06 August 2009
Written by
mdconnelly (
)
Published on August 6th, 2009 @ 05:01:47 pm, using 275 words, 48 views
We’ve raved regularly about the remarkable Steve Martin, most recently about his new CD, “The Crow,” that features his banjo abilities. It’s just now getting around to England, apparently, because the Guardian decided to do a profile on him and his musical talent. Lots of good bits, nothing really surprising if you’re a Martin fan, but good to know he’s still got so much going on. Here are a couple of touches to give you the push to go read the whole thing. It’s all good.
As his standup career blossomed, Martin wrote and performed satirical banjo tunes (Grandmother’s Song, Ramblin’ Guy), as well as original bluegrass songs that drew unintended laughs. As he became known in other capacities – playwright, art collector, Oscars host – his musical skills passed unnoticed.
So, in 2001, he began a banjo resurgence. That year, Earl Scruggs, a bluegrass pioneer, asked him to play on a recording of Foggy Mountain Breakdown for the album Earl Scruggs and Friends. In 2007, he contributed an original composition, The Crow, to the Tony Trischka album Double Banjo Bluegrass Spectacular. That track, on which Martin and Trischka performed together, sold enough to make the bluegrass charts. “I don’t know how many that means,” says Martin. “It might have sold two.”
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Martin also owns a collection of vintage banjos, including two Depression-era Gibson Florentines and a Gibson Granada, which he displays in the living room of his California home. “It’s just a signal,” he says. “If musicians come over, we can play.” With mock decorum, he adds: “It’s a signal for guests to say, ‘Steve, would you mind playing something?’”
The ending’s got the best joke, I promise.
26 June 2009
Written by
billconnelly1 (
)
Published on June 26th, 2009 @ 06:50:21 am, using 890 words, 47 views
I have no idea whether Michael abused the children he “adopted.” It is possible those relationships were without sex; he seemed frozen at a time before puberty. Whether he touched them criminally or not, it is easy to see what he sought: To create, with and for these Lost Boys, a Neverland where they could imagine together the childhood he never had.
Mixed with that was perhaps a lifelong feeling of inadequacy, burned in by the cruelty of his father. That might help explain the compulsive plastic surgery, the relentless rehearsal, the exhausting tours, the purchase of expensive toys, the giving of gifts.
The scene everyone remembers from “The Wiz” is Dorothy and the Scarecrow, the Tin Man and the Cowardly Lion dancing and singing down the Yellow Brick Road. They were off to see the Wizard, and a wonderful Wizard he was, because of the wonderful things he does.
In the story, the Wizard is a lonely little man hiding behind a curtain, using his power to create a wonderland. Now Michael Jackson will never be able to tell us what he was hiding behind his curtain. But because of his music, we danced and sang.
– Roger Ebert
When Michael released “Thriller,” it seemed to speak yet again to my sub-generation, 20-somethings still grasping for a common identity in the bitter aftertaste of the Pepsi generation, sandwiched in between the grumpy elders and cleancut teens who were both trying to herd us into the Age of Reagan. Michael Jackson truly was, for that brief moment, our “man in the mirror” for a confusing new decade: Someone whose weird clothes spoke of rebellion yet made no coherent statement, not a radical but a careerist and a perfectionist who was moonwalking his way to the bank, totally apolitical and racially ambiguous, an artist who understood “new media” (remember when that meant MTV?) and thus was going to reign forever as the King of Pop.
Then we grew up – and Michael Jackson didn’t. Hot summer nights with “Billie Jean” on the turntable inevitably led to babies, and now that we were parents we rightfully recoiled from the horror stories coming out of the Neverland Ranch. In reality, Michael Jackson was never really what was so neatly packaged and gift-wrapped under the Christmas tree in 1970. We learned that he was the child of a physically abusive father, a celebrity who felt that he’d been robbed of his childhood.
