Friday, October 20, 2017

2017-10-20 (One of These Nights - Eagles)

As I went through the Eagles' catalog today, I realized my Mom had most of their albums and their Greatest Hits collections. Nowadays I consider most of their stuff to be soft and cheesy. It was pop music, even back then. But, I guess there's something to be said for accessibility. I listened to these guys a lot. I remember playing this record over and over around 8th or 9th grade. There's a lot of good stuff there.

Going through and finding the right song was not that easy. I wanted to pick an Eagles song for Mom's birthday, today. They started in the early 70's with a sound more like the Byrd's or the Flying Burrito Brothers. That was probably their best years. But, as the 70's went in LA, so did their sound. It became more influenced by the social scene and their popularity. By 1975, this album was picking up on some early disco sounds. The big change happened just after this album, when Joe Walsh replaced Bernie Leadon and brought his cantankerous guitar sound and East Coast vocals into the mix (not a huge fan). It was subtle on Hotel California, but the driving force on The Long Run's title track and "Heartache Tonight".  

I have a specific memory of my freshman year - Don was a senior and we were both playing soccer. Practice started about 45 minutes after school and we lived about 5 minutes away. We would head home after school, grab a snack and sit in the living room to kill off the half hour or so, before practice. We would spin the Eagles - mostly their 'Their Greatest Hits (1971-1975)' record, with "Take It Easy", "Desperado", "Peaceful Easy Feeling" and others and sing along. It's a damn shame that neither of us are great singers. Don has his moments and at least he continues to put himself out there. But, we cut our vocal teeth on some of the best stuff and worked out the parts and really listened to ourselves. I felt pretty comfortable on the Eagles' material, with the exception of  "Seven Bridges Road".

Anyway, I thought "One of These Nights" was a good choice. I never asked her, but I imagine this is the type of song that drew Mom to the Eagles. I can also see how she might relate to it's main theme. One of these nights.......

Thursday, October 19, 2017

2017-10-19 (Mother's Little Helper - The Rolling Stones)

Mother's Little Helper - The Rolling Stones (1966)

Wiki - about the song

When I was about 14, Willie's sister (Daphne) let us cruise around with her. The playlist in her car was The Rolling Stones. The song I remember (of course) was "Satisfaction". As soon as I could, I bought a tape with that song, called "Hot Rocks (1964-1971)". It is another one of those tapes that I wore out. It was a regular in the walkman I used when I mowed the yard.

This is not one of my favorites from that collection. But, it always hit hard. There was something reminiscent of the Beverly Hillbillies (to me). The punch and pace and guitar tone -- they give you that anxious feel of uppers. I'm sure my mom would never have eaten pills, but I wonder what the pressure was like back in that time. Did her friends use? Were drugs like this more innocent? How many housewives used "diet pills" for a little pep?

Wednesday, October 18, 2017

2017-10-18 (Do Right Woman, Do Right Man - Aretha Franklin)

Carolyn, Erma, and Aretha Franklin with Aretha's husband Ted White at Atlantic Studios (NYC) in 1967.

It helps to turn the volume up before - Do Right Woman, Do Right Man - Aretha Franklin (1967)

There's a great story of how this recording came to be. Wikipedia - Do Right Woman....

It was the B-side to another great perfomance. I Never Loved a Man (The Way I Love You)

Tuesday, October 17, 2017

2017-10-17 (Lay Down Your Weary Tune - Bob Dylan)

Lay Down Your Weary Tune - Bob Dylan (1963)

Lay Down Your Weary Tune - Tim O'Brien (1996)

Poetry about Autumn, Music, Life and how we live it... maybe God. Bob Dylan did it best! One time in Morehead, Tim O'Brien played it because I asked him to. This is another one that passes the test of "songs I've listened to on repeat and sung like they're my own."

Dylan wrote it for his album "The Times They Are a-Changin'", but it didn't make it on there. He said he was trying to capture the feel of a Scottish ballad. I first heard it on his box set "Biograph", which, unfortunately, is not on Spotify.

