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Thursday, June 4, 2009

GMVW # 74: "Overruling Jools and Jim"

Gem Music Video of the Week # 74:  Overruling Jools and Jim
Song:  Who Are You by The Who
(Songwriter: Pete Townshend)
June 4, 2009

It’s been too long since the last Who Gem (# 43 to be exact), which included my (insert adjective) attempt at a concert review.  This time, I’m going to review a Who album, but where the concert review was of a show performed the week before, this album review is 30 years in the making.  The album is ‘Who Are You’…. and it’s my all-time favorite Who record.

Now, if you were to poll avid Who fans on what their favorite Who album is, most responses would fall into one of three bins:  ‘Who’s Next’, ‘Live at Leeds’ or ‘Quadrophenia’ .  These are certainly seminal albums, making them very hard to best.  But for reasons not fully explored until now, ‘Who Are You’ nudges them out when it comes down to the one Who album I must have on a desert island.  I will try to explain the why, when, where, how, and WHO here. 

First a few related memories, since no album can rank at the top of a favorite list without a listen to it conjuring up highlight-reel moments from the past.  My initial memory of ‘Who Are You’ as an album is listening to it in my Lincoln Mercury Capri (must have been 1980/81) with Mac and Dave in the parking lot down by ‘The Rock’, which was a frequent hangout locale for the old gang (before houses were built there).  The album was being played in its entirety on one of the local radio stations.  As it played through several of the deeper cuts, Mac and Dave, neither of whom tossed praise out lightly, commented on how good it sounded.  They were both more familiar with the album than I at the time, so I just listened to the music and the commentary.  I was impressed on both counts.  Not long after, Joe (coincidentally?) bought me the album.

Another memory, a few years later, was also in a vehicle, this one a van belonging to good friend Luc Polnicky.  By this time I was well indoctrinated into the world of The Who and Who Are You.  Luc chauffeured an afternoon drive through Gatineau Park near Ottawa Canada during one of many memorable trips north of the border.  ‘Who Are You’ was blaring on the sound system as we wound our way through the hills and valleys, drowning out most attempts at conversation.  The van was packed with good friends, including Steve, Bob, Pat, Bec, Mac, and Dave (all who receive these weekly bombasts).  It was a never forgotten snap shot in time for me.

An aside:  For whatever reason, ‘Who Are You’ is a cd I cannot keep track of physically.  Whenever I purchase it, it disappears within months.  I picked up the cd again recently to see if I could rekindle some of those old memories and reconnect with the songs.  It did not take long.  Good thing, as any day now…..

(Postscript: I did indeed lose the cd again!)

So, what is it about ‘Who Are You’ that captures the imagination and has my ranking it so favorably?  This view, after all, is not shared by a majority of the rock critics who have reviewed the album over the years.  Most look at ‘Who Are You’ as The Who on the way down from the pinnacle of earlier success.  To me however, the comparison with past success is at the core of why this is a great album.  The Who were in the enviable position at this point in their history to capitalize on everything they had learned from that success.  All 4 charter band members were still on board (though not for much longer), which by 1978 was virtually unheard of for most 60’s bands.  ‘Who Are You’ in other words, is an album that could only be produced by a band with that kind of experience in tow.  This comes through in the music big time, and I’ve always been amazed most critics have overlooked it. 

In the history of rock music, there have been other bands poised to take advantage of past experiences and success in preparation for a new album.  The difference between the Who and many of these other bands, however, was that the Who had not sold out (despite what the title of their 3rd studio album would declare) to the commercial tug and artistic lethargy that eventually comes with fame and fortune.  They all remained focused on what motivated them from the beginning (the music), allowing the creative process to kick in to higher gear.

The remainder of this album review is broken down by band member, with a focus on what each of them brought to the table in the making of ‘Who Are You’.  Townshend first, followed by Entwistle, Daltrey, and Moon. 

