Thursday, 7th July

ONE THE WORLD IS IN AN UPROAR, THE DANGER ZONE IS EVERYWHERE
And this tweet brilliantly summed up recent job losses…

Spice

TWO FOUND IN THE VAULTS OF ROCK’S BACKPAGES…
This series of ads and subscription offers from a very early copy of Paul Williams’ Crawdaddy. “I know you need the bread!”, “About everything in life except June-moon-croon!” “Because Nyro is Nyro!”

crawdaddy

THREE THE THINGS YOU LEARN
Sent on a small Bill Withers journey by The Immortal Jukebox, I came across the interesting tale of his first album on the mix site, written by Barbara Schultz. There’s the fascinating story of Wally Heider’s studio in the piece, which is basically an interview with the great engineer Bill Halverson. And how many articles about recording studios feature the word “soffit”? “Withers was eventually signed to Sussex Records, and the great Booker T. Jones was enlisted to produce the new artist’s debut album, Just as I Am in 1971. Also on the session were two members of the MGs – drummer Al Jackson and bass player Donald “Duck” Dunn – plus singer/songwriter Stephen Stills on guitar. The recordings were made in Wally Heider’s Studio 3, then situated in L.A. at the corner of Cahuenga and Selma. The engineer was Bill Halverson, whose credits at that point included such essential records as Crosby Stills and Nash’s massive self-titled debut, Cream’s Badge, Tom Jones Sings She’s a Lady and CSNY’s Déjà Vu.

“It was Stephen Stills’ studio time that we were using,” Halverson recalls by phone from his home in Nashville. “I was working with Stephen on his first solo record, and he came to me a couple nights before this and said, ‘I’ve got this guy who needs a night of studio time.’ Stephen was hanging with Rita Coolidge, and Booker was marrying [Rita Coolidge’s sister] Priscilla Coolidge, and somehow Booker asked Stephen for some studio time. We just spent the one night.” On Withers’ session, Halverson placed Jackson’s kit near the control room glass, under an overhanging soffit – again, an emulation of United Western 3 – that held the studio playback speakers. “If you tucked the drums as close as you could under that overhang of the big speakers, you were out in the room but you had really good isolation,” Halverson says.

“When Bill Withers showed up,” Halverson says, “he comes walking in with his guitar and a straight-back chair, like a dining room chair, and asks, ‘Where do I set up?’ I showed him right in the middle of the room, and then he left and he came back in with this platform, a kind of wooden box that didn’t have a bottom. It was about four inches tall, and was maybe 3 foot by 4 foot; it was a fairly large platform, and he set it down in the middle of the room. Then he put his chair on it and got his guitar out, and he’s sitting on top of this box. So I miked him and I miked his guitar, and then I was doing other things – getting sounds together. But then he calls me over and he points down to the box and says, ‘You gotta mike the box.’ Well, the way I was trained, you serve the artist, whatever the artist needs. So I got a couple other mics and I miked the box, the place down near the floor, next to this platform.
 
“And now, when you listen to “Ain’t No Sunshine,” you know that all that tapping that goes on [while Withers sings] ‘I know I know I know’ all through it, actually, that’s him tapping his feet on the box, which is actually more intricate than the guitar on that track. He had evidently rehearsed that in his living room, maybe for years.”

I found the great documentary, Still Bill, directed by Damani Baker and Alex Vlack, complete on YouTube. I wrote a little about it in 2012. If you haven’t seen it, rectify that omission soon. Oh, and check out the Cornell Dupree version of “Grandma’s Hands” at 1 hr 6 minutes.

FOUR AT WIMBLEDON, A NICE JUXTAPOSITION OF WORDS

! cornetkeys
Words that sent me back to Louis Armstrong and Earl Hines, on trumpet and piano, playing “Weather Bird”, one of the marvels of 20th Century music. It’s in the Music Player on the right.