Monday, October 16, 2017

2017-10-16 (Add It Up - Violent Femmes)

Add It Up - Violent Femmes (1983) or 1988 for me

This is the music I listened to the first time I got high... not the first time I smoked pot, but the first time I actually got high. It was in Cliff Stewart's shed. I can still smell the smell of relighting the joint. We didn't yet know how to lick your finger and tap the side to stop a run. This wasn't because we wanted to be cool. If most of our friends knew, they would disown us. But, we were ready to check it out. I mean, listen to this music. Being a freshman in high school was not totally awful but it was the most dissatisfying episode of my life. I almost picked this song (Prove My Love). It really captures the feeling of that time. The whole album is right there in that pocket.

Anyway, I knew every little sound on this tape (album). Many times I have sung them all, especially the vocals and bass lines. To me, this is punk rock, acoustic guitar and xylophone.

A few years later, another first time I got high. Not the first time I had done LSD, but the first time I got high... I was at Buckeye Lake waiting on the Grateful Dead to play and they were playing every song from this album over the PA. I said something to Alex about it and he said, in his meek and matter-of-fact voice, "oh yea, shall we scoot up close where we can see them?" It was actually them. They were the opening band. How did I not realize this, yet. It wasn't on the ticket. I had wanted to see them for awhile... but not like this.

Good Feeling  -- This one became my favorite on here. It could be a candidate for this song list for different reasons. It is one I've listened to over and over on repeat. It feels so right to sing along.

Sunday, October 15, 2017

2017-10-15 (Old Home Place - J.D. Crowe & the New South)

Old Home Place - J.D. Crowe and the New South (1975)

J.D. Crowe (38 yrs) -- banjo, guitar on "Rock, Salt & Nails and baritone vocals
Jerry Douglas (19 yrs) -- dobro, guitar
Tony Rice (24 yrs) -- guitar and lead vocals
Ricky Skaggs (21 yrs) -- tenor vocals, fiddle, mandolin, violin and viola
Bobby Slone (39 yrs) -- bass, fiddle

J.D. Crowe became well known in bluegrass music in the mid-50's as part of Jimmy Martin's "Sunny Mountain Boys". In the late 60's he started gigging regularly in and around Lexington, Ky, featuring younger talent in his bands. By the mid 70's he had pulled in two of the hottest young talents in bluegrass - Ricky Skaggs and Tony Rice. By this point, at age 21, Skaggs already had a career many would be envious of (, including playing with Bill Monroe and Ralph Stanley. Tony Rice hit the scene a couple of years earlier with the Bluegrass Alliance (along with Sam Bush) and was recognized as a top talent guitar player and singer.

This album created some controversy in the bluegrass world as it saw musicians primed for a great new traditional bluegrass project turn to contemporary songwriters for material and mix in an almost rock'n'roll vibe to some songs. It quickly became one of Rounder Records best sellers, ever. It was a short and precious moment in bluegrass history, though. By the next year, Skaggs (along with Douglas) would go on to form his own band, Boone Creek and Rice would move across the country to join up with the first incarnation of the David Grisman Quintet.

It seemed as though it represented a huge shift in bluegrass and caused people to take sides. Either you were down with where these boys were taking things, or you were not. Even though Donnie Rogers is not always known for taking a progressive stance, he was down. He made it over to the Holiday Inn in Lexington to see them live before the album was released. He left the campers and jam sessions in the fields of Masterson Station Park to head over to the main stage for their performance at the Festival of the Bluegrass. And, he spun the record on occasion in our living room. It was the sound that excited new blood bluegrass fans, my brothers included.

From our vantage point, here in 2017, in the world of WNCW's Saturday bluegrass ear assault radio, it is quite subtle. But, this song is really the perfect place to start. It is a song that is very much from the traditional bluegrass theme. Yet, you can hear this band on the first track of this album, poised to take off and leave that traditional bluegrass sound behind.

Friday, October 13, 2017

2017-10-13 (Your Cheatin' Heart - Hank Williams)

Your Cheatin' Heart - Hank Williams (1952)

The single was released as a B-side to Kaw-Liga the same month of Williams death (January 1953) at age 29. To me, this song is the definitive country song. Williams wrote some of the best including "I'm So Lonesome I Could Cry""Hey, Good Lookin'", "Cold, Cold Heart""Honky Tonkin'",  "Jambalaya (On the Bayou)" and so many others. He was one of those rare talents that combined near perfect songs with a unique sound and great vocal performances.