Those things didn’t give him the license to act in the irresponsible ways that he did, but it did make him a different kind of metaphor for my fellow tail-end Boomers, as so many of learned that even middle age doesn’t always vanquish the demons that were set loose so many years ago. Some defeat those demons, and some don’t. Michael Jackson epitomized our greatest fear of all – he simply ran out of time. Maybe that’s why we cut him so much slack in spite of it all – the love you save.
– Will Bunch
The only thing I have to add to these two great columns is that I was 4 when Thriller came out, I didn’t own it, I had no specific taste in music at that age (but was still a bit of a music nerd, having learned to read by looking at album covers)…and yet I knew every word to about two-thirds of the songs on Thriller. In my lifetime (which clearly, hasn’t been as long as others’), Thriller was really the single, most dominant, most universal album. Yeah yeah, Nirvana, Pearl Jam, 1992, etc. But Thriller was every “grunge” album wrapped into one. He was a one-man musical movement despite the fact that his music was in no specific way different than anything that came before. He wasn’t tremendously innovative, at least musically (his dancing was a different story, I would say)–he was just better at his craft than anybody else, and the image that he crafted (and was crafted for him) was inescapable. In the end, he couldn’t escape it either, and when pent-up childhood issues started releasing themselves in odd ways in the 1990s and 2000s (as they usually do), the magnifying glass wreaked havoc with his life…and so did he, since he really had no concept whatsoever of what other people would see as right or wrong.
And for the most part, I’ve been impressed with the coverage of his death. I was worried that things would be focused too much on either his late-life creepiness or, on the flipside, everything from the last 15 years would be ignored and he would be hailed as music’s greatest hero. The media assume people can’t handle shades of gray, so they usually take one specific narrative and drive it into our skulls, but so far there’s been a pretty good balance between the two sides of Jackson’s life, at least in the things I’ve read. But I read mostly blogs, so maybe I’m not a very good judge.
UPDATE: This is a fascinating video (via >Daily Swarm), not because it shows his greatness, creepiness, or any other ‘ness’ associated with him. It’s just rare to see moments of him when he wasn’t performing or appearing creepy–it’s like he was an actual human being, even though he was still an odd guy ("What’s a point guard?").
20 June 2009
Written by
billconnelly1 (
)
Published on June 20th, 2009 @ 09:07:35 am, using 225 words, 48 views
As I eagerly await their fall album, How I Got Over, and continue to monitor Hulu for more ridiculously great clips from their work on the Jimmy Fallon Show, this lovely article from Jambase.com at least briefly fulfilled any Roots hunger from which I was suffering. Very thorough and enlightening. This is not a more talented, geeky, hard-working band in the world.
Questlove looks at the show’s guest list one month in advance so that he can get legal clearance from song publishers for clever walk-on choices. A typical walk-on rate for a five-second clip is a few hundred dollars, but that number gets bigger fast for big-name artists. “In the case of Justin [Timberlake], he’s more expensive than The Beatles or Eric Clapton,” Questlove says. That forced The Roots to make a last-minute audible for Joan Rivers’ recent entrance, as Timberlake’s “Cry Me a River” was deemed too expensive. As they cut to commercial break right before Rivers was to appear, Questlove jumped online - he keeps a laptop next to his drum kit at all times in case he wants to Twitter - and downloaded Lady Gaga’s “Poker Face.” “We had exactly 35 seconds to learn ‘Poker Face,’” he says. “It was like, ok, uh-huh, ok, got it, ‘Ladies and gentlemen, Joan Rivers!’”
“That’s probably the hardest part of the show,” he says.
Ya think?
05 June 2009
Written by
billconnelly1 (
)
Published on June 5th, 2009 @ 10:24:30 am, using 35 words, 40 views
Because otherwise I’d have missed this wonderfully backhanded compliment (or maybe complimentary insult?) from Bono on Coldplay’s Chris Martin:
“[He’s] a completely dysfunctional character and a cretin. But he happens to be a great melodist.”
03 June 2009
Written by
billconnelly1 (
)
Published on June 3rd, 2009 @ 08:23:49 pm, using 23 words, 29 views
So that I could see this video. God, if The Roots aren’t the best band in the world, I don’t know who is.