FIVE MUSIC SOFTWARE AND THE INTERNET LEAD TO SOME MOST-STRANGE BEDFELLOWS…
Such as Auctioneers and Hip Hop. Clever and hypnotic.

For the full 5 Things experience, please click on the Date Headline of the page in the email and you will go to the proper site (which allows you to see the Music Player). Also all the links will open in another tab or window in your browser.

Friday, 13th February

OH GOD, NOT THAT AGAIN…
I’m going to tell you, until you all go and see him: Blake Mills played a two-hour set at the wonderful place that is the Union Chapel, with Jesca Hoop as his support act and duet partner. Her minimal, unusual guitar playing and swooping voice were brilliantly suited to the stunning acoustics of the Chapel during her three songs, before Mills joined her to play “Murder of Birds”, a song I knew but had no idea he was the guitarist on. Joined by the band they essayed the kind of performance that would thrill any lover of the musics of the American West, South or East over the last sixty years. I can’t add much to what I wrote about October’s show at Bush Hall. Subtly different, but just as good. Opening song “If I’m Unworthy” has assumed such gigantic proportions of feedback and emptiness, I remember thinking most acts would be thrilled to save that as their last song to ensure an encore…

SOMETHING I LEARNED 1
From Mark Kermode’s Observer interview with Paul Thomas Anderson: “Some years ago, when we were doing an on-stage interview in London, Anderson told me that he sometimes felt his movies were best viewed as musicals. In a now iconic scene from Magnolia, the disparate cast are seen spontaneously singing along to Aimee Mann’s “Wise Up…”

“Well,” he says, “those movies you mention are musicals in the sense that the music is woven so strongly inside them. I think that’s probably true of There Will Be Blood too. But starting with The Master, I was working on things that had a little more dialogue. You know, there’s music in there, but the film isn’t structured like a musical. This was more a matter of just driving to the set each day and listening to some stuff Jonny had sent me, or listening to Can, or Neil Young [both feature on the soundtrack] over and over. That’s what we were trying to do – to make a movie that felt like a Neil Young song, that has that sweet sadness to it.” For all its anarchic sex, drugs and rock’n’roll, Inherent Vice does indeed possess a “sweet sadness”, a quality enhanced by the fact that Anderson’s partner, the actor and comedian Maya Rudolph, makes a small but significant appearance. “Maya and I don’t avoid working together,” Anderson says, “but there just hasn’t been much opportunity before. So we squeezed her in here. And you know that we’ve got her mom [the late Minnie Riperton] singing in Inherent Vice, too? It’s a moment that makes me well up every time – as we’re looking at Maya, you hear her mom singing this song, “Les Fleurs…” it makes me so warm and fuzzy.”

Always nice to be reminded of the great “Wise Up” scene (and of the great Melora Walters, an actress who doesn’t get cast in nearly enough good movies), but just as cool to be sent back to the astonishing Minnie. “Les Fleurs” is  basically a descending chord sequence (courtesy of Ramsey Lewis) above a funky laid-back beat provided by Maurice White (of EW&F fame), topped off with shimmering layers of vocals and horns that keep peaking and waning through the whole of the song in an incredible arrangement by producer Charles Stepney. Interestingly, her most famous song was written for her daughter: “[Perfect Angel Producer Stevie] Wonder felt that one more song was needed to meet the industry standard of a 40-minute album. He asked Riperton and songwriter-husband Richard Rudolph to come up with a tune that they considered to be their “most embarrassing song”. With hesitation, Riperton did mention a lullaby she sang to her daughter Maya to put her to sleep at night so that she and Rudolph could spend “grown-up time”. With Rudolph’s help, Riperton came up with “Lovin’ You” – which was quickly recorded with Wonder on electric piano and synthesizers, whilst Rudolph supplied the chirping birds from a sound effects reel.” – Wikipedia

SOMETHING I LEARNED 2
An interesting tributary that emerged owing to my lack of knowledge re: Enoch Light. John Walters at Eye sends me a great site that details Light’s record label, Command Records, and its commissioning of Bauhaus legend Josef Albers for the cover art.

