Tag: Moe Bandy

Scattergories (August 13-18, Columbia, MO)

I continue to struggle to report more frequently, but maybe it’s better if I let things build up. Some areas of my life into which great music wormed its way this week:

Spousal Relations

Nicole and I are two peas in a pod (metaphor not simile), and living with me, she stays pretty up to date on things. Sometimes it might not be her choice. However, she made a discovery this week that made me very happy.  She’s voluntarily given me charge of keeping her vehicle’s iPod full of goodies. Massive folders of New Orleans joys, Memphis grit, and Dead Moon/Pierced Arrows wailings I’ve already built I am not to touch again, but that leaves me about 2.5G. I’d constructed her a rap playlist, vowing to stick to irresistible stuff so she could get her mojo going more easily on her drive out to school. We were riding together when this shuffled out:

Turns out she wasn’t familiar with the Dirt Dog, Big Baby Jesus, the late lamented O…D…to the motherfuckin’ B! Her expression registered both shock and delight at his unchained style (how well I remember the same feeling!). I explained that he reliably stole every track he ever guested on, that he’d stepped on a rainbow–I saw a wave of sadness sweep over her face–and that…well…there’s more where that come from. This very morning we repeat played “Ghetto Superstar” for his bars, and coming soon will be his levitation of “Woo Hah! Got You All in Check!” on the remix tip.

We also followed our informal Friday night ritual of a pizza, a pitcher, and some platters. We get comfy in the living room and stack a few CDs in the changer, then shut up and listen. Nicole’s better at being quiet than I am–sometimes both my enthusiasm and my teacher tendencies–“OK, now who do you think that is on sax? Yes, you do too know who that is?”–can interfere. Aretha’s passing has hit us hard like it has most music nuts, and we chose to concentrate on her Atlantic debut I Never Loved A Man The Way I Love You and the later Lady Soul. I’d put ’em up against any great album you can name for the overwhelming amount of fine, sublime details. If I get started on them, I’ll never stop, but here were our two highlights:

School

I am about to step back in front of my freshman comp / pop music class for another semester, and I never like doing things the same way twice. I’ve been brainstorming, but haven’t gotten far–there’s so much I can do, it’s hard to focus, and if I have a demon, it’s that. All I’ve decided so far is to spend some time on Day 1 off-syllabus to find out how they listen to and write about music with something responsive, probably to (duh) a carefully selected Aretha piece. Maybe they will have had too much Re by Tuesday, when class begins; maybe I’ll employ Mitski, The Internet, JLin, or Lori McKenna; maybe I’ll use the never-has-failed clip of Anita O’Day at Newport ’58. Just something to draw them out and force them to furrow their brows. Probably not anyone named Minaj–that might seem desperate. It’s a women’s college, so I like to keep women in the forefront, but hearing this masterpiece over the closing credits of an Atlanta episode (we’ve just begun watching it, slow, sorry) has me currently tempted to lead with it–it’s about a great woman, after all:

Friends

We met our friends Brock, Annell, and George to take in the current big screen preparation of Elvis’ ’68 Comeback Special at one of the local theaters. I’d been on tenterhooks waiting to see it for the umpteenth time, this time with brighter colors (surely it would be restored!) and even more vibrant and powerful sound (surely the soundtrack would be remastered!). No, and no. Should have known better, considering the last, oh, forty years of Presley puke-up (sorry, it hasn’t been that bad, but nor has it quite approached mediocrity). In addition to the lazy preparation, the special was preceded by an awkward co-interview between producer Steve Binder and a very Madame Tussaud-looking Priscilla Presley that revealed little not already known, and followed by a gag reel in which 80% of the content was in the actual show. Somebody needs to look up the definition of gag reel; it was like a cinematic Having Fun with Elvis on Stage. They’d have been wise not to fuck with the actual special, but of course that was where they expended extra effort. I didn’t say smart effort. We did get to see some never-officially-viewed footage, but more frequently the additions didn’t make sense–and one subtraction was downright blockheaded: whose idea was it to CUT the opening to the black-leather-concert “One Night with You,” where Elvis experiences a flash of inspiration and says, “I think I’ll put a strap on this and stand up!”? It’s a great moment in rock and roll television: the strap fails, Elvis has to think quickly–and transitions into the “dirty” original version of Smiley Lewis’ song, then titled “One Night of Sin.” Instead, the new edit begins right after all that has happened. I’d include the full version here, but guess what? It’s not even on YouTube! Anyway, we did still enjoy it (probably everyone else more than I, since I was, I guess, laying for it, just waiting for the honchos to fuck it up)–because it’s hard to kill The King:

