Sunday, September 10th

ONE IMAGE OF THE WEEK

5-cloudshillThis spectacular gramophone belonging to T.E.Lawrence (Lawrence of Arabia), seen at his tiny rural retreat, Clouds Hill, in Dorset. From the National Trust website: “The Music Room was where Lawrence used to write and where he entertained his guests. Sometimes they would listen to music played on the special gramophone Lawrence had made, with its huge horn. At other times they would chat, or eat simple suppers out of tins.”

TWO RIP WALTER BECKER 1
“To properly honor Walter Becker, your editor is auditioning 15 freelance eulogists.” 
– American music critic Brad Shoup, on Twitter.

RIP WALTER BECKER 2
Rickie Lee Jones: “The best musician of our group loved Steely Dan, and that was how I came to hear “Bodhisattva”, “My Old School”, “Pearl of the Quarter”. Lines about Annandale and oleanders with pesky stomping bass and drums. I mean these guys knew how to make music. They had a hit on every record – I mean a thing that was played on the radio over and over – that became part of how we saw our collective selves. I was brought up, you might say, on writing thick with imagery and subtle implication and I loved it. I loved the innuendo, the humor, the sting. The genius was as much in the part we filled in, the lines they didn’t write. That was where the sticky stuff of memory made their music a part of our own personal history. I knew about hiding behind the oleanders, heck I grew up in Arizona… It wasn’t the specific line, it was the sorrow and fury of the melody, Bring back the Boston rag. Tell all your buddies that it ain’t no drag.”
On the music player on the right hear Steely Dan in 1974 at the Rainbow Theatre in London ripping through “The Boston Rag.”

RIP WALTER BECKER 3
The “Mu Major” chord. This is the clearest explanation that I found. Apparently, its first appearance was in the 12th Century, in Perotin the Great’s “Viderunt Omnes”. It appears in many Dan songs, including “Deacon Blues”, “Black Cow”, “Don’t Take Me Alive” and “Fire in the Hole”.

THREE DON’T FORGET THE MOTOR CITY
I’m trying to finish Stuart Cosgrove’s book, Detroit 67 before I go to see the movie, but frustratingly, it’s a bit of a slog. Great research, fascinating information, but poorly edited, so progress has been slow. The story told here of the Supremes is perfect as a microcosm of the problems inherent in Berry Gordy’s Motown project, and the Florence Ballard material key, but there’s too much repetition and it isn’t focused enough. The evocation of that time in Detroit is terrific, and I’d still recommend it, but the skill involved in book editing should not be overlooked. (Still below from a selection of photos of performers backstage, taken by Magnum photographers – thanks, Bob).

5-supremes

For extra background, this WXYZ-TV Detroit Channel 7 segment on Detroit in 1967 is interesting. There’s a lovely bit 11 minutes in where Dennis Coffey plays the intro to “Just My Imagination”. Which is just fabulous.

FOUR THE VILLAGE VOICE’S PRINT EDITION IS DEAD
I remember occasionally finding copies of VV in Camden, and on any trip to New York, it had to be picked up immediately. There were some excellent online tributes, amongst them this from Joe Levy, who was the music editor there in the late eighties/early and is currently contributing editor for Rolling Stone“In 1987 I was an intern for the Voice music editor, Doug Simmons. There was a strike benefit for the union that summer — Public Enemy and Sonic Youth played. It was at a small club, but Public Enemy’s show was already pretty much arena-sized, with the S1Ws stepping as Chuck D, Flavor Flav and Terminator X upended all notions of musical possibility. When Sonic Youth took the stage, they announced they would play an instrumental set because ‘Public Enemy had used all the words.’ Think for a second about these two groups, and how they defined the noise that New York City gave the world. And think about the next year, which would bring Public Enemy’s It Takes A Nation of Millions to Hold Us Back and Sonic Youth’s Daydream Nation. Then think about the two of them showing up at a newspaper’s union strike benefit and playing back to back. That was the Voice, and its music section, in action.”

FIVE DON’T YOU LOVE A PRESS RELEASE FROM ANNIE (ST. VINCENT) CLARK?
hi, all.
it’s been a while. songs, albums, videos, shows, press. putting out a record is like having a bridezilla-style* wedding every 2-3 years. lots of “did you get the save the date? it was an email cause, you know, the planet…” and fussing over flower arrangements, except you’re walking down the aisle to your own music by yourself, to your “self.” your bridesmaids and groomsmen are your label, agents, managers, day managers, personal assistants standing expectant with a mixture of stress, excitement, pride. the fans are the attendees, who will pick sides (this side prefers the old you walking down the aisle, this side is onboard for the new you waiting at the altar, there is definitely one person who will protest the marriage in a drunken, dramatic way…) a lot of pomp. plenty of circumstance. but sometimes what gets lost in all the mothers-in-law, speeches, and seating arrangements (has this metaphor stretched so thin that it belies the fact that i have neither attended many weddings, nor aspired to my own?) is this simple fact: it’s about love**. At its best and at its core, it’s about love. that’s it. that’s all. that is literally the only point. (and i mean “literally” to mean literally.) this record is from my heart to yours. i hope it finds its way there.
love, ac
* yo, i know it’s sexist AF.
** for the sake of the emotional momentum of this note, we are choosing to ignore that century of marriage were not, in fact, about love but about wealth consolidation/women as chattel***
*** yo, i know that’s sexist AF.