Pete Townshend:
Writing about the Who in the April, 2004 Rolling Stone issue ’50 Greatest Artists of all Time’, Eddie Vedder states “What disturbs me about the Who is the way they smashed through every door of rock & roll, leaving rubble and not much else for the rest of us to lay claim to”.  This was actually a concern of Townshend’s in the making of ‘Who Are You’.  1978 was a period in rock music where the new punk movement was writing off all music that preceded it….that is, all except the music of the Who.  Punks were embracing the Who, and Townshend hated it.  Townshend wanted Punk and other new music genres to write off the Who as well.  He wished to be ‘rendered irrelevant’, believing this was the only way the new music scene could make a name for itself and maybe even rise above what preceded it. 

Townshend was in a dilemma, however.  Although he was ready to fall on his own sword, he continued to be driven by what kept him in the Who all along:  That the music of the band be a reflection of their fan base, a mirror for fans to look at and connect with.  This inner drive required effort and creativity.  Townshend was walking a fine line, and came up with a unique solution to say the least: Write good music but cut it to shreds through the lyrics.  The tortured artist was at it again.

Five of the six songs credited to Townshend on ‘Who Are You’ are about music: ‘New Song’, ‘Music Must Change’, ‘Sister Disco’, ‘Guitar and Pen’ and the title track.  These songs are fascinating because they explore Townshend’s concerns regarding the need for music evolution head on through the lyrics.  In ‘New Song’ (a brilliant song written to Who fans), for example, he writes:

“I write the same old song with a few new lines
 And everybody wants to cheer it
 I write the same old song you heard a few good times
 Admit you really want to hear it”

Several of Townshend’s songs on ‘Who Are You’ ended up too complex for the Who to ever consider performing them live.  My favorite song on the album, ‘Guitar and Pen’ (which is actually about song writing) is the best example of this. It rolls from one phase to another, testing Daltrey’s singing and Townshend’s own phenomenal guitar playing to the hilt.  It is an absolutely brilliant example of how untouchable the Who could be when all the stars were aligned.

John Entwistle:
Each member of the Who ended up the internal fan of the band at various times in its history.  During the making of ‘Who Are You’, it was Entwistle who appeared to play this role. The Ox put in the long hours in the studio, often sticking around well into the evening after everyone else retired for the day. He was ultimately responsible for putting the final touches on the product, a fine polishing that no one else could face, particularly Townshend. 

John Entwistle is credited with writing 3 songs on the album: ‘905’, ‘Trick of the Light’, and ‘Had Enough’.  It was rare for Entwistle, the number 2 songwriter in the band, to get more than one song on a Who album.  But he pulled it off here partly because he allowed Daltrey (as opposed to himself) sing two of them:  ‘Trick of the Light’ and ‘Had Enough’. This gave his songs more cohesion with the rest of the album.  His songs also connected, however, because they were very good.  The lyrics of ‘Had Enough’ reach Townshend-ian proportions, and the song ranks among the best in the entire Who catalog.  Then there is ‘905’, where a passion comes through in Entwistle’s singing that I can’t recall hearing in any of his earlier songs.  Just listen to how he delivers the bridge lines:

“I have a feeling deep inside that something is missing”
 It’s a feeling in my soul and I can’t help wishing
 That one day I’ll discover that we’re living a lie
  And I’ll tell the whole world the reason why”

As always, The Ox’s bass playing on the entire album is superb.  One of the great things about Who music which is incomparable, is that you can listen to one song 4 times and enjoy it in at least 4 different ways, focusing on a different instrument each time.  On ‘Who Are You’ this is particularly the case with ‘Sister Disco’, ‘New Song’, and ‘Had Enough’.  On all 3, the individual instruments (including vocals) shine, and the Ox’s bass playing is beyond textbook:  It’s unparalleled.

One final note about John Entwistle: This was the last Who album where he would put a concerted effort into his backing vocals. One of the hidden gems of Who music was the backing vocals, particularly the low/high vocal range Entwistle was able to cover.  He stepped aside in the 80’s as the Who brought on more backing singers.  It’s a shame this had to happen, as the Townshend/Entwistle backing vocal combination was a powerful one. But its there in all it’s glory on ‘Who Are You’ (although the Who were already using some hired help at this stage).

