Sunday 11 August 2013

5 August 2013 – Shuffle Session 4 Tracks 51-71

It’s the day of my presentation at an all day seminar.  “M” has a rostered day off and so kisses me goodbye as I leave and, for the first time this year, take public transport into work. 

I’m up in the morning session and follow an exceptional speaker.  Just my luck!  Then after I’ve been introduced, we can’t find the PowerPoint presentation on the computer.  After a delay, its found and I proceed.  Incredibly, I finish with enough time for questions.
After lunch, I last through another couple of speakers, before calling time and staggering back to the train for the return trip home.  Speaking had really hurt my vocal cords and the warm venue hasn’t done my recovery from bronchitis any favours.  But at least I’ve met the commitment.

As you can image there was little chance for playing much music today.  The shuffle takes in my listening on the train to and from the venue.
51.          Brute – KMFDM (from Retro)
52.          Two Timin’ Woman – Jack Scott (Good Rockin’ Tonight.  Red Hot Rockabilly*)
53.          Bra – Cymande (Roots Of Hip Hop. Mojo Music Guide Vol. 2*)
54.          There Stands The Glass – Ted Hawkins (The Next Hundred Years)
55.          H-E-L-P – The Heptones (Peace And Harmony. The Trojan Anthology)
56.          Bottle Rocket – The Go! Team (Thunder, Lightning, Strike)
57.          Kickin’ My Heart Around – The Black Crowes (By Your Side)
58.          Tic – Helmet (Betty)
59.          Angry – Public Image Limited (Plastic Box)
60.          Futureworld – Trans Am (Futureworld)
61.          Removable – Manic Street Preachers (Everything Must Go (   ) )
62.          Badge (live) – Eric Clapton (24 Nights)
63.          (My Eyes) Keep Me In Trouble – Muddy Waters (King Bee)
64.          Fiddling Tool – Spectrum (Aust.) (Part One)
65.          (Call Me) Back Home – Al Green (Al Green)
66.          Oaklahoma U.S.A – The Kinks (Picture Book)
67.          The Scoop – Beastie Boys (Ill Communication)
68.          It’s Never Too Late – Steppenwolf (The Collection)
69.          Iris’s Song For Us – Vashti Bunyan (Just Another Diamond Day)
70.          On The Air – Peter Gabriel (Peter Gabriel [2])
71.          Pledging My Love – Johnny Ace (We’re Gonna Rock, We’re Gonna Roll *)

*= a track from a multi artist compilation
To be continued ……….

3 & 4 August 2013 (Days 215 & 216) – Rock Stars In My Dreams

I was going to let the shuffle session roll on over this weekend.  However, on Friday night I had a dream.  My dreams are usually colourful (yes, I dream in colour) and can be quite surreal.  They are often hilarious, at least to me; “M” has reported she’s frequently heard me laughing in my sleep.

Some of the more bizarre dreams have involved major rock stars intruding into my life.  I have no idea why.  It can’t be that I have a hidden desire to get up on stage with them as none of these actually involves my playing music with them.  I can only guess as to the meaning of these dreams.
And so, as this is a music related blog, I have decided to commit Friday night’s dream to writing along with some of the other, ahem, more memorable ones I can remember.  I’ve decided to preface each one with a little title of my own and would like to remind anybody reading these that my dreams and these transcriptions are subject to copyright.  My own interpretation of each one follows at the end.

The Little Purple Ninja Killer?
I am a member of Prince’s inner Melbourne circle of hard core fans.  He has come to our fair city for a major live global telecast from Rod Laver Arena and has invited that inner core for a pre gig “briefing”.  We arrive having no idea what he’s got in mind but it quickly becomes apparent that he wants us all to participate during the show in some way.  Tasks are allocated;  I’m selected to be a Prince doppleganger that he will “kill” during the gig.  He demonstrates what he has in mind with another member of the inner core who is upset to only have the rehearsal gig.  Prince asks him to run; he’s half way down the general admission area when Prince produces a ninja throwing star in the shape of his symbol and throws it in his direction.  I’m horrified as I see it slash the poor guy’s throat and he collapses.  “He shouldn’t be too disappointed”, Prince murmurs, “I’ll probably put that in as an extra on the DVD.” 

