Sic Semper Tyrannis

Whatcha Listenin' To?

As usual, lots of new-to-me music resounding in my world.

John Lee Hooker Best Of: 1965-1974

Remember how a few months ago I talked about James Taylor’s voice and how it’s hard to believe him because of the beauty of his instrument? Well, listen to these Hooker recordings and you’ll know what I’m talking about. Admittedly, a little blues goes a long way for me, but “Serve You Right to Suffer” is transcendent! Other notables: “One Bourbon, One Scotch, One Beer” and the unlikely “I Cover the Waterfront.” When you think “Blues Singer,” this is probably the voice that pops into your mind.

Paul Simon Rhythm of the Saints

Partially on Steven’s recommendation and partially due to years of curiosity, I finally heard this follow-up to my beloved Graceland. And an interesting follow-up it is. With Graceland Paul introduced the pop world to the music of the world at large with African rhythms and Ladysmith Black Mambazo and this album kind of continues along the same lines. But not really. Whereas the earlier album is tightly produced and in your face with story-telling songs and instantly graspable melodies, Rhythm of the Saints hides its charms a little bit, underneath ambiguous Van Morrison-esque visions and hypnotically large arrangements. The “Rhythm” in the title is definitely to be taken seriously, though. Pretty much every song is supported by a bed of foreign percussion instruments. This is one of those rare albums that warrants and rewards further investigation.

The Grateful Dead American Beauty

Friend of the blog Mark compared the newest Wilco album to the Grateful Dead and until now I’ve only heard a random smattering of Dead songs. I thought this “classic” album would prove to be a good remedy to that. Little did I know that this is actually atypical of their overall “jam-band” aesthetic. This album featured concise songs devoid of Garcia’s leads and an emphasis on layered vocal harmonies. (One listen to the vocals on some of the included live versions of these songs and their strengths as a band became readily apparent. Hint: It ain’t the singing.)

I’m finding out that some music is just not meant for picking apart on theoretical and thematic levels. This would be that kind of music. To appreciate this stuff I have to shut off the musical analyst side of my personality and create in my mind an ideal listening scenario- cruising down the highway out west in a VW micro-bus and talking life with a few good friends. Or get high.

In other words, the best way to appreciate this stuff is to ignore it.

Dusty Springfield Dusty in Memphis

Now I know. Now I know why this album is so revered! The sounds on here are somehow instantly affecting. One- there is her voice. My God, what a beautiful instrument! So soulful, but with such restraint, a concept that has been lost on today’s “divas.” This is one of those rare occasions where the strengths lie in what she doesn’t do. “So, what doesn’t she do,” you might ask. She never sings an unnecessary note. No gratuitous vocal gymnastics or “listen to me” histrionics, the absence of which belies an even cooler confidence. You know someone knows they’ve got the skills when they don’t feel a need to convince anyone.

As beautiful as this woman’s voice is, she is also supported by music that sits somewhere in between orchestral Motown and Nashville countrypolitan. (How cool is it to be backed up by a vocal group called “The Sweet Inspirations?”) And all this is not to mention strong songwriting by Carole King, Burt Bacharach, and Randy Newman, (a man very much in my zeitgeist as of late.) I highly recommend you give this album a listen, (a nice palette-cleanser after the total deconstruction that is John Lennon’s Plastic Ono Band.)

Randy Newman Sail Away

As Steven mentioned, the title track is a genius of a conceit- selling a future slave on the beauties of America, and is just one example of an intelligent wit. In “That’s Why I Love Mankind,” Newman speaks for God with an irony you’re not likely to hear anywhere else and talks of the primacy of America in “Political Science.” This is a far cry from the 1,778,564,098,432,892,673,124th time a singer has told the listener why he/she loves him/her.

Also impressive is Newman’s ability to write his own orchestrations, probably a skill he learned from his old man.

I intend to hear more from this guy.

posted by Mike @ 7:03 AM