Tuesday, April 10, 2018

Keeping the lamp lit - music is the light in the darkness!

Original artwork by John - who I'll always remember as one cool dude
Many years ago, when I was a young lad in Queens, it wasn’t unusual to be playing outside with friends all day while the parents were inside. As long as you checked in when you were told to – all was good. New York City – like a lot of places I guess – just isn’t the same. Maybe some places weren’t too safe, but my old neighborhood was. Or so it seemed to me then. I have lots of great memories of those years I lived in the city. A good number of them involved music, of course. Like one day when an older kid I knew from the neighborhood was walking toward me with his portable 8 track player – he always seemed to be carrying that thing around playing his favorite music (mostly what we call classic rock today). He was on his way to his best friend’s house down the street, but he stopped to talk to me. Even though he was older he knew I liked music and probably thought my Dad was cool since he rode a motorcycle so I was okay to talk to. That day, he had a tape in the 8 track player – it looked like this:
I knew it was cool music because my friend was cool. So I tucked that image away in my mental file cabinet and eventually knew enough to pick up my own copy, on record. All I needed to remember was the prism image – no need to think about the band name or whatever:
I don’t know how many 7 year old kids had a copy of Dark Side of the Moon, but I did! Thanks to my friend Johnny for showing me what was cool. When my family moved away from the city I lost contact, naturally. Even when I reconnected with other childhood friends from those days I never quite knew what became of Johnny from the neighborhood. Yet, I was saddened to find out he died last month. He was still living in the area and I was happy to see pictures of him with a motorcycle and some riding pals. He left behind a lot of people who cared about him. It’s funny the kind of impact older kids can have on younger kids when a little kindness is extended. I don’t know what his demons were, but I hope and pray he’s at peace – where there’s nothing but open roads, bikes and great music…………ride on Johnny………
I’d been thinking about a much older John from the music realm lately. Papa John Creach may have been one of oldest psychedelic rockers of the late 60s scene, though his roots were in jazz and r&b of previous decades. Yet, his career flourished in the 1970s and remained active into the 1990s. So not too long ago I re-discovered this Papa John Creach album in my archives.
Yeah – I went looking at one point and eventually found it a few months later. I’d filed it in the Jefferson Airplane section as I sometimes do with “solo” records from an Airplane member, even if a latter-day one. In fact, as I’d be reminded via some internet research, Papa John was brought into the Airplane first by drummer Joey Covington (who replaced Spencer Dryden in 1970). A bit later Papa John would also join Hot Tuna which I think is the act most folks associate him with – maybe? Well, unlike Jorma and Jack, Papa John was part of the first few Jefferson Starship lineups too – at least through the Red Octopus album. Yet, the first I knew of Mr. Creach was on the truly wonderful Hot Tuna album BURGERS.
This is one of my desert island discs – a classic for all seasons. I can’t tell how excited I was to get a copy of Burgers on QUAD 8 track a bunch of years ago. And, how equally pissed off I was that my 8 track machine ATE the friggin’ tape……ugh! I still have the guts of that cart with the determination of putting it back together someday. (I really need to update my 8 track tape repair skills one of these days….) At any rate I did find a “free” version of BURGERS in quad so I’m all good there – heh! I just love this record in whatever format you serve it up – always a tasty treat!

So when I saw this Papa John solo album at a flea market for a dollar – heck yeah! And I was pleasantly surprised at the overall quality – wow! A great album! Interestingly enough, Papa John’s guitar player in this band was Kevin Moore – who in the 1990s would launch his own renowned solo career as KEB MO’. Far out! Anyway – I thought this was Papa John’s only solo record. Of course – WRONG! A few years ago I bumped into this one:
Also pretty darned good! So, that had to be all of them right? Nope – there were records that came out before and after both of the ones I’d found. Now I want to scoop them all up. Especially since I can say I had the pleasure to see Papa John in the early 90s with Hot Tuna and he darn near stole the show! So glad I had the chance to see him perform before he left the planet. So I was happy to re-connect with the “Playing My Music For You” record and I decided to feature Papa John Creach here. He was a good, entertaining musician who obviously loved performing.

Did any of Papa John’s albums ever get issued on CD? I don’t know the answer to that, but I do know his first LP got reissued recently along with some other Grunt / RCA albums. Actually saw a copy in a record store recently, though I didn’t snap it up quite yet. I may hold out for an original which is not unlike my way of thinking, generally.

