Wednesday 23 January 2013

23 January 2013 – A Good Idea


Damn it! Whilst walking Lady this morning, I muse over my choice of user name. What about DJ.Otis.Youth? (I really like that one.)  Or,  DJ.JohnLee.Otis.Youth?  (Mmm!) Or, DJ.Muddy.Otis.Youth (Err, ….OK)  Or, DJ.Muddy.Otis.Youth.andtheCrickets (Now I’m being stupid!)
On to a day at work spent exclusively behind my computer.

(71) The Feelies – Time For A Witness
The Feelies are one of my favourite bands to have emerged from the American indie scene of the 80’s.  This was their fourth album before a lengthy hiatus.  Like many bands of the era they clearly worshipped on the altar of the Velvet Underground and at times this sounds almost like a tribute album.  But they are too clever to fall into that trap and construct their songs into ever surprising ways. (And just to confuse everyone, cover The Stooges’ Reel Cool Time.) Every track is a beauty but Find A Way, Sooner Or Later and Waiting are magnificent.

(72) Mark Gillespie – Only Human
Mark Gillespie is an Australian singer-songwriter who made only a handful of handful of albums in the 1980’s before dropping out of the business altogether.  I remember these songs dominating the airwaves of EON-FM, Australia’s first commercial FM station which started operating in Melbourne in 1980 at more or less the same time this album was released.  For a debut album, the songs are remarkably self-assured and contain gems such as the title track, the up tempo Small Mercies, Black Angels and Suicide Sister. Unbelievably the album was not released on CD until a couple of years ago in a deluxe 2 disc set by Aztec Music.  The liner notes state that Gillespie is still writing music whilst working in an orphanage in Bangladesh.  I suspect that had he continued to record, Gillespie would today be as highly regarded as Paul Kelly.  Yes, this album is that good.

The remaining two albums brought an end to my explorations of my weekend bargain purchases.
(73) The Fleshtones featuring Lenny Kaye – Brooklyn Sound Solution

The cover of this album shows a rubbish skip in a dump underneath a iron bridge presumably in Brooklyn. Naturally the first song is a surf type instrumental.  Actually almost every track is an instrumental, with Lenny Kaye (Patti Smiths musical director), contributing his measured guitar to the Fleshtones traditional frenzied attack.  Once I finished it, I simply had to play it again.  I also got a Feshtones Documentary with the album that I’ll watch at a later time and there are some additional tracks that I’ll be able to download.
(74) Ministry and Co-Conspirators – Cover Up

Given the often hilarious covers, such as Do Ya Think I’m Sexy, that Al Jourgensen has cooked up over the years on Revolting Cocks albums, you could just about predict that Ministry would eventually do the same.  This album contains 11, mostly well known, covers over 13 tracks all rendered in Ministry’s classic industrial sound.  Highlights include versions of the Stones' Under My Thumb, Golden Earring’s Radar Love, Deep Purple’s Space Truckin’, The Doors’ Roadhouse Blues, Dylan’s Lay Lady Lay and Louis Armstrong’s What A Wonderful World.  The last track appears to splice together a fast and slow version of the song and both complete versions appear as hidden tracks, the last of which naturally appears at track (or should that be psalm?) 69.  Not everything works; T-Rex’s Bang A Gong is too faithful to the original and Leadbelly’s Black Belly is not too dissimilar to the version produced by Australia’s own Spiderbait.  Still it was such fun, I played it three times.
With this posting, I’m now up to date.  Let’s see how long it takes to fall behind again.

22 January 2013 – A Blog Is Born


Until this evening, all of my posts had been written on my laptop as I waited to be hooked up to an internet provider and figured out how to set up a blog.  As I walked Lady this morning, I started to think about a blog title and a user name. 
My blog title came easily – A Year In The Life.  Short, sharp and concise with an obvious play on one of the greatest tracks ever recorded. But a user name refused to come.  Back home I did a quick search on my title.  Damn!  There was a 1980s TV mini-series and spin off with that title so I think about another title over breakfast.  How about 2013: A Music Odyssey?  Nice one.  No one will have thought of that.  And my user name could be Stan.K, a clever play on the famed DJ Murray the K Kaufman and Stanley Kubrik.  Feeling pleased with myself I go to work taking another two albums from the weekend bargain bin.

(67) Gang Of 4 – Hard
By the time this was released, the band had been reduced to a three piece comprising founding members and mainstays, Andy Gill and Jon King and Sara Lee, who had only joined for the previous album.  (Lee would go to sustain a long career in a variety of roles but to most of us she’ll always be remembered for being the bass player in The B-52s on the Cosmic Thing album and in the Love Shack video.)  Hard, like its predecessor, marked a significant move away from the uncompromisingly brutal political neo-funk of their classic early albums Entertainment! and Solid Gold towards a sound incorporating disco, 80’s dance and the vaguest hint of new romanticism.  At times the band’s sound is practically indistinguishable from that of New Order and I suspect this might have played a role in their subsequent split.  (They have reformed twice since.)

(68) Chris “Klondike” Masuak & Klondike’s North 40 – Workhorse
I didn’t even know this existed until I saw it in the bin.  Masuak is an Australian guitar hero having been a member of Radio Birdman, The Hitmen and The Screaming Tribesmen among others.  This is second album with the North 40 and they turn out to be a roockin’ three piece.  Like a number of  great guitarists, Masuak doesn’t overdo the soloing but makes them count spectacularly when he does, especially on The Dreamer and Submarine.