By the time he’s said that, I’ve decided to run.  Prince giggles, and lets me have a head start.  I start to stumble through the maze of passageways in the bowels of Rod Laver Arena as he mounts a silent hovercraft and starts to hunt me down.  As I flee, I can see cameras filming every step of my flight.  Eventually Prince corners me in front of a poster for a long ago Billy Joel show at the venue.  I plead for my life.  He stands up and makes as if he going to throw the star  ……. and then yells “Cut”.  He then explains that all he wanted was realistic footage of someone fleeing for their life for inclusion  as backscreen footage during I Would Die 4 U.  The earlier “death” is explained as a hoax and that the “victim” was actually one of his roadies.  He informs me that as a reward, I will be “resurrected“  later in the gig to solo with him during The Cross.  I tell him I cannot play guitar and he brushes that off as a minor detail, telling me that he’ll teach me how to play like him……
My interpretation: this dream reveals my greatest fear – being exposed to Billy Joel at the moment of my death.

One More Cup Of Coffee Before I Go
I am travelling around Europe on holiday by supersonic chairlift when my father appears in a hologram message dressed like Obi wan Kenobi.  He tells me that I need to return home because my mother needs me.  Just why he couldn’t attend to this duty himself is not explained.  Anyway, I dutifully get off at the chairlift interchange in Frankfurt and hop on the next vacant chair home.

I get off at Melbourne about half a kilometre away from the family home.  It’s Midnight, but it’s full moon and I see everything clearly.  Then I notice that in my absence an entire block of houses has been demolished and a shopping centre erected in its place.  I look at the board of occupants and notice there is a nightclub.  Underneath that is a temporary sign, TONIGHT, IGGY POP (U.S.A), ONE NIGHT ONLY.  I forget about my Mother; some things are simply more important. I rush past a lot of closed shops and a 24 hour café, find the venue, get a ticket, dive into the crowd and force my way to the front. 
I’m there just in time for the start of the gig.  The band roars into Search And Destroy; Iggy comes barrelling onto stage, naked torso glistening in the hot lights.  He approaches the mic but something’s wrong with his voice; it’s as though Bob Dylan is inhabiting his vocal cords.  Most of the crowd doesn’t seem to care.  Bottles, fluid, boots, underwear and artificial limbs are flying everywhere.  Amid the chaos at the end of the number Iggy spots the concerned look on my face.  He comes to me and says, “Oi, mate.  My voice is a bit rough.  Do you mind getting a cup of coffee to lubricate the old voice?”

With that, I’m off, and head straight to the 24 hour café.  I go inside and order a soy latte, regular latte, cappuccino, mochachino, flat white and espresso.  The barista goes about his task extremely slowly, insisting on telling me the story of his miserable life condemning him to work late shifts.    But I don’t care.  At several points of his story I tell him, “You don’t understand, these are not for me.  They’re for Mr Pop ”  but I’m unsuccessful.
Eventually, laden with the coffees, I make my way back to the venue.  By now the gig has ended and the audience has gone home.  As I carefully make my way through the debris on the dancefloor, I see Iggy sitting on the lip of the stage.  “Ah, thanks for my coffee. But you sure took your time.”  He takes one and assumes a yoga position. I put the others down in front of him, select one and start to tell him the story of my night…..

My interpretation: this dream is a reminder to always put the interests of others ahead of yours.  After all, if I had asked Iggy what type of coffee he wanted, I could have caught the encores.
No Sex Please Madonna, I’m From Melbourne

I’m the manager of a successful bookshop in Carlton, near the University of Melbourne.  One day, a visiting American enters the shop and rummages around.  She doesn’t buy anything but asks me out for a date.  As she’s reasonably attractive I agree and she leaves.  One of my staff tells me that I’ve just agreed to go on a date with Madonna.  I respond with, “Funny, she doesn’t look like Madonna”.
Things fast forward to the end of the date.  We’re walking arm in arm having, apparently, hit it off.  I’m vaguely aware of a media scrum behind us.  She takes me to an office building in Elgin Street with large windows at the front revealing the interior of the building.   She asks me in for coffee.  When she switches on the lights, I can see she’s turned the entire office into a bedroom, the centrepiece being a giant mega sized bed.  The media scrum set up outside the windows; I notice there are no curtains inside.