But I’m no snob when it comes to reissues. In many cases I’ve been easily satisfied with reissues, as long as they’re done with care. And sometimes the reissues are more cost effective as in the case of Sun Ra. If a person has a hangup when it comes to finding only original pressings of Sun Ra albums, that person better be a hedge fund manager! A cursory glance at the prices original Sun Ra albums command on ebay and elsewhere is all a person needs to know – ASTRO-nomical prices for the original Astro Black and Cosmo Dark records, people!!
Thankfully, there is a cool and cost-friendly Sun Ra reissue program underway over at Bandcamp.com. I scooped up the above LP from this series and it’s a winner! Of course, the downloads are cheaper and more plentiful. In spite of the digital-centric nature of the overall enterprise (of the Enterplanetary Enterplan?) I have a funny feeling I’m going to be cherry picking some of those downloads over time. If I can get vinyl pressings – well and good, but the new reissue series looks to be done with care generally and that’s where it’s at as far as I’m concerned. See the official Bandcamp site here: https://sunramusic.bandcamp.com/

Now, in another instance – a pending reissue may be the best option as well, yet the nature of the release has raised a few eyebrows along with the well-deserved interest. Only last week the announcement came from the Frank Zappa Family Trust and Third-Man Records that a new reissue deluxe version of Captain Beefheart’s Trout Mask Replica was due to drop – though only available as part of a subscription to a Third-Man “Record of the Moment” program.

 Well, being a long time fan of this (in?)famous album – I had to at least peruse the merch…. aaaaannnnd…….  ** sigh **. On the one hand – I get it. Why not celebrate this amazing piece of art with a deluxe release? Okay, so maybe the Sgt. Pepper-esque “Trout Mask” cutout might be a bit “jumping the trout” for my taste, but it IS the title of the LP, right? Yet, I think I’m going to sit this one out…….here’s why:

First of all – I have this on LP and CD already. So I don’t need it. Another reason for me is – once again, the players who contributed to the music are not being compensated for the work. The tapes are owned by the ZFT and somehow even the original negatives for the cover pictures are in their possession as well. So, in a legal sense, the ZFT has every right to license all of this to Third-Man Records for manufacture and whatever. Yet, it’s STILL a deal made in “Frownland”. So much suffering went into this album – as detailed in several accounts from those who were there – it really is heartbreaking that some folks will continue to make money on music they had no hand in creating while those that DID will continue to get bupkiss.

Now, for the average consumer, the new Trout Mask Replica reissue may be a welcome alternative since even crappy, grey-market reissue vinyl copies have been going for big bucks on the used market recently. That, too, is a total travesty. So, here’s my advice: if you really want this album in its newly reissued form because you want the best available new copy – dig in. Then, while you’re at it – take a few more steps:

Seek out some very worthwhile product from current living members of the Magic Band and BUY SOME GREAT STUFF from them. Here are some links to what is offered from the folks who made Trout Mask Replica. They are still here and active and their work will delight you to pieces – if you are a Beefheart fan. Click away and get some more good stuff from the source(s):

Seriously! Buy their stuff! They have to put food on the table. The good Captain himself has moved to the great beyond and isn’t worried about feeding a family or paying the bills.

 Ya dig Zoot Horn Rollo?
Buy his album if you haven’t already. It kicks ass. Buy his book too – it’s a treat! Go here:    https://www.zoothornrollo.com/

Ya dig Drumbo?
 Buy his book – and CDs and DVDs. Do it. Don’t wait. Click below:

How ‘bout Rockette Morton?
 You can buy original artwork from him along with original music too! Go here:  https://www.facebook.com/beefheartbassistrockettemortonart/ 

You’re shelling out for the deluxe Trout Mask? You can spend some extra bucks for good stuff from the ACTUAL PLAYERS. And while you’re at it – head over to Cal Schenkel’s website and get a personalized piece of art from the ACTUAL PHOTOGRAPHER (and Zappa cover designer) of the Trout Mask album cover we all love so much from the GUY HIMSELF!


How cool is that? At least as cool as Jack White (I think cooler, really).

Not to down Jack White, since he is obviously a Beefheart fan and a music fan. I’ve even given his music a chance too (though I was kinda suckered in by the gimmicky LP he put out a few years ago – that Lazaretto album with the backwards-etched grooves and so forth).
 Jack White is a good artist, musically. Yet, I think his contribution will be seen more in terms of his business savvy, which is not a bad thing, but it isn’t an ARTISTIC thing – first and foremost – either. Here’s what I mean…….

Trout Mask Replica is – what I like to call – the most high-profile piece of true avant garde music ever unleashed on a semi-unsuspecting public by a major music outlet (Warner/Reprise). Even though the original release was via Zappa’s Bizarre / Straight imprints – these were just designer labels for the Reprise parent company that was owned by FRANK SINATRA. Let that sink in for a minute………

Trout Mask would be reissued with regular Reprise labels in 1977 as part of the severance agreement between Zappa and Herb Cohen (former manager who had rights to some Bizarre / Straight stuff). Since Beefheart was back as a currently-contracted artist to Warner Brothers by 1977, it was probably considered good business to strike whatever deal was struck to re-affirm Reprise’s rights to Trout Mask in that time period –which extended well beyond the 1970s into the 1990s and the CD era. Truly – I wish I still had the CD longbox that came with the CD copy I bought all those years ago – DUH! Can you imagine what that thing would be worth today??? Ugh……..Anyway – consider that part of Trout Mask’s “magic” was being released by a major record company –WORLDWIDE! Right alongside of Frank Sinatra records and Sammy Davis Jr. records. I don’t care what obscure platter you can dredge up from the same time period – 1969/ 1970 – there is nothing close to Trout Mask.