I then continued to explore my catalogue.
(69) Earth – Angels Of Darkness, Demons Of Light I

I chose this for three reasons.  It’s instrumental, I wanted to decide whether to retain this on the iPod (yes) and I needed to make a decision about buying the second volume (yes).  Earth is the vehicle for guitarist Dylan Carlson, a long time mate of Kurt Cobain.  Their albums, or at least the ones I’ve heard, consist mainly of very slow, long and grinding drones, none more so than on Earth 2: Extra Slow Frequency Edition an album utterly unlike any other. This album continues a process begun over the last couple of albums of introducing other instrumentation such as violins and cello but it is utilised very subtly. Song titles and tracks are almost irrelevant in this context; try using headphones to catch the full effect as the soundscape emerges around you. 
(70) Graham Parker & The Rumour – Squeezing Out Sparks

Sometimes life isn’t fair. Possessed of a band and songwriting skills the equal of Elvis Costello and the Attractions, Graham Parker should have at least enjoyed the same initial level of success.   Today, it seems inconceivable that both acts were laden with the “New Wave” tag when what was being offered was best pub rock England ever produced.  Squeezing Out Sparks is the band’s finest moment.  It boasts a terrific first up one-two punch of Discovering Japan and Local Girls and almost never lets up except for You Can’t Be Too Strong, a song about abortion.  Their best known single Protection is on this as well, although its B-side, a wonderful cover of The Jackson 5’s I Want You Back was not included on the original vinyl release or initial CD pressings.  Apparently, Parker and Rumour play themselves in the new comedy Life At 40 struggling to sell albums for the company run by Paul Rudd’s character.  Art imitating life?
Back home I start to put my plans into effect.  I try to adopt the user name of Stanley.K, but its taken. So is Stan.K, which I wasn’t that keen on anyway.  I try 2013: A Music Odyssey and it too ieaat its taken.  I try 2013: A Music Odyssey and its taken too.  Just for the record, I try my origianl  should have at elast es taken.  Just for the record, I try my original idea and naturally that fails.  How about a combination? 2013:A Year In The Life is rejected until I add “Of A Music Fan”.  Eureka!
Now for a user name.  In a perfect world no one would have thought of Neil.Springsteen but I dismiss that thought and don’t even try.  Then I start to think.  Why not combine diametrically opposed acts which evoke different music forms and eras?  I start on various combinations which fail.  In desperation I look at the back end of my alphabetically arranged CD collection and then I see it.  What if I use Otis [Redding] the King of Southern Soul and [Sonic] Youth, the Godfathers of today’s alternative music scene?  (I could also argue for reggae superstar [Big] Youth but Sonic Youth makes my point far more effectively. ) I type in the combination – Eureka.  By the time all the previous day’s blogs are posted, it’s late and even the night session of the tennis has ended.  I retire for the night content.

Tuesday 22 January 2013

21 January 2013 - "Just Popping Off to the Yellow Shop, Dear"


First day of the working week and I take with me some of the albums I bought over the weekend.  These were all purchased at JB HiFi stores which have been offloading old stock through bargain bins.
JB is the bane of “M”’s life during weekends.  She knows that as soon as I see one that I’m powerless to resist searching for that elusive bargain.  It is a chain that revolutionised the sale of recorded music in Melbourne.  Right from its earliest days, when it operated out of a single shop in the North Western suburb of Keilor East, it hit upon a novel idea, one that is only now dawning on the Australian Record Industry.  It is that if you sell the product for a reasonable price, you stand to have a greater chance of selling multiple albums per transaction.  Most music stores up until JB’s arrival sought to charge the highest possible price that they could for an album, and then wondered why people bought no more than a single album per transaction.  To put things into context consider this; 30 years ago the cost of a top 40 vinyl album hovered around the 8 or 9 dollar mark; today most stores will sell a top 40 CD (that presumably costs more to produce) for around 20 dollars.  I’m sure that our wages have more than doubled in the meantime.  JB was also the first chain to aggressively discount artist’s back catalogues (especially around the time the act was releasing a new album) or stock that didn’t move.

More importantly, JB has been prepared to embrace change in the music marketplace.  As far as I’m aware, it was the first chain to embrace the sale of CDs.  It also embraced DVDs as soon as these were introduced and was astute enough not to be overly enthusiastic about Videodisc or Digital Audio Tapes.  (It wasn’t crazy about pre-recorded cassettes either.) And unless my eyes are deceiving me, I think it is beginning to cut back on the amount of space for Blue Rays relative to DVDs.  That could be wishful thinking on my part.  But given I’ve made the transition from video tape to DVD, there is absolutely no way I’m going to change again to Blue Ray.  I don’t care how much of an improvement it is, Blue Ray is not going to happen. (In any case, I don’t know anyone who has made the switch.)
JB ‘s reward is that today, it is just about the only surviving music chain store in Melbourne, has expanded interstate and is listed on the Australian Stock Exchange.  Sure it diversified by selling computers, software, digital players and cameras, TV’s etc but I think it has been rewarded by loyal customers like me.  My only gripe is that stock at some stores can be quite variable; some are quite conservative while others cover a great range of acts and musical styles.  But in a way that has been a good thing because this has allowed canny independent music stores to niche market.  None of this, though, means anything to “M” who dismissively refers to it as “The Yellow Shop” after the stores' distinctive exterior colour scheme.

