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Strive at all times to bend, fold, spindle, and mutilate.

Les Crane, 1935-2008

So I guess it's an indication that the unnecessary music trivia is finally seeping from my mind, that I didn't see the Les Crane obit yesterday and immediately think, "Oh yeah, the guy who did 'Desiderata,'" as I probably would have 10 years ago. But lately between everything I haven't had much time to 'go placidly amid the noise and haste' and retain stuff like that (or upkeep a blog apparently). So I didn't pick up on the the fact that Crane was the 'recording artist' behind the 1971 pop-mystic novelty hit until I discovered it buried at the end of the NYT piece, which included a quote from Les basically disowning the song.  (“I can’t listen to it now without gagging,” he told The Los Angeles Times. - way to dis your loyal fans there, Les!)

But anyway, 'Desiderata.' Kitschy, certainly, and ripe for parody (see below). But it holds up in the line of spoken-word one-hit wonders that would stretch at least from 'Ringo' to '(Everybody's Free to Wear) Sunscreen'. And a fine tradition it was, too - though is there still a place in the world for the spoken-word novelty record? Probably not at this point...

Of course no discussion of "Desiderata" would be complete without its answer song "Deteriorata." This one from '72 comes courtesy of the National Lampoon, and was in fact written by Tony Hendra and Christopher Guest, who went on to greater things as manager and lead guitarist of a band of some note 10 years later....

Random iPod Shuffle segue of the month

Iron2020wine

Iron & Wine into John_martyn_2

John Martyn.  Oh yeah, thanks for pointing that one out, little fella.  I guess every generation needs their own breathy bearded not-really-folky troubadour...

Checkin out Scott Walker

Rhapsody informed me this morning via a prominent homepage positioning that there's a Razor and Tie compendium of SCOTT WALKER tracks.   (Not sure why they chose to spotlight it now, since it came out in '96, but there you are...)  Walker is a cult figure who's long cited among the cognoscenti - I guess if you like Lee Hazelwood and Wes Anderson soundtracks, youScott_walker_rhapsody 'll probably be into Scott Walker.  Here's the Rhapsody blurb:

Practically unknown in the U.S., this American became a cult star in the U.K., where his bleakly romantic songs had a profound influence on everyone from David Bowie and Roxy Music to Julian Cope and Nick Cave. This set is poorly sequenced but there's no faulting the brilliance of cuts like "The Old Man's Back Again," "The Little Things…" and the rain-soaked title track.

I'm all for collecting UK semi-obscurities - hey I even bought the Chris Farlowe album, in search of the original version of "Handbags and Gladrags", though I don't think that's it...

So I checked this out.  There's some wierd shit on there - highlighted by (naturally) a couple of notable Jaques Brel covers - "Next" seems to be a story of an angst-filled Army induction (and sexual initiation) set to bullfight music, which commences with the image of our narrator "naked as sin, an army towel covering my belly" and just gets stranger from there...  Meanwhile a couple other songs even call to mind Frank Sinatra, esp the "It Was a Very Good Year" type crooning - and both those influences then point to a straight line toward Bowie's turn-of-the'70s theatricality on "Space Oddity" and "MHSTW."

So there you are -- I played it through a couple times, and saved it to my library - time will tell how often I go back to it...

Isaac Hayes, all in my brain

The punchline of the old joke with the subtext of "these damn kids have no sense of musical history" used to be "you mean Paul McCartney had a band before Wings?" - but even that's out of date now. These days (or at least, a few years ago) a more apt analogy would be "you mean Chef Chef was a Singer before South Park?"

Not only was Isaac Hayes a singer, he was also one of the true genius producers of early 70s. His records, as well as those he made for other Stax performers, just sound amazing, creative, groundbreaking, and more. Certainly the Theme from Shaft has made him a fine career (and hopefully some good bank over the years) and it's a fine place to start - everyone knows that wocka-wocka guitar, and there's also that quick riding on the hi-hat, the horn stabs and more making this a tour de force. There's a lot more where that came from - Walk on By, with its epic strings and fuzz-guitar combo later sampled by the Wu Tang Clan. Likewise Ike's Rap II, with a slow and low groove used by both Portishead and Tricky.

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And then there's Ike's version of By the Time I Get to Phoenix, which starts with a 3-1/2 minute spoken intro telling the backstory of the song, all done in a gospel sermon style. Not fire-and-brimstone preaching, but just a soulful story telling backed with a quietly powerful organ and drum sound, that makes me want to yell 'tell it brother!' with all my white heart...

John Peel

When the news re John Peel dying came out last week, it was a pretty big shock and bum-out to everyone who loves discovering great bands and the power of radio to inform and inspire; but I couldn't bring myself to do another 'goddamn death dedication' here just a couple weeks after Johnny Ramone & Russ Meyer. Then my friend David Bassin (who by the way, does a great weekly electronica/funk-jazz/etc. radio show on KUSF San Francisco, available anytime on Live365.com), sent the following message as an e-mail to friends:

Last Tuesday around 7am, I sat down at the computer with my morning coffee and checked the news. I froze when I read the headline, "John Peel: Dead of a Heart Attack at 65." One of my heroes was gone and it was an unexpected shock. I went to work and fought to maintain my composure the only way I knew how - by keeping as silent as possible. I got home that night and began prepping for my show, but then I lost it. I sat down and thought about the man who had meant so much to so many and I remembered this story:

A little over 20 years ago, I was working for the U.S. arm of Rough Trade, the fiercely independent British indie label. One of my counterparts in the UK office would often send me cassettes of John's radio programs and I would listen to them over and over, absorbing the new sounds, John's droll sense of humor and of course, his legendary "Peel Sessions."