To illustrate my point, I like to call the track “Revolution 9” on The Beatles White Album the most widely-heard piece of true avant garde music / art  ever in the history of the 20th Century. Yet, Revolution 9 was the glaring exception to the otherwise accessible rule of The Beatles popular music – even in those hyper-excited times of 1968. If that baffling track reached the MOST people it was only a part of a larger, more accessible work. Trout Mask, by contrast, was a through-composed entity. Maybe not as widely heard, but certainly as AVAILABLE to the same public that would have purchased The Beatles White Album. That’s my point – is the new release on Jack White’s boutique label anywhere near the intent of the original release: to hyper-beam this uncompromising piece of total weirdness through the massive conduits of industry of the 20th century? I don’t think so. I mean, really – does Jack White occupy the same position in our current culture that Frank Sinatra held in 1969? I thought that position already belonged to BECK! Ha ha!

Okay – maybe I think too much about this stuff. Fair enough. Though, lately I’ve been feeling slightly more in tune with new music than I’ve had for a while. Taking risks on new sounds has been a rewarding experience for me the past few years. Some discoveries have been more compelling than others, but that’s to be expected. I haven’t been totally offended or let down by the new music purchases I’ve made, thankfully enough. Maybe the most critical thing I might say in some cases would be “lackluster” or “predictable”. Yet, music is such a subjective thing when it comes right down to it. Like Duke Ellington said – its either “good” or “bad” and that’s up to you.

A bunch of entries ago I was mulling over whether or not I would buy a new release from Calexico were that to appear. Well, appear it did:
And buy it I dutifully did. What I noticed about the new record -  The Thread That Keeps Us – is a strange downturn in sound quality (considerably more mushy and compressed – the sound of the vinyl is indistinguishable from the download) YET an improvement in material. The songs are better, yet the sound is compromised. Or you could say more suited to radio? I would bet (because I don’t know) Calexico gets more exposure on internet radio / streaming services than even FM college radio. There are two FM stations in my area that would probably play Calexico – maybe they do. It’s just a guess though, since I can’t pull the signals in decently enough to know.
It’s a funny thing – listening to this album again it seems that the ethnic element of the band is played down to give greater attention to the modern alternative rock sound. The identity of the band sound is retained which creates continuity at least across the three albums I’ve listened to. Within that core sound there are slight deviations from the formula that creates a bit of variation, but not too out there – just enough to be interesting, but not jarringly different. The safety zone.

What I’ve also discovered with this band is – I don’t get sucked into the songs so much as the overall sound of the music. Songs from one album could easily be from another album – and I can’t say any of the songs grab my attention and communicate something that I’ve never considered before. It’s pleasant music with little “depth”. The singer has an enjoyable – if emotionally detached – voice. Or its safe to say – there isn’t a wide RANGE of emotion. The dominant emotional vibe is – calm sadness. Even when the music picks up the tempo the vocals are mellow and calm. Not bad, just unexcited. It has a function, for sure. Sometimes that’s exactly what I want to hear. In some ways it may be the best soundtrack for the current climate of things……

Yet, I think this is where I hit the exit ramp with Calexico. I have three albums of a style I like to hear once in awhile, though no one song jumps up and says “play me again – aren’t I AWESOME?!” Nice albums, though I’d hate to be the guy with the task of picking a “single” off any given LP. If anything I’d be interested to hear the earlier albums – how consistent has their sound been and for how long? Well, aside from that level of curiosity I think I’m ready to say “Thanks amigos! Been fun following you for a few years. Best of luck to ya! Cheers!”

The record pictured above is credited to a band called WHITE DENIM. It is their most recent LP (called STIFF) from 2016. I found a sealed copy in a thrift store last year. While I was initially skeptical that this was going to be some goofy alternative pop it was nice to be proved wrong! This record ROCKS! White Denim serves up a great modern rock album here with some bluesy / rootsy influence - but in a good way. I have to admit I don't know too much about the band, but I'd go see 'em live for sure. The above record was produced by Ethan Johns - son of the well known British music producer Glynn Johns. The family legacy for excellent record production continues very much in evidence here. Way more pumped up and rockin' than Calexico if that's what you need to get up and rock out to. Highly recommended!

And saving my favorite new music for last - THE PINEAPPLES new LP "Twice on the Pipe"!
Years ago I spotted a 45 - the only 45 release - from The Pineapples in the early 1990s. This band from New York was ready to be the Next Big Thing in rock. I remember those days before Nirvana was all over MTV and the radio. Nobody was sure where music was headed for the next big style. It could have easily been The Pineapples from New York. Their first single was put out on Kokopop Records - a subsidiary of the infamous Shimmy Disk label run by New York scene-maker Kramer (of Bongwater and other projects).
I posted this record here a long time ago. Well, wonder of wonders - The Pineapples have a new LP out (above) AND two new 45s as well.........