Thursday, October 12, 2017

2017-10-12 (Doo Wop (That Thing) - Lauryn Hill)

You may know this one -- Doo Wop (That Thing) - Lauryn Hill 1998

This one may tell you a little more about her at this time -- To Zion - Lauryn Hill (w/ Carlos Santana)

After much success with the Fugees, she became pregnant with the child of Bob Marley's son, Rohan. She took a break. During that time, she worked with CeCe Winans, Aretha Franklin and Whitney Houston on various projects. She took these influences and an outpouring of newly written songs to Bob Marley's studio (Tuff Gong) in Jamaica to record this amazing album. 

And, this one too! -- Superstar - Lauryn Hill

Wednesday, October 11, 2017

2010-10-11 (Pharaoh's Dance - Miles Davis)

Pharaoh's Dance - Miles Davis (1970) 20:04

There are times when nothing else matches the intensity of your emotions. When this album is the right choice, it is because it is the only right choice... the only friend who understands.. the only thing that will let me feel the way I feel with complete understanding and lack of judgment. In it, I am able to rest with these emotions. It stirs them around and allows them react with each other like ingredients in a cauldron, setting off release.

(I'm sorry this one is so long. This song picked itself today. Part of why it "works" is because it is long enough. If not, there is another hour and a half of it on the album.)

Tuesday, October 10, 2017

2017-10-10 (Bemsha Swing - Thelonious Monk)

Bemsha Swing - Thelonious Monk (1954)

Monk was born 100 years ago today. New Yorker music critic Whitney Balliett once describe Monk's playing as feeling like, "missing the bottom step in the dark". His uncanny sense of  syncopation, timing and chord changes matched with an ease with familiar sounding melodies made him special.  He heard what others heard. He just heard it differently. And, he was uncompromising in his approach.

He came from the bebop era and refused to go along with the commercial turn of early 50's jazz. He had a resurgence in the mid 50's and became one of the giants of that time. He produced several great recordings through the 60's, but all but disappeared during the 70's. Health and mental health issues kept him sidelined until he died of a stroke in 1982.

"10 things you didn't know about thelonious monk, by his son t.s. monk"

Monday, October 9, 2017

2017-10-09 (Chameleon - Herbie Hancock)

Chameleon - Herbie Hancock (1973)

Mitch and I are on a real quest -- one of the most worthwhile quests I've ever set out on. We are on a quest to find and place ourselves in the middle of "hipness" in Lexington. It is the winter of 1993, we took an apartment in an affordable complex a couple of miles from campus, on the Winchester side of town. Never mind school for now. I wasn't into it. There was too much else going on.

It's Friday night. River Runt Spook Floaters are playing at Lynaugh's. They are one of the best around... from Cincy. Have you heard their version of "Peg" (Steely Dan)? Sometimes they bring the horns section. I can't wait to use my newly acquired bomb proof ID (the one time I was glad I looked so much like my big brother). Mitch says, "before the show, let's stop by this guys house over off Waller and smoke down." That sounds a little nervy to me. Everything does. Going around all of these new ("cool") people, going to the show... some after-party, I'm sure. And smoking down just amplifies it times a million. But, this is the trip we are on. I am rarely comfortable these days, but I am, at the very least, along for the ride.

These guys have a whole house, with an upstairs, framed things on the wall, nice tapestries, a swanky ash tray, tons of cds, and yes -- some really good weed. We commence. Cue Herbie! Loud! Crystal clear! From space! I have not heard this. I guess I have not heard anything like this. What? No electric guitars? No white boy angst and ego? Is it Jazz? Is it club music? It's the opposite of folk music. It's alien to folks. No oovy-groovy change the world thing. It's not of this world. This music that was released the year I was born, before most of the great funk albums, before disco... It's 20 years on and it still sounds so tomorrow. This sound busted open so much space in my musical mind. I can feel myself becoming cooler now... now that I know about this.

Thank you, guy from Mitch's chemical engineering class. Thank you Herbie! Let's head to the show. Don't fail me now, Don's ID.