Also, my New Orleans pals Clifford and Robert sent me some gems via Dropbox. They are among my wisest and most broad-minded friends when it comes to music, and they’re overflowing with stories, too. From the former I received a mesmerizing tango album from 2007, Daniel Telingo’s Maldito Tango, that I’ve already played twice in the last 36 hours:

From the latter, who has been extraordinarily generous lately by also hipping me to numerous Brazilian musicians I was shame-facedly unfamiliar with, I received an infusion of rare tracks by the great Southern soul man and songwriter Dan Penn, whom we both admire:

Reading

I’ve been digging into the short fiction and non-fiction of Tennessee writer William Gay, and I just finished his neat reminiscence of Bob Dylan’s entry into his life, and the resulting social fallout he encountered. From my previous readings (the haunting Southern noir Twilight and a passel of short stories), I wouldn’t even have imagined Gay had been a Dylan fan. His fictional presence is McCarthian; I had assumed he might have set his musical bar sky-high, not that that’s a barrier to the man from Hibbing, but still. Anyway, “The Man in the Attic” is very charming–not a typical Gay quality–and very true. It can be found in the collection Time Done Been Won’t Be No More, which if you do Kindle Unlimited is at your fingertips, and which features some additional excellent music writing. Recommended to any Dylan fan, and it will prompt you into the stacks.

Purchases

If you’ve been reading me, you know I’ve been struggling to cut down on buying physical media–at least CDs, but I am fond of them, too. This week I bought two early Moe Bandy CDs from Amazon that I thought must be reissues, but I must have been distracted from reading carefully when I did the clickin’–they are those nefarious “ripped from vinyl” items that the website actually offers. Album art: check. Song list: check. Nothing else. No notes, no record label, no source info. At least I didn’t already have one of them (It Was Always So Easy to Find an Unhappy Woman Until I Started Looking for Mine); I’d already ripped my vinyl copy of I Just Started Hating Cheating Songs Today to digital myself! Dumkopf!

(The guy had a way with album covers.)

I also bought–oh, about 40 years too late (the story of my life, perhaps even my birth)–Murder by Guitar, a compilation of singles by the San Francisco punk band Crime. I knew about them from Sonic Youth’s cover of their “Hot Wire My Heart,” then got very belatedly reminded I needed to check into their work early this week after finishing Alice Bag’s terrific memoir Violence Girl–by the way, her 2018 album Blueprint is seriously underrated. So, I hit Discogs, ordered said comp, it arrived in a flash, and damn, folks, if you need a dose of serrated-edge punk rock and you didn’t know much about ’em either, act now. They sound to me like obvious precursors of what’s come to be called garage punk (nicely documented by New Bomb Turk Eric Davidson in his book on the genre, We Never Learn). Very, very exciting:

 

 

 

Good To My Earhole, July 20 – August 7: “Why Do I Suddenly Appear Every Time I Am Near?”