My first album for the day was the only one I didn’t purchase via the bargain bin;
(63) Sigur Ros – Valtari

Quite possibly Iceland’s greatest current earner of foreign currency, Sigur Ros’ most recent album comprises (for them) lush slower tracks augmented by Jonsi’s distinctive voice.  It sounds very much like an ambient album; a colleague who came into my 0ffice for advice on a matter asked who it was and commented that it sounded like “spa music” which just about said it all.  Personally, I’d prefer my Sigur Ros albums to contain a bit more tension and the requisite one or two epics.
(64) The Mountain Goats – The Sunset Trees

This is a folk rock album that addresses the heaviest of themes. Lyrically most of the tracks relate to John Darnielle’s memories of childhood abuse. It can be tough going at times but ultimately it is about survival and triumph.  As Darnielle writes in his dedication to everyone who lives with abuse, “you are going to make it out of there alive  you will live to tell your story   never live hope”.
(65) Black Box Recorder – England Made Me

This is an album I’d wanted to get my hands on for a long time.  BBR was a three piece comprising Luke Haines (previously of The Auteurs), John Moore (previously of the Jesus And Mary Chain) and Sarah Nixey.   The songs on this album combined atmospheric rock with basic programming and Nixey’s vocals to produce a sound not a million miles removed from Portishead.  It also contains their version of a most unlikely cover, Up Town Top Ranking, a song widely heralded as the first reggae hit in Britain.
(66) Deerhoof – Friend Opportunity

When I listen to an album like this I wonder about descriptions such as the one on Wikipedia that characterised Deerhoof as a “noise-rock” band. Having heard this I’m now not exactly sure what the term means but this certainly does not sound like My Bloody Valentine, Sonic Youth or The Boredoms.  On the evidence of this album, I would pitch their music as akin to the Fiery Furnaces (but with longer songs) with vocals from Shonen Knife or Sterolab. Having said that, this is an intriguing album dominated by its lengthy closing  track, Look Away.  In fact it was so intriguing, I played it twice.
I get home and, after writing this, start to research how to write a blog.  Realising that I’ll need a blog title and a user name to preserve my anonymity, I give myself 24 hours of thinking time.

20 January 2013 - Mickey, Mark Seymour and Me


It’s time for the year’s first gig.  After a morning with “M”, I set out for the seaside suburb of Altona where my mate Mickey and his wife are waiting.
Mickey and I go back a long way.  We met in our first year of secondary school and shared at least one class a day in that and the subsequent five years.  Like stock characters out of a Nick Hornby book, we bonded primarily over music and Australian Rules football, specifically in our support for the competition’s perennial bridesmaids, Footscray, trading these days as the Western Bulldogs.  As is the case, our tertiary education took us to separate places and his choice of career initially interstate. Fortunately before that, our orbits realigned when we bumped into each other (with relentless predictability on the terraces at the footy during a Bulldogs match) and haven’t lost contact since.  Since his return to Melbourne we’ve sat next to each other at Doggies home games.

Mickey’s preference has tended to be for straight out rock and acoustic music with a keen ear for a melody and lyrical substance.  This has resulted in a refined relatively broad and largely mainstream taste that takes in favoured acts such as The Beatles, including McCartney, Harrison and Lennon as solo artists, The Byrds, New Order, The Pet Shop Boys, Neil Young and The Smashing Pumpkins.  But his greatest love has been and will always remain with Australian (and New Zealand) music.  Ever since the rise of Skyhooks, he has championed it and remains an aficionado of numerous acts but his greatest affection is reserved for The Church, Australia’s poet laureate Paul Kelly and all things Finn (i.e Split Enz, Crowded House and the solo careers of Tim and Neil).  I didn’t even need to ask if he was going to the Neil Finn/Paul Kelly shows this year.  My first question was “How many shows are you attending?”  We’ve definitely influenced each other’s taste.  He by turning me towards great local acts and me by being exposing him to some of the more abrasive acts in which he occasionally develops on interest.  (I like to think I helped developed his taste for Sonic Youth and he a fondness in me for the Enz.)
More importantly, Mickey and I attended what was one of the first gigs either of us had attended.  It was a Skyhooks show in the City; I think my father dropped both of us at the venue and his father picked us up afterwards.  We spoke about it for days afterwards and have attended gigs together ever since; that are on the days when I’m able to sufficiently co-ordinate myself to ask if he’s going before he’s bought tickets!

I’ve maintained a list of every gig I’ve ever attended since 1984. I used to be a compulsive gig goer; you tend to be that and a compulsive music shopper if you get to be a single adult music fan. Meeting “M” has led me to reduce this compulsion, significantly aided in no small measure by the dramatic rise in the cost of concert tickets over the past decade.  These days, I attend no more than 6 shows a year concentrating on either free gigs (like todays), single day festivals with exceptional line ups, favourite acts or acts which have never toured that I’d always edto see. Judging from my future commitments I know this is going to be an exceptional year gig wise.
 A few years ago I counted the number of shows on my list.  As I head towards Altona, I realise that today’s gig will be number 696 and that’s not counting about 50 shows before I started compiling it.  The venue for today’s gig is a makeshift stage on the Logan Reserve directly opposite the beach and pier and is promoted by the local council.  It’s a good venue.  A couple of giant Moreton bay trees sit along the stage on one side and a “historic homestead” on the other.  (I never did get round to reading the historical marker.)  I find the audience sprawled on the grass and Mr and Mrs Mikey just in time for the main attraction;

Gig # 696  - Mark Seymour (Logan Reserve, Altona) City Of Hobson’s Bay Sounds Of Summer Concert Series
Set List

