#365AOTD 334 “Combat Rock” The Clash 1982

This is a public service announcement with guitar!

The only band that mattered was indeed The Clash– Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. My favorite band form the punk moment is these guys. The Strummer and Jones Clash produced five out of the total six Clash records and was only 7 years long. Even with all the band’s turmoil, they remain one of the most influential and important bands ever in music.

The Clash was first and foremost they began as a raw, all powerful punk prowess; straight up, in your face noise with driving force and energy. The beauty of these guys is they would add influences of reggae, ska, new wave, rockabilly, funk, hard rock and post punk to their music. Bonus, they were also just a fucking good band.

Every Clash album up until Jones’ departure from the group is good. And then there is the iconic “London Calling” LP which sits alone as one of the ten greatest records ever. Ever. As I sat watching MTV in my Ohio living room in the Summer of 1982, the video for Rock the Casbah was pretty heavy in the MTV rotation. This was my real entrance to The Clash. A few years later I would move to a suburb of Washington DC where Should I Stay or Should I Go became a high school staple song for a few friends and I. I then sought out the entire record where these two tunes lived. “Combat Rock” has remained my favorite Clash album and one of my go to discs for the past 32 years. “Combat Rock” also offers a myriad of scents and smells so there is something for everyone. Every song is good. I said every song. And I really won’t single out any single track today, but instead mention them all: Know Your Rights, Car Jamming, Should I Stay or Should I Go, Rock the Casbah, Red Angel Dragnet, Straight to Hell, Overpowered by Funk, Atom Tan, Sean Flynn, Ghetto Defendant, Inoculated City and Death is a Star. Yes times 12. Here’s a friendly reminder for you, “Combat Rock,” rocks.

I don’t feel that I have stressed enough about just how much The Clash meant to music. They continue to give and give and give. Now there’s a legacy for you that I don’t think they ever really intended to leave. Thankfully for us, it happened anyway.

#365AOTD 334 "Combat Rock" The Clash 1982

Drop your bombs between the minarets down the Casbah wayhttps://t.co/lXnymZjDJJ#TheClash

— Annette Gertrude (@djwurley) December 1, 2014

#365AOTD 333 “At Fillmore East” The Allman Brothers Band 1971

All Hail The Allman Brothers Band! Mighty. Mighty.

Exactly one month and a day ago, the current Allman Brothers Band line-up, which included three original members, Gregg Allman, Jai Johanny Johanson and Butch Trucks, along with Oteil Burbridge, Marc Quinones, Derek Trucks and Warren Haynes took there final curtain call at the Beacon Theatre as TABB came to a final end for the foreseeable future. Congratulations on 45 wonderful years of highs, lows, and everything in-between. It was an AMAZING run. Today we visit the original sextet’s legendary “At Fillmore East” record.

Regarded as the greatest live rock and roll album ever made, and you will get no argument from me to the contrary, The Allman Brothers’performances from a two night stint on March 12 and 13 in 1971 at New York, New York’s Fillmore East music venue, is the top dog, the gold medal, the blue ribbon and a grand slam all rolled into one. Rolling Stone Magazine lists this record at 49 on their 500 greatest albums of all time (a ranking that they seemed to have gotten correct). At just 7 songs, the original release featured blues staples and Allman Brothers’ originals: Statesboro Blues, Done Somebody Wrong, Stormy Monday, You Don’t Love Me, Hot’Lanta, In Memory of Elizabeth Reed and Whipping Post. I have no shout-outs except for the entire record. They are all top shelf! Okay, Okay, you have twisted my arm, one of my all time favorite songs is Betts’ Elizabeth Reed and this version is fab. And I will give a little something something to the 33 minute plus Mountain Jam from these shows that could be heard on the band’s Eat a Peach album; a tribute to group founder and guitarist Duane Allman who died less than four months after the “At the Fillmore” release, and on expanded editions of these original shows. These performances are some of Duane’s last and show why even with such a short lived life (he was just 24 when he died), he is still considered one of the all time guitar greats. Dicky Betts, the second lead guitarist of the band in those days, like Allman brings the farm to these songs. Berry Oakley, who would also die in a motorcycle accident like Duane Allman, blazes on the bass on the LP. Drummers Johanson and Butch Trucks bring four arms to the drums instead of the usual two; they kick ass and take a whole mess of names. And then there is Gregg. Not only is Gregg the only singer for the group, he is one hell of a organ and keyboard player. He gets overlooked in that category, I think, too often.