Madonna, starts to caress me.  I ask her if she intends to do anything about the media outside.  She tells me that it’s better to embrace the attention.  Increasing panicky, I tell her that I still have to live in this city.  She dares me to be a man………….I wake up in a cold sweat.
My interpretation: I don’t care what my wife “M” thinks.  I throwing away our copy of Notting Hill.

My Boss, The Boss
Some men are born great.  Others have greatness thrust upon them.  And then there’s me.  I’m on a freighter headed for the South Atlantic Ocean island of Tristan de Cunha to watch a special gig by Bruce Springsteen And The E Street Band.  On board is the ship’s crew, Bruce, the band, roadies, a massive press corps and me.  Most of the press is not there to report on the gig.  Rather, they’ve become aware that Mrs Boss, Patti Scialfa, has not made the trip with the band.  They can smell blood. 

I’m working out in the ship’s tiny gymnasium.  Bruce enters.  We exchange greetings and compare notes on our workout plans.  I help him with his sit ups, we assist each other in adjusting weights and attempt a one on one basketball drill that’s not all that successful.  (The swell of the Atlantic makes it difficult to adjust one’s shot making.)  He asks what I think of his then latest album Working On  A Dream.  I tell him it’s better than Magic but he really needs to drop Brendon O’Brien as his producer.  Impressed by my honesty, he tells me that the media are spoiling his trip and would I mind facing them to deny there’s any problems with his marriage.  He fills me in on the truth; there are no problems.  Pattti just wanted to stay home.
I front the media and do a reasonable job, keeping the “no comments” to a minimum but effectively telling the truth without disclosing anything.  Bruce is impressed.  He offers me the gig as his media liaison man.  I accept……

My interpretation:  it’s a dream come true, beyond my wildest hopes…..  I’m a gym junkie!
The Swedish Antichrists (with sincere apologies to Joseph Conrad and Francis Ford Coppolla)

I am a special operations soldier.  I’m summoned to my Commanding Officer who tells me that I’m to go on a one man trip to “destroy the enemy”. When I ask him who it is, he responds, “You’ll know when you find them.”
And so I start on my trip.  I’m taken to an Inca pyramid with a difference.  Each step level is effectively a moat; to proceed upwards, I need to take a kayak and paddle to the opposite side.  My kayak tows a sea trailer of giant lego blocks; when I get to the designated landing point, I need to pull the trailer towards me and assemble the blacks into a staircase that gets me to the next level/moat.  There sits another kayak and trailer and the entire process must be repeated over and over to get to the next level. 

I ascend the first few levels and found nothing else.  All the time I wondering, “Who is the enemy”.  Eventually I arrive at the top of the pyramid.  There’s nothing but a view.  I hear a squeaking sound and I spin around in time to see a trap door opening.  Two people get out, a man and a woman.  Immediately it dawns on me that the enemy is Roxette and I must destroy them.
Per Gessle heads straight for me but is surprisingly easy to beat.  Marie Fredriksson turns out to a true Amazon.  With a masterful maneuverer, she disarms me as I stepped back from Gessle’s lifeless corpse.  This is going to entail man on amazon combat. We start to trade blows but neither of us flinches.  Eventually, she takes out my legs from underneath me and jumps on top.  I try to get on top and we start rolling along the ground.  Eventually we topple into the upper level moat. 

There it turns into a true battle of survival. I get in some good blows and notice she doesn’t have the same water skills as myself.  I get one arm around her neck and gradually position my body underneath hers.  Arching her body backwards I start to reign in the blows; “This is for Dressed For Success” , I gasp,  “This is for It Must Have Been Love”,  (thump)  “Joyride”,  (thonk) “Dangerous”, (wack) “The Look”! Sufficiently weakened, she surrenders.
At this moment, everything goes whoosh and I am transported into a different reality.  I’m now at the beach in the South of France with Marie, blissfully in love, singing along to Dressed For Success …………

My interpretation: whilst this dream was meant to convey my hatred of blandly processed anonymous pop, any solution that advocates violence on women is totally unacceptable and must be punished by the infliction of the greatest amount of pain.  