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Prior to traveling to London in 1983, I sent John a letter expressing my interest in meeting him during my trip. The night we arrived, I turned on the radio and was thrilled to be hearing him live for the first time. I called the Radio 1 switchboard and the receptionist said, "John never takes calls while he's on the air, but I'll check." A minute or so later, he picked up the phone, we chatted briefly and he invited me down to the BBC. A day or so later, I showed up at the studios and when I entered his office, I found John seated in a chair, opening a stack of packages that rose nearly to his chin. "I'm sorry," he said, "I'd get up, but I'm just too tired." We laughed, chatted for a few hours and he later hooked me up with one of his producers, who ran off copies of the New Order sessions that had recently been recorded. That evening, I sat in with him while he did his show, all the while a little awestruck.

What impressed me the most however, was his generosity and enthusiasm for the music he introduced to his audience. He wasn't trying to be "the king of all media" - he was just a man who loved his work and loved sharing it with others. When the BBC began live streaming over the Internet, I would listen to John's shows as often as possible and was delighted to hear that he hadn't changed a whit. The music was still exciting, often aggressive, unlistenable and stood out from the other BBC DJs (with the exception of Gilles Peterson), who were charged with playing the sappy pop and top-40 dreck of the moment.

As the years passed, John's airtime on Radio 1 was increasingly marginalized as the station sought to fill the evening hours with more of the same commercial programming that ruled the rest of the dayparts. He began a Saturday morning program on Radio 4 called "Home Truths," that dealt with family life, animals, hats and more. He passed away while on holiday in Peru with his wife at his side. John exemplified everything that I and many others working at non-commercial stations have aspired to in our DJ careers. We seek to educate and entertain - not with our egos, but with music that we love and wish to champion. If we are privy to a few perks along the way, that's cool, but it's more about "the nod" - the listeners who call because they can't wait for the break to know what it was you just played; the letters and e-mail thanking you for making a difference in their lives, even if it's only for a moment; the people who recognize your voice in a record store and introduce themselves as long-time fans.

That's why John did it. In his own unique, humble way, he changed the face of popular music and helped to launch the careers of many a pop star that might never have made it, were it not for his support and airplay. He was my hero and heroes are hard to find. He will be deeply missed.

Peelsessions

The Radio 1 and Radio 4 sites are filled with tributes from friends, colleagues and fans and there are several shows dedicated to his memory that can be streamed via RealAudio. I urge you to visit them before they're gone.

Which came first, the mash-up or the Missy Elliott record?

So Missy Elliott's 'Lick Shots,' came up on the player, and it took me a couple of minutes to realize that it was the Two Many DJ's mash-up version, and not the original. The track featured the distinctive guitar riff from Elastica's 'Connection' (which is actually the distinctive guitar riff of Wire's "Three Girl Rhumba" - my iPod was good enough to point that out by playing the original track a few songs later). But anyway, it didn't sound particularly out of context to hear the riff underpinning 'Lick Shots' - because Missy's best tracks might as well be mash-ups already. You never know what she and producer Timbaland might throw into the mix, from the genius bhangra sample in 'Get Your Freak On' to the demented Double Dutch interlude in "Gossip Folks."

The Voice of Pete (Townshend, that is)

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At their best, the Who bestrode a huge spectrum from Big Rock Power to Seeking and Questioning; but their non-album tracks that tended to surface, like "Pure and Easy" and "Let's See Action," were usually on the purer spiritual end of the scale. And they were sung by Pete. As a teenage Who fanatic who was wondering a lot of things about life, I felt a special affinity for those songs - as well as the 'Pete moments' that did make it onto the band's albums: the bridge he sang in 'bargain,' a lot of "The Punk Meets the Godfather" on Quadrophenia. So I occasionally thought 'why do they need Roger, why can't Pete just front the band, it would so much purer..."

But listening to all the original demos he's unleashed on comps like SCOOPED and THE LIFEHOUSE CHRONICLES (yes I admit it, I ordered the 6-CD import set via mail order) shows the folly of those thoughts. Pete's voice is a great sweetener and accent, but it's no main course when you want a full Big Rock Experience. OK, it's not a really fair comparison because they are just the demos, but the LIFEHOUSE album shows that Pete had worked out most of the music tracks for WHO'S NEXT on his own, so his own vocals for "Won't Get Fooled Again" and "Bargain" appear over nearly-finished music tracks - and make you realize "boy this needs Roger to really kick it..."

I guess Pete knew this and limited his own vocals, using the full spectrum of elements available on his palette. He knew that Roger ("some kind of rock sun god" he called him) had the presence and vocal charisma that his songs needed for full effect. And I guess I already knew this too - I mean I love WHO CAME FIRST but no one would argue that it has the same kind of power or visceral energy as the group's best albums together...

Spotlight on Arthur Conley now

Arthur Conley, 1946-2003. Conley was best known for the 1967 hit "Sweet Soul Music", which not only gave its name to a great Peter Guralnick book, it was also one of the best examples of this odd little sub-genre in the late 60's, of songs that namechecked other artists with little musical tributes built into the production.

I'm not sure if this song style had a name - catalog pop? not-a-ripoff-but-a-loving-tribute? - but some of the other examples that spring to mind are "Down in Monterey" by the Animals, and the incredibly dopey "I Dig Rock and Roll Music" by Peter Paul and Mary. Unfortunately (or not), it seems to have followed its cousin the break-in record down the road to vinyl obscurity...