There is not much more to say about this high water mark album except it is still a spectacular record. Rock and roll is better because of this album and the guys who played on it. Again, I will sprout my gratitude about music and artists like The Allman Brothers. I have gotten to see them a handful of times through the years and have always enjoyed their music. How blessed am I? More importantly, how blessed are all of us?

#365AOTD 333 "At Fillmore East" The Allman Brothers Band 1971
Lord have mercy Lord have mercy on mehttps://t.co/lXnymZjDJJ#Allmanbrothers

— Annette Gertrude (@djwurley) November 29, 2014

#365AOTD 332 “Dots and Loops” Stereolab 1997

Every now and again an album comes along that can strike you in just such a way that it becomes apart of your own internal music library. I can still remember the first time that I heard “Dots and Loops.” It was probably about four to five years after it was released when I went to an acquaintance’s friend’s house. We were there to play some poker. Having a small boom box which played CDs as the vehicle to provide the evening’s music, my poker pal Pearce started track one of Stereolab’s fifth studio release. From the opening fuzz in Brakhage and it’s gradual build of layers of splendid noise to Laetitia Sadier’s singing these first lyrics, “We need so damn many things To keep our dazed lives going,” I was intrigued. As “Dots and Loops” kept playing I got more and more interested and eventually hooked from this very first listen. The rest is history, as they say.

Ask people what is the best Stereolab record and I think most would say “Emperor Tomato Ketchup.” This outstanding 1996 disc would have made a fine AOTD and I do love me some “ETK.” But for me, it’s the follow up to “Emperor” that is one of my staple albums by anyone. Shortly after that night of poker, I sought out “Dots and Loops” The appeal to this record for me is the absolute wonderful blend of art rock and electronica with what I would call a jazzy trip-hop base. Frenchwoman Sadier and the other female vocalist, the late Mary Hansen, provide singing in both English and French against, at times, atypical time signatures, textures of green and blue hues and an constant thread of cool. I can’t tell you exactly why this record has grabbed me like it has, I just know that I consider it in my top ten favorite albums of all time. All of the songs fit together in a perfect order and flow; I enjoy each one, but I guess I’ll mention a few that have a little extra hot sauce on them for me: Parsec, Rainblo Conversation, Miss Modular and Brakhage. My fav of the favs is the always pleasing Diagonals; If I had to only pick one from the record, then the slow 5/4 or fast 10/8, depending how you feel it, Diagonals would be the selection. Hell yes. But like I said, this album goes in my personal top ten list every time, so here are the remaining participants of “Dots and Loops:” Ticker-Tape of the Unconscious, The Flower Called Nowhere, Contronatura, Prisoner of Mars and the 17 plus minute Refractions in the Plastic Pulse. So good.

I definitely have tasted much of the other Stereolab catalogue and enjoyed the majority of it. There’s just something special about this one–I can’t stress enough the fondness I have for this record. As the year is winding down, I have saved some of the best albums for last. “Dots and Loop” undoubtedly fits that bill.

#365AOTD 332 "Dots and Loops" Stereolab 1997

Souviens-toi des vacanceshttps://t.co/lXnymZjDJJ#stereolab #dotsandloops

— Annette Gertrude (@djwurley) November 29, 2014

Stereolab:
Laetitia Sadier
Tim Gane
Mary Hansen
Richard Harrison
Morgane Lhote
Andrew Ramsay

Additional Personnel on “Dots and Loops:”

