Category: Music

Music notes from all over

Tears of Rage: Richard Manuel is Dead

Seth Anderson0 comment

One of my most favorite songs ever is Tears of Rage from The Band‘s first album.

The opening track on 1968’s Music from Big Pink is one of the most perfect pop compositions ever. It is a perfectly atypical opening number and a perfect introduction to the intriguing style of The Band. It is also a depressing suggestion as to how much more perfect they could have been had Richard Manuel been able to keep himself from himself.

Co-written by Manuel and Bob Dylan, “Tears of Rage” is the painful lament of a betrayed parent. The first recorded version of the song is the Dylan-sung one that was released on The Basement Tapes. Dylan’s – usually extraordinary – ability to capture the essence of the song was utterly obliterated by Manuel’s on the official Big Pink reading. The extraordinary anguish in Manuel’s voice added exponentially to the already heartbreaking lyrics. The slower composition, Garth Hudson’s haunting organ, Robbie Robertson’s swirling guitar, the unparalleled rhythm of drummer Levon Helm and bassist Rick Danko (who also provides backup vocals), as well as Manuel’s own piano work combined for one of those very rare occasions in which Dylan was completely schooled on one of his own songs (ironically, Manuel does it again on the same album with his version of “I Shall be Released”).

Sadly, the mood of “Tears of Rage” was forebodingly symbolic of the pain and suffering that would eventually consume Richard Manuel – who hanged himself in 1986 after two decades of extreme substance abuse. Perhaps the rarest attribute of The Band was the deficiency of a definitive front-man. With three lead singers and all five members’ status as exceptional musicians, there was no member of The Band who was more important to its achievements than the other; but for the first five minutes of their first album, they seemed to revolve around one genius.

[Click to read more of Tears of Rage: Richard Manuel is Dead | Sound Affects | PopMatters]

Robbie Robertson’s greed re: publishing credits probably had some contribution to Manuel’s early death. Anyway, here’s a YouTubed searing live version from 1969.

httpv://www.youtube.com/watch?v=DI6QdS3jiT8

httpv://www.youtube.com/watch?v=JzXHj4SIlv4

On the topic of Robbie Robertson, and The Band, Levon Helm’s autobiography is a good, fun read. Highly recommended.


“This Wheel’s on Fire: Levon Helm and the Story of the Band” (Levon Helm, Stephen Davis)

The Band, who backed Bob Dylan when he went electric in 1965 and then turned out a half-dozen albums of beautifully crafted, image-rich songs, is now regarded as one of the most influential rock groups of the ’60s. But while their music evoked a Southern mythology, only their Arkansawyer drummer, Levon Helm, was the genuine article. From the cotton fields to Woodstock, from seeing Sonny Boy Williamson and Elvis Presley to playing for President Clinton, This Wheel’s on Fire replays the tumultuous history of our times in Levon’s own unforgettable folksy drawl. This edition is expanded with a new afterword by the authors.


Music from Big Pink

HIGH ON STRESS: Cop Light Parade

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Cop Light Parade is the long overdue follow up to High on Stress’ 2005 critically acclaimed debut Moonlight Girls. The first album received excellent notices and airplay in not only their hometown of Minneapolis MN, but across the nation and from as far away as the UK, the Netherlands, and Belgium. Cop Light Parade is the culmination of three years of weathering enough personnel changes, geographic obstacles and wardrobe malfunctions to have killed a less recalcitrant band.

Following the sudden departure of founding member Jon Tranberry, the band welcomed Jim Soule, who took up the bass guitar and played his first show a few days later opening for Jackson Browne at a huge outdoor festival. The band returned to the studio to begin work on its second album only to be set back by another unexpected loss. Guitarist/songwriter/raconteur Ben Baker moved to China, having already contributed heavily to the recording. Baker continued to work on the project, utilizing new school technology and old school frequent flier miles, while Chad Wheeling, a curiously youthful yet grizzled veteran guitarist, joined singer/songwriter Nick Leet, drummer Mark Devaraj, and bassist Jim Soule in finishing the record.

