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Monthly Archives: August 2010
Dub Collison mix: Mama Told Me (Not to Come)
1 AARON NEVILLE Bridge Over Troubled Water 4:59
2 ALLEN TOUSSAINT St. James Infirmary 3:51
3 GLEN & MARKETA Falling Slowly 4:50
4 BOBBY WOMACK Fire And Rain 4:30
5 BEACH BOYS God Only Knows (a cappella) 2:47
6 JAMES TAYLOR & CAROLE KING Something In The Way She Moves 4:38
7 WONDERMINTS Getting Better 2:49
8 BOBBY CHARLES Tennessee Blues 5:29
9 BOB DYLAN If Dogs Run Free 3:40
10 JACKIE DESHANNON The Weight 3:04
11 AMOS GARRETT River’s Invitation 3:46
12 DAVE LINDLEY Bye Bye Love 2:55
13 THREE DOG NIGHT Mama Told Me (Not To Come) 3:19
14 CAT POWER (I Can’t Get No) Satisfaction 3:05
15 BRAD PAISLEY Let the Good Times Roll (feat. B.B. King) 5:28
16 NEW PORNOGRAPHERS Moves 3:52
17 JELLYFISH All I Want Is Everything 3:12
18 FEIST My Moon My Man 3:06
19 FLEET FOXES Meadowlark 3:11
20 THE WOOD BROTHERSThe Truth Is the Light 2:40
Earlier this summer we went to my wife’s high school reunion. I watched with interest as the DJ set up his rig. He didn’t bring any CD players. Instead he hooked an iPod and a computer to the sound system. His mix started out hit-or-miss but then he found a groove with typical baby boomer oldies, circa 1970. Since he seemed to be thirty-something, I was curious about his process of selection. I went up and asked him.
He told me, ‘As people suggest tunes I plug them into iTunes and then iTunes suggests other tunes and I cue them up.’ I thought to myself, ‘…kind of takes the matter of your own tastes out of the equation.’
I was reminded of the several occasions when I leveraged my own reputation as a music fanatic to gain access to the DJ spot. It’s enough to say, this didn’t work out very well. I have no feel for the hits, having turned off the radio in favor of my own mixology along time ago, say, around 1970!
However, another opportunity presented itself this summer. With more than a little trepidation, I assembled a 90 song playlist on my iPod and was ready to sin against the lowest common denominator. I took considerable care in putting together a long playlist of oldies and classic jazz and just a few oddball, albeit conservatively oddball picks.
It was not to be. My iPod didn’t issue a note when plugged into the Bose station. Fortunately, plan B was ready to go. A guy helping out had his iPhone, and his iPhone could access Pandora. Pandora, like the earlier party’s DJ leaning on iTunes, streams custom created “sets” which take a few user choices and formulates further choices from them. Automates the setlist. Cool, and it worked out well.
Here’s a Dub Collision mix taken from the long playlist, and, highlighting most of the oddball choices.
Mama Told Me (Not to Come) | mp3-320kbs – Rapidshare
Posted in Dub Collision Mix
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Soul Moves 1000 Miles From Memphis
3 stars
1/2 star
The new records by radio icons Sheryl Crow and Cyndy Lauper showcase, no doubt, the singers’ deep desire to make soul and blues music for their aging audiences. Because both established long ago their stylistic ranges, both records come across as experimental self-indulgence. Each also slides into the odd ‘career move’ track of many an aging musician whose recognizable niche has lapsed.
Crow, when she stays in the range of mildly gritty L.A. folk-rock and pop, has proved an enduring hit maker. Lauper, who burst on the scene as a quirky singer of MOR rock melded with dance-pop, has, over the last ten years, wed her–nowadays–creaky soprano to a chameleon-like ability to tune into what’s left of radio-friendly pop trends.
Here both make left turns onto the soul road. It provides an object lesson in the risk of self-indulgence. I don’t like to thrash music on the blog, but Crow’s record, 100 Miles From Memphis, is excruciatingly mild and denatured. She doesn’t have a stirring voice, yet the problem is the gulf between the expert backing and her seemingly complete lack of feel for the material. When I finished listening to it, I thought, ‘Well, strip the vocals and you have an excellent karaoke bed.’ Too bad, Sheryl chose to lie in it. Stick with Nora Jones, folks.