Obsessed by “experimentation in the realm of stereophonic sound, he went to great lengths to achieve his vision. His sessions used the best available recording studios, musicians, and equipment. He also experimented with the arrangement of musicians during recording to create interesting effects. To achieve the sound he was looking for, Light mastered the first three records 39 times until he got it right. The records came with extensive liner notes, detailing the minute details of the recording process and crediting all of the musicians involved. Each track was also annotated on the packaging, describing the way it would test the home stereo equipment… a sample of his rendition of “Autumn Leaves”… became the theme for the AMC hit drama Mad Men. A very appropriate choice given the television show’s focus on the shifting consumer culture and its influencers of the 1960s. And to add another layer to all this is the fact that the original version of Autumn Leaves was written by Joseph Kosma, who was related to László Moholy-Nagy, another legendary Bauhaus figure and a colleague of Albers there.”

Albers

 

VISUAL OF THE WEEK: Selfridges Window Display: “Bright Old Things” featuring Roger Miles
Roger Miles worked for 32 years as a chartered accountant for Deloitte, and was a senior partner for 20 years. In 2009, he hung up his abacus and went to Chelsea College of Arts, being awarded a BA in Fine Art with 1st class honours. Roger’s final College show in 2014 was an immersive experience that focused on the interaction between visitor and artist. The installation recreated a ’70s record store in a mobile library, with most of the contents coming from his previous art residency at a recycling centre.
This isn’t the first time you have worked at Selfridges? “No it isn’t. During Christmas in 1975, I worked for four weeks in the bedspread department. I had just started my accounting degree, “Bohemian Rhapsody” was at number 1 and punk music was just around the corner. I was working hard to convince customers to convert from bedspreads to the new fangled duvet from Scandinavia. Almost 40 years later, I have returned as an artist – just don’t ask me about tog values…”

Selfridges

ADVICE TO FOLLOW…
David Byrne, The Proust Questionnaire, Vanity Fair
What is your favourite journey? From the barroom to the bedroom… that’s not really true – it just popped into my head, but, wow, it sounds like a song waiting to be written! Maybe a song for someone else, I think. My favorite journey is the journey that an idea takes when taken all the way to its logical conclusion–  which usually ends up being a place that is surreal and ridiculous. Logic and rationality taken all the way to the end are irrational and nonsensical.”

SONG OF THE WEEK
“Stonemilker” by Bjork. Entirely written, played and produced by Bjork. The Max Richter-like orchestration. The ebb and flow. The percussion from the Beach Boys’ “Diamond Head”.  The way she sings “juxtaposition”.

IF I WERE ON TWITTER, I’D FOLLOW: Maureen Van Zandt

Maureen

AND ON THE PLAYLIST THIS WEEK…
Isn’t it odd when you haven’t thought about a musician in years and then, in the space of a few days their name comes up. Recently, designing a novel for Sam Charters, this was quoted at the start: “In the olden days they called them fables/But they’re nothing but doggone lies…” Old minstrel show song recorded by Jesse Fuller, “The Lone Cat.”  A lovely post by Thom Hickey, dreaming of being the Smithsonian’s Director sends me back to Jesse’s “San Francisco Bay Blues” (which you’ll find on the music player to your right). Here’s the nice story of the inspiration for his homemade foot-operated bass/percussion instrument, the Fotdeller: “It took me a whole week one time when I wasn’t doing anything, and I made the thing I call the Fotdella in my back room. I just got the idea lyin’ in my bed one night, just like I write songs… I thought about doin’ something like that (the Fotdella) so that I could have something to go along with me and help me out instead of another fellow. I just took some Masonite, heated some wood in hot water and rounded it off around a wheel. I learned that in the barrel factory where I used to work – that the way they do the staves. I tried to use bass fiddle strings, but they don’t sound so good, they stretch out of tune so I use piano strings”.

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