Roger Daltrey:
Daltrey was always the sober member of the Who, which was needed more than ever during the making of ‘Who Are You’:  Moon, Townshend and Entwistle were all on personal collision courses at the time.  Daltrey would ultimately ride out the storm, but his passion for the band was thoroughly challenged. If a session slipped out of focus and into consumption-centric chaos, ‘Squire’ Daltrey was out the door, heading for the hills in a helicopter to regroup at his British country side manor (which included a man-made trout pond).

Daltrey’s singing on the entire ‘Who Are You’ album is, I believe, his best singing period.  For example, he is somehow able to sound like John Entwistle (at his best) as he sings Entwistle’s ‘Trick of the Light’.  Trick of the vocals is more like it.  On ‘Guitar and Pen’, I love the part where he sneers “And she says that she’d like it ‘with more of a tune’ ”, as he reflects the character of an overly critical mother responding to her sons appeal to how she likes his songwriting (Townshend’s personal childhood playing out there). 

One of the amazing things about Daltrey is related to the fact that he was not as gifted as the others.  However, through his love of the band, he was able to rise to their level.  Pete Townshend is a very gifted singer, and the Who could have been successful as a 3 piece.  Roger Daltrey had to make himself better than Townshend in the singing department.... and he did.  If he ever had to write a resume, though, a 3-word document would suffice: ‘Who Are You’.

Keith Moon:
‘Who Are You’ was Moon’s swan song (overruling the ‘Not to be Taken Away’ declaration written on the chair he sat on for the album cover).  He would die of substance-abuse-related causes only several weeks after the albums release.  One of the biggest issues that rock critics had with ‘Who Are You’ was Moon’s drumming.  I’m not sure what they hear, perhaps there is an over-comparison to earlier Who albums.  What I hear though is ferociously good drumming, which remains uniquely identifiable to Keith Moon (the only drumming I could ever pick out of a crowd if I had to).

It’s well known, that it took the other members of the band a while to help Moon get his legs back under him when they reconvened in the studio to produce ‘Who Are You’ after several years of studio inactivity (Moon had let himself go in the interim). Townshend even reached a point where he had to threaten to replace Moon if he did not get his act together.  Of course, he knew this to be impossible, but Moon left him no options.  He had to find someway to get Keith’s butt in gear. 

As it turned out, only one song, ‘Music Must Change’ (which has a unique beat), ended up out of Moon’s reach.  There is no drumming on this song (if you listen close on a good sound system, you can hear Townshend’s miked and in-time footsteps in lieu of drums).  Other than that, I believe Keith Moon went out with a bang (not a whimper) on ‘Who Are You’.

‘Moon the Loon’ was the Who’s secret weapon.  They were never the same again without him (although the mid-90’s addition of Zak Starkey, Ringo’s son, was an unexpected positive jolt that brought some of the Moon magic back).  As Townshend aptly stated though, after Moon died: “but, we still have his records!”. 

OK, so up till now, I’ve said very little about the title track, which happens to be this week’s Gem Video. The becoming-legendary story behind the song goes that Townshend, who had just received a very handsome royalty check, confronted two members of the punk band ‘The Sex Pisols’ at a nightclub.  He was disgusted they would even be seen in (what Townshend determined) an old-fart rockers nightclub.  He proceeded to yell obscenities at them, then pulled out his royalty check and, standing on a table, ripped it up in front of them, yelling ‘Who Are You, Who Are You’ in the process. 

In the liner notes of the reissued album, Matt Resinicoff (a kindred spirit who gets it) writes “The Who knew that rock can’t peddle easy answers, but it can share the burdens of it’s listeners; remember, there is no question mark in the title of this recording.”

In other words, WHO are you and you are WHO!

The Gem Video is a uniquely great opportunity to see how the Who put a song together in the studio. 

‘Who are You’ was released in the States on the date of my 16th birthday (8/25/78).  Several years later, it was a much needed 2nd wind for me in terms of enjoying Who music.  I was already a year or so into the band’s best known releases (‘Tommy’, ‘Who’s Next’, ‘The Kid’s Are Alright’), but if this was going to continue, the lesser known albums needed to pull through.  They did, with ‘Who Are You’ leading the way.