Bringing things full circle, Cop Light Parade was recorded with great care by Jon Tranberry. An advance single of the title track of Cop Light Parade has been released worldwide and added to dozens of radio stations (online, terrestrial and satellite), once again drawing raves from outposts of the blogosphere from San Francisco to Istanbul. Reviewers have favorably compared the band’s “almost alt.country” sound to REM, the Replacements, Wilco, and Josh Rouse among others.

[From CD Baby: HIGH ON STRESS: Cop Light Parade]

CD is currently available at CDBaby (where you can listen to stream of the album to decide whether or not to purchase it). Also more info at their MySpace page Check ’em out when they come to your town…

Bukka White is Awesome

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“The Complete Bukka White” (Bukka White)

The voice of blues singer Bukka White is so evocative, whenever a song of his comes up on my iTunes rotation, I stop and listen1. A cloudy tenor, with resonating overtones. His guitar playing may or may not be excellent2, but I often find myself focusing on his voice. Such power, such emotion.

Uncle Dave Lewis writes a bit of Bukka White’s history at Allmusic:

Bukka White (true name: Booker T. Washington White) was born in Houston, Mississippi (not Houston, Texas) in 1906 (not any date between 1902-1905 or 1907-1909, as is variously reported). He got his initial start in music learning fiddle tunes from his father. Guitar instruction soon followed, but White’s grandmother objected to anyone playing “that Devil music” in the household; nonetheless, his father eventually bought him a guitar. When Bukka White was 14 he spent some time with an uncle in Clarksdale, Mississippi and passed himself off as a 21-year-old, using his guitar playing as a way to attract women. Somewhere along the line, White came in contact with Delta blues legend Charley Patton, who no doubt was able to give Bukka White instruction on how to improve his skills in both areas of endeavor. In addition to music, White pursued careers in sport, playing in Negro Leagues baseball and, for a time, taking up boxing.

In 1930 Bukka White met furniture salesman Ralph Limbo, who was also a talent scout for Victor. White traveled to Memphis where he made his first recordings, singing a mixture of blues and gospel material under the name of Washington White. Victor only saw fit to release four of the 14 songs Bukka White recorded that day. As the Depression set in, opportunity to record didn’t knock again for Bukka White until 1937, when Big Bill Broonzy asked him to come to Chicago and record for Lester Melrose. By this time, Bukka White had gotten into some trouble — he later claimed he and a friend had been “ambushed” by a man along a highway, and White shot the man in the thigh in self defense. While awaiting trial, White jumped bail and headed for Chicago, making two sides before being apprehended and sent back to Mississippi to do a three-year stretch at Parchman Farm. While he was serving time, White’s record “Shake ‘Em on Down” became a hit.

Bukka White proved a model prisoner, popular with inmates and prison guards alike and earning the nickname “Barrelhouse.” It was as “Washington Barrelhouse White” that White recorded two numbers for John and Alan Lomax at Parchman Farm in 1939. After earning his release in 1940, he returned to Chicago with 12 newly minted songs to record for Lester Melrose. These became the backbone of his lifelong repertoire, and the Melrose session today is regarded as the pinnacle of Bukka White’s achievements on record. Among the songs he recorded on that occasion were “Parchman Farm Blues” (not to be confused with “Parchman Farm” written by Mose Allison and covered by John Mayall’s Bluesbreakers and Blue Cheer, among others), “Good Gin Blues,” “Bukka’s Jitterbug Swing,” “Aberdeen, Mississippi Blues,” and “Fixin’ to Die Blues,” all timeless classics of the Delta blues. Then, Bukka disappeared — not into the depths of some Mississippi Delta mystery, but into factory work in Memphis during World War II.

Bob Dylan recorded “Fixin’ to Die Blues” on his 1961 debut Columbia album, and at the time no one in the music business knew who Bukka White was — most figured a fellow who’d written a song like “Fixin’ to Die” had to be dead already. Two California-based blues enthusiasts, John Fahey and Ed Denson, were more skeptical about this assumption, and in 1963 addressed a letter to “Bukka White (Old Blues Singer), c/o General Delivery, Aberdeen, Mississippi.” By chance, one of White’s relatives was working in the Post Office in Aberdeen, and forwarded the letter to White in Memphis.