Rebecca McFaul, Shelley Weiss, Poppy Branders, Maureen Loughnane – strings
Paul Mertens, Dave Max Crawford, Jeb Bishop, Ross Reed – brass
Sean O’Hagan – piano, Fender Rhodes piano, Farfisa organ
Xavier “Fischfinger” Fischer – piano
John McEntire – synthesizer, percussion, vibraphone, marimba
Douglas McCombs – acoustic bass
Andi Toma – electronic percussion, sound effects
Jan St. Werner – sound effects, insect horns

All tracks by Tim Gane & Laetitia Sadier except Refractions in the Plastic Pulse by Gane, Sadier and Andrew Ramsay. ^

^http://en.wikipedia.org/wiki/Dots_and_Loops

#365AOTD 331 “Any Given Thursday” John Mayer 2003

I’m tired of being alone so hurry up and get here.

I feel like that I had already had John Mayer’s “Room for Squares;” a pretty hit the ball out of the park debut if I do say so myself, when I remember stumbling upon this live concert on PBS one day and thought, wow. It was the song Covered in Rain that got my attention. Then someone at work loaned me the double disc so I could burn it for myself. Then it was wow times two. The thing I love about this album and most of John’s work is how accessible he makes his music. I think of “Squares” as a straight up pop album. And let’s be honest, sometimes pop exactly what is called for. But John, at the beginning of his career, was much deeper than some pop-rock, teen idol. First and foremost, this guy can play the guitar. Now wouldn’t you know it, here is another person whom Rolling Stone has left off of there 100 Greatest Guitarists List. Clearly this is another example of how people have no idea what they are doing over there when they compile these things. Idiots, I say, Anyway, Mayer can hold his own with some of the rock greats like Clapton or blues greats, Buddy Guy and also plays more complex chords than the average bear. I really love his playing, which is a definitive plus on this record. Mayer also has a distinctive voice and a way he sings that some may not fancy, but I rather like. His phrasing and tone has this kind of cloudy quality to it. I know that seems like a weird sentence, but I am not exactly sure how to describe it. And when I say foggy, I do not mean that in a bad way. Perhaps I’m a digging myself into an unnecessary hole.

I really dig “Any Given Thursday” because it offers a nice sampling of John’s early years. Besides pulling ten songs from “Room for Squares,” the LP also features four other songs: Comfortable, Something’s Missing, Man on the Side, and Covered in Rain that Mayer or Mayer and his early co-song writer, Clay Cook wrote. John also gives nods to Stevie Ray Vaughn with his take on Lenny and Sting’s Message in a Bottle. I like every song here, but I will take a minute to speak of a few. One last shout out to Covered in Rain that “brings the room down, Skip” and takes you on a slow, worthwhile ride. Mayer’s sultry guitar solo builds from the ground up and takes you to the top floor with a spectacular view of the city at night. Take this trip. The second disc opener is the pop hit Why Georgia which Mayer begins with a song or snippet called Go Anywhere: “Fold me up, take me out, I’m portable.” I heart the Go Anywhere part of this version. It makes the Why Georgia even better, and it’s pretty good already.  I love it every time. Another great version on this album is Mayer’s 83. Like the Why Georgia, Mayer intros with wonderful chords. It is so pleasing to my ear. They smile. One of my all time fav songs makes “Any Given Thursday.” Written by Cook and Mayer, check out these terrific, image-evoking lyrics of Neon:

“When sky blue gets dark enough
To see the colors of the city lights
A trail of ruby red and diamond white
Hits her like a sunrise

She comes and goes and comes and goes
Like no one can

Tonight she’s out to lose herself
And find a high on Peachtree Street
From mixed drinks to techno beats it’s always
Heavy into everything

She comes and goes and comes and goes
Like no one can
She comes and goes and no one knows
She’s slipping through my hands

She’s always buzzing just like
Neon, neon
Neon, neon
Who knows how long, how long, how long
She can go before she burns away

I can’t be her angel now
You know it’s not my place to hold her down
And it’s hard for me to take a stand
When I would take her anyway I can

She comes and goes and comes and goes
Like no one can
She comes and goes and no one knows
She’s slipping through my hands

She’s always buzzing just like
Neon, neon
Neon, neon
Who knows how long, how long, how long
She can go before she burns away”

Not only are these words perfect, the song produces an emotional response for me. Whether it is the version found here with the full band and another interesting improvisational intro, or the studio Neon or even the acoustic Neon; just John and his guitar, I am a Neon fan always. It also showcases some of the guitar chops of John’s that I was mentioning earlier.  Props also go to the other musicians that shared the stage with Mayer on “Any Given Thursday:” Michael Chaves – keyboards, guitars, backing vocals, David LaBruyere – bass guitars and Stephen Chopek – drums, percussion.