Unidentified song from new album
Lorelei  (cover of the song by The Pogues)
Cry In The Rain
Where Do You Go
? Beside You (identified as a Dave Dobbyn song)
When The River Runs Dry
Classrooms and Kitchens
Say Goodbye
Castlemaine
Unidentified (identified as a song about motor vehicles)
Westgate
Throw Your Arms Around Me (encore)

Mark Seymour is the former lynchpin of Melbourne’s legendary Hunters And Collectors, a band originally named after a Can track which over its career progressed from a percussion/bass heavy post-punk outfit to the purveyors of smart adult rock.  Like most great Australian bands they were a potent live act.  Since their breakup Seymour has pursued a solo career which while not hitting the commercial heights of H&C probably accords him greater satisfaction.  I suspect it is more financially rewarding too as H&C had about 8 members and I seem to remember reading that their renowned PA system was an expensive one to maintain.
Today, Seymour is part of a four man band.  The reasonably large crowd appears to consist largely of middle aged H&C fans no doubt expecting a greatest hits set.  Seymour, to his credit, doesn’t bow to this and even recasts Hunna’s hits (especially When The River Runs Dry and Say Goodbye) in unexpected directions.  The cover of The Pogues’ Lorelei was a canny inclusion but it was some of his solo material that might have made the greatest impression.  Castlemaine, a song inspired by the prison overlooking that town in central Victoria was impressive but it was Westgate, a song about the collapse of the bridge of that name during its construction in 1970 that really won over the crowd.  Although members of the crowd (including me) were calling out for Betty’s Worry Or The Slab, the best known song from H&C’s earlier days, Seymour bowed to what he called public demand and produced his best known song.  Throw Your Arms Around Me, a song covered by many cover bands around the country and Pearl Jam overseas, had the audience swooning, couples entwining just like they did years ago in Melbourne’s beer barns and burley ex bikers using their beer cans as microphones during the choruses.

Apart from the gig, my only listening was as I wrote the blog post.
(62) The Jesus And Mary Chain – Psychocandy

The first time a bought a copy of this was on behalf of a work colleague as I had easier access to a record shop.  It is a landmark album in my life – the first time I ever yanked a stylus off an album before it had ended.  These days, I shake my head with sheer embarrassment having realised that is basically an album of classic 60s sounding tunes buried underneath loads of fuzzy guitars and white noise.  In other words it was an album I failed to recognise as innovative and ahead of its time and my premature reaction, judging from the accounts I’ve read about their earliest shows, was probably exactly what the Reid Brothers intended.  Fat chance of that happening now; with tracks such as Just Like Honey, Some Candy Talking and You Trip Me Up, it is great fusion of melody, song craft and the majesty of noise. 

19 January 2013 - The Miseducation of Otis.Youth - Chapter 1 Early Years


Day 19 of this experiment and by now I think I’ve revealed a bit about the range of my musical interests.  As today has been a slow listening day – basically today’s listening was completed as I wrote this – I’d thought I’d make a start on my musical autobiography.
Chapter 1

Listening to music has always been integral to my being and, to use what I hope will be the worst clichĂ© I’ll employ during the year, has formed the backdrop to my life.  Indeed the earliest memory I have in my life involves my mother, a sister and The Beatles’ Penny Lane as background music.  I would have preferred Strawberry Fields Forever but I was at the mercy of Australian radio and my memory.

My passion for music was unquestionably inherited from my father.  He immigrated to Australia as a single man during the 1950s as an assisted migrant from Mediterranean Europe.  Under the terms of that migration scheme he was obliged to stay in Australian for a minimum of two years to pay off his Government financed passage.  That same conservative Government then rewarded him by denying his earlier qualifications as a carpenter and condemned him to a life of factory work. 
Dad was very much a rocker in those bachelor days and dressed the part whilst not slaving away in the factory.  He was a fan of Elvis Presley, Roy Orbison, Gene Vincent, Eddie Cochran and others but probably his greatest love was Johnny Cash.  The only album I can ever remember his having purchased in the 1960s or 1970s was an Australian only greatest hits compilation called Johnny Cash 1970. The cover showed the Man In Black with guitar slung over his shoulder striding towards the camera in the middle of a railroad track.  The Johnny Cash TV Show was shown on Australian TV and we watched it whenever it ran.  I’ve since bought the compilation album and DVD of that show and suspect that by watching it I was introduced to a number of his guests including Neil Young, Creedence Clearwater Revival and Derek And The Dominoes which, of course, meant Eric Clapton.

My father also slipped his love of live music into my genes.  During his initial two year stint, he attended as many gigs of the legends passing though Melbourne as he could.  This meant going to Festival Hall in North Melbourne, then the city’s largest indoor entertainment and concert venue probably to see one of the travelling package shows put together by the famed promoter Lee Gordon.  Dad’s memory wasn’t able to reconstruct the specifics of any one show but was adamant he saw Orbison, Vincent and inevitably, Cash as well as the cream of what passed for Aussie rockers at the time.
In time Dad’s taste ossified to just these acts augmented by an appreciation of country music.  Johnny Cash was the catalyst here but he also developed a taste for the country stylings of Jerry Lee Lewis and eventually Willie Nelson.  Decades later, he could always be counted on to be in the audience for any gig by The Highwaymen.  I didn’t go with him to those shows but we did go and see Cash in what turned out to be his last Australian tour accompanied by Kris Kristofferson, a show that single handledly changed by previously indifferent views about the latter.  We were jinxed when it came to Nelson’s solo shows, purchasing tickets to gigs that were eventually cancelled.  (To this day, I still haven’t seen the great man live.) The only aspect of my father’s life in music that didn’t rub off on me was his actually playing music, even if he only hit drum or clashed cymbals in bands playing the music from his homeland.