Saturday 10 August 2013

2 August 2013 (Day 214) – Shuffle Session 4 Tracks 1-50

Anyone keeping tabs on this blog will have noted how far behind I’ve got in my postings.  This is due to my illness which has sapped my energy each day, way before I sit down for the daily task.  Today, I hit upon an idea that might enable me to catch up eventually once I return to something approaching full fitness.  It is to turn my iPod to shuffle and keep it there until I’ve caught up.  I can jot the tracks down in my journal progressively as fitness prevails provided of course I don’t accidently reset it.

And so the journey begins.  Today’s session encompasses 50 tracks and came to end when I needed to journey to the venue for Monday’s seminar to get acquainted with the set up and to hand over my PowerPoint presentation.  After this, I hooked up with “M”, went home , feel asleep and eventually logged the track listing the following morning. 
The track listing is an absolute beauty that is, incredibly, bookended by tracks from the same album.  (Tracks from “Various Artist” compilations are annotated with an asterix (i.e *).

1.       Excitable Boy (live) – Warren Zevon (from Learning To Flinch)
2.       Evening Star – Roy Harper (Counter Culture)
3.       Everybody’s Been Down On Me  - Watermelon Slime And The Workers (No Paid Holidays)
4.       Intro By El Vez (live) – Rocket From The Crypt (R.I.P)
5.       The Day That Curly Billy Shot Down Crazy Sam McGee – The Hollies (The Air That I Breathe)
6.       I Believe To My Soul (live) – Primal Scream & MC5 (“Black To Comm”)
7.       Down The Dirt Road Blues – Charly Patton (Founder OF The Delta Blues)
8.       The Roller – Beady Eye (Different Gear, Still Speeding)
9.       Wet Cheese Delrium – Gong (Camenbert Electrique)
10.   Well Of Destiny – The Pretty Things (S.F. Sorrow)
11.   Jumpin’ With Symphony Sid – Van Morrison (A Night In San Francisco)
12.   Jukebox (live) – Ani DiFranco (So Much Shouting, So Much Laughter)
13.   You Come In Burned – The Dandy Warhols (Welcome To The Monkey House)
14.   Three MC’s And One DJ – Beastie Boys (Hello Nasty)
15.   Save Me – Little Steven And The Disciples Of Soul (Men Without Women)
16.   Space Intro – Steve Miller Band (Young Hearts. The Complete Greatest Hits)
17.   Marquee Moon – Television (Marquee Moon)
18.   Tristesse (live) – Steve Kilbey (Acoustic And Intimate)
19.   Freeze – Albert Collins With The Rhythm Rockets (Shim Sham Shimmy*)
20.   I Can’t See Your Face In My Mind – The Doors (The Doors Box Set)
21.   White Lies – Jason And The Scorchers (Lost And Found)
22.   Say No Go – De La Soul (3 Feet High And Rising)
23.   Animal Wild – Shudder To Think (Sweet Relief. A Benefit For Victoria Williams)
24.   The Judgement – Solomon Burke (Don’t Give Up On Me)
25.   Sweet Water Pools (live) – The Screaming Blue Messiahs (BBC Radio 1 Live In Concert)
26.   Help – Madder Lake (Still Point)
27.   Blood Red River – The Scientists (Absolute)
28.   Don’t Be Cruel – Jerry Lee Lewis (Hail To The King!*)
29.   I’ve Only Started To Breathe – The Delgardos (The Complete BBC Peel Sessions)
30.   Someone Made You For Me – Steve Cropper with Dan Penn (Dedicated. A Salute To The 5 Royales)
31.   A Tale They Won’t Believe (live) – Weddings Parties Anything (…They Were Better Live)
32.   Your Cheatin’ Heart – Ray Charles (The Classic Years)
33.   Tribute To Elmore James – Roy Buchanan (Sweet Dreams. The Anthology)
34.   ‘Round Springfield – Lisa Simpson and Bleeding Gums Murphy (Songs In The Key Of Springfield)
35.   Come To Me – Mark Lanegan (Bubblegum)
36.   So It Shall Be – k.d Lang (Ingenue)
37.   Little Babies (Sleater-Kinney (Dig Me Out)
38.   Getting Better – The Beatles (Sgt. Pepper’s Lonely Hearts Club Band)
39.   Fare Thee Well Blues – Joe Callicott (Let Me Tell You About The Blues Memphis*)
40.   Fool Fool Fool – The Clovers (We’re Gonna Rock, We’re Gonna Roll*)
41.   Ital Skank – Carlton Patterson & King Tubby (Black & White In Dub)
42.   Fear – Little Steven (Voice Of America)
43.   Wilderness – Joy Division (Unknown Pleasures)
44.   The Black Light – Calexico (The Black Light)
45.   Two Lips, Two Legs And One Tongue (live) – Nomeansno (Live And Cuddly)
46.   I Wish It Was Over – Teddy Thompson (Separate Ways)
47.   Mousetrap (live) – Royal Crown Revue (Caught In The Act Live!)
48.   Happy Birthday – The Wedding Present (John Peel Sessions 1987-1990)
49.   Neil Jung – Teenage Fanclub (Grand Prix)
50.   Searching For A Heart (live) – Warren Zevon (Learning To Flinch)