A RECOMMENDATION
Ozark on Netflix. Money launderer for the cartel Marty Byrde (Jason Bateman) has to get out of town with his wife (Laura Linney) and kids and swiftly relocate. To the area of the title (the highland region of the central United States) where the lake of the Ozarks has more shoreline than California. Great acting and terrific to look at, and there’s some nice work on the soundtrack, especially in the early episodes. One of the later ones has Bob Seger’s “Still the Same” running through it, used in almost every scene. I missed Bob and His Silver Bullet Band back in the day – just not on my radar, but I was pleased to make amends.

Five Things I Saw & Heard This Week: Wednesday 2nd May

Miles Davis, the “My Funny Valentine” scene, Homeland
Carrie presses play on her music system and Miles’ trumpet entwines round the next five minutes, as the would-be dinner à deux fails to materialize. She puts on lipstick, walks past the painting of a jazz trumpeter on the stairs. Brody’s at the door. Their clothes rustle, the ever present cicadas throb as the background sounds are foregrounded. She pours wine. “Miles Davis!” she barks. “Do you like Jazz?” “I don’t know anything about it.” He tells her why he’s there, he leaves, the double bass climbs, she ditches the wine. As the title melody resurfaces, the camera cuts to Brody getting into his car and staring out the windscreen, then back to Carrie, wretched in her kitchen, then to Saul. He’s the only one who knows about Brody and Carrie’s relationship, has a tangled relationship of his own with Carrie as her mentor, and now he’s staring into a CIA fridge, filled with all the things that office fridges always contain: medicines and mustard and peanut butter… The tune spirals and stretches as Saul walks back to his office and, seen from behind the blinds, sighs as he realizes he’s forgotten a knife. He looks in his desk drawer and pulls out a ruler to spread the peanut butter, and at 5 minutes, 10 seconds, with the song only 50 seconds away from finishing, it cuts into an electronic bass hum/high pitched drone and a child’s drawing in a mansion window, as the next day dawns—and brings with it the fateful surveillance operation in the square.

Freak Out!
In a particularly wide-ranging segment of Jools Holland’s Later, an incandescent Annie Clarke—a refreshingly un-Marina And The Machines-like woman singer, and a considerable guitarist. I was so-so about the song, but the guitar playing! Well, great joy! Not since seeing the latest Chili Peppers guitarist [Josh Klinghoffer] has someone stopped me in my tracks like that. “As of late 2011, her pedal board includes the following: Korg PitchBlack, DBA Interstellar Overdriver Supreme, ZVex Mastotron Fuzz, Eventide Pitchfactor, Eventide Space, BOSS PS-5 Super Shifter, Moog EP-2 Expression Pedal. All her pedals are controlled by a MasterMind MIDI Foot Controller. She usually plays with a 60s Harmony H-15V Bobkat guitar.”—Wikipedia

Olly: Life On Murs
Oh the fabulous poptastic late-night treats continue… I don’t remember the channel, but here’s a programme possibly commissioned for the Title Pun alone. We follow the cheeky chappy (a kind of cut-price Robbie Williams) as he tours. Memorable moment—the backstage huddle just before hitting the stage. Rather than Madonna’s prayer circle, a raucous New Orleans-style number led by the horn players as the band leap around singing “I feel like fuckin’ it up, I feel like fuckin’ it up.” Brilliant.

Nostalgia Time! House Of Oldies
Photographer Nick Sinclair’s mailout this week.

I remember this record shop! I bought Bruce Springsteen bootlegs (Passaic, The Roxy ’78—“All you bootleggers out there in radioland, roll your tapes”) from them in the early Eighties.

Joplin. Grave. Spinning.
Not since I saw a poster in Times Square for Bob Marley Footwear [see picture] has something clothes-based seemed so wrong.

A re-issue of Pearl had this flyer inside: “Made for Pearl is part gypsy rambler, and part cosmic cowgirl… a bit of joyful rebellion. MFP has produced clothing and accessories as enduringly modern, beautiful and timeless as Joplin’s colourful legacy.” Who writes this shit?

And finally…
chuckrainey.chipin.com/chuck-rainey-well-health-fund

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