When Dad met his initial immigration requirements, he returned home, married my mother and brought her out.  I’ve inherited many things from my mother (some might say too much) but musical appreciation was not one of them.   The only act she liked for which I have even a grudging appreciation was Tom Jones.  (And, once again, I remember watching the Tom Jones TV show as a kid.) She also loved Englebert Humperdinck, Neil Diamond (to whom I’m always maintained a wary distance, even today) and these days, the Dutch violinist, Andre Rieu. 
But my musical beef with my Mother is not about her musical taste.  (I learnt my lesson about respecting other people’s tastes which don’t confirm to my own about ten years ago, but that’s a tale for another day.)  It is that she seemed to me to have absolutely no awareness whatsoever about any act other than those she or my father liked.  To be fair, I could make the same comment about my father, but in my mind he had the excuse of not being able to listen much owing to the long hours (including much overtime) spent in noisy factories.  Although my Mother was also busy raising my siblings and I, she at least had access to radios and TV during the day to intrude on her consciousness.  Two examples illustrate this.   I remember asking her a question in the mid-70s about the comeback of Bob Dylan.  This was the first she had heard of him.  A couple of years ago, she somehow managed to ignore all of the media stories and hype associated with the impending sale and record sell outs associated with the AC/DC Black Ice tour.  Her attention was only drawn to it weeks later through an Australian 60 Minutes profile of the band and, struck by the inarticulate nature of the Young brothers and Brian Johnson’s accent,  asked me whether I’d heard of them.  And even then she couldn’t remember the band’s name. 

By now it is apparent that I first became aware of music during the 1960s.  However, I was only dimly aware of the seismic shifts in music that occurred during that decade.  I was aware of The Beatles (well who wasn’t) reinforced by the massive media coverage they received as well as a cartoon series that used their songs.  At the time, I couldn’t discern much of a difference between them and another band with a television show, The Monkees.  I was aware that both bands were funny and the TV shows reinforced their music.  I was completely unaware of the nature of The  Beatles more adventurous  stuff from Rubber Soul and Revolver onward (as well as The Monkees movie Head); the only tracks I can remember hearing as a child were the early tracks and inoffensive later material such as Penny Lane, Oh Bla Di Oh Bla, Hey Jude and Let It Be.  
This was the template for the sort of music I remember hearing during that period.  Favourite childhood tracks included The Twilights’ Needle In A Haystack, Cash’s Ring Of Fire and Tony Orlando And Dawn’s Knock Three Times.  Basically most of what I remember hearing was the type of music played or mimed on television’s Bandstand; inoffensive music for the supposedly easily offended.  The only live music I heard were the wedding reception type bands that played at the social club dances to which my parents periodically dragged the family.  The scarring continues and, with the sole exception of a wonderful band I heard at a reception in Warsaw a few years back, even today I break out into a cold sweat at the thought of a wedding reception.  Fortunately “M” feIt the same way too and we had a DJ spin records at our reception.

So,  for the greater part of the 60’s and the first couple of years of the 70’s, I was ignorant about The Rolling Stones, Dylan, The Kinks, The Who, The Doors, the Haight-Ashbury scene, the Syd Barrett era Pink  Floyd, Fairport Convention and the English folkies, Stax Records, Jimi Hendrix, Woodstock ….you get the picture.  I wasn’t even aware of Elvis’ musical origins.  To me he was someone that cropped up on weekend movies who could sing a bit.
But the realisation about the greatest thing about the 60s musically speaking came much later in life.  With the benefit of hindsight, I was able to appreciate that I had the chance to absorb a lot of this music either as it developed or not that long afterwards.  Leaving aside blues and jazz, most of the music I came to love dated only from the previous decade.  It meant that by the time I got to gig going age, my date of birth presented the perfect opportunity to experience as many of the originators of the music as I could afford.  It also meant that that I’ve been able to experience some of the greatest acts of all time at their height of their powers usually just after releasing their signature releases.  Some that come to mind include Talking Heads on the Stop Making Sense tour, Primal Scream touring Screamadelica and XTMNTR, U2s debut, Rattle and Hum, ZooTV and 360 degree tours, Metallica’s tour supporting the Black album, My Bloody Valentine supporting Loveless, Nirvana as Nevermind hit the top of the US charts, Radiohead with OK Computer, Sonic Youth with Daydream Nation and Dirty and numerous Big Days Out.