Sunday, October 8, 2017

2017-10-08 (Leaving Louisiana in the Broad Daylight - The Oak Ridge Boys)

Leaving Louisiana in the Broad Daylight - The Oak Ridge Boys (1979)

Leaving Louisiana in the Broad Daylight - Emmylou Harris (1978)

We had a late 70's model, red Jeep Wagoneer growing up. Mom drug us all over the place in this thing. I remember riding in the 'way back'. We took it on a trip to Colorado to see Aunt Teresa one year. Daddy borrowed a big luggage carrier for the top. We took Granny Granny, so there were 6 of us in there all of the way to Denver and back - reminiscent of the Griswolds (but Granny lived, although she did get concussed in Cripple Creek).

Anyway, the Jeep had an 8 track player and we only had a limited number of 8 track cassettes. Well, you guessed it. This was one of them (The Oak Ridge Boys Have Arrived). I also remember an Emmylou album, although it wasn't the one with this song (Quarter Moon in a Ten Cent Town). This was the country music I grew up on. Oak Ridge Boys, Barbara Mandrell, Kenny Rogers, along with the classics like Loretta and George Jones.

This song was written by Rodney Crowell, who is a great songwriter and collaborated with Emmylou after Gram Parsons died. I remember this song being a sing-a-long in the car and I loved the story. It's just an ordinary story about the way the things go - round and around nobody knows, but the highway goes on forever.

(The jeep pictured is slightly different than the one we had. Ours didn't have a white top. Oddly, I couldn't find one that looked just right. I wonder if my memory has altered things. I do remember it was not a woody, though. Davy Dave had a Jeep Cherokee that was a woody and was cooler than ours - I was a little jealous. I'm pretty sure they bought it because the wanted to one up us.)

Saturday, October 7, 2017

2017-10-07 (Yakety Yak - The Coasters)

Yakety Yak - The Coasters (1961)

I had a full album (tape) of the Coasters, which I wore out. I love the energy, the innocence, the tightness in their performance. These guys were from a long line of black vocal acts that perfected their harmonies and played their voices like horn sections. I still have a soft spot for anything influenced by those recordings.

Throughout my musical listening journey, I have had several 'episodes', where I latch onto a music genre or sub-genre and dig in obsessively. This has happened with Classic Rock, Southern Rock, Jam Bands, Jazz, Bluegrass, Old-Time, Nashville and Texas songwriters and many more. The first thing I remember doing this with is "Oldies" - 50's and 60's Rock'n'Roll. Somewhere between my obsession with Michael Jackson and The Smiths, my parents browsed through their high school yearbooks and told me a bunch of old stories and explained the social structure and events of the day ('59-'62).

I wrote about this back on May 4, 2011 found here.

Here are a couple other of my favorites that are referenced in the post above.
Hanky Panky - Tommy James & the Shondells (1966) - This was a 45 they had that really stood out to me.
Runaway - Del Shannon At the time, I remember saying this was my favorite. I would listen to it over and over.
Not to mention, the Coasters had plenty -- Their big hits

Friday, October 6, 2017

2017-10-07 (Coyote - Joni Mitchell)

Coyote - Joni Mitchell (1976)

Joni is songwriting royalty. Not just among female songwriters, but all of them. She is up there with the best. When I saw her perform this in The Last Waltz, I was blown away. I wanted to be the Coyote and to have had that, even if fleeting, intimate encounter with this beauty and energy. I was familiar with her early stuff (almost picked Big Yellow Taxi for today's song) and her connection with Graham Nash and CSN&Y. But, the difference between 'Big Yellow Taxi' and 'Coyote' is like the difference between 'Blowin in the Wind' and 'Tangled Up in Blue'. It demonstrates a real evolution in her craft.

The imagery in this song is like a short film. It is a visual tale laden with sensation as much as with emotion. The arrangement creates the perfect feel, using only guitars, Jaco's smooth fretless bass and congas. She strums the ease of "No regrets, Coyote" while Jaco bounces through the story from scene to scene. It comes across as autobiographical - about her realizing her lifestyle is not compatible with that of her new love interest. But, it's okay. It is clear by the ease of pace of the song and her matter-of-fact delivery of the lyric -- she may be fully taking it in, but she's not slowing down for regrets. Her independence is not stated, but it is apparent. To me (just a dude), the over arching theme is a story of feminism in the "post sexual revolution" 70's. Near the end, when she says she's a "prisoner of the fine white lines of the free, freeway" with that strum and bounce of the music, the closing credits are framed by the dashboard and windshield, looking out at that expanse - the possibilities. She sounds more committed to this way of life than imprisoned by it.