On this day of giving thanks, I don’t get tired of declaring my humbled gratitude for music. It’s one of the greatest gifts of my lifetime. Today, John Mayer’s art and music was as front and center as turkey, pumpkin pie and a parade (Oh, how I love a good parade!).

Gobble Gobble.

#365AOTD 331 "Any Given Thursday" John Mayer 2003
But you could distinguish Miles from Coltranehttps://t.co/lXnymZjDJJ@JohnMayer

— Annette Gertrude (@djwurley) November 27, 2014

#365AOTD 330 “My Father’s Face” Leo Kottke 1989

Everyday in the morning when you get up and you crawl out of bed, and you crawl out of bed, and you crawl out of bed…

In recent posts I have been mentioning my college friend Crane. Back in those days, she became smitten with fellow student Jamie. They started courting, yada, yada, yada, and eventually got hitched 14 years ago. I have several found memories of Jamie from this time in our lives. Perhaps the most famous is when we saw a Rolls Royce and asked the chauffeur if he, had by chance any Grey Poupon? You do recall those commercials don’t you? Well by George, He Did! Now for young 20 somethings, this tickled us to now end. Oh how those were the days. Later that evening Jamie and I were invited to a swanky party for the people we were temporarily working for. Here is another infamous moment where yours truly had way too much to drink and had an incident in the bathroom with my skirt. It wasn’t as bad as you might imagine, but there was dram-a none the less. Did I mention that I had been consuming alcohol? As I carefully stumbled down the big-ass stair case, it was Jamie who came to my rescue and drove me home. Whew. I may still owe him one for that night. Something else that Jamie did was introducing me to Leo Kottke; specifically this AOTD, “My Father’s Face.”

It’s Thanksgiving Eve and it’s cold, raining and there is a threat of some snow later this afternoon. This should make for a fun commute to my part time job in a few. I shalln’t complain when others parts have recently gotten crazy amounts of snow; and nearer to me, they will get snow, too. I think my turkey neck of the woods will get spared much of the white stuff. So what’s a little rain really? What has already made the day a little warmer was Kottke’s 15th studio release. Before I get into the nuts and bolts of “My Father’s Face,” let’s just get the obvious out of the way now, if you are not aware, Leo Kottke is a guitar virtuoso. Using his own unique fingerpicking style, Kottke creates syncopated and polyphonic melodies. He draws on influences from blues, jazz, and folk music in his playing.^ In my #365AOTD 322 post on Joni Mitchell’s “Court and Spark” I criticize Rolling Stone Magazine’s 100 Greatest Guitarist list because they had Joni too low. I also give that list hell in my #365AOTD 296 blog for omitting Ani DiFranco from the ranks. Perhaps the greatest mistake is excluding Leo Kottke. Because of this, the entire list should be null and void. I am not overstating what a sensational guitarist Kottke is. He is all that plus a factory filled with bags of chips. Oh dear, I seem to be getting sidetracked as I am known to do. Where was I? That’s right, “My Father’s Face.”

One short of a dozen songs, this disc showcases Leo’s amazing playing ability while offering music that makes you feel good. His sound blends the genres that I have already mentioned, blues and jazz with a smidgen of new age and several cups of acoustic new folk. Leo will also occasionally sing a few numbers. His baritone voice reminds me of a cross between Leonard Cohen and Bruce Cockburn. Plus, having a sarcastic, biting sense of humor, his lyrics cut to the point, “Why can’t you fix my car? What kind of fool you are?”