Beneath the Gem video is a very nicely done cover version of ‘New Song’, done by (what appears to be) a Canadian based band.  It’s rare that I like a cover of a Who song, so I include it here.

- Pete

Gem Music Video: ‘Who Are You’

‘New Song’ cover band


About the Video:  The studio clip from The Kids are Alright movie

Video Rating: 1 (although I would have chosen ‘Guitar and Pen’ if the song was available in video form).

Best Feedback: Tom

Pete, if there's such a thing as your outdoing yourself - you did it for me this week!  I thoroughly enjoyed your write-up, and seriously think you should be a writer for Rolling Stone or such.  I learned even a lot of nuanced facts about the members from this - thanks again.  As much as I enjoy other artists too, no other group gets me feeling swimingly rock crazed as The Who (Teenage Wasteland and Pinball Wizard may be overplayed on FM, but I never get sick of their sound).  Incidentally in the video you cite below - of Who Are You - it sounds like Daltrey is revealing what you said about its true intent, when at the 3:15 minute mark he utter after an emphatic "who are you!" "Clearly" and grins, with Pete nodding back in affirmation.

Cheers Pete, and have a splendid weekend too.

Tom

And: Steve

Good Job Pete. The Who still sends shivers thru me as I sing along to all their songs. I think I'll go buy 'Who Are You' album and crank while I drive to Kelowna, BC next week!

Cheers
Steve

Thursday, May 28, 2009

GMVW # 73: "Deep in the Heart of Texas"

Gem Music Video of the Week # 73:  Deep in the Heart of Texas
Song:  Willie the Wimp by Bill Carter and Ruth Ellsworth
Covered Here By: Stevie Ray Vaughn
(Songwriters: Bill Carter and Ruth Ellsworth)
May 28, 2009

When debating over the top cities in the US to see live music, New Orleans, Nashville, Austin, New York, Boston, Chicago, and San Francisco are on most everyone’s list.  I’ve been lucky enough to see live local music in all of these cities.  As for top dog status, New Orleans was the most overtly musical, reflecting it’s world-renowned reputation.  One circumstance in particular that made this most clear to me was when I was in Mobile Alabama and caught an amazingly in-synch New Orleans rock band that had to commute the two plus hours east to get a regular gig.  

Certainly, New Orleans is tough to beat when it comes to live music, but for me, Austin Texas runs a close second.  Perhaps because it was not as expected as when I visited ‘The Big Easy’ and other music Mecca’s, but whatever the reason, I was blown away by the Austin music scene.  After seeing it first hand, it’s hard to dispute Austin’s claim that on any given night 100 bands are playing at one time.  There was so much sound emanating out of the multitude of tightly packed clubs on 6th Street, that at first it was difficult to comprehend how you could get enough to hear just one band at a time.  And 6th Street is only part of the story, with many other sections of the city boasting great venues as well.  This is all capped off with the 30-years-running Austin City Limits concerts.  Shawn Colvin, Patti Griffin, Charlie Sexton, Willie Nelson, The Fabulous Thunderbirds, and ‘The Butthole Surfers’ (tie for most eye-popping band name along with ‘The Dead Milkmen’) all have roots in Austin.

One work trip I took to Austin in the mid 90’s was just before Christmas and since I was way behind on my shopping, I was talked into an evening excursion to a place called the Armadillo, which had years before been the scene of many great performances from Janis Joplin to Bruce Springsteen.  The large warehouse-like structure was now the scene of an annual ‘Christmas bazaar’, with hundreds of small booths showcasing a wide range of gift choices. And yet, as I discovered when I got there, the music had not entirely abandoned the building. 

Smack dab in the middle was a stage, and performing on it, a fantastic live band.  Beer was the main item on the menu, which you were free to take with you as you roamed the booths.  This was a shopper tag-along’s (guy’s) dream come true.  When I was done at least an hour ahead of the scheduled reconvening, I found myself killing ‘mall’ time in an unusually enjoyable way (like anyone with mall phobia, I turn into a pumpkin in 2 hours at best > picture The Robot in ‘Lost in Space’ after Dr. Smith pulls his power pack):  I sat and watched live music, beer in hand.  Looking around, I noticed that I was surrounded by a number of other solo-sitting gents, and concluded they were each likely waiting for a significant other to finish shopping.  Compared to guys I see in the bland malls around here, however, these fellows looked content.  They were smiling.  So was I.