If I was born a couple of decades later and still developed the same tastes, so much of what I have seen would have been denied.  As it is the roll call of great artists that I’ve seen who are no longer around or bands that can no longer be reformed because key members are long gone is staggering – among them such names as James Brown, Miles Davis, Nina Simone, Johnny Cash, Frank Sinatra, Stevie Ray Vaughn, Solomon Burke, Wilson Pickett, Kurt Cobain from Nirvana,  Johnny/Joey and Dee Dee Ramone, Bo Diddley, Richard Wright from Pink Floyd, Graeme ‘Shirley’ Strahan of Skyhooks, Lux Interior from The Cramps, Jeff Buckley, Billy Thorpe, Lobby Lloyde, R. L Burnside, Joe Strummer of The Clash, Marc Hunter of Dragon, Mark Sandman from Morphine, Chris Whitley, most of the original Rose Tattoo, Alex Chilton, Grant McLennan of The Go-Betweens, Adam Yauch of the Beastie Boys, Tim Hemmesley of God and The Powdermonkeys, Rowland S. Howard, Mark Linkous who was Sparklehorse among others.
On the reverse side and even more importantly is due to my birth date and musicians sufficiently young and willing to carry on their former band’s legacy,  I‘ve been able to experience the next best option.  Hence I’ve been  privileged to see among others, Robert Plant and Jimmy Page play Led Zeppelin, Paul McCartney do The Beatles, Roger McGuinn revisiting The Byrds catalogue, Joe Strummer doing The Clash, John Fogarty playing Credence, Jonathon Richman covering Modern Lovers tunes, Henry Rollins playing Black Flag and both Lou Reed and John Cale honouring their Velvet Underground heritage. I’ve also been able to experience the first flush of reunion tours by acts that had never toured Australia in their prime (such as The Sex Pistols, The Pixies, Pere Ubu, Wire, The Stooges and 3/5ths of the MC5) or which had broken up before I had a chance to see them (great examples here include Australian rock legends The Masters Apprentices, The Easybeats, Radio Birdman and The Saints.)  And then there are those acts that I had given up on ever seeing either because they toured just once before I had appreciated their talents (such as Randy Newman and Ry Cooder both surprise visitors in the last couple of years) or who had just left it a long time before their first tours (as was the case for Patti Smith, George Clinton, New Order and Kraftwerk).

A major reason why I’ve been able to do this is because I’ve also been lucky enough to have grown up in Melbourne, a city to which my father arrived because it was where his immigration sponsor, a man from his home village, lived. In the 1960s Melbourne was indisputably Australia’s musical heart. At that time creative musicians were more or less required to flee Sydney because musicians could only earn a living if they were prepared to cover the hits of the day for the enjoyment primarily of American troops on R&R from the horrors of Vietnam.  Even today the musical differences between Melbourne and Sydney are fairly obvious.  As I remember reading in the first edition of the Australian Music Directory over 20 years ago, Melbourne’s music has grown along and expanded from traditional 60’s roots whilst Sydney has always been more prepared to take on and discard whatever happens to be the prevailing musical trend.  This was appreciated by the acts that came from the then musical backwaters of Perth and Brisbane, although for some curious reason largely unexplained, Adelaide produced more than its fair share of acts.  Once in Melbourne, musicians were free to experiment musically, usually in the wide variety of live venues that live on today albeit in a different range of venues.  Of course I knew none of this at the time but once again it’s a strength that I’ve recognised purely with the benefit of hindsight.
As I moved into latter primary and secondary school years both my own and Melbourne’s musical landscape were to be dramatically altered by exposure to essentially the same developments.  But this is for another day.

(60) Todd Rundgren – A Wizard, A True Star
I’d always thought that his two great works were Something/Anything? And Hermit Of Mink Hollow.  This was one of a number of albums I placed on the iPod so that I could review my decision whilst on an overseas holiday about having excluding them from it.  I never did get around to playing this and finally did so today.  All I can now think is “What the hell was I thinking?”.  The album is a tour du force and represents everything that is great about this artist.  Singling out individual tracks would be a waste of time as each track sort of builds on the other to create a whole that is definitely greater than the sum of its parts. It is almost certainly his best album.

(61) The Strokes – First Impressions Of Earth
Their third album and definitely their best.  I was originally very hesitant to buy this, so disappointed was I in the crap that was served up on its predecessor, Room On Fire.  Ignoring that serious misfire, this album is a quantum leap from their debut.  Possessing some of the best songs in their arsenal, notable the opening three tracks You Only Live Once, Juice Box and Heart In A Cage, the length of time since its release plus associated solo projects suggest that even the band members might have difficulty following this up.  My only complaint is the addition of two totally unnecessary bonus tracks which add nothing to it and makes it slightly overstay its welcome.  Sometimes less, unlike today's post, is more.

18 January 2013 - Working from home again


Working from home again today and so walk Lady after farewelling “M” at the station.  For company I have:
(54) Visage – Self Titled

Along with Ultravox’s Vienna, this is the album from the so called “New Romantic” movement of early-mid 80’s worth owning.  The album mixed the combined talents of London scenesters Steve Strange and Rusty Egan along with Midge Ure and Billy Currie of Ultravox and several members of Magazine.  Their combined talents meshed on this release incorporating at least one  catchy instrumental (including the title track), hit singles (Fade To Grey and Mind Of A Toy) and other material.  It still holds up surprisingly well 30 years later.
By the time I’d finished that album, I thought I’d make a selection of albums that have not made it onto the iPod.  I set down to work with a largely instrumental release from Jamica;

(55) The Professionals Meet The Aggrovators – At Joe Gibbs
This great slice of dub and some reggae brings together two of the house bands used by major Jamician producers of the 70’s, Joe Higgs (The Professionals) and Bunny Lee (The Aggrovators).  The intriguing aspect of this recording, as far as I can perceive based on my copy of the album, is that the drums and horns appear to have been mixed to the front with the bass and guitar lines very much in the background.  Most unusual but it does not detract from the overall effect.

(56) Pete Townshend – Live. A Benefit for Maryville Academy
I’ve enjoyed the bulk of Pete’s solo material, particularly the Scoop series which contains largely acoustic and demo material. There is something about the sound of the man’s voice that seems to suit the acoustic material but which equally explains why Roger Daltrey’s is probably better suited to The Who’s full throttle versions.   This is a live recording of an acoustic concert  held as a fundraiser for a Chicago institution that treats abused children, a cause close to Townshend’s heart and which almost led him into serious trouble a few years later when researching paedophilia on the web.   For this show Townshend is effectively part of a duo along with Jon Carin, a musician I’d previously associated with the post Waters era Pink Floyd touring band with other musicians used sparingly.  It starts out with an impressive rendition of Canned Heat’s On The Road Again and the remainder are tracks that have appeared on Who or Townshend solo albums.  A two track bonus disc contains Eddie Vedder on Magic Bus.  Great stuff.