Cyndy Lauper, on Memphis Blues, compensates for her own unlikely appropriation of bluesy material, by simply wailing through the tunes, and doing so with help from Allen Toussaint, B.B.King and Anne Peebles. The result is a mediocre soul/blues record, but a pretty good blast of Lauper having a bunch of fun. Her greater emphasis on a kind of blues party atmosphere helps. Enjoyable; I hope Cyndi got it out of her system.
Still, I think, ‘poor Memphis.’ Now, where did I put that Betty LaVette CD?
Musical Mondo Cane: Wayang Orang Hutan
Four Orang Hutan lost their habitat in the forest of Kalimantan (Indonesia) and decided to play in a band they named “Wayang Orang Hutan’ in order to sustain their lives in the cyber world. Campaigning for Education, Health, Justice and Ecology, they are heroes indeed, therefore if you want “to save the planet, then save the WOH
The band is virtual and from Bali. Wayang Orang Hutan, led by Igor Tamerlan.
Igor Tamerlan at soundfoundation
Golden Lady
Abbey Lincoln passed away yesterday. Although it is always impossible for me to rank a favorite singer to be second-to-none, I can almost do this in Ms. Lincoln’s case. Her artistry as songwriter and singer was focused on moving the Great Black Music forward. At the same time, she is rightfully the most gripping and deepest of the heirs to Billie Holiday’s swinging deep-soul music.
Abbey has made a lot of superb records over her fifty+ year career. In a more wide-awake cultural circumstance she would be known by many many more as one of the great American singers. Start with You Gotta Pay the Band (1991, with Stan Getz,) and work in both directions.
I first heard Abbey Lincoln on Max Roach’s 1962 masterpiece, It’s Time. She caps the record with her song Lonesome Lover. I tracked down the few of her records one could acquire at the time, around 1978. I did happen upon scratchy copies of her classic record for Riverside, That’s Him, and her debut record. The trajectory of my tastes and enthusiasms in jazz singing begin with Lincoln and the singer she is related most to, Billie Holiday.
Beginning in 1980, she began to record more regularly, and, eventually I tracked down all of her records–because I wanted to hear every recorded note. She’s a cornerstone figure for me, and, when people speak of ‘spiritual jazz,’ she and Alice Coltrane are twin highest goddesses.
Sometime around 1984, me and some friends got in a car in the dead of a Vermont winter to make the trek to The Rising Sun in Montreal to pay hommage to, and hear, Ms. Lincoln. It was the kind of road trip where a half hour into it, trying to stay on Route 7, we all thought ‘we must be a bit crazy to be driving in this nasty weather.’ Then the weather turned ugly.
Making our way very carefully north, we got to the Rising Sun, made our way up the stairs and turned into the long rectangle of the club. Hardly anybody was there. This changed in a minor way, for another group had hit the bottom of the stairs. In any case, we turned toward the small stage and saw a set up for Abbey’s backup trio and a bunch of empty tables. We made our way to the front most table just a few minutes before the announced starting time for the concert. The party behind us grabbed a front table.
Then, Doudou Boicel, the renowned Montreal jazz maven and owner of the club, announced the main attraction. The trio, led by pianist Phillip Wright, played several songs. Then Wright introduced Abbey.
Unaffected by the miniscule turnout, she launched into a glorious opening set. Here’s the kicker: ten feet away, the singer not only beguiled, she also made laser-like eye contact with each of us. I have never before or since, listening to a singer, felt the direct physical connection Abbey created on this night, as she brought many moments of song in through the so-called window to the soul. Needless to say there was no problem hanging around for the slightly more populated second set. She sustained this direct connection throughout the evening. This evening’s experience remains for me one of the high points of being a fan of the human voice.
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Lonesome Lover; w. Max Roach, 1962
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I Should Care; unreleased, 1999
NPR’s Jazz Profiles section has a series of terrific interviews with Lincoln and her colleagues.