Thursday, October 5, 2017

2017-10-05 (Panic - The Smiths)

The summer before 9th grade (1987), I was hanging out with Andy Cecil one day at the Country Club. Evidently, I was trying to act like some kind of punk to be cool around some older guys (Matt Lynch and another guy I don't remember his name). I was primed for it. There was so much angst and anxiety running through me in those days, but I so wanted to stay cool. So, this other guy asked me what music I listened to. I don't remember what I said, but he didn't approve. It was too mainstream.

"Why don't you listen to music with meaningful lyrics... somebody who's got something to say?"
"Like who?"
"The Smiths sing about hanging the DJ. You should listen to the Smiths Louder Than Bombs."

I went on to buy the cassette twice (cheap tape broke) and the cd twice (stolen). This was a primer that led me into some of the most important music of my life (REM, Cure, Depeche Mode...). Obviously, there were no brotherly influences here. Don thought I had gone fag. I wore this album out. Listening to it now, it doesn't speak to me as the most revolutionary song. And, even though I still love this album, it is not close to my favorite song on there. But, you can imagine a boy at 14....

Panic - The Smiths

I love almost every song on there, but here are a few that demonstrate their range pretty well.
Oscillate Wildly
Please, Please, Please Let Me Get What I Want
This Night Has Opened My Eyes

Wednesday, October 4, 2017

2017-10-04 (This Ol' Cowboy - The Marshall Tucker Band)

This Ol' Cowboy - The Marshall Tucker Band (from Where We All Belong - one of my favorite albums ever! This is Southern Rock.)

"From Spartenburg, South Carolina, Capricorn Recording Artists the Marshall Tucker Band" (Intro to Live Album and "Ramblin'").

This is a song that's about the musicians playing it. A real band. And, it really doesn't matter the instrument - as demonstrated by southern rock's only flute player, a bad-ass flute player. The lyric is just enough to carry you into the lonesome feeling and the solos are enough to take you deep and let you wallow in it. I don't know anything about their intention in structuring this performance, but to me it seems perfect that the instruments are kept sorta singular. The rhythm section is solidly there throughout, giving you the feel out being 'out there' on your own. There is an occasional twin guitar or fiddle and guitar playing the same phrase. But, mostly each instrument is given ample time and space for their solos.

Col. Bruce had the 4 T's of playing. Tone, Timing, Taste and Threat of Vomit. I can imagine on a hot live version, there may have been the Threat (See "Ramblin" for T.O.V.), but not on this performance (other than the lonesomeness). But, I believe this song to be a masterpiece of the other 3 T's. There is no guitar player with better tone or taste than Toy Caldwell. The way the piano comes in at the end of the fiddle solo around the 3:15 mark and the guitar at the end of that solo..... is the timing that pulls it all together. Taste is everywhere, from the sparseness of the solos - the notes they are not playing - to the individual voice of each player, to the southern accent of the cowboy (Toy Caldwell's vocals). At least once, ignore the lyric and the solos completely and listen to what's going on behind it. And, listen for the subtle bass fills from Toy's brother Tommy - gorgeous!

I suggest turning this one up a little louder than you're comfortable with. Around the 2:45 mark, go ahead and turn it up some more. You will fall into it.


Additional musicians[edit]

  • Charlie Daniels – fiddle on “24 Hours At a Time”
  • Paul Hornsby – piano, organ, clavinet
  • Stein – fiddle

Tuesday, October 3, 2017

2017-10-03 (Saturday Night Special - Lynyrd Skynyrd)

Obviously, growing up, I was hugely influenced by my brothers. It was simple, I liked the music they liked. And, growing up, we loved Lynyrd Skynyrd, as much as any band. I didn't know exactly why we flew the confederate flag in our bedrooms, but I guess it had a lot to do with Skynyrd. Funny thing is, they never flew the flag, just their fans. They were sorta hi-jacked by their redneck fans. But, what are you going to do. They were never trying to be political, but when they were, it wasn't always what you think. I like to think they were just another spoke in the slow moving wheel of the New South. If you're southern and you make a big stand against the southern way, you are ignored or worse. They slipped this one in on the same album as "Whisky Rock-A-Roller" and "Made in the Shade".