To be continued……

Friday 9 August 2013

1 August 2013 (Day 213) – The 2014 Big Day Out Lineup

At 8pm last night, the lineup for next year’s Big Day Out was revealed.

Rumours were circulating that this was going to the best BDO lineup ever with an unprecedented 3 headliners.  The initial announced lineup is a solid one but certainly not the best ever.  On the other hand, it’s also far from the worst.  Two of the three acts rumoured as the headliners were confirmed.  Unfortunately, rumours of The Cure were wide of the mark, their spot as co-headliner going to The Arcade Fire.  Also on the bill and of interest to me are The Lumineers, Flume, Portugal, Tame Impala, the Cosmic Psychos and, best of all, my beloved Mudhoney.  Snoop Dogg will also be playing although I’ll be unlikely to be watching. A second announcement will be made later in the year and the big tip is this will include the Wu Tang Clan.
But there are three other acts that will also be appearing.  Combined with the above acts, this will be sufficient to guarantee my attendance for another year.  They are;

(# 539) Pearl Jam – Backspacer (2009)
Pearl Jam are another of the three co-headliners and will be making their first appearance at a Big Day Out.  By the time they appear their follow up album to this, their most recent release, will be out.  It will have to be an excellent album to top Backspacer which was certainly their best release in quite a few years.  On this they had the good sense to keep the songs short, unfussed and direct, eschewing a tendency towards polished musicianship that marred some of its immediate predecessors.  Opening cut, Gonna See My Friends has a distinct Mudhoney feel about it and The Fixer and Supersonic rank among their finest rockers.  Johnny Guitar and Unknown Thought likewise should be regarded as superior Pearl Jam ballads. 

(# 540) Blur – Blur (1997)
Blur are the other co-headliner who, like Pearl Jam and Arcade Fire, will be making their Big Day Out debuts.  It will also mark their first visit to Australia since their only tour in 1997 supporting this album.  At the time of release this album was savaged by some critics who felt that it had a strong American indie rock feel.  This might be true of some of the music but I’ve always felt that the Damon Albans vocal work – always and usually the only authentic “English” sounding element within the band – marks it as a Blur record.  Leadoff track and opening single Beetlebum  has a distinct Beatles feel to it and “woo hoos” in the now famous Song 2 could not have emanated from anywhere but Great Britain.  I suspect that most of the criticism was directed by English criticism at the lyrics of Look Inside America but, for the most part, this is a strong experimental album by a band whose experimental playfulness knows no national boundaries.