24 April 2009
Written by
billconnelly1 (
)
Published on April 24th, 2009 @ 12:18:18 pm, using 385 words, 63 views
In the Guardian’s review of Dylan’s Together Through Life (which, by the way, Rolling Stone gave only 4 stars, making me optimistic that I’ll like it infinitely more than the recipients of their two recent 5-star reviews, Springsteen’s Working on a Dream and U2’s…whatever it was called that I’ve already forgotten), Alexis Petridis uncorks some good mocking lines on other reviewers:
The reaction to Together Through Life hasn’t quite scaled the peaks of frothing lunacy engendered by its predecessor, Modern Times. That’s possibly because the former has humble origins: commissioned to come up with something for a film soundtrack, Dylan kept writing, recording the album on the hoof. Nevertheless, there have still been wild comparisons to the 60s Dylan albums that caused the whole of rock music to shift, suggestions you might consider calling an ambulance prior to listening to My Wife’s Home Town lest the injuries you sustain from laughing at the punchline (his wife’s hometown is Hell) prove life-threatening, etc. One heritage rock mag claimed that If You Ever Go to Houston resembles the work of “people who turn up at a party and before you know it are blowing doors off the hinges, juggling cats and running around with their hair on fire". That sounds both amazing and nothing whatsoever like If You Ever Go to Houston, an amiable mid-paced blues. At best you could argue that it displays a certain quirkiness by foregrounding accordion rather than guitar, but then so did the theme tune to ‘Allo ‘Allo!
Otherwise respectable reviewers lose their minds when it comes to Dylan albums (Springsteen too, for that matter), and I say that as the biggest a) nerd and b) Dylan fan that I personally know. I’m really enjoying the first “single” (in quotes because, well, it’s not like it’s going to be rocking the airwaves) from Together, “Beyond Here Lies Nothin’,” but for exactly what it is–a grooving, laid-back, bluesy love song. I’ll probably enjoy Together for exactly what it probably is–a grooving, laid-back, bluesy album with songs about love, ex-wives, and other topics. I might even enjoy it a lot. But the more you try to scavenge for signs and messages that aren’t there, the less likely you are to enjoy the album, and why would you do that to yourself?
Written by
billconnelly1 (
)
Published on April 24th, 2009 @ 06:29:35 am, using 330 words, 75 views
After the joyous selection of the Flaming Lips’ “Do You Realize??” (seriously one of the Top 5 songs ever written) as Oklahoma’s official rock song, the state House of Representatives decided that, gosh, they sure do curse a lot, and was that a hammer and sickle on a band member’s shirt? Golly, that makes me uncomfortable, and I’m going to try to overrule the will of the people, and gee willickers, I sure hate doing that (real quote: “Their lips ought to be on fire.").
But fear not, small minority of rational-thinking Oklahomans (and having spent 17 years in Oklahoma, I’m allowed to say that about Oklahoma): Governor Brad Henry is on the case!
Oklahoma City – Gov. Brad Henry will sign an executive order Tuesday, April 28, naming the Flaming Lips song, “Do You Realize??,” as the official rock song of Oklahoma.
In a statewide Internet vote held late last year, that song was the choice of 51 percent of more than 21,000 votes cast. Senate Joint Resolution 24 sought to codify that vote, but was narrowly defeated.
“For more than 20 years, Oklahoma’s own Flaming Lips have produced creative, fun and provocative rock music,” Gov. Henry said.
“The music of the Flaming Lips has earned Grammys, glowing critical acclaim and fans all over the world. A truly iconic rock ‘n’ roll band, they are proud ambassadors of their home state.
“They were clearly the people’s choice, and I intend to honor that vote.”
Here’s where I would normally say there are MUCH more important things the state government should be dealing with/arguing about, but honestly? Anybody who’s too stupid to vote in favor of codifying the result of an online vote (for one of the greatest, most pure and innocent songs ever) because the people involved curse a lot and do weird things, shouldn’t be talking about important state matters anyway. Anything that distracts them and prevents them from dealing with real issues should be encouraged.
