked on together?
LENNON: In “We Can Work It Out,” Paul did the first half, I did the middle eight. But you’ve got Paul writing, “We can work it out/We can work it out” — real optimistic, y’ know, and me, impatient: “Life is very short and there’s no time/For fussing and fighting, my friend….”
PLAYBOY: Paul tells the story and John philosophizes.
Best Lines of This or Any Day
As soon as you’re born they make you feel small
By giving you no time instead of it all
Till the pain is so big you feel nothing at all
A working class hero is something to be
A working class hero is something to be
They hurt you at home and they hit you at school
They hate you if you’re clever and they despise a fool
Till you’re so fucking crazy you can’t follow their rules
A working class hero is something to be
A working class hero is something to be
When they’ve tortured and scared you for twenty odd years
Then they expect you to pick a career
When you can’t really function you’re so full of fear
A working class hero is something to be
A working class hero is something to be
Keep you doped with religion and sex and TV
And you think you’re so clever and classless and free
But you’re still fucking peasants as far as I can see
A working class hero is something to be
A working class hero is something to be
There’s room at the top they are telling you still
But first you must learn how to smile as you kill
If you want to be like the folks on the hill
A working class hero is something to be
A working class hero is something to be
If you want to be a hero, well, just follow me
If you want to be a hero, well, just follow me
John Lennon (1940-1980)
Tamacun
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.
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.
Best Song Opening Lines
Five years ago today I suggested some best song opening lines; several commenters suggested some more. Here’s a selection from that post and comments.
Baby take off your coat, real slow
— Joe Cocker, “You Can Leave Your Hat On”
Some folks are born, made to wave the flag,
Ooh they’re red, white and blue
— Creedence Clearwater Revival, “Fortunate Son”
Life, it’s ever so strange, it’s so full of change
You think that you’ve worked it out then,
Bang, right out of the blue, somethin’ happens to you,
To throw you off course
— Jem, “Just a Ride”
My my, hey hey,
Rock and roll is here to stay
— Neil Young, “My My, Hey Hey”
When this war is over, it will be a better day
— Eric Clapton & J.J. Cale, “When This War is Over”
Busted flat in Baton Rouge, waitin’ for a train
And I’s feelin’ near as faded as my jeans
Bobby thumbed a diesel down just before it rained
It rode us all the way to New Orleans
— Kris Kristofferson, “Me and Bobby McGee”
If you had not have fallen
Then I would not have found you
Angel flying too close to the ground
And I patched up your broken wing
And hung around a while
Tried to keep your spirits up
And your fever down
— Willie Nelson, “Angel Flying Too Close to the Ground”
Aaaaah, haaa
I know a place
Ain’t nobody cryin’
Ain’t nobody worried
Ain’t no smilin’ faces
Mmm-mmm, no, no
Lyin’ to the races
Help me, come on, come on
Somebody, help me, now
(I’ll take you there)
— The Staple Singers, “I’ll Take You There”
The screen door slams
Mary’s dress waves
Like a vision she dances across the porch
As the radio plays
– Bruce Springsteen, “Thunder Road”
I’m a gonna tell you how it’s gonna be
You’re gonna give your love to me
– Buddy Holly, “Not Fade Away”
I met a gin-soaked bar-room queen in Memphis
She tried to take me upstairs for a ride
She had to heave me right across her shoulder
‘Cause I just can’t seem to drink you off my mind
– The Rolling Stones, “Honky Tonk Women”
I hear the train a comin’
It’s rollin’ round the bend
And I ain’t seen the sunshine
Since I don’t know when
– Johnny Cash, “Folsom Prison Blues”
Whenever I see your smiling face
I have to smile myself
Because I love you (yes I do)
– James Taylor, “Your Smiling Face”
Forgive, sounds good
Forget, I’m not sure I could
They say time heals everything
But I’m still waiting
– Dixie Chicks, “Not Ready to Make Nice”
How many roads must a man walk down
Before you call him a man
– Bob Dylan, “Blowin’ in the Wind”
Time keeps on slippin’, slippin’, slippin’
Into the future
– Steve Miller Band, “Fly Like an Eagle”
On a dark desert highway, cool wind in my hair
Warm smell of colitas, rising up through the air.
Up ahead in the distance, I saw a shimmering light
My head grew heavy and my sight grew dim.
I had to stop for the night.
– The Eagles, “Hotel California”
Rollin’ down Imperial Highway
Big, nasty redhead at my side…
– Randy Newman, “I Love L.A.”
Earl Scruggs (1924-2012)
And a warm, fascinating piece on Earl Scruggs written by Steve Martin: The Master from Flint Hill: Earl Scruggs.
More Sarah Jarosz
http://youtu.be/pIEC9DSc3aw