(# 541) Bo Ningen – Bo Ningen (2010)
One of the great things about the Big Day Out is that totally “unknown” bands can get discovered in the course of a day.  For once, I have the inside word on one of these.  Bo Ningen is not a badly named American country act.  Instead, they are a high octane four piece punk band from Japan and this is their debut album containing tracks characterised by Mudhoney inspired fuzz guitars with hints of psychedelica thrown in as well.  The first 5 tracks, including the curiously titled Gasmask Rabbit, storm by leaving the listener breathless.  The second half introduces greater variety including a couple of slower numbers, the 10 minute Post  Yokai and the awesome 16 minute closer ∆ which all betray a debut to Japan’s mighty Boris. They have a reputation as being an awesome live act and I for one will definitely be on hand to watch and cheer them on.  Consider yourself briefed.

31 July 2013 (Day 212) – Classic Soul Albums

It was another truncated though productive day at work, getting through a number of tasks before hitting the wall.  Not wanting to be assaulted by anything especially loud, I used part of my time well, getting through three classic soul albums in the time spent at my desk.

Today’s listening gathers together some of the very few single soul albums on my iPod that are not multi or single artist compilations.   Motown is covered largely by a 4 disc set augmented by several strategically chosen compilations of key artists who are underrepresented by it.  Southern Soul, by far my preference, dominates through the 8 disc Atlantic 1947-1974 History of R&B series, a Stax Records box, a two disc set that focuses on Fame Studios and assorted others.  Even more compilations are added for the giants of this stream and those generally not associated with it or Motown, among them Wilson Pickett, Ray Charles, Booker T & The MG’s, Sam And Dave, Al Green, Solomon Burke,  Sam Cooke, Aretha Franklin, James Brown  and, naturally, my main man Otis Redding. 
Duplicated tracks are struck out to maximise the number of tracks I can include.  But it is not a fate for any of the tracks that appear on today’s listening where the reverse occurs and it is the tracks from the compilations that go.  Each of these albums makes for such a satisfying listen that to edit any of these in any form amounts to musical sacrilege.

(# 536) Isaac Hayes – Hot Buttered Soul (1969)
Previously one of the writers and producers at Stax Records, Hayes eventually embarked on a solo career, hitting paydirt with this his second album.  It is a key record in the history of soul comprising just 4 tracks and making a mockery of the unwritten three minute rule for soul hits at the time. Moreover, the length of the tracks and the lush production sounds, probably provided some of the initial inspiration for disco music.  But don’t let this stop you, this is reverting stuff.  The opening cut is a 12 minute reworking of the Burt Bacharach/Hal David classic Walk On By which simply demolishes any trace of the Dionne Warwick version despite the heavy orchestral intro. Hyperbolicsyllabicsesquedalymistic is a 9 minute funk master class and the five minute One Woman is an anguished ballad that seems slightly out of place here.  But it is the final track that will divide listeners, an 18 minute version of By The Time I Get To Phoenix.  The first 8 minutes or so is basically a monologue in which Hayes speaks a lot but says little, although it’s bizarre today to hear him refer to the track’s “young” songwriter Jimmy Webb.  The remainder is a slow trawl through the tune which builds up to an almost operatic orchestral ending.  Somehow, the combination of the two elements works and one gets so drawn into the piece that the time simply flies by.

(# 537) Bill Withers – Live At Carnegie Hall (1973)
Recorded the previous year, this is a perfect introduction to Withers’ work harnessing tracks from the two albums that kicked off his career, Just As I Am and Still Bill.  I prefer this to the studio albums; the venue provides a magnificent sound quality that suits the music, especially on tracks such as Friend Of Mine where strings kick in.  Additionally it captures the audience’s reaction throughout the show with great detail.  Normally this is something that I loathe hearing during numbers on live albums, but on this occasion, the audience almost functions as an additional instrument or a Greek chorus that reminds you that this is soul, man!  And Bill certainly rose to the occasion with great readings of tracks such as the opener Use Me,  Ain’t No Sunshine, Grandma’s Hands, Lean On Me and Lonely Town Lonely Street.