The new singles are excellent and well worth adding to your order of the new LP. This is your chance to celebrate the return of a great band from the pre-grunge days - ready again to get your town rockin'! Go to The Pineapples website to order their great new music! http://pineapplesband.com/

And keep an eye out for their live performances - I hope to catch them soon myself! I've only waited 20 years!!

Until next time - keep that lamp trimmed and burning..............

Thursday, January 4, 2018

Jim Dean from Indiana, Lightning Rose and what blows against the Empire now?

One of my favorite conundrums is the whole art for art’s sake versus art for good’s sake thing. From the dawn of human culture, I would reckon it to have been a pretty constant theme through the ages. Most recently I’ve found my thoughts circling back to Phil Ochs again. Last year, a pretty passionate article ran in the Washington Post lamenting the need for a Phil Ochs-type voice for today’s troubling climate.


Ochs was arguably the most melodic yet uncompromising socially conscious songwriter of his time. Not a small accomplishment given the level of sophisticated competition he was up against – from Bob Dylan to Arlo Guthrie and beyond. Although he never managed to score an evergreen hit song to carry him to the next level of fame and stardom, Phil Ochs did write some genuine classic songs and timeless melodic material. If any criticism could be laid at his doorstep, it would be an occasional restlessness in his melodic singing lines. Well, if you had as wonderful a voice as Phil had, you’d probably want to show it off too! What’s more – he had the literary chops (way better poet than Jim Morrison for sure!) AND a visionary idea of melding the folk tradition with a more sophisticated, “serious” (classical?) music tradition. His brilliant album Pleasures of the Harbor was a bold statement lyrically and musically. Was the decision to place his songs in a more mature, sophisticated kind of production a result of this idea to “beautify” the art to contrast the ugliness of the times?

When I was just getting out of high school I had the opportunity to see the reformed FUGS in Woodstock NY (close to where I lived). Over time I started adding Fugs records to my collection. The earlier albums were more raw and rock-n-roll oriented. When I found an import LP of “It Crawled Into My Hand, Honest” I was surprised at the somewhat overproduced nature of the material.
There was one genuine good ol’ psychedelic rock song - “Crystal Liason”. Aside from that, the record struck me as oddly mature sounding for a group known as the “East Coast” version of The Mothers. I was a few years off hearing the live Fugs at the Fillmore East album (which captured the more rocking and uninhibited side of the band). So it puzzled me why The Freaky Fugs went kinda softee for some tracks – or so it seemed to me then. Of course I really like “ICIMHH” a lot now. What I came to realize only a few years ago was the likely inspiration – the influence of Phil Ochs on the Fugs to incorporate more sophistication in the presentation of the music. One of the relevent vocal refrains on the Fugs album can be found on the song “When the Mode of the Music Changes”. Ed Sanders sings the line “when beauty barks I heel….” – a slightly wacky way to express the effect of art on the “savage beast” I suppose. If the goal for Ochs and The Fugs was to possibly infiltrate the mainstream airwaves with a more polished production, the outcome unfortunately fell short. They were both too sophisticated – and arty – for mainstream America. And the glossier sound didn’t win over the rock and roll freaks. A commercial miscalculation, alas. 