(Via the Great & Powerful Erik Loomis…)
01 April 2009
Written by
billconnelly1 (
)
Published on April 1st, 2009 @ 08:54:48 pm, using 117 words, 108 views
As somebody who loves Paul Williams’ Dylan writing and has Alzheimer’s in the family, this makes me sad.
In 1995, Paul Williams suffered a traumatic brain injury in a bicycle accident, leading to early onset of dementia, and a steady decline to the point where he now requires full-time care.
The burden on his immediate family has been immense.
Our purpose in creating this site is to ask for your help, in the form of contributions of any size, to assist in Paul’s continued care and medical attention.
We hope you’ll explore the site, and learn more about the work of this remarkable individual.
Then, if you can, please visit the donation page we’ve set up, and contribute.
16 March 2009
Written by
billconnelly1 (
)
Published on March 16th, 2009 @ 12:21:27 pm, using 295 words, 52 views
There’s a nice Dylan interview about his April release, Together Through Life, on BobDylan.com right now. Bobby seems relaxed and communicative here…always nice…
The new record’s very different from Modern Times which was a number one hit. It seems like every time you have a big hit, the next time out you change things around. Why don’t you try to milk it a little bit?
I think we milked it all we could on that last record and then some. We squeezed the cow dry. All the Modern Times songs were written and performed in the widest range possible so they had a little bit of everything. These new songs have more of a romantic edge.
How so?
These songs don’t need to cover the same ground. The songs on Modern Times songs brought my repertoire up to date, and the light was directed in a certain way. You have to have somebody in mind as an audience otherwise there’s no point.
What do you mean by that?
There didn’t seem to be any general consensus among my listeners. Some people preferred my first period songs. Some, the second. Some, the Christian period. Some, the post Colombian. Some, the Pre-Raphaelite. Some people prefer my songs from the nineties. I see that my audience now doesn’t particular care what period the songs are from. They feel style and substance in a more visceral way and let it go at that. Images don’t hang anybody up. Like if there’s an astrologer with a criminal record in one of my songs it’s not going to make anybody wonder if the human race is doomed. Images are taken at face value and it kind of freed me up.
15 March 2009
Written by
mdconnelly (
)
Published on March 15th, 2009 @ 06:03:51 pm, using 893 words, 45 views
I’ve mentioned from time to time that Steve Martin ranks as one of the most amazing Americans in my lifetime. I laughed at his standup. And his movies (the great ones and even the ones that were a bit of a far cry from there, his grand slams and his strikeouts–Roxanne v. Sgt. Bilko, All of Me v. 4 Dozen Is Enough). Then came his plays and novels, again far more hit than miss. At least he isn’t an artist or a songster, you say to yourself as you compare your life to his. But . . . he does reputedly have a superior art collection, you hear. Okay, well, at least he can’t do a CD.
“The Crow.” Well, crap. 15 tunes for that damn banjo he screwed around with in his music act. Probably a bunch of old . . . he wrote or co-wrote basically the whole CD? And it will appeal to anyone into bluegrass, celtic, country, and even humor (or who just wants to be amazed at one more thing he can do)?? It’s got Earl Scruggs doing the lead song??? And Vince Gill and Dolly Parton combine on a duet??? Hell. What’s left for the rest of us?
Here and here are a couple of reviews, sorta, that came out a couple of weeks back when the CD did. It’s kind of funny to read them because they really don’t do much reviewing of the music (how many reviewers know enough about banjo music that they could?) and more about Martin and the truly extraordinary performer and individual that he is. This is from the first one (do I really need to tell you to go read all of each of them?):
His interest in the banjo began in the ’60s after hearing Flatt & Scruggs’ seminal “Foggy Mountain Breakdown.”
He mostly taught himself to play from books and records (he’d slow the turntable way down to learn the parts). Later, while honing his comedy act in Los Angeles clubs like the Troubadour, he was inspired by the progressive bluegrass band the Dillards.