(# 538) Marvin Gaye – What’s Going On (1971)
When people write about the great “rock operas” this album is invariably excluded.  I suspect people are reluctant to include this as the medium here is soul music.  Yet this masterpiece holds together better than just about any conceptually conceived album ever released.  And the concept is astonishingly simple.  It documents the shocked reaction of an American soldier about the state of his nation on his return from the Vietnam War with many of the tracks run into each other either musically or thematically. Yet none of this would have mattered if it wasn’t for the brilliant music on offer, including the magnificent title track and the entirety of the original release’s Side 2, Right On, Wholly Holy and Inner City Blues (Make Me Wanna Holler).  In so accurately capturing a moment in time, Gaye effectively made a timeless recording.  The mood and sentiment captured here could just as easily apply to the soldiers returning from Iraq and Afghanistan today.

Tuesday 6 August 2013

30 July 2013 (Day 211) – Starting My Non Existent C90 Mix Tape

It was another shortened day at work as I struggled to overcome the effects of my illness.  Prior to departing, I had a few meetings, etc and so had time to play only one album

(# 535) Alice Coltrane – Journey In Satchidanada (1970)
The wife of jazz master John Coltrane was an accomplished musician who played piano in his final group and also released a number of highly regarded recordings of her own which featured her harp playing.  (That’s harp as in the stringed instrument, not the harmonica.)  This is probably her best known album owing to the opening cut and title track which is a tribute of sorts to her Swami.  It’s a wonderfully serene track, but importantly, not of the type frequently used to parody hippies, yoga, Indian mysticism or all three.   Something About John Coltrane was obviously inspired by her then recently deceased husband and contains fine work by Pharaoh Saunders in John’s absence.   Indian influences and instrumentation dominates thae wonderful closer Isis And Osiris.

I’ve owned this album for a number of years now.  From the moment I first heard it, I knew that the title track would be the first track on only C90 cassette mix tape that I would eventually produce.  It’s the serenity of the track that draws me to it making for an appropriate and unsettling introduction to Dave Grohl’s power drumming that marks the start of the compilation’s second track, Nirvana’s Scentless Apprentice (from In Utero).   I’ve played that combination on many occasions; the way the two connect is so powerful that I still haven’t decided what will follow it.
In starting that mythical tape in this fashion, I want anyone who has read Nick Hornby’s book High Fidelity, or seen John Cusack’s movie adaption, to understand that l have not been influenced by the rules of compiling a mix tape that he outlines.  My own personal approach in compiling a tape is to ignore all rules other than one guiding principle.  It is that each track should be programmed as a reaction to the one that precedes it.  Ideally that can mean a clash of music style, lyrical content, tempo, etc but the reaction can also be something that extends or compliments the predecessor.  Each side of the tape should also have a definite start and end (i.e ensuring these react to each other), and the final track should hark back to the opener (once again a reaction) in some way.  In my latest mental version of the tape, the final track is Sun O)))’s 16 minute opus Alice. Although an instrumental like Journey In Satchidanada it ploughs a completely different musical path but also binding the tracks together is that Sun O))) track is a tribute to Alice Coltrane.