[Click to read more history of allmusic Bukka White Biography ]

httpv://www.youtube.com/watch?v=n3bp4ohqugI

and

httpv://www.youtube.com/watch?v=bsMpHHSLSlc

for some youTubery.
Additional tidbit: Led Zeppelin credited Bukka White on the BBC Sessions release of a 1971 13 minute version of Whole Lotta Love, along with several other blues magicians (Jimmy Page, Robert Plant, John Paul Jones, John Bonham, Willie Dixon, John Lee Hooker, Bernard Besman, Bukka White, Arthur Crudup, Doc Pomus, Mort Shuman)
If you don’t own any Bukka White music: go for it.


“Shake ‘Em On Down” (Grammercy Records)


“Parchman Farm Blues” (Bukka White)

If your ears are sophisticated enough to listen to scratchy records, find his early material. As Eugene Chadbourne writes3:

The tracks in which White is accompanied by Washboard Sam are really fantastic, representing some of the best country blues one can find, rhythmically snappy and melodically clear. In terms of the musical styles that White employed, they are all here: The basis for every single song he ever recorded, if not the song itself, is included among these 14 tracks. “Where Can I Change My Clothes,” one of the best songs about prison, is included along with White’s unique version of “Parchman Farm.” The former song was one he re-recorded in the ’60s, releasing it under the latter title: Neither song is the same as the “Parchman Farm” blues standard that was later satirized by Mose Allison and obliterated by Blue Cheer. One of the great things about White’s style is his vocals. His pronunciation and accent are fascinating. Take the way he pronounces the title of “district attorney” in the song of the same name. As well, he could be the only blues singer to deliver the following couplet and make it sound like it actually rhymes: “Doctor, put that temperature gauge under my tongue/And tell me, all I need is my baby’s lovin’ arms.”

Footnotes:
  1. especially Parchman Farm Blues [↩]
  2. mostly I think it is, driving rhythms on a national steel guitar that compel a listener to dance, but I’ve never tried to emulate anything from his songbook, so I can’t say for certain anything specific about his technique, other than it appears to use a lot of open tuning [↩]
  3. though, the publisher must have changed the cover, mine doesn’t have the same photograph as the one Chadbourne talks about [↩]

Nigeria Special

Seth Anderson1 Comment


“Nigeria Special: Modern Highlife, Afro-Sounds and Nigerian Blues” (Various Artists)

A really great collection, well worth seeking out, whether you are a fan of Nigerian music, rock music, or funk.

Nigerian music had a brief renaissance in the first half of the 70s, when the country was temporarily between wars and dictatorships. The scene seems to have exploded with experimentation inspired by sounds from the West, mixed with new interpretations of the perennially popular Highlife. I have no idea if this anthology is a representative sample of the scene, or if the best or most important songs and artists have been collected. But I do know that the anthology is uniformly fascinating and will be a real treat for anyone interested in a deeper exploration of modern West African music. While the collection’s subtitle indicates “Modern Highlife, Afro-Sounds and Nigerian Blues,” that will hardly prepare the listener for the musical variety herein.

Collectors and experts might be able to fit most of the tracks here into the long-term development of Highlife, but adventurous listeners will be astounded by the experimentation found in the anthology’s most offbeat tracks. For example, Celestine Ukwu & His Philosophers National, The Don Isaac Ezekiel Combination, and Mono Mono deliver what could be considered dark underground alternatives to Highlife. Tracks by Collins Oke Elaiho & His Odoligie Nobles Dance Band and Leo Fadaka & The Heroes sound like late-period Bob Marley half a decade before schedule. The selection from The Semi Colon illustrates the distant connections between Afro-Cuban and West African sounds, with some rock mixed in. Bola Johnson & His Easy Life Top Beats deliver a strange acid jazz take on authentic regional sounds, and the selection from George Akaeze & His Augmented Hits is heavily inspired by Bo Diddley.

[Click to read more of RootDown FM: Nigeria Special: Various Artists: Music]

The companion discs are really good too:


“Nigeria Disco Funk Special” (Various Artists)

and


“Nigeria 70: Lagos Jump” (Various Artists)

there are a couple others, but I haven’t (yet) heard them.