The entire record is enjoyable, but If I had to pick a couple of my favs I would have to say, Theme from “Rick and Bob Report,” B.J., Times Twelve, Mona Ray, Back in Buffalo, Jack Gets Up, Why Can’t You Fix my Car and William Powell.

This just in, snow is now mixing with the rain outside. I better go and prepare for what is to come. I do have plenty of toilet paper and milk in the house.

#365AOTD 330 "My Father's Face" Leo Kottke 1989

Everybody tries, everybody lies.https://t.co/lXnymZjDJJ#leokottke

— Annette Gertrude (@djwurley) November 26, 2014

^http://en.wikipedia.org/wiki/Leo_Kottke

#365AOTD 329 “Illmatic” Nas 1994

I’m a addict for sneakers, twenties of Buddah and bitches with beepers
In the streets I can greet ya, about blunts I teach ya
Inhale deep like the words of my breath
I never sleep, ’cause sleep is the cousin of death
I lay puzzle as I backtrack to earlier times

I have mentioned on more than one occasion that I don’t get enough hip-hop in my life. I’ve also talked about missing things because of a strong focus in other genres or specific groups. In 1994, I was immersed in the Grateful Dead, beginning my love affair with Phish, and generally focusing on rock and jam band music. I was definitely not attending the emerging hip-hop party. 20 years later, I am just now coming to Nas’ historic “Illmatic” record. Luckily, the invitation to experience this groundbreaking East Coast Hip Hop album has always been open. Better late than never.

I am reluctant to admit that I hadn’t even heard of “Illmatic,” let alone Nas until recently. I know this is unacceptable. Believe you me, I realize the error of my ways. If music is your drug like it is for me, I think it’s important to listen to the best in all of the variety of genres that music avails us. Obviously we all have different tastes and flavors that ignite us or turn us on. Still, stepping out of my preferences and in some cases my comfort zone is exactly why I did this year long project in the first place. For example, yesterday’s AOTD was opera of all things. I’ve never been into opera, but listening to one of the greatest ever composed, I was able to have a much bigger sense of how great opera can be and a newfound respect for it. Plus, good is good no matter what it is. So when you want some of the best of the best in the world of hip-hop and rap, then you must choose “Illmatic.”

After only a few tracks in, I immediately got the essence of this landmark LP. Nas and company, AZ, Q-Tip and Pete Rock capture the vibe of a time and place so accurately that I can almost breath the air on the streets. I am not a member of this culture, nor would I try to say that I could relate or know about the many themes of this record. However, like any great art, I have the ability to imagine and connect because of Nas’ vivid and literal imagery. Nas speaks of the world around him, presents it with no alterations or censorship and invites us in to feel it. Here is a snap shot from Memory Lane (Sittin’ In Da Park):

“I rap for listeners, blunt heads, fly ladies and prisoners
Hennessy holders and old school niggas, then I be dissin a
Unofficial that smoke woolie thai
I dropped out of Cooley High, gassed up by a cokehead cutie pie
Jungle survivor, fuck who’s the liver
My man put the battery in my back, a difference from Energizer
Sentence begins indented, with formality
My duration’s infinite, money-wise or physiology
Poetry, that’s a part of me, retardedly bop
I drop the ancient manifested hip-hop, straight off the block
I reminisce on park jams, my man was shot for his sheep coat
Chocolate blunts made me see him drop in my weed smoke.”^

While the lyrics on this album are poetry in motion and can stand alone, it’s the marriage of these words with wonderful beats, and soul-jazz samples that make “Illmatic” infectious, inviting and intoxicating. This combo is genius. I know how important the lyrics are for this record, but the music alone will keep me coming back again and again. I see now why it has received all of the accolades that it has. “Illmatic” is perfect. End of sentence, paragraph and blog.