(57) Steely Dan – Aja
I’m reasonably sure that I prefer the initial version of Steely Dan when it was more than just a vehicle for Becker and Fagan.  Of all of their “studio” albums, Aja is the one that most fans and critics seem to love.  Hell, I’ve known of people who have named their children after this.  But I’ve always felt that this album is a bit too slick for my taste.    Black Cow and Peg are great tracks that hold their own alongside the best of the band’s work but no detail from the remainder of the album ever seems to be able to stick in my head once the album’s finished.  This latest listening does nothing to dispel that view but given I am working, this is probably to be expected. 

(58) Prince – Chaos And Disorder, and
(59) Prince – The Vault. Old Friends 4 Sale

I tend to link these two albums together in my mind although they were released a few years apart.  My memory always is that I prefer one to the other but I never seem to remember which.  The other thing that links them together is the end of Prince’s (I refuse to use the squiggle symbol) relationship with Warner Brothers.
A note inside the CD insert states that Chaos And Disorder was originally intended for private use only and that the compilation serves as the last original material recorded for the label.  Many have chosen to interpret the use of the word compilation as meaning that Prince simply took some demos, etc and randomly threw them together to get out of the contract as soon as possible.  I’m not too sure about that; with tracks like Dig U Better Dead, Right The Wrong and Had U, I think at least some tracks were recorded for the record which probably explains why it hags together  as well as it does.  While certainly not a classic, it is very much an underrated album.

The Vault, on the other hand, was thrown together, seemingly by Warner Brothers itself.  I’m not sure how they expected this one to sell because there’s nothing memorable about much of the material here. 
After my work day concluded, I was finally able to connect to the internet.  Now what do I have to do to get the blog up and running?

17 January 2013 - Shuffle Session #1


I woke up this morning felling very happy with myself, my world and generally everything.  Neither the forecast 39 degrees nor the spectre of my half year performance review at work can put a dent in this feeling.  My morning walk simply consolidates this.  I set the iPod on repeat to the title track of Springsteen’s The Rising, just so I can sing along to the la, la, la’s in the chorus whilst contemplating how and when I’ll attempt to put my thoughts about The Boss online.  I settle on a strategy and simultaneously the sun becomes visible and I feel its first rays for the day.
Settling on a Springsteen strategy makes me realise that writing this blog is seeping into my consciousness and is beginning to exert some influence on my listening habits.  Thus I decide on a strategy today to shake it up a bit.  As I have some meetings and the performance review at work, I decide that today will become:

I remember the exact moment I decided to buy an iPod.  I was in a cafĂ© in 2008 having a morning coffee when I noticed the brilliant music in the background.  I asked the proprietor Tony (a good bloke, chief and musician in his own right) whether this was a new FM station.  He then produced his iPod and told me about the shuffle function.  At that moment it occurred to me this was something I needed.  It would be a great way to get around my collection without having to pull out the discs all the time whilst avoiding the agony of what to play next.  After all, no one puts stuff on their iPod that they wouldn’t want to hear would they? 
(A digression: This reminds me, why does Apple have a star rating system to apply to tracks ranging from zero to five stars?  I can understand the zero rating for people like me who choose not to use it, but why would anybody choose to import one or two star tracks for their listening pleasure?)

As of today, there is a total of 37,025 tracks on my iPod.  In my effort to ensure that the shuffle function is as random as possible I remove as many of the possible search variables as possible during the import process.  Therefore, no information is kept or migrated regarding year of release, BPM, music genre, songwriter, etc.  The only variables my iPod has to work on are the unavoidable ones – the number of tracks credited to each artist, track lengths, song titles and the number of plays. (I could reset the latter each time I import, but I like to think I’m not that anal.)
Yet despite this, things that do occur niggle around in my mind. In the past whilst on shuffle there have been occasions when inexplicable things occurred.  For instance, there was a period of time when shuffle tracks in the morning were slower and the afternoon tracks more up tempo – was the iPod mimicking my listening habits? This will be a first attempt to actually document and analyse what comes out.  My rules are simple, listen to whatever comes out and do not skip or fast forward tracks, simple enough since there shouldn’t be a dud track among them.

I press the shuffle button and wonder what will come out first.  It’s a beauty from one of the greatest exponents of the electric blues guitar;

1.       Hound Dog Taylor & The Houserockers – Ain’t Got Nobody (from Genuine Houserocking Music)

2.       Camper Van Beethoven – I Don’t See You (from Telephone Free Landslide Victory)

3.       The Grateful Dead – One More Saturday Night (from Europe ’72)

4.       The Rich Kids – Burning Sounds (from The Best of The Rich Kids)

5.       The Celibate Rifles – S & M TV (from their second live album Yizgrnoff – Damien Lovelock’s intro on the next track provides a great transition to another legendary Australian act)

6.       The Go-Betweens – Ask (from Before Hollywood)

7.       Aretha Franklin -  Do Right Woman Do Right Man (from Atlantic R & B Vol. 6 1966-1969)

8.       The Dirtbombs – I’ll Wait (from Ultraglide In Blue)

9.       Frank Zappa – Zombie Wolf (live from The Best Band You Never Heard In Your Life)

10.   The Offspring – Me & My Old Lady (from Ixnay On The Hombre) This sound so much like Jane’s Addiction, I’m kind of disappointed when next comes;