This week’s Gem is of one of the most revered musicians of the Austin music scene, Stevie Ray Vaughn.  The song, ‘Willie the Wimp’ (written by 2 other Austin natives, Bill Carter and Ruth Ellsworth) tells the true story of a Chicago gangster’s rather unique funeral.  I’ve included the lyrics below.  The ‘Austin Sound’, particularly Vaughn’s virtuoso guitar playing, is clearly evident in this live performance.

The night Stevie Ray Vaughn died in a helicopter crash (August, 1990) I was in Brussels, Belgium with Nancy and Bob’s brother, Pete, at a Jonathan Richman show.  Jonathan dedicated several songs that night to Stevie Ray Vaughn.  I was a bit surprised.  Richman and Vaughn are two musical personas I would never associate with one another, but, as with all great musicians, a common thread was there in the music.  I should have known…it’s always there.

Below the Gem is a great link (practically a Gem in itself, so I will call it Gem 73.5), the Sir Douglas Quintet performing ’Mendocino’.  Jeff Strause (who was an Austin resident for many a year, and who knew the scene inside out) recently alerted me to the fact that Sir Douglas Quintet leader, Doug Sahm, was a Texas native and cut his musical teeth there.  He was also a mover and shaker in the Austin scene later (he fled Texas for California in the mid 60’s, claiming cultural repression, and did a cover story for Rolling Stone magazine on the topic in 1970).

The final link is Stevie Ray Vaughn’s rendition of ‘Mary Had a Little Lamb’, a Bob Bouvier favorite.

- Pete

Gem Music Video ‘Willie the Wimp’

Gem 73.5 ‘Mendocino’

‘Mary Had a Little Lamb’

Lyrics to ‘Willie the Wimp’

“ Willie the Wimp was buried today,
They laid him to rest in a special way.
Sent him off in the finest style
That casket-mobile really drove 'em wild
Southside Chicago will think of him often
Talkin' 'bout Willie the Wimp and his Cadillac coffin,
Willie the Wimp and his Cadillac coffin

That casket, it looked like a fine Seville
He had a vanity license and a Cadillac grille
Willie was propped up in the driver's seat
He had diamonds on his fingers and a smile sweet
Fine red suit had the whole town talkin'
Talkin' 'bout Willie the Wimp and his Cadillac coffin
Willie the Wimp and his Cadillac coffin

Oh, Cadillac to Heaven he was wavin' the banner
He left like he lived, in a lively manner
With a-hundred dollar bills in his fingers tight
He had flowers for wheels and a-flashin' headlights
He been wishin' for wings, no way he was walkin'
Talkin' 'bout Willie the Wimp and his Cadillac coffin
Yeah, Willie the Wimp and his Cadillac coffin “

About the Video:  A very nice live version.  It appears to be professionally done in the late 80’s

Video Rating: 1.5 (Very good performance, but footage could be better)

Best Feedback: Jeff
Hi Pete.  You picked a nice Doug song, that one and Shes About a Mover are my favorites.   On the Armadillo thing though, they tore down the original building which was an armory prior to the Armadillo World Headquarters, and built a hirise on the spot after shutting it down in the early 80s  I have some pictures of it.  I only lived in Austni from 79-81 but spent lots of time there between 78 and 87. You got me though in that I have never been to the Armadillo Xmas bazaar, and have often thought about going down there just for it, as a lot of people I really like play it.

I have half a mind to make a quick bike trip up to MA this weekend. The Nields are playing Arlo's church, and Mike Merenda & Ruthy Ungar are playing the following night in Great Barrington.  These two were a part of the Mammals and are great musicians.

I don't know if I'll make it but if I do and Sunday is decent weater I may be able to make a quick trip over to Groton/Pepperell/Nashua.

And Fred:

Pete

Another great one.  I was in New Orleans two years ago and the music scene blew me away.  One bar rock, the next jazz, the next country, the next blues, the next R&B.......I cant wait to get back.  I also LOVED Memphis, which is a smaller version of NO.  Lets put it on the list....