Little Red Bike

Seth Anderson2 Comments


“The Bob Dylan Encyclopedia” (Michael Gray)

From Michael Gray’s excellent book, the Bob Dylan Encyclopedia, about Buckets of Rain (from Blood on the Tracks):

The closing track on the Blood on the Tracks album, this is an immensely likeable, modest song of barbed sanity. A blues- structured work, it also neatly conflates other old song titles within its lyric, as when Dylan sings


‘Little red wagon, little red bike / I ain’t no monkey but I know what I like’.

In a genre so riddled with sexual innuendo and double entendre as the blues, it’s sometimes hard to know whether a phrase or a line belongs in the nursery or the porn shop, and this is a good example. One long-term Dylan collector was told years ago that the phrase ‘little red bike’ was a blues term for anal sex: which certainly puts a different perspective on Dylan’s lyric. But it is not a common blues term: there isn’t a single ‘little red wagon’ in Michael Taft’s Blues Lyric Poetry: A Concordance.

‘Little Red Wagon’ is, however, a recording by the pre-war blues artist Georgia White, and by a happy coincidence the very next track she laid down at the same session is called ‘Dan the Back Door Man’.

I’ll never hear that song quite the same again.

From the official Bob Dylan lyric site:

Little red wagon
Little red bike
I ain’t no monkey but I know what I like.
I like the way you love me strong and slow,
I’m takin’ you with me, honey baby,
When I go.

John McCain Running on Empty

Seth Anderson1 Comment


“Running on Empty” (Jackson Browne)

Continuing on a theme, yet another musician is pissed off at the John McCain campaign for appropriating a song without permission. You’d think such copyright stalwarts would have learned to ask first. Silly kids, laws are for Republicans to break.

Jackson Browne sued Sen. John McCain on Thursday for unauthorized use of one of his songs in a television commercial.

Browne, one of rock music’s most famous activists for liberal causes, is “incensed” that the presumptive Republican nominee for president has been using Browne’s signature 1977 song “Running on Empty,” said Lawrence Y. Iser, the singer-songwriter’s attorney.

Browne filed a copy- right infringement lawsuit against McCain and the Republican National Committee in U.S. District Court in L.A., seeking damages and a permanent injunction prohibiting the use of the forlorn arena anthem or any other Browne composition.

…

Browne’s attorney said that he is “informed and believes” that McCain approved the ad.

[From Jackson Browne sues Sen. John McCain for unauthorized use of ‘Running on Empty’ — chicagotribune.com]

Luckily, I was able to write this entire post without using a pun based on Jackson Browne’s song, Lawyers in Love.

Charlie Parker Month

Seth Anderson0 comment

In honor of Charlie Parker month, a little bebop with Diz at the Hot House, 1952:

httpv://www.youtube.com/watch?v=Clp9AeBdgL0

3:36 of scorching, swinging jazz. I wish the volume was better mixed (can hardly hear the bass, nor much of the drum), but at least the brass is clear.

You can’t really go wrong adding some Charlie Parker to your music library, there are collections and box sets for every budget. You could even pick up 78s, if you were willing to pay the price1

Such as:



“Best of The Complete Savoy & Dial Studio Recordings” (Charlie Parker)


“The Complete Verve Master Takes” (Charlie Parker)

Free Jazz Aficionado
[Ethan is more of a Free Jazz Aficionado, but he’s working his way back to Charlie Parker]

Footnotes:
  1. and have the equipment to play 78s, duh [↩]

Hats Off for Roy Harper!

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“Jugula” (Roy Harper & Jimmy Page)

I did not realize that Roy Harper sang vocals on “Have a Cigar”.

Led Zeppelin wrote a song about him. He delivered lead vocals on Pink Floyd’s classic “Have a Cigar.” This Mortal Coil has covered him, Joanna Newsom and Kate Bush have collaborated with him, and his reach has touched uncounted bands since he emerged from London in the mid-’60s.

So it’s a wonder that it has taken this long for Roy Harper to land his moment in the reissue spotlight. But that moment is here nevertheless.