As John Fahey once pointed out  - it is more commercially viable to write songs about the vague, sentimental side of American life (like happy train songs) than it is to write about the difficult topics like what fears people harbor that prevent them from speaking up when fellow humans are being mistreated or worse (A Small Circle of Friends)! Phil’s talents – as potent as they were – didn’t generate that one song to endear him to mainstream America. His audience was specialized and held him to a particular standard. Did this impose a limit to his appeal? He was good at being who he was. To be something else would be false. Maybe this partly explains the “Greatest Hits” album?
The irony would have been amazing if that record did contain some surprise hits! Was he courting fate or was it an admission of his own limitations? Perhaps both! For me, this record contains a truly transcendent piece of work - “Jim Dean From Indiana”. God, what a beautiful melody – beyond fantastic. Something that could easily place him in the category of Brian Wilson (in the Pet Sounds era). Listen here:
Folks have theorized Jim Dean is not only an obvious play on James Dean the actor, but of Phil himself – a semi-autobiographical song. I can’t verify the accuracy on that assumption. What impresses me most is the brilliant combination of craft and heart. Phil Ochs put his life into his work – and lived every note he sung. With a firm belief that his work made a difference – to uplift those struggling against the oppressive modern forces of the world. His songs still resonate, perhaps sad to admit. We are fortuntate to have them to shore up our spirits today.
A somewhat different legacy was left by Paul Kantner – whose music and work I admire greatly, though sometimes I like to think of him as “the luckiest guy in rock and roll”. Why? Paul managed to pilot two successful bands – the Airplane and the Starship – despite never writing a hit song himself! And he wasn’t much of a singer either. Yet, he was a visionary with a purpose! Actually he did have a hit album – Blows Against The Empire which won a Hugo award as a science fiction work. It would make sense then with the implosion of the Jefferson Airplane, the new group formed in its wake would be called Jefferson Starship (the name was first used as a “tag” for his solo LP in 1970).  In both cases of the Jeffersons Airplane and Starship – Kantner managed a successful formula that worked to support his grander ambitions of rock and roll revolutionary songwriting. The formula went like this: every album would have at least ONE radio-friendly “hit” while the rest of the record (or major parts) were devoted to the socially-conscious and experimental aspects of his vision. That’s it. Sounds easy, but amazingly he rode that wave in such expert fashion – quite a legacy! I was reminded of this when listening to the last Jefferson Starship LP on the RCA / Grunt imprint – Nuclear Furniture.
This record is almost universally loathed – especially by the Jefferson Airplane fans – as the final step in the transformation of a once great radical 60s hippie band to a bland 80s pop hit joke (as just “Starship”). Yet, what drew me to the record were the hit songs I heard on the radio – liked them then and like them now, thanks in part to the great production of Ron Nevison. Jefferson Starship were hardly the only 60s act seeking radio hits in the early 80s. Santana was doing it and had hits. Yes totally updated their sound and had the biggest hits of their career, right? So why doesn’t Kantner get any respect? In fact, Kantner’s material on Nuclear Furniture is co-written with the legendary Weavers singer Ronnie Gilbert – the thematic songs about Paul’s sci-fi heroine Lightning Rose. The Rose character made her debut on the 1979 LP Freedom At Point Zero (which led off with the blistering hit song “Jane” – if you don’t think that song rocks I feel sorry for you!).
On Nuclear Furniture, Rose is cast as a survivor of a nuclear holocaust – a topic that roared back to life in the early 80s and pretty much scared the shit out of anyone with a pulse. Even Sun Ra got inspired to compose his anti-nuclear war song in those years:
Even though Jefferson Starship doesn’t get much hipster attention these days, it ought to be noted that Paul Kantner managed to grab the brass ring Phil Ochs kept leaping for – and rang that bell for all it was worth – to make way for his message music. And those message songs are, like Phil Ochs songs, still relevant and necessary to hear today. I’m so glad I got to see Paul Kantner live a few times before his exit off the planet. Even though the shows I saw were not the Jefferson Starship in its prime, there still is nothing like the sound of Paul Kantner’s glorious acoustic 12 string guitars and eletric Rickenbacker guitars chiming through a nice loud concert soundsystem. God I sure miss that sound! Along with his idealism which never wavered – his calls for progressive, humanistic society – a true Great Society. Paul Kantner was pure rock and roll punk to the core. An unapologetic, critical thorn in the side of The Establishment. Of course, I didn’t know him as a person. Yet, from his work I feel confident to believe he was on the RIGHT side of the fight.

Between the release of Nuclear Furniture and his re-generating of the Jefferson Starship in the 1990s, Kantner wasted no time in re-assembling some Airplane alumni for a record as the KBC Band. And what is the very first song on side one of that album? A brave homage to Phil Ochs’ musician friend from Chile – Victor Jara – who was brutally murdered during the Pinochet overthrow in the early 70s.
 Please name me ONE current musician who gets regular play on major radio – with a release on a major record label – who is doing anything nearly as amazing as what Paul Kantner did on that KBC album! Ummmmmmm….. here’s your answer: not a fucking ONE! Bono? Oh, please.

So – for any of Paul Kantner’s critics who say he sold out with all those Jefferson Starship hits – it wasn’t Kantner who sold out. Those hit songs were good radio friendly songs and if they lured people into buying the albums with the message songs on them – MISSION ACCOMPLISHED! Maybe Kantner’s stuff wasn’t always melodic and catchy music – true enough. As a vehicle to get people to the Jefferson Starship shows, those hit songs were essential to the cause. And, at least until the 1990s, Kantner had enough clout with major record companies who were willing to put out his stuff with the less commercial material intact. In the continued era of “lowest common denominator music” such a feat is unthinkable. What major company would be willing to take that kind of calculated risk now? All that’s left is the steady corporate hummmmmmmmm of complacency and apathy. Or so it seems. I’m convinced Gil Scott-Heron was right – the revolution will NOT be televised. The corporate conglomerates would never allow that to happen. 

Over the past bunch of years I’ve been checking out some new bands and new releases just to see if there is anything worth listening to. And, certainly from a musical standpoint, there is a LOT of great new music. Even if I’m missing where the protest music is hiding (does it exist at all??) – here are some musically worthwhile platters to take note of:

Spoon – Hot Thoughts
I took a chance on purchasing this LP "blind" - no exposure to the music before the money changed hands. I had a hunch this band might be influenced by my favorite German band CAN and I was right (Spoon was the record label for Can). Although Spoon (the band) is more commercial than their inspiration I was pleasantly surprised to hear an enjoyable blend between modern pop and experimental-esque modern rock music. Of course, I'm a bit late to the party since Spoon has been around awhile. What this really means though is - plenty of back catalog releases to plunder in the years ahead. Works for me!