Thursday, May 21, 2009

GMVW # 72: "Catch 22"

Gem Music Video of the Week # 72:  Catch 22
Song:  Nothin’ by Townes Van Zandt
(Songwriter: Townes Van Zandt)
May 21, 2009

Although we experienced many things in common, as with any generation, there is much that divides the baby boomers. It's probably for the best, since variety is said to be the spice of life.  And yet, the range of viewpoints in the boomer generation has been striking at times.

It may have started with music, and the differences were most pronounced between the soft rock listeners and classic rockers (for lack of a better term).  You could always tell in which of the two corners someone stood by thumbing through their album collection. A collection was either dominated with albums by bands like Chicago, The Jackson Five, The Carpenters, Billy Joel, the Eagles, Air Supply, Neil Diamond, Anne Murray, Roberta Flack, and disco, or it was dominated with albums by bands like the Kinks, Jefferson Airplane, Led Zeppelin, The Who, the Pretenders, the Stones, the Doors, Dylan, Hendrix, Bowie, Neil Young, and punk.  There was rarely overlap.  The musicians of both genres dabbled in the music styles of the other (take Zep’s ‘All of my Love’ for instance), but once a musician/band was associated with one of these two camps, they were branded for life. 

Me?  ‘Classic’ rock, all the way (if not yet completely obvious).  One of the big reasons for this is that I’ve always perceived classic rockers as being more honest with lyrics and emotions.  This includes a willingness of these musicians to explore (and consequently expose rather than ignore) the not-so-sunny side of life.  Several gems have already showcased this subject matter, as it has certainly been proven (at least to these ears) that many of the most brilliant, heartfelt, survive-the-test-of-time songs are downer songs.  Prime examples are the songs on Pink Floyd’s magnum opus ‘Dark Side of the Moon’.  Few albums have delved deeper into darkness (in this case, mental illness, conflict, futility) than this one.  However, the exceptional music and lyrics kept it a top selling chart album for decades (a record 741 weeks in the Billboard 200). Roger Waters has stated that one of his goals when writing the songs for the album was to show empathy with others less fortunate. Clearly, people connected: Songs to commiserate with have always been an important cornerstone of what makes rock music so great. 

Other 'downer' albums that come to mind include several of Dylan’s most recent (and excellent) albums (‘Time out of Mind’, ‘Love and Theft’, ‘Modern Times’), The Who’s ‘By Numbers’, Green Day’s ‘American Idiot’, Neil Young’s ‘Tonight’s the Night’ and most anything by Lou Reed, The Clash, Richard Manuel, and ‘Rage Against the Machine’.

Success through an exploration of the darker side of human nature is nothing new:  The writing of Shakespeare, the oratory of Robespierre, the productions of Norman Lear, and the ambitions of Albert Speer are all proof of this.  I include the latter, not only for the rhyme, but to make a point.  Albert Speer was a member of Nazi Germany’s inner circle, and artistic innovation should never be attributed with that mob:  The reason being that the Nazi’s primary motivation was hatred, and nothing good can come from that emotion. Other dark emotions, including depression, can still make room for artistic creativity, but not hatred.  Like any society/individual motivated by hate, the Nazis had to beg, borrow, and steal for art, including train-loads of museum heisted paintings, and the bastardization of American Jazz (has anyone ever heard the Nazi version of ‘Bye, Bye, Blackbird’? > changing the title {‘Bye, Bye, Empire’} and the lyrics to gloat over the temporary collapse of the British Empire in the early 40’s during WWII?). 

Contrast that with this week’s Gem: The word ‘good’ in all it’s definitions can often be associated with songs in Townes Van Zandt’s catalog, including Gem # 72, “ Nothin’ ”.  It’s one of those downer songs, and certainly expresses emotions I hope to never experience, but it’s a Gem regardless.  And not simply because it a great song, but like many songs with depressing topics, it can be oddly uplifting, particularly in times of trial and tribulation. 