Koch Entertainment has teamed up with Harper’s own label Science Fiction to distribute the folk singer’s albums. The slate includes Stormcock, Harper’s 1971 four-song epic team-up with Jimmy Page, as well as Jugula, Flat Baroque and Berserk, The Green Man, The Dream Society, The Unknown Soldier, Death or Glory, the double-disc best-of Counter Culture and more. Fans of all of the aforementioned bands, as well as Nick Drake, freak folk, Devendra Banhart and onward, will find a kindred spirit with a rap sheet decades wide.

[From UK Legend Roy Harper Finally Crosses the Pond | Listening Post from Wired.com]

I have an import version of Counter Culture, and there is some good stuff contained therein. I’ll have to look for these reissues.

“Counter Culture” (Roy Harper)

“Stormcock” (Roy Harper)

Waterboys Deluxe

Seth Anderson0 comment

I owned this album on vinyl a gazillion years ago, and repurchased it recently on CD. What a great album. Nostalgia aside, reminds me of the best of Arcade Fire: talented multi-instrumentalists jamming to crescendos of passionate Celtic-inspired indie-rock with interesting lyrics. Actually, I like this album better than anything I’ve heard by the Arcade Fire1, probably because I heard the Waterboys first. Helps if you like Irish/Celtic music, or Van Morrison even, but that is not required for full enjoyment.


Fisherman’s Blues

 

The Waterboys were formed in London in 1981 and led by the singer/songwriter Mike Scott, the group’s only constant member – with the supporting musicians ever changing around him. 1988’s Fisherman’s Blues is the Waterboys’s 4th album for which the band were joined by traditional Irish players like fiddler Steve Wickham, drummer Dave Ruffy, keyboardist Guy Chambers and bassist Marco Weissman, resulting in a stripped-down, folky sound which was a marked step away from the “big music” he founded and pursued in previous albums. It has been called their ‘warmest and most rewarding record’. Complete with a bonus disc of previously unreleased tracks and packaged in a digipack with pvc slipcase – it follows on from the successful re-issues of the first 3 Waterboys’s albums ‘The Waterboys‘, ‘A Pagan Place‘ and ‘This Is The Sea‘2

Allmusic:

Mike Scott had been pursuing his grandiose “big music” since he founded the Waterboys, so it came as a shock when he scaled back the group’s sound for the Irish and English folk of Fisherman’s Blues. Although the arena-rock influences have been toned down, Scott’s vision is no less sweeping or romantic, making even the simplest songs on Fisherman’s Blues feel like epics. Nevertheless, the album is the Waterboys’ warmest and most rewarding record, boasting a handful of fine songs (“And a Bang on the Ear,” the ominous “We Will Not Be Lovers,” “Has Anybody Here Seen Hank?,” and the title track), as well as a surprisingly successful cover of Van Morrison’s breathtaking “Sweet Thing.” Fisherman’s Blues was reissued in 2006 with a bonus disc containing fourteen outtakes, alternate versions and late-night studio jams.

You can hear a free track streamed at LastFM

I don’t remember where I read about the re-issue3, but I’m pleased to have rediscovered an old favorite. Check it out.

Footnotes:
  1. and I may be crazy for making the comparison, but hey, these are my ears! [↩]
  2. these are all worth owning too, but Fisherman’s Blues is the best place to start, imho [↩]
  3. if I don’t blog something, fwoosh, there it goes from the rusty sieve of my memory [↩]

The Clash’s Shea Stadium Gig Heading To CD

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“Clash on Broadway” (The Clash)

Excellent news. I’ve heard crappy versions of some of these songs, but an official release is exciting. The Clash are still one of my all time favorite bands.

Long bootlegged and sought after by collectors, the Clash’s Oct. 13, 1982, performance at New York’s Shea Stadium will finally see official release Oct. 7 via Legacy.

The gig found the Clash opening for the Who on the latter band’s “farewell” tour, and features a wealth of favorites, from “London Calling” and “Police on My Back” to “The Magnificent Seven” and “Clampdown.”

The band, which at the time was touring in support of its recent album “Combat Rock,” also offered up the singles from that effort, “Should I Stay or Should I Go” and “Rock the Casbah.” According to Legacy, late guitarist Joe Strummer found the Shea tapes while preparing to move into a new house.

