10 September 2013 (Day 253) – Post Election Blues

One of the hardest things I’ve had to do for this blog is to think of a title for each posting.  Most of the time I try to link it to something that’s happened during the day or, more frequently and obviously, something that links my listening for the day. 

But today is different because there is a certain ambiguity in today’s title that I feel needs explaining.  So let me make things perfectly clear.  “Post Election Blues” does not mean that I’m lamenting the end of this particular electoral campaign.  Who would?  Some might say we were in a campaign since January when the then Prime Minister set a date of 14 September. A number of “political journalists” (an oxymoron if ever there was one) thought so, conveniently ignoring the fact that half of the States and Territories now have fixed election dates.  And no, this isn’t a comment that this particular campaign has ended.  This was just about the tamest election I could ever remember and one  in which anything of note appeared to occur in the first couple of days and then fizzled out as our conservative politicians  tightened up their discipline and learned to hide their weakest campaign assets which included their leader.  After all, nothing disciplines ego driven, self centred Australian conservative politicians into putting aside their natural impulse towards seeking ways to drive marketplace competitors to economic ruin more than an imminent election victory aimed at obtaining the power to reapply that natural impulse upon the same population that elected them in good faith to run an economy and provide them with the social services they need. 

No, this title is just an expression of my frustration at the result which, due to the egos of just a couple of individuals and their supporters over the past 6 years, has opened the door to an opposition that is clearly not going to govern in the interests of a greater public good.  I used to be puzzled about how any conservative political parties anywhere in the world have managed to get elected any time in history, however, this is one occasion where I’ve understood why this has happened.  Perhaps I could adopt the stance of the great and immortal Kent Brockman, “I’ve said it before and I’ll say it again, Democracy simply doesn’t work”, but the people have spoken and their wishes must be respected.  

Anyway this was my thinking as I returned to work and I took with me an album that I think was made in a similar mindset:

(# 581) Ry Cooder – Election Special (2012)

Written and recorded in the lead up to last year’s US Presidential election when the election of a Republican candidate was more than a distinct possibility, Cooder ruminated on the possible consequences.  Remove one or two tracks and delete references to Guantanamo Bay and Jim Crow and he could very well be singing about Australia as of last Saturday night.  And you don’t need me to tell you that, as a Ry Cooder album, all the playing and production is top notch.  It’s not in the upper echelon of the Cooder catalogue but it would worth a spin once every three years here (and four years in the States).

(# 582) Vieux Farka Toure – Self Titled (2007)

Vieux Farka Toure is the son of Ali Farka Toure, a singer and guitarist from Mali who was largely  brought to public attention when Ry Cooder collaborated with on the rather wonderful Meeting Across The River.  This is Vieux’s debut album and on it you can hear how is paying respect to his father who died close to its release but not before hearing a rough mix.   As such it is an album dominated by the Malian version of the blues as mastered by his father (subsequent releases have seen him move away from this template ) and it comes as absolute no surprise that the highlight of the album are the two duets with Ali, Tabara and Diallo.

(#583) Beirut – The Flying Club Cup (2007)

Sometimes the packaging of an album just about describes the music within it.  Take the album title and apply it to a front cover showing and English/French type seaside scene from the 1920s or 1930s and a back photo image of what appears to be two girls from the same era and you’ve already got the setting to an Agatha Christie Hercule Poirot mystery. Thus it comes as no surprise to find stately music with period era French (or should that be Belgian?) musical influences complete with the melancholy vocals of Zach Condon.   But what comes as a total surprise is the realisation this is an American band.  I’m not sure this particular album is my cup o’tea but I suspect other albums – which utilise other musical influences – should be worth exploring.