11.   The Dead Weather – Hang You From The Heavens (from Horehound)

12.   Mondo Rock – Searching For My Baby (from Primal Park)

13.   Bob Marley – Hammer (from the Songs Of Freedom box set)

14.   Fu Manchu – Boogie Van (from Go For It….Live!) which brilliantly segues into, of all things

15.   The Neville Brothers – Rock ‘N’ Roll Medley (from Live At Tipitina’s)

16.   Prisonshake – Fake Your Own Death (from Dirty Moons)

17.   Bruce Springsteen and The Sessions Band – Jesse James (from Live In Dublin)

18.   Green Day – Homecoming (from American Idiot)

19.   Echo and The Bunnymen – Bring On The Dancing Horses (from Songs To Learn And Sing)

20.   Bob Dylan and The Band – Don’t Ya Tell Henry (from The Basement Tapes)

21.   Miles Davis – Sivad (from Live – Evil)

22.   Afrika Bambaataa and James Brown – Unity Part 5 (The Light) (from Unity)

23.   Madonna - La Isla Bonita (from The Immaculate Collection)

24.   The Sex Pistols – Did You No Wrong (from Filthy Lucre Live)

25.   Iggy Pop – Some Weird Sin (from Lust For Life)

26.   Cypress Hill – Lick A Shot (from Black Sunday)

27.   The Undertones – Girls Don’t Like It (from An Anthology)

28.   Mark Lanegan – One Hundred Days (from Bubblegum)
This marked the end of the morning session.  The remainder weaved around lunch, work commitments and home.  Strangely enough the shuffle continued with another blues master.

29.   Lightin’ Hopkins – Big Mama Jump (from The Complete Aladdin Sessions)

30.   The Eyes – When The Night Falls (from the Nuggets II Box Set)

31.   Grandmaster Flash – New York New York (from Message From Beat Street)

32.   Big Town Playboys – Roomin’ (from Off The Clock Live)

33.   Crackhouse – Consolidated (from Play More Music)

34.   Geoffrey Gurrumul Yunupingu – Galiku (from Gurrumul)

35.   Camper Van Beethoven – Unie Fois (from Camper Van Beethoven)

36.   Aimee Mann – Superball (from I’m With Stupid)

37.   2ManyDJs – The Beach/Sandwiches (from As Heard On Radio Soulwax Part 2)

38.   Smashing Pumpkins – Jellybelly (from Mellon Collie And The Infinite Sadness)

39.   Big Mama Thornton – Cotton Picking Blues (from Hound Dog.  The Essential Big Mama Thornton)

40.   P.J Harvey – Angelene (from Is This Desire?)

41.   Beastie Boys – Jimmy James (from Check Your Head)

42.   The Reverend Horton Heat – Nurture My Pig (from The Full-Custom Gospel Sounds Of…)

43.   Buena Vista Social Club- Candela (from Buena Vista Social Club)

44.   Marvin Gaye – Take This Heart Of Mine (from The Master 1961 – 1984)

45.   Bonnie ‘Prince’ Billy – Rain In Darling (from I See A Darkness)

46.   Elvis Presley – Blue Moon Of Kentucky (from The Sun Sessions)

47.   The Long Ryders – Wreck Of The 809 (from Native Songs)

48.   Earl Hooker – Blue Guitar (from Let Me Tell You About The Blues – Memphis)

49.   Solomon Burke – Only A Dream (from Don’t Give Up On Me)

50.   Randy Newman – Underneath The Harlem Moon (from 12 Songs)

51.   Black Boy Shine – Ice Pick And Pistol Woman Blues (from Let Me Tell You About The Blues – Texas)

52.   Rocket From The Crypt – Velvet Touch (from R.I.P)

53.   U Brown – Hard Time (extended) (from Train To Zion)

54.   Brian Wilson – Song For Children (from Smile)

55.   Neneh Cherry – 7 Seconds (from Man)

56.   Aerosmith – Water Song/Janie’s Got A Gun (from Pump)

57.   Pete Townshend – You’re So Clever (from Scoop)

58.   Bob Mould – Very Temporary (from District Line)

59.   Thelonious Monk – Humph (from Genius Of Modern Music Vol. 1)

60.   Ruperts People – Reflections Of Charles Brown (from the Nuggets II Box Set)

61.   Can – Mushroom (from Tago Mago)
This was an intriguing and satisfying shuffle.  For the most part, there was great variety, and a satisfying run of similar tracks between 45 and 51.  A lot of my music interests are represented with very few areas, if any, unrepresented and with studio albums, compilations, box sets and live albums all featuring.  Probably the only disappointing feature was the under representation of tracks by Australian acts (4 tracks nos 5, 6, 12 & 34).  No surprise to see tracks featured by the acts that have the most songs on the iPod – Springsteen, The Celibate Rifles , Frank Zappa and Bob Dylan although Neil Young missed out.

None of the albums played in the year to date got selected and the Nuggets II box set (nos 30 & 60 -mmm! I wonder what album track 90 would have eminated) was the only album played twice.  Although Camper Van Beethoven got two selections(no 2 & 35), their second track lasts just over a minute and might have been selected on the grounds of its length being by some distance the shortest track played.  The Miles Davis track (no 21) was by a considerable distance to the others the longest track played.   An intriguing feature was that the two songs titled after individuals both had the same initials (JJ) and surname (see Jesse James at no 17 and Jimmy James at no  41).