[From The Clash’s Shea Stadium Gig Heading To CD]

In case you were curious, this is the track listing:

Kosmo Vinyl Introduction

“London Calling”

“Police on My Back”

“Guns Of Brixton”

“Tommy Gun”

“The Magnificent Seven”

“Armagideon Time”

“The Magnificent Seven” (return)

“Rock the Casbah”

“Train in Vain”

“Career Opportunities”

“Spanish Bombs”

“Clampdown”

“English Civil War”

“Should I Stay or Should I Go”

“I Fought the Law”

New Byrne Eno album

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New David Byrne- Brian Eno collaboration called Everything That Happens Will Happen Today.

Brian Eno and I have finished our new record, Everything That Happens Will Happen Today. One of the songs, “Strange Overtones”, will be available free via everythingthathappens.com in exactly one week — you can log on and get a reminder if you like — and the whole record will be available August 18th. A company called Topspin Media helped to set up the website and our online business.

In a nutshell, Brian wrote most of the music, and I composed most of the vocal melodies and lyrics, and then sang them. Other musicians play on the album too. It’s not Bush of Ghosts II: this is a record of sung songs, and the result really surprises me. Despite a sinister inflection to both the lyrics and the music, many songs feel fairly uplifting and the overall tone is hopeful. From where does this quality derive?

[From 07.28.2008: Almost Everything]

Tour to follow, if you give the Byrne-borg your email (or one of your disposal email accounts), you’ll get more details. Supposedly, this email will not be shared with DHS, or the Total Information Awareness project.

Total Information Awareness Logo

Total Information Awareness Logo

In September I will begin a tour, on which I will be playing music from the new album as well as music from our previous collaborations – 3 Talking Heads albums, Bush of Ghosts, etc. If you’d like to be updated as this story unfolds, please add your email address via the box to the right (we will not contact you for any reason other than to tell you about this David Byrne and Brian Eno project and the tour and we promise not to give or sell your contact to anyone else or even to the government)

Prior collaborations between these two artists are among my most favorite of albums, so am greatly anticipating this one too. Oh, and kudos to Mr. Byrne for releasing the track as 320 kbps (though the autoplay video is annoying)

moved the video below the fold since it autoplays Continue reading “New Byrne Eno album”

This Was Maxwell Street

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"And This Is Free: The Life and Times of Chicago’s Legendary Maxwell St." (Various)

Very cool, I’m getting a copy.

Chicago’s legendary Maxwell Street open-air market, founded by immigrant Eastern European Jews in the 1870s, attracted bargain-hunters of every ethnic background every weekend for more than a century. The unique, vibrant street bazaar was officially closed in 1994, as urban shopping evolved and the University of Illinois at Chicago campus expanded into the area, just south of downtown. Maxwell Street had long since become best-known as the outdoor home base for many of the city’s world-famous blues musicians.

A coalition of blues aficionados, black and white; historians; and children and grandchildren of Maxwell Street’s Jewish pushcart and storefront merchants tried but failed to preserve elements of the area as the market was being shut down. Direct memories of the street in its mid-20th-century heyday are diminishing, and a sense of the life of the place might easily be lost.

But now “And This Is Free: The Life and Times of Chicago’s Legendary Maxwell Street”” — a new multimedia disc and booklet “MultiPac” that combines historic films and a photo slideshow on DVD, a CD of blues tied to the area, and informative written commentary — has been released by Shanachie Entertainment. The express purpose, says its executive producer, Sherwin Dunner, is bringing the texture of the street alive again.

[From This Was Maxwell Street – WSJ.com]

[non-WSJ subscribers can use this link]

(H/T Chuck Sudo)

My first apartment in Chicago was on 19th and Halsted; to drive to it, you have to pass through Maxwell Street Market (which has since been moved, and sanitized, and the University of Illinois has taken the area over). When we drove to see the apartment prior to signing the lease, we were a bit shocked (both of us recent college graduates from Austin, TX, which has no areas like Maxwell Street). Turned out not to be so bad, and we heard some good electric blues there later on. We also didn’t realize that 5 blocks in Chicago is a large distance, psychologically. The dudes standing around oil barrel fires, selling recently stolen merchandise had no interest in hanging out on my apartment stairs, we needn’t have worried.