In the song ‘Breath’ on 'Dark Side of the Moon', there’s a line written by Waters: “Don’t be afraid to care”, and in this regard, Townes Van Zandt rarely held back. I don't pretend to be a connoisseur of his music, but what I've heard connects.

For those in that other camp (and everyone in general), I’m including for the first time in months a ‘Gem Light’ (with a third less calories than your regular Gem), Elton John’s ‘Sad Songs’….perhaps needed to recover from Van Zandt.

- Pete

Gem Video of the Week...Townes Van Zandt's Nothin’

Gem Light:  ‘Sad Songs’

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About the Video:  This is labeled a Townes Van Zandt ‘Private Concert’.  He’s sitting on a couch.  It’s an excellent live version of this striking song.

Video Rating: 1
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Best Feedback: Jeff

I've stood around campfires with Townes present at Kerrville, the 3 week festival that starts today.  I have missed it many years now as other priorities interceded, but wish I could go.  I am going to a festival in western MD tomorrow, Delfest, which has a bunch of hot bluegrass stuff and others, Del McCoury, Peter Rowan, Sam Bush, Olabelle, Crooked Still, and more.

Anyway, I got to see Townes a good number of times, from little pub pass the hat type places to bigger festivals.  I have a pretty good sized collection of live recordings, 50-75 maybe, and just a couple I recorded.  Wish I could have been recording more in the 70s and 80s from the great stuff I saw in Texas.  I have a few dvds of Townes as well, one of them is pretty good quality I will try and make you one of these days.

Have a good Mem day and I will talk to you later.

Thursday, May 14, 2009

GMVW # 71: "A Gender Blunder"

Gem Music Video of the Week # 71:  A Gender Blunder
Song:  Come in from the Cold by Joni Mitchell
(Songwriter: Joni Mitchell)
May 14, 2009

Seeing as my birthday is during the summer, I’ve had the privilege of celebrating it while camping on numerous occasions.  One such occasion took place about 16 years ago at a campground on the northern end of Aquidneck Island in Rhode Island (the same island that Newport is on).  Joining Nancy and I were Jen, Dale, Mom, and Dad (along with a party-crashing skunk). 

As we sat around the campfire, Jen pulled out a wrapped gift and handed it to me.   The shape immediately gave it away as a cd, so we decided I would try to guess the album in a game of ‘Twenty Questions’ (yes/no).  I started off on the right foot, as the first question “Is this a band?” helped narrow things down significantly (although it got a ‘No’ response from Jen).

But it all went down hill from there.  The ensuing exchange went something like this:

Me: “Is he a guitar player?”
Jen (hesitating for a moment): “No”
Me: “Did he release any albums in the 60’s or 70’s?”
Jen (hesitating again): “No”
Me: “Does he write his own music?”
Jen (with a wry smile): “No”
Me (feeling a bit stymied): “Does he play piano?”
Jen (an intense stare): “No”
Me: (on the verge of giving up): “A cappella?”
Jen: “No”
Me: “Does he play the skin flute?”
Jen: “No”
Me “…..Is he a schmuck?” (I may have used a harsher word rhyming with ‘grass knoll’)
Jen: “No”

Alas, I was not going to make it to the 20th question; I was stumped, and flatly admitted it.  Defeated and very curious, I opened the present.  It was Joni Mitchell’s ‘Court and Spark’.  This was a surprising, yet ideal choice of Jen’s, as I had recently read a great article on Mitchell’s career which included high praise for this album. But at that moment, I realized the error in my ways:  All my questions were ‘HE’ questions.  I shrunk into my folding chair…..squeak.

Jen took it in good humor, but this moment was cause for reflection on my part.  The exchange had me thinking almost immediately on my musical interest in regards to guys vs. gals.  On the one hand, I felt defiant in the fact that many a moon in those days were spent listening to great albums by 10,000 Maniacs, The Cranberries, Iris Dement, Patty Larkin and Joan Baez .  But on the other hand, I recalled the 2-decade stretch of listing to WBCN. 