Aimee Mann – Mental Illness
I have to admit I've only played this a handful of times and, as such, have merely scratched the surface of what's in the grooves. Aimee Mann has had a long and acclaimed career since her debut with the 80s group 'Til Tuesday. Liked her then and I still like her now. This beautiful LP was delivered to my door for about $13 - a steal! I look forward to more spins in the near future. For that price, why not grab one too?

The War On Drugs – A Deeper Understanding
The much-anticipated new release (and major-label debut) from this great new (to me) band. This record builds where Lost in the Dream left off, but doesn't re-tread the same territory. I didn't get the nifty limited-edition green vinyl pressing, but at this point I'm more interested in the music. Gads, I can't remember the last time I bought a new vinyl LP from a new group on the Atlantic record label. Wonders never cease. A bit bummed I didn't get to see them live back in the fall, but maybe next time!

Randy Newman – Dark Matter
Oh, I've really gone head over heels about Randy Newman in the last year. The new record is great - especially if one is looking for some balance to the current state of the Union! Some very emotional songs included here as well. Not just discontent. Newman is a pro, folks! Catch an earful while you can. Missed seeing him live as well - bugger!

Buffy Sainte-Marie – Power in the Blood
I did NOT miss seeing Buffy Sainte-Marie live back last February. And that show - attended the night after I saw Arthur Brown in New York City - was the second hit of a ONE - TWO punch of live music intensity I hadn't witnessed in a long time. Holy Moly was she awesome. I am a major fan of hers - and the new album (top picture) is first rate stuff. I can also recommend her first album (bottom picture) - her talent was a force to be reckoned with right out of the gate. I'm so smitten with Buffy Sainte-Marie I have to save more stories for next time. I understand she has a totally new album coming out soon. I hope to see her live show again too! Oh, yeah!!

Beck – Colors
Okay - so I really liked the last album and bought this on the strength of that. Yet, I don't feel this is up to the same standard. Way more poppy and that's okay to hear. It just hasn't grabbed me so far. Not giving up, of course. I'll get back to you on this one............

Courtney Barnett & Kurt Vile – Lotta Sea Lice
Okay - this may be my favorite of 2017. Courtney Barnett I'd heard before (have a download of one of her other albums) - Kurt Vile not until this. Guess what? Love it! These two compliment each other so well it's a joy and wonder. Been playing it a lot. Don't wait to get this album - highly recommended!!

The Above – There Is A Reason
Here's a great new garage-rock independent release from The Above. I ordered this via their bandcamp website. Totally catchy rock and roll. I'd love to see these guys live. They also make great videos! Watch and listen here:  http://theabovebrooklyn.com/videos.html

Dany Laj and The Looks – Alive & Kicking
The new LP from Dany Laj and the Looks takes refreshing new chances in the songwriting department as well as the production. Overall a much more cohesive and rocking release than their previous LP Word on the Street - though I love that record too! I also look forward to checking them out live. Can't wait to rock out with this great band! Buy their records so you know all the words to sing along when you go see 'em near you!!

Terry Adams – Talk Thelonious
Terry Adams is one of the greatest living interpreters of Thelonious Monk's music. He has studied, performed and championed Monk's art for decades. This LP is a few years old now, but it sounds fresh and vital. Even if you don't know who Monk is - or who Terry Adams is (the longtime leader of NRBQ) - just get this record. It will blow your mind in the most enjoyable way imaginable.

Heron Oblivion – The Chapel
Heron Oblivion is apparently a bit of an underground rock "supergroup". Again - I bought this "blind" and was totally shocked! Get this - drummer Meg Baird is also the lead vocalist and sounds a lot like (though not identical to) Sandy Denny! Add to that a heaping amount of molten, flowing beefy toned psych-grunge guitar playing - this album was recorded live and just blew my doors down! Are there any vinyl copies left from the limited edition run? Better grab one while you can, squire!

Willa and Company – Better Days
Speaking of great singers - please do yourself a favor and snag a copy of this wonderful blues and soul singer's first release at the website above. Willa is a very talented singer and songwriter. Her songs have appeared on the blues charts since the summer and continue to generate well-deserved attention. Few new artists are taking American roots music forward like Willa is doing. Highly recommended for positive vibrations in rough waters ahead!

Thanks again for stopping by my little spot on the net. Take care and keep listening!

Thursday, July 27, 2017

Crackle and Spark: Moby Grape and Husker Du

                      Moby Grape – Wow / Grape Jam
 An Appreciation or “whatever happened to hairy Mary??”

Moby Grape is a group whose story is one of the great cautionary tales of bad luck in the music business. Maybe only Badfinger had a worse go of it. At least there were no suicides in Moby Grape. Yet, what often gets lost in the shuffle is how Moby Grape’s story is also one of inexplicable resilience and the power of the human spirit. For along the circuitous path of this band’s history there have occurred infrequent yet potent flashes of genius, light and exuberance when it was least expected or warranted. In the darkest of circumstances, the electric Moby Grape spirit would come roaring back as if after long, fallow periods the latent power had no option but to burst forth undeterred and unable to be denied. It defies all rational logic. There is just no way such a down and out lot should have had the audacity to be so awesome on their own terms, on their own time - always having to fight off their oppressors (seen and unseen) in the process.