Though this was the neighborhood that shaped Benny Goodman, Adm. Hyman Rickover, Supreme Court Justice Arthur Goldberg and CBS Chairman William Paley, the longstanding Jewish experience on Maxwell Street had not been examined on film until Israeli émigré Shuli Eshel began shooting her documentary on that side of the story, “Maxwell Street: A Living Memory,” in 1999. More than half of the spirited, sometimes nostalgic interviewees in that film are already gone, but her film has its own key role in this new release — and Roger Schatz, her co-author on the oral history book “Jewish Maxwell Street Stories”” (Arcadia Publishing), provides the narration for the MultiPac’s informative slideshow.

“The Jews of Maxwell Street really didn’t care if you were black, blue or yellow as long as you bought the merchandise so they could make a living and educate their children,” Ms. Eshel suggested in an interview with this reporter. “But then, the famous Chicken Man (an African-American who performed with a live chicken on his head, shown at work in the MultiPac) was there to make a living, too. Maxwell Street taught you how to understand people well enough to do business. As the famous Chicago Judge Abraham Lincoln Marovitz, from that neighborhood, puts it in my film, ‘Selling on the street was about survival at first, but later on became about the pursuit of the American Dream.'”

That spirit, as much as the remarkable talent of the street performers working the same urban blocks, is alive in this remarkable bit of multimedia history.

Paul Westerberg – 49:00 redux

Seth Anderson0 comment

Stephen T. Erlewine downloaded Paul Westerberg’s new eccentric album, 49:00, too

Although there are enough full-blown songs to anchor this album, much of the music here wouldn’t make sense on a proper album as it floats in and out of focus, sometimes overlapping with an existing tune, sometimes offering just a tantalizing flash of melody or formative riff. But far from being a frustrating collection of unfinished home demos, 49:00 plays as a complete work, where the raggedness is part of the point — and its coarse four-track surfaces feel defiant in an age of computer recording. There’s undeniably an element of ragged rebellion in the rough-hewn creation of 49:00 but Westerberg has always sounded best when he’s on the fringe — and while this was delivered in a high-tech fashion, the album, with all its unfinished surfaces and frayed fragments, is old-fashioned college rock filled with fragile ballads, rude rock & roll, dead-end detours, and smart-ass jokes, like the classic rock oldies Westerberg flips through at the end of the album. Of all of Westerberg’s solo albums, 49:00 comes closest to recapturing the spirit of the Replacements but it doesn’t do so by doggedly re-creating the ‘Mats’ drunken mess; instead, Westerberg reconnects to the joyous, reckless sense of adventure that fueled his earliest work, and by doing so his scruffiness is once again endearing and hard to resist.

[From The Allmusic Blog » Paul Westerberg – 49:00]

Apparently, Amazon was the only online retailer that let Westerberg set the terms of download (49 minutes without track titles, breaks), and set his own price – 49¢. I got a chance to listen to the album finally, and I like it. You have to be in the right frame of mind to appreciate the oddness of it, especially when two different songs are playing at the same time from different speakers, once you can open your ears to non-standard compositions, the album makes a certain amount of sense.

On the other hand, if you are just playing the album as background, it seems kind of half-assed. Usually only the extended re-release of classic albums contains such material as song sketches, and unfinished bits. A bit disconcerting to listen to song fragments of songs you’ve never heard before. Maybe I should put mine together, and release it on an album? What do you think, would you pay 49¢ to listen to nearly an hour of various bits of music I made?

Paul Westerberg Album 49

Seth Anderson1 Comment


“Besterberg: Best of Paul Westerberg” (Paul Westerberg)

Actually, Paul Westerberg has come up with a pretty clever way to sell an entire album: release it (cheaply!) as one long track, forcing listeners to hear it in the way it was originally sequenced.

I bought the album for $.49, all 49 minutes of it, and if I like the album, will buy the actual CD. If there is one, this might just be a oddity and curio. Still am happy to squander two quarters for an interesting idea.

 

—

update, apparently not available anymore. If you want a copy of the mp3, contact me directly, and we’ll see if we can work it out.