Not to take away from WBCN’s tremendous contributions to local culture in the 70’s and 80’s but the fact remains that the bulk of the music played on the station was from male artists.  When the occasional song from females was sprinkled in, these songs were played over and over again ad nausea.  For example, after years of repetition, I was no longer willing to put any more dimes into the juke box (baby).  Hits from Joan Jett, Heart, and Stevie Nicks were not connecting anymore (if ever).  It was not until The Pretenders came along that WBCN really started getting serious with female songwriters.  Before the Pretenders, the radio station was not digging deep enough.  Looking back, more emphasis could have been given to musicians Patti Smith, Marianne Faithful, Linda Thompson, or even the Velvet Underground drumming of Maureen Tucker.  Later (in the 80’s), the band ‘Shonen Knife’, a Mac favorite, could have been explored some.  Eventually, things got a lot better for female rockers on the radio, but it took a while.

This week’s Gem is Joni Mitchell’s ‘Come in From the Cold’.  Written in the 90’s, it is proof positive that Mitchell has plenty of longevity in her.  She has been described by many as the female Dylan.  In the spirit of this week’s theme, however, I will reverse this by referring to Dylan as the male Mitchell.  Since Cousin Tom anticipated this week’s Gem musician by sending me an email with a Joni Mitchell link last week, I’m including his recommended video (‘The Circle Game’) below mine.  In the email, Tom discussed a great story about being at the Dominican convent in Plainville (Aunt Ginger’s workplace and residence) many years ago and hearing this song played rather loudly in the main house on a record player.  The counter culture was connecting with the faithful.

In closing, a few opinions:
> The females on Saturday Night Live have been far and away carrying that show over the past few years
> Tina Fey is slowly elbowing out Mike Myers as top comedian on my all-time list
> Meryl Streep (not Paul Newman, Jack Nicholson, or Tom Hanks) is the best actor of her era.
> I have voted for a woman in the presidential primaries (Hint: It was not Elizabeth Dole in Y2K)

Jen, I hope all is forgiven.

- Pete

Gem Video of the Week 'Come in From the Cold'

'The Circle Game'

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About the video: Official made for MTV-type video.

Video Rating: 1

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Best Feedback: Paul

Pete (girly boy) - this is great like all of these however -- Tina Fey and Merril Streep??  holy cow batman - I hope you were smoking some significant weed tonight!!!! (notice I didnt even mention the Hilary Rodham Clinton thing - or did she drop the Rodman after adding it a few years ago? These democrats don't know who they want to be - until of course it is politically expedient).  Oops I shouldn't have said that.
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And: Tina

 hi pete my manly cousin,

i think it was growing up with five sisters, but i noticed the problem with the direction of your questions immediately;-)
 
i loved the squeak,
 
tina (fey wanna be)
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And: Jeff

this is too much entertainment pete.  That Paul friend of yours sent to everyone, encouraging you to be smokin significant, then apologized for makin a crack about dimmycrats (vs rePubelickins).  Is oaksterdam moved to Mass, or are your parents overly tolerant, or does this paul guy just not give a damned !!!

well it was interesting when you said you got the joni mitchell from Jen.  I was way into the Blue album then, and played it more than a little at work.  of course then again,  I have been way into the Blue album for over 35 years. Court and Spark was a big part of my last two years in college, around late 74 and 75.  although I tend to listen to live recordings more than anything now.  I have a great audio and video of her 98 Bethel show. I will have to make you guys a copy if you don't have it.

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And: Jen

Hi Pete,

I really enjoyed your Gem this week. I was cringing at first, reading the prologue, hoping I wasn't going to look like a fool, answering each of your questions incorrectly. Of course, I knew you wouldn't humiliate me like that.  :)
I do remember giving you that, and I still enjoy so many songs from that CD. I've never heard "Come in from The Cold" before, and I really like it. It's mellow and catchy. The Pretenders have been re-surfacing in my life as well, mostly their old classics. I love their sound. By the way, your write up for Mother's Day was really great. I was surprised everyone participated! Mum totally loved it. Have a great weekend.

xo Jen

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And: John

Tina Fey and Meryl Streep, the greatest of all time????

PUT YOUR BIG PANTS ON!!!!!!!!!!

By the way, Sarah Silverman is much funnier than Tina Fey......

Regards,

John