Highlights of my last two weeks’ worth of listening, ranked on a 10-point scale depending on how the landing was stuck:

The Paranoid Style/ROLLING DISCLOSURE – 9.5 – I haven’t read Richard Hofstadter (yet), I don’t need convincing that, in this life, so and so is fucked, and it don’t mean a thing if it ain’t got that swing. But I am happy to report none of the above impacts my enjoyment of this boisterous, tuneful, sardonic, allusive rock and roll album (yeah–you remember rock and roll?). In fact, one of the main pleasures of this record is how much helpless joy Elizabeth Bracy and her bandmates exude while taking it all apart. Another is listening for how Bracy retools other pop folks’ catchy lines to make her points (my favorite is extracted from a Carpenters sugar cube). Easily one of the best rockin’ records of 2016 (check the band’s track record), and I advise you quickly do the work to find and buy it, as it is an accurate marker of these times. Aren’t you gonna want to recall them?

THE EARL BOSTIC STORY – 8 – Bostic has always been one of my favorite saxophonists. After counseling such future titans as John Coltrane, he crossed over from jazz into r&b and pop, largely on the power of the unruly, RAW way he’d tear into a chorus or riff. Though some folks consider his musical context a little too moldy, I treasure the gash he rips in them (just listen to “Flamingo,” one of his big hits)–and he’s remarkably reliable across a box set. Fans of James Carter who are in the dark might wanna check where some of that cat’s irreverence comes from.

Aaron Neville/APACHE – 7.8 – New Orleans’ toughest-looking pussycat hasn’t had this much musical muscle behind him in years, and he wrote or co-wrote all the songs. No star producers or players in the band, either. Not all the lyrics are winners, and I suppose the sound looks back too sentimentally on ’70s styles. But–there’s that voice, the 75-year-old grain of which cuts some of its youthful sweetness, and several of the tunes are real convincers. Picks to click: “All of the Above,” “Ain’t Gonna Judge You,” and–especially–“Make Your Momma Cry.”

James Moody (with Kenny Barron)/FLY ME TO THE MOON – 8.3 – Moody’d never quite struck deep with me ’til I heard this two-fer-one CD. My problem was listening for flash, excitement, and aggression–whether on tenor, alto, or flute (an instrument I give very little room in jazz), the man just plays with quietly intense smarts, skill, and soul. From ’62 and ’64 sessions for Argo, with excellent runs at “Sonnymoon for Two” and (Dizzy’s) “Ole” and some sharp arrangements.

HONKY TONK AMNESIA–THE HARD COUNTRY SOUND OF MOE BANDY – 8.5 – “You wroooote/’Your Cheeeeeeatin’ Heart’ about/A gal like my/FIRST [my caps] ex-wife,” Moe sang on Paul Craft’s “Hank Williams, You Wrote My Life,” and there were many more such wry laments on his three albums for GRC–which would all probably fit on a single disc. This ain’t it–the folks at Razor & Tie always did a great job, but Bandy’s usually tame or pat later stuff crowds out the likes of “This Time I Won’t Cheat on Her Again” and “It’s Better Than Going Home Alone.” However, honky-tonk cravers will get a buzz on from a mere perusal of the writing credits (Sanger Shafer, Curley Putman, Dallas Frazier, Wayne Carson, and Sonny Throckmorton), and Bandy, droller than he was hard, was just the mind and voice to put their songs across.

Leonard Cohen/LIVE IN LONDON – 10 – Cohen’s mos def recorded too many live albums, but if you have to have one, this be it. Perhaps I am influenced by having been hypnotized and charmed in person by a show from this 2008-2009 tour, but the selections, arrangements, and players are simply unerring, and the main attraction is blissfully at peace with the sands left in his hourglass. Whether he’s telling a story about his then-96-year-old-teacher apologizing for not being dead, thanking us for keeping his songs alive on “Tower of Song” (in which he still hasn’t moved up a floor on ol’ Hank), or intoning knowingly on the eternal “Who By Fire” (in a magnificent new setting), his eyes smile as he awaits his maker. We can all use that model–he’s still waiting, by the way. This review is for my friend Deke, whose eyes smiled, too.