#365AOTD 329 "Illmatic" Nas 1994

I rap in front of more niggaz than in the slave shipshttps://t.co/lXnymZjDJJ#Nas #Illmatic

— Annette Gertrude (@djwurley) November 25, 2014

^written by N. Jones, C. Martin, R. Wilson and P. Barsella

#365AOTD 328 “Rossini: The Barber of Seville” (1816)* James Levine, London Symphony Orchestra 1975

When I decided on this project, I knew I wanted to do an Opera. Because I’m not a go to for opera, I asked my college choir director, Alexa, an accomplished opera singer in her own right, what she suggested. Without giving any other choices and with no hesitation, she recommended “Il barbiere di Siviglia.” She also added to hear the one with renowned soprano Beverly Sills. I heeded her advice on both counts.

Composed by Gioachino Rossini, with an Italian libretto by Cesare Sterbini this opera buffa premiered in Rome in 1816. Based on Pierre Beaumarchais’s French comedy Le Barbier de Séville (1775), “The Barber of Seville” is probably considered the greatest comic opera ever composed. ^ Whilst I won’t explore the plot, you can read a synopsis about the opera here. What I can say is that after two and a half hours, I am exhausted. I wish I had a time for a nap. Actually, with nothing to compare it to, this recording of “Barber” is stellar. Never doubting her taste, I see why Alexa picked this one. Sills is stunning as Rosina as are the rest of the ensemble. I have spent a few blogs this year talking about some of the greatest singers in popular music. And while I stand by my own personal opinions about whom are the best and the ones I like the most, let’s stop the presses right now and give an enormous shout-out to the amazing singers on this recording and to all the great opera singers as a whole. It is extraordinary what these artists are able to do with their instruments–the voice. Unless you are immersed into the genre, we unfortunately never give opera performers their do. My guess is that they are okay with this. Their mere act of singing such wonderful music like Rossini’s “Barber,” is a sacred act of God. After today’s listen I fully understand the attraction to opera and hope that I will do a better job seeking it out now and then.

All be it long, this was a joy today to listen to Rossini’s spectacular score and all of the musicians and vocalists on this “The Barber of Seville” offering. During this week of thanksgiving and gratitude, I am again humbled and in awe of the breadth of music.

https://twitter.com/djwurley/status/536961752379162624

*”ROSSINI The Barber of Seville”
James Levine, conductor; Beverly Sills ( Rosina ); Nicolai Gedda ( Almaviva ); Sherrill Milnes ( Figaro ); Renato Capecchi
( Bartolo ); Ruggero Raimondi ( Don Basilio ); Fedora Barbieri ( Berta ); John Alldis Choir; London Symphony Orchestra.

Labels, EMI Classics, 1975 Warner Classics, 2007

^http://en.wikipedia.org/wiki/The_Barber_of_Seville

#365AOTD 327 “Belafonte at Carnegie Hall” Harry Belafonte 1959

She take me money and run Venezuela.

I attended junior high school in the town of Barberton, Ohio. Shout out to their famous chicken restaurants. There is nothing like Barberton Ohio chicken. Anyhoo, when I was there, there were a couple of guys who created their own Harry Belafonte fan club. Yes, that’s correct. It was the early 1980s, and these fellow band mates weren’t making a group about Michael Jackson, Duran Duran or Madonna, mind you, nor were they paying homage to any of the heavy rock and roll greats from the previous decade. No, these peeps were all about Harry. I think because of their shenanigans, this was the first time I really knew about Mr. Belafonte. I suppose I had heard Day-O, and my grandparents had a greatest hits collection on 8 track of his that I may have been familiar with. Still, I haven’t forgotten about the Harry Belafonte Fan Club back in the day.

Further back in the day, Harry Belafonte performed two shows at Carnegie Hall in April of 1959. At just 33 years old, Harry takes the audience on a cultural trip through song exploring the plight of the American Negro, visiting the shores of the Caribbean, and singing a folk songs from a variety of countries. Who else but Harry could give you such a varied set list while subtlety sending the message of the importance of civil rights, justice equality and acceptance of all peoples? His genius is that you have no idea that there is even an agenda. His selection of music speaks volumes. This recording opens with Darlin’ Cora; a song that talks of a man on the run from law because he “whopped that man and he fell down where he stood.” He wants to see his love Cora one last time before he leaves town: “Been working for my pay for a long, long time, how come he still calls me boy. Well I’d rather drink muddy water and sleep in a hollowed out log than to hang around in this old town and be treated like a dirty dog.”