“It seemed impossible, but I just loved the sound of it,” recalls the Texas-born, California-raised Martin.
While he never seriously considered a career in music - “I didn’t have enough confidence to play in a group on a stage,” he says - Martin did work the instrument into his stand-up bits like “Ramblin’ Man,” a parody of group sing-a-longs (check out YouTube to see him perform it on “The Muppets").
He also started writing songs, some of which wound up on his 1970s comedy albums. “I just wrote them for the heck of it,” he says.
A couple of years ago, Trischka asked him to perform one of his compositions, “The Crow,” on Trischka’s album, “Double Banjo Bluegrass Spectacular.” The experience led to a revelation: “I realized I had enough tunes to do a solo album,” and he was off, using “The Crow” as the title track.
Most of the cuts are instrumentals but Parton and Gill sing a duet on the country lilt “Pretty Flowers” and Martin sings the whimsical “Late for School.” Some of the songs date back to the late ’60s.
And this from the other (which also gives you highlights and quotes from the Martin career if you’re young and just coming on to him):
Comedian, actor, musician, novelist, playwright, juggler and magician, he is also a fine art collector who owns works by Picasso, Hopper and Seurat, and has friends including Hirst, Saatchi and Hockney. Then this year came another twist in the winding and often surprising Steve Martin story. His first full-length music album, The Crow, on which he plays the banjo, reached number one on Billboard’s bluegrass albums chart.
Self-taught from a Pete Seeger instruction book, Martin practised banjo alone in his car with the windows rolled up, even on hot summer nights, and performed at Disneyland and in nightclubs. He can still duel with the best of them. Earl Scruggs, the bluegrass pioneer, and Tony Trischka feature on his album along with Dolly Parton, Vince Gill and the Nitty Gritty Dirt Band’s John McEuen, a school friend who also produced it. Martin wrote all 15 of the tracks, only one of which is played for laughs.
———————————–
Martin regards his career progress as entirely natural. “Life is long,” he mused recently. “You could make movies for 10 years and still have 10 years left over for writing. I think it’s all intertwined in a kind of nice way because I was writing material for my stand-up act, then I started writing movies or co-writing movies, then I started writing movies alone and that led to theatre and that led to prose. They seem like they’re all different but linked.”
He has spent a life cocking a snook at lazy categorisation. To describe him as a Renaissance Man might be overdoing it, though he has himself once observed: “Well, Leonardo did play the banjo.”
So what’s next? Tightwire walking? Saving the economy?
Martin said he might put together a band and do a few concerts to support “The Crow,” but he doesn’t plan a full-blown tour. He’s got too much going on for that.
“I’ve exploited every possible facet of my abilities. Now I just want to continue doing what I’m doing,” he said.
Yeah, uh-huh. I bet the Food Channel’s got the time slot planned for him right now.
10 March 2009
Written by
billconnelly1 (
)
Published on March 10th, 2009 @ 07:20:01 am, using 40 words, 39 views
I love me some Jenny Lewis, I love me some Zooey Deschanel (though she’s not necessarily a harmonizing pro), I love me some Elvis Costello, and I LOVE this song…"Carpetbaggers” from Lewis’ Acid Tongue…(via MOB)
04 March 2009
Written by
billconnelly1 (
)
Published on March 4th, 2009 @ 07:17:27 am, using 144 words, 38 views
…that we’re moving to Liverpool.
Liverpool Hope University said Tuesday that its new master’s program, “The Beatles, Popular Music and Society,” would give students the opportunity to analyze music and culture through the band’s work.
“There have been over 8,000 books about the Beatles but there has never been serious academic study and that is what we are going to address,” said Mike Brocken, who is directing the program at the university, which is in the band’s hometown in northwestern England.
Brocken said students would be expected to study the Beatles’ songs, stardom, hometown and cultural impact through four 12-week courses and a dissertation.
My next question, of course, is what university is closest to Hibbing, MN, and can I go ahead and teach in the inevitable Bob Dylan, Popular Music and Society program? I’ve read at least half of the 14,000 books at this point.
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