Saturday Night Special - Lynyrd Skynyrd

Two feet they come a creepin'
Like a black cat do
And two bodies are layin' naked
A creeper think he got nothin' to lose
So he creeps into this house, yeah
And unlocks the door
And as a man's reaching for his trousers
Shoots him full of thirty-eight holes
Mr. Saturday night special
Got a barrel that's blue and cold
Ain't good for nothin'
But put a man six feet in a hole
Big Jim's been drinkin' whiskey
And playin' poker on a losin' night
And pretty soon ol' Jim starts a thinkin'
Somebody been cheatin' and lyin'
So Big Jim commence to fightin'
I wouldn't tell you no lie
Big Jim done pulled his pistol
Shot his friend right between the eyes
Mr. Saturday night special
Got a barrel that's blue and cold
Ain't good for nothin'
But put a man six feet in a hole
Oh, it's the Saturday night special, for twenty dollars you can buy yourself one too
Hand guns are made for killin'
They ain't no good for nothin' else
And if you like to drink your whiskey
You might even shoot yourself
So why don't we dump 'em people
To the bottom of the sea
Before some ol' fool come around here
Wanna shoot either you or me
Mr. Saturday night special
You got a barrel that's blue and cold
You ain't good for nothin'
But put a man six feet in a hole
Mr. the Saturday night special
And I'd like to tell you what you could do with it
And that's the end of the song
I grew up in north Alabama back in the 1970s when dinosaurs still roamed the earth. I'm speaking, of course, of the three great Alabama icons: George Wallace, Bear Bryant, and Ronnie Van Zant. Now, Ronnie Van Zant wasn't from Alabama, he was from Florida, he was a huge Neil Young fan but in the tradition of Merle Haggard writing Okie From Muskogee to tell his dad's point of view on the hippies in Vietnam, Ronnie felt that the other side of the story should be told. Neil Young always claimed that Sweet Home Alabama was one of his favorite songs and legend has it that he was an honorary pallbearer at Ronnie's funeral, such as the duality of the southern thing. 

...and Bear Bryant wore a cool lookin' red checkered hat and won football games, and there's few things more loved in Alabama than football and the men who know how to win at it. So when the Bear would come to town, there would be a parade. Me, I was one of them pussy boys cuz i hated football, so i got a guitar but a guitar was a poor substitute for a football with the girls in my high school. So my band hit the road, and we didn't play no Skynyrd, neither. I came of age rebelling against the music in my high school parking lot. It wasn't until years later after leaving the South for a while that I came to appreciate and understand the whole Skynyrd thing and its misunderstood glory. I left the south and learned how different people's perceptions of the Southern Thing was from what I had seen in my life, which leads us to George Wallace... Wallace was, for all practical purposes, the governor of Alabama from 1962 until 1986. Once when a law prevented him from succeeding himself, he ran his wife Lurleen in his place and she won by a landslide. He's most famous as the beligerant racist voice of the segregationist South, standing in the doorways of schools and waging a war against the federal government that he decried as 
hypocritical. Now Wallace started out as a lawyer and a judge with a very progressive and humanitarian track record for a man of his time, but he lost his first bid for governor in 
1958 by hedging on the race issue against a man who spoke out against intergration. Wallace ran again in '62 as a staunch segregationist and won big and for the next decade he spoke out loudly. He accused Kennedy and King of being communist and he was constantly on national news representing "the good people" of Alabama. 

...and ya know race was only an issue on tv in the house that i grew up in. Wallace was viewed as a man from another time and place, but when i first ventured out of the south I was shocked at how strongly Wallace was associated with Alabama and its people. Racism is a worldwide problem, and it's been like that since the beginning of recorded history and it ain't just white and black, but thanks to George Wallace, it's always a little more conveinent to play it with a Southern accent. 