One might argue that although the seeds of the group’s bittersweet fruit were sown early on, the years following their late 60s heyday have provided the better story. Lawsuits dragged on with the courts rarely siding in their favor. Yet the real identity of Moby Grape always resided with those original five fantastic musicians. Time, in the long run, has been on their side. That fabulous five proved over and over how the magic resided within them – not in some document saying who owns what words or images. The magic is apparent to all those with ears – and has been there right from the git-go, in fact………..

 Moby Grape was assembled around guitar player Skip Spence who, after drumming for the original Jefferson Airplane, had a mind to strike out on his own as a bandleader / composer / singer and songwriter. The musicians that were drafted to fill out the band were not all known to each other at the time. Jerry Miller and Don Stevenson were pulled in through Bob Mosley, but that was the extent of who knew who prior to the formation of the band. What these five musicians achieved in the first formative months of their existence as a band is astounding – a smokin’ live act with emphasis on killer original material and a debut record on a major label that also featured original songs expertly executed and presented. The self-titled first album holds the distinction of being one of the few truly perfect albums in the history of the medium – and to think this was their first record…….just staggering. Still is. If you don’t own a copy please do yourself a favor and get one pronto! You will be happy. You will jump up and down. You will play air guitar. Why aren’t you listening to this record now? 
Some groups only have it one way – either a great record or a great live act. Rarely is there a combination of the two. Moby Grape had that magical alignment of fortunes. A live CD of various performances was issued on Sundazed a bunch of years back and it contains a portion of the smokin’ set performed by the Grape at the Monterey Pop Festival. Oh boy, did these guys have “it”. Lots of “it”. More “it” than most bands. For years I read about how dynamic they were as a live unit – particularly the presence of Skip Spence onstage. Around the summer of 2001 I took a solo journey out to the Rock and Roll Hall of Fame in Cleveland. This was prior to youtube. I literally stood frozen in front of an exhibit case with various artifacts from Bay Area groups (including the fringe jacket Skip Spence wore on the front cover of Moby Grape’s perfect debut album). Why was I stuck there? A little television was positioned at the top of the case which must have been linked to a VCR playing a tape loop of performances from these bands – including a clip of Moby Grape with Skip Spence leading the band through a song on the first album which BLEW MY CIRCUITS. Seeing Skip Spence in action like that made the hair on my arms stand on end. What an electric performer! See here:
The stories of the first tour across the US are legendary. Tearing up stages night after night with Spence pulling out all the stops. They quickly became the envy of their peers. Yet, as brilliant as the first album was, the damage was inflicted by the record company’s decision to issue all the tracks as singles simultaneously – sending them all out to radio stations in one shot. Said radio stations had no idea which songs to plug and therefore no single song had a ghost of a chance to advance up the charts. Its almost as if Moby Grape was chosen as the group to experiment with – beyond shameful since they deserved better.

Sessions for the follow-up LP began in California and, by all accounts, were a disaster mainly due to partying and general unruly behavior. The decision to move the sessions to New York would prove both decisive and fateful. The record would get done, but the price paid would extend well beyond the studio costs. Once the record was finally hitting the shops, Skip Spence would be heading for an extended stay in a psychiatric hospital. The future of the band without their leader, however fragile, was unknown. Still, there was talent aplenty – especially apparent in bassist and vocalist Bob Mosley. Guitarist Peter Lewis has stated that Mosley was the one member of the group who could have been a star in his own right without the rest of the band backing him up. Great songwriter, great bassist – better vocalist (he could have been Otis Redding’s own son). In the great killer bands of my imagination, putting Bob Mosley in a fantasy group with Steve Marriott is among the more potent daydreams I’ve allowed myself to have. Even though every member of Moby Grape could sing well, Mosley had that magic voice. 
While the debut album rightly gets the attention it deserves, it dawned on me that the sophomore effort – Wow / Grape Jam – is too often unjustly criticized. Perhaps it gets lost in the history of its own creation, particularly the events that sidelined Skip Spence which propelled the group into a tailspin. Had Spence not melted down in 1968 and the group continued intact to third and fourth proper albums, Wow may have been hailed as the slightly excessive, but ultimately transitional record it was meant to be. So Wow gets unfairly compared to that perfect debut album and, really – it’s a shame. Wow is as honest to its times as the self-titled LP was to its own place and time. If the debut embodied the optimism of San Francisco’s 1967 Summer of Love, Wow is the worthy counterpart soundtrack for the parade of grotesque surrealism America endured in 1968. As such, Wow stands as an honest snapshot of what people were feeling and thinking in those days. What more can we ask of great art beyond this?

Perhaps fittingly, the leadoff track sets the scene literally with “The Place and the Time”. 
Here to sing our words and song
Finger chimes and wonder and losing nothing

Mother and father, think for yourself
This is the place and the time
Make the changes, hear the time
All those silly words don't seem to rhyme

Now I'm cold and I wonder why
My twelfth floor mansions seem to touch the sky
Tomorrow I'll be back to see if you can really be here

My, what a strange vision I have seen and what a change

What's that walkin' through my years
And breathin' on your mind?