Harry continues with Sylvie, John Henry, Cotton Fields and the always fun The Marching Saints. One of his most famous songs, Day-O (The Banana Boat Song) begins our tropical trip to the islands, mon. Many are found of Jamaica Farewell, but I have always enjoyed the tongue and cheek Mama Look a Boo Boo. And if you are a Dead Head like myself, you will recognize Harry’s take on Man Smart (Woman Smarter), “That’s right the women are smarter.”

With tunes like Hava Nagila, Shenandoah, Cucurrucucu Paloma and Danny Boy, Belafonte touches on three continents and four different heritages. The final song of the evening is the show stopper, Matilda. The same college friend that I mentioned in yesterday’s AOTD post, and let us just call her Crane, used to say that when Harry says “everybody” in Matilda, that it indeed meant everybody and you were to join in the singing festivities immediately. I still do to this day. With Matilda, Belafonte holds the audience in his hand. They eat it up when he asks certain sections of his band and then members of the crowd to sing the chorus. For example, Harry asks for “just the big spenders, or those people on scholarship” to take a turn singing; roars of laughter and applause enuse. And then like clock work he pleads, “everybody.” He is also not shy about pointing out when the audience just can’t seem to stay on beat, “there’s quite a lag isn’t there,” he states. At the same time, he encourages them after they have just sang their parts with words like, “Splendid, Delicious and Scrumptious. And…..”EVERYBODY!”

One of the facts about the legendary Harry B that I believe gets over looked is that he is a phenomenal singer. From the opening notes of the concert , he brings the goods. And if you hear his version of Danny Boy on here and you are not impressed, then you should consider making an appointment with your ENT, to have your ears checked. He could hold his own with any crooners of the day. His phrasing, tone and timbre are really something.  We tend to forget what a talent he is because of the multi-dimensional career and life that he has had. At 87 years olds, hats off to you Mr. Belafonte for such an extraordinary life well lived and fought for, and for today, a thoroughly thoughtful and enjoyable record.

#365AOTD 327 "Belafonte at Carnegie Hall" Harry Belafonte 1959

Women over forty…http://t.co/tUnQyPCP2G#HarryBelafonte @harrybelafonte

— Annette Gertrude (@djwurley) November 23, 2014

#365AOTD 326 “Blue Skies” Cassandra Wilson 1988

 

Ladies and gentlemen, we are so happy to bring you “Blue Skies,” a play in two acts and starring the incomparable Cassandra Wilson with Mulgrew Miller on piano, Lonnie Plaxico on bass and Terri Lynn Carrington on drums.

 

Prologue

I was a sophomore in college when I was about to retire for the evening. As was often for me in those days, a friend and I would smoke a little weed first. Now laying in bed, I  put my headphones from my stereo on and listened to the local public radio station for a few.  Within the first set on the air, they played Cassandra Wilson version of Shall We Dance from her then most current album, “Blue Skies.” To say that hearing this song was life changing would not be inaccurate. The fact that it’s 25 years later and I can still remember how the headphones felt against my ears and the awe of hearing this amazing rendition of one of Rodgers and Hammerstein’s signature tunes from “The King and I,” illustrates the impact of the first listen of Shall We Dance had on me.  If you are familiar with that show, then you know Shall We Dance begins as a subtle mid-tempo show tune that eventually builds to a bright and bold ending.  Now take a 360 degree turn by giving the lusty, deep contralto voice of Wilson a  slow tempoed,  stripped down jazz canvas and let her paint a cool, deliberate and passionate Shall We Dance and you have a song for the ages.  Besides Cassandra’s grab of me on the song, Oscar Hammerstein words are some of my favorite lyrics ever written:

“Shall we dance? On a bright cloud of music shall we fly? Shall we dance? Shall we then say, goodnight and mean goodbye

Oh perchance When the last little star has left the sky Shall we still be together? With our arms around each other And shall you be my new romance?