Bands like Lynyrd Skynyrd attempted to show another side of the south, one that certainly exists, but few saw beyond the rebel flag and this applies not only to their critics and detractors but also their fans and followers. So for a while, when Neil Young would come to town, he'd get death threats down in Alabama. Ironically, in 1971, after a particularly racially charged campaign, Wallace began backpeddling and he opened up Alabama politics to minorities at a rate faster than most northern states or the federal government. Wallace spent the rest of his life trying to explain away his racist past and in 1982 he won his last term in office with over 90% of the black vote, such as the duality of the southern thing. 

...and George Wallace died back in '98 and he's in hell now, not because he's a racist. His track record as a judge and his late life quest for redemption make a good argument for his being, at worst, no worse than most white men of his generation, North or South. Because of his blind ambition 
and his hunger for votes, he turned a blind eye to the suffering of black America and he became a pawn in the fight against Civil Rights cause. 

...fortunately for him, the devil is also a southerner.

Monday, October 2, 2017

2017-10-02 (Southern Accents - Tom Petty)

Rest easy Tom Petty!

When I went to Central Florida to help work/live with Raymie's family, I learned that he wasn't just a classic rock hero. He was also a voice of a specific slice of American red-necks.

I wouldn't have known this, but Rick Litton asked me, point blank, Labor Day weekend around 1:30am. My favorite Petty tune.

Southern Accents

There's a southern accent, where I come from
The young 'uns call it country
The yankees call it dumb
I got my own way of talkin'
But everything gets done, with a southern accent
Where I come from
Now that drunk tank in Atlanta's
Just a motel room to me
Think I might go work Orlando
If them orange groves don't freeze
I got my own way of workin'
But everything is run, with a southern accent
Where I come from --
For just a minute there I was dreaming
For just a minute it was all so real
For just a minute she was standing there, with me
There's a dream I keep having
Where my mama comes to me
And kneels down over by the window
And says a prayer for me
Got my own way of prayin'
But everyone's begun
With a southern accent
Where I come from --
I got my own way of livin'
But everything gets done
With a southern accent
Where I come from

Here is his best impersonation of the Rolling Stones and one of my favorites.
Here Comes My Girl

Both of those were with the Heartbreakers. His solo career produced "Full Moon Fever". I wore that tape out in high school. I remember being introduced to it by Mary and Raymie the first time I really connected with them. They gave me a ride home from school and we rocked out to "Free Fallin'", "I Won't Back Down" and "Runnin' Down a Dream".

Sunday, October 1, 2017

2017-10-01 (He Will Set Your Fields on Fire - John and Martha Carson)

I first remember hearing this one on Stanton Radio's Sunday morning show, sitting in the living room, waiting on Mom to get dressed for church. Daddy later made a tape of John and Martha Carson and this was always the standout track. If I remember correctly, John is the son of Fiddlin' Doc Roberts who was usually accompanied by Asa Martin on guitar.

He Will Set Your Fields on Fire - Don Reno and Benny Martin (since the better version is not on Spotify)

Thursday, August 24, 2017

Vinyl (Vol. 2)

My office!
The set up could be better, but I'm psyched about having the turntable next to me, for now. I believe it will be moved upstairs to the living space at some point.

New obsession - Vinyl (Volume 1)

I finally started adding to my vinyl collection. I went to Sweeten Creek Antiques to look for a couple of pieces of furniture that Annie and I have been shopping for. There is a lot of vinyl there. And, some that I just couldn't pass up. 

          Tupelo Honey for $25 (Great condition)

          One of my all-time favorite albums ($12)

       I remember this one in my parent's collection.

    Classic - Grace just said this one was the best ever.

     I remember this stuff from when I was a kid, too.

Chuck Leavell -- couldn't go wrong for $1 (great condition)

I got several more - Glen Campbell (b/c he just died), Cahoots, a better copy of After the Gold Rush, a Return to Forever album on the cheap.... This all came on the heels of getting the new Tyler Childers album in the mail. I need to write a separate post for that one. I think it is the best of this great new wave of country music -- that includes Sturgill Simpson, Jason Isbell, Stapleton... I absolutely love it - been walking around the house singing lines for weeks.