Another reason I wanted to start the tape with this track lies in that it jazz, a form of music that I love and would otherwise have difficulty inserting into the song sequence. Even more importantly is that the track highlights the harp, one of the least featured instruments (Alice Coltrane and Joanna Newsome apart) in my collection. My thought is that anyone thinking they would have a handle on my musical taste would immediately be thrown into a state of confusion and anyone without a frame of reference would remain non the wiser for the duration of the track.  In either scenario, this would magnify the impact of the Nirvana track as it kicks in. 
A key to my approach was going to be my suspicion that the great majority of listeners are unfamiliar with this magnificent piece of music.  Unfortunately, and to my great annoyance, in recent years the track has started to pop up in some compilations.  It is reportedly a favourite of Paul Weller’s who has apparently included it in no less than three separate compilations of his. This connection might also explain why it appears as the opening track on the CD soundtrack  the Glastonbury Concert documentary.  But I will not resile!  It (and the Nirvana Track) will kick off that tape if I could ever compile it to my satisfaction.  All I need to do is factor in the Sun O))) track, The Flaming Groovies Shake Some Action,  something by Sonic Youth, Otis Redding and The Boss (all obviously), Arthur Conley’s Sweet Soul Music, Dylan’s Changing Of The Guard, Pere Ubu’s Non Alignment Pact, Faust’s Krautrock, Son House’s John The Relevator (for a long time the opening track until I found the Coltrane track), a track by The Saints (either I’m Stranded, This Perfect Day or Know Your Product), The Stone’s sledgehammer version of Street Fighting Man from the Nasty Music bootleg, Led Zeppelin’s Kashmir, Cold Chisel's Houndog, Aretha Franklin’s version of The Weight, an example of King Tubby’s dub genius, The Stooges Search And Destroy, Max Romero’s War Inna Babylon, The Fall’s How I Wrote Elastic Man, The Deftones’ Pink Maggit, The Go Between’s Apology Accepted, Johnny Cash’s version of Hurt, Lou Reed’s The Blue Mask, The Replacements’ Answering Machine, Come’s Off To One Side, the Pixies Gouge Away, Patti Smith’s  Gloria, The Sex Pistols God Save The Queen, The Screaming Trees’ Gospel Plow, Pavement’s Cut Your Hair, The Supersuckers’ Born With A Tail,  Van Morrison’s Wonderful Remark, Faith No More’s Epic, Primal Scream’s Accelerator, Radio Birdman’s New Race, The Powdermonkey’s Straight Until Morning,  The Black Crowes’ Remedy, Television’s live cover of The Stones’ Satisfaction (hear it on The Blow Up), The Supremes Reflection, Elvis Presley’s If I Can Dream, Husker Du’s You Can Live At Home, Neil Young’s Campaigner, Pink Floyd’s Time, the version of Metallica’s Masters Of Puppets from the S+M album, the long version James Brown’s Say It Loud (I’m Black And I’m Proud), The Chemical Brothers Private Psychedelic Reel, the unadorned version of The Beatles While My Guitar Gently Weeps from Anthology 3, The Afghan Whigs’ Faded, Richard Hell’s (I Belong To) The Blank Generation,  the live version of AC/DC’s For Those About To Rock (We Salute You) from the Backtracks box set in front of a crowd of crazed Moscowvites………

Thursday 1 August 2013

29 July 2013 (Day 210) – J.J. Cale

Still feeling the effects of my bronchitis, I returned to work.  After a couple of weeks away, there was much to do, my most pressing concern being the need to work up a presentation I have to deliver at a prestigious seminar next week.  This task is not helped by a number of coughing fits and an inability to concentrate for lengthy periods, usually a massive strength of mine.  I also worked with a heavy heart after hearing about the death of J.J Cale.

I can’t say that I’m been a lifelong Cale fan but I’ve learnt to appreciate his influence over modern music.  Indeed there was a period of time where I resented his influence, particularly over Eric Clapton’s solo work, assuming that he was solely responsible for Slowhand’s retreat from the fiery rock of Derek And The Dominoes towards a quieter, more reflective sound. 
It was only as time went by and I realised it’s far more satisfying to have access to a much wider musical palate that the penny dropped.  I learnt that Cale knew how to exploit guitar virtuosity without ever having to resort to loud and lengthy soloing.  Listen to his best records and it becomes apparent how he draws attention to the best musical elements in each track, including his distinctive Southern drawl, without ever compromising the song.  And yet, almost inevitably, attention is drawn to his sublime guitar work irrespective of whether it’s just a brief lick or a solo. No wonder Clapton was drawn to him.  Although the music has a leisurely, unfussed quality, it is actually quite intricate and listening to it on headphones is a rewarding experience.

And so in tribute to the man, I set my iPod to its sole Cale album on repeat, fastened on my headphones and set the volume to low;
(# 534) J.J Cale – Anyway The Wind Blows.  The Anthology [disc 1 only] (1997)

This is a two disc 50 track overview of Cale’s career and Disc 1 covers his most influential recordings.   Call Me The Breeze (later covered successfully by Lynyrd Skynyrd), Crazy Mama, I’ll Make Love To You Anytime, Don’t Cry Sister, Magnolia, After Midnight and Cocaine are all present and accounted for in remastered versions.  But there’s lots of other tracks to enjoy including Midnight In Memphis, an evocative instrumental; Lies, with its incredibly distinctive Claption sound alike guitar lines; the Santana influenced Durango and Sensitive Kind with its deft use of strings.