On the clear understanding That this kind of thing can happen Shall we dance? Shall we dance? Shall we dance?”

(Read them again)

After hearing just the one song, the very next day, and I mean the very next day, I went out and purchased “Blue Skies” on cassette. Since then, I have been a Cassandra Wilson fan. I have had the chance to see her perform a few times, including opening up for Prince, and have always kept my eye on her comings and goings.  She is also one of my favorite artists.  Finally, back in college when I would make my friend listen to “Blue Skies” with me, my excitement about could not be contained; we would exclaim: “Go Cassie! Go Cassie!” Now, on to our show.

Act I

1. Shall We Dance? (Rodgers and Hammerstein) – 7:21
2. Polka Dots and Moonbeams (Johnny Burke, Jimmy Van Heusen) – 5:46
3. I’ve Grown Accustomed to His Face (Lerner and Loewe) – 5:15
4. I Didn’t Know What Time It Was (Rodgers and Hart) – 4:51
5. Gee Baby, Ain’t I Good to You (Andy Razaf, Don Redman) – 5:04

 

Intermission

 

Act II

1. I’m Old Fashioned (Jerome Kern, Johnny Mercer) – 3:07
2. Sweet Lorraine (Cliff Burwell, Mitchell Parish) – 5:31
3. My One and Only Love (Robert Mellin, Guy Wood) – 6:02
4. Autumn Nocturne (Kim Gannon, Josef Myrow) – 5:01
5. Blue Skies (Irving Berlin) – 3:07

 

Epilogue

Cassandra Wilson’s body of work is immense, varied and wide. I chose “Blue Skies” because it was my starting point.  I encourage experiencing Cassandra in other offerings to fully appreciate the scope of her as an artist. Just around the corner, she will be releasing a new album in celebration of the great Billie Holiday. She will also be coming to a theater near you. Check your local listings for show times.

#365AOTD 326 "Blue Skies" Cassandra Wilson 1988

Suddenly I saw polka dots and moonbeams…http://t.co/tUnQyPCP2G#cassandrawilson

— Annette Gertrude (@djwurley) November 23, 2014

#365AOTD 325 “Seeds” TV on the Radio 2014

Could you love somebody?
Could you strip the ego bare, let love take flight?
Could you open up your heart?
Could you love somebody?
Could you hold another’s care above your bright lights?
Could you open up your heart or you too uptight?
Could you work to build something besides a wall?
Could you love somebody, anyone at all?

Having dropped three days ago, TV on the Radio’s fifth studio record, “Seeds” is fresh, focused and full. Having lost band member Gerard Smith in 2011 to lung cancer, this is the first release from TVOTR since his untimely death. There is a certain poignant undercurrent to “Seeds” that acts as a fitting tribute to Smith. It also just might be the groups strongest project to date.

Back in the fall of 2009, Phish debuted a cover of the song Golden Age by TV on the Radio’s from their “Dear Science” disc. I was drawn to the song immediately and naturally sought out the original. It has since made many a playlists. This was my introduction to TVOTR. While I haven’t explored enough of their catalogue, I did feel compelled to check out their latest offering. A pretty on point blend of indie rock and synth pop, lead singer and front man Tunde Adebimpe’s confident singing highlights track after track; I’m already on my second listen. I can also tell you that I have started picking out my favorite songs: Ride, Happy Idiot, Quartz, Trouble, Test Pilot, Could You and Seeds. This is definitely the type of record that will grow on you more and more with each outing. Solid from beginning to end, TVOTR’s newest adventure is worth your investment.

p.s. Since ’09, Phish has played Golden Age 32 different times. I have been fortunate to catch it 3 times. Here is Phish playing it in 2013 in Hartford, CT. And here is TVOTR’s wonderful original.

#365AOTD 325 "Seeds" TV on the Radio 2014
Lay down your lantern, coat of arms, broken drums & dance with me http://t.co/tUnQyPCP2G#TVOTR

— Annette Gertrude (@djwurley) November 21, 2014