I'm not a snobby audiophile. I have Spotify Premium and I can listen to almost any album (or song) I want, pretty much anytime I want -- on my computer or phone. Probably the most exciting thing about getting into this collection is liner notes. I miss liner notes badly and often. Over the last 5-10 years, I've listened to Common Sense probably 100 times (easily). I had no idea. Look at this... Jackson Browne, JD Souther, Glen Frey. Steve Goodman is pretty much on the whole thing (no big surprise there - but still, I didn't know this). And, who is Larry Muhoberac? Has he played piano on a lot of other stuff? Even with CDs, I would have known these things and it would make other buying experiences and conversations with people so much more fulfilling. 

I'm also excited about the physical mass. I'm mostly into getting rid of shit these days -- simplifying my life. I run my accounting practice "in the cloud", electronic office as much as possible. But, I have been a bit sad over the last few years that there was such little physical evidence of my love of music. I am ready to buy (or build if I must) just the right shelves and stock them full of only the best stuff I can find.

Tuesday, May 2, 2017

Hampton 70 - I was there!

Hampton 70! At the Fabulous Fox, no less. Everybody there to pay homage to their Daddy. This concert was a must-see for me. It's been a carrot on a stick that helped get me through tax season. I've been seeing Col. Bruce for nearly 25 years. He exemplifies and fosters everything I love most about music -- freedom and self-expression, spirituality and a connection with the cosmos, vulnerability and authenticity, camaraderie and community, commitment, excellence and professionalism.
The emcee for the night said, "Get ready for a night you will never forget!" That, it was! Throughout the night, I kept thinking of the 10 concerts posts people have been posting. I could produce a pretty impressive list, just from this one night. But, it wasn't just an awkward jam session of unfamiliar all-stars. They were there as family with a worthy common goal. The emcee also mentioned that proceeds from ticket sales were going to charity. I thought, "They're playing for free... keeping their motives pure. They would've had this party anyway. I'm sure glad they invited us to join."
It was everything I was hoping for, and more.
There may have been a couple of the regular cast missing. But, one thing is for sure- those who were there, brought 100%. The show was smooth and well-rehearsed with plenty of room for stretching out. Highlights are too many to name. The drummer game was strong. Two kits with either Duane Trucks, Jon Fishman or (my MVP of the night) Jeff Sipe always in the mix. Dave Schools handled most of the bass duties as did Matt Slocum the organ. Guitar monsters – Herring, Haynes, Trucks, Taz, Tinsley. Chuck Leavell bossed a rocking stretch… other key characters – John Bell, Susan Tedeschi, Popper, Herman, Emmitt, Denson and others. “Working on a Building”, “Compared to What”, “Time is Free”, “Space is the Place” and on and on with all of the favorites performed with intensity and what seemed like an eagerness to show Bruce that they could do it how he taught them. It all built to the crescendo of “Glad”, with the Col. in command, sitting right in the middle. It could have gone on forever with no complaints. The feeling was euphoric.
For the encore, they poured out onto the stage – around 30 musicians along with Zambi and a some Zambiland props. They conjured up the vibe that I feel so grateful to have been in the presence of many times over the years. “Zambi has but one command. Peace and Happiness in Zambiland.” All 30 went at their instruments as if they were trying to pull them apart and find new sounds in them. And, together from that chaos, they busted into “Lovelight”, a Col. Bruce showpiece.
I don’t know how to recount the final act. It’s strange and awkward and haunting to witness death. It definitely shook me and my head is still spinning. As I try to process it a few things keep coming back.
-In the end, he had a huge part in his own undoing. There is likely no other person on the face of the planet (over age 3) that could go down in a heap and lay face first for almost 4 minutes in room full of people who love them and no one think it out of the ordinary. We all thought it was part of the show. Despite some obvious clues and a nagging confusion, I kept that possibility alive in my head until emergency vehicles rolled in as we walked out the door.
-I will keep tabs on the career of Taz Niederauer.
-The quality of the show should not be totally overshadowed by its finale. Find it and listen to it
-I can think of no better way for anyone – or no more fitting of a way, for him, to go out. It was harsh, but it was beautiful. The perfect ending to an incredible story.
-As suggested by Jeff Mosier, I choose gratitude. There's a lot to be thankful for.
-It is absolutely a night I will never forget!

(copy and pasted from my facebook page - originally written on May 2, 2017)