Oh, what strange visions and changes did confront the American populace in that fateful year! Never were song lyrics so directly correlated to the times. This almost sounds like a sing-songy introduction to an elementary-school stage production – a childlike preamble heralding the weirdness to come. “Mother and Father – think for yourself – this is the Place and the Time……..”

The following track – “Murder in my Heart for the Judge” – is one of the strongest efforts on the album (with an impassioned vocal from Mosley) and, oddly enough, a potential anthem for the true Moby Grape Nation in their ongoing legal plight through the ensuing years. 
 It also underscores the growing generation gap that had rapidly befallen the country in that era. The big, fat, bald representative of justice is just another example of The Establishment looking to crucify the younger generation. Yet, there is a slight wink in the vocal delivery which provides a bit of comic relief to an otherwise tense face-off between the hippie culture and the straight culture. The plaintiff pleads “I’m sure to change my ways……” but the judge wasn’t born yesterday and sees right through the phony remorse with the promise to throw the book at the hippie for “getting smart”. The judge may be an asshole, but he’s not stupid. (Though I’d like to qualify the fact that there are truly stupid judges out there!)

Bitter Wind – the philosophical centerpiece of the LP, yet a possible window into some sort of psychological torment (expressed in the noise section, perhaps?).

Can't Be So Bad – Jerry Miller as the upbeat guy trying desperately to cheer up a clearly depressed young lady – the over-the-top pleading on Jerry's part is reminiscent of those who have struggled with family members with legitimate mental illness. Yet, at the core Miller wants all to be well – and his dedication to being a Good Samaritan is both honorable and admirable. Level-headed and empathetic – good combination of qualities. Especially in ideologically war-torn America of 1968.

Just Like Gene Autry – Spence has the best sense of humor – the outtakes of the Arthur Godfrey vocal overdub session reveal how effective Spence was in getting even the most unlikely people in on his “trip” to do things beyond what they'd normally do. Yet, that bright light of inspiration has a dark shadow revealed on side two...........

He – Peter Lewis has written that he was experiencing a minor personal meltdown of his own during the sessions for Wow and this was his only significant contribution. Oddly enough, he could have been writing the song about Spence, though I don't think that was the case. Nevertheless, a song about a fragile person..........

Motorcycle Irene – the dark side of Spence is revealed here. I will maintain that car crash sounds do not belong on pop music albums (nor do auto disaster songs – see Jan and Dean about that).

Three-Four – this is a beautiful song which gives Mosley an honest shot at being taken seriously as a country and western singer. This track could have been issued as a single and sent to country stations under his own name and might have gained a spot on the playlists. There is little evidence that this track is being performed by a Bay-Area hippie band. Plenty of rock groups were dipping their toes into the C&W territory, yet none of the other bands were capable of pulling off such an authentic and honest-sounding performance in the true spirit of the genre. There is no irony here. Only heartfelt emotion. They should have been booked on the Johnny Cash show to do this number.

Funky-Tunk – the light-hearted take on C&W – a little hillbilly he-hawing to remind us this is a rock and roll band with a sense of humor. Really, a nice bump down to reality from the seriousness of the previous track.

Rose Colored Eyes – one of the most hauntingly-beautiful songs of the golden age of rock music. Once again the versatility of Mosley's vocal abilities gets its due here. Side two is pretty much all about Bob since he owns the vocal performances like a champ.

Miller's Blues – maybe titled for Jerry (who does provide some tasty guitar work here), but the vocal duties fall to Bob again and he knocks it out of the park. Interesting to note – 1968 was the year of the blues, yet this Bay Area group gets influenced here by the New York Blues approach – more in the urbane-style with horns and so-forth. There is a weariness to the proceedings which reminds us that 1968 was a very rough year for everyone.

Naked, If I Want To – Bob gets the final word here with the other age-old musical question.............updated and insistent in the grand style of Otis Redding. This seemingly throwaway track illustrates the difference between the whimsical version on the '67 debut with the newer, less idealistic version on the '68 LP. In other words.........why can't we do these things a year later? Haven't we progressed yet? What's the holdup? And a hearty Amen to THAT, especially in the USA, 2017-style. Eeesh.

I could keep writing about the other albums - reflecting the ups and downs of this talented, but troubled bunch over the years. There are more stories to illustrate that triumph of spirit in the face of adversity - and the Melville Gang has been through the wringer of life to testify. Yet, I will save that for another time. The story for Moby Grape takes a sour turn by 1973 when the original band loses the right to perform under that name - a situation that takes decades to change. The whole story has really yet to be told properly. It is a strange tale of how individuals thrown together find common ground in the fight for the right to be themselves - held together by the bond of a curious and magical musical chemistry. 
     If the Moby Grape band pulled together as friends to fight for their name and legacy, others have had the opposite problem - legendary acrimony that may have been the source of the creative spark, but leading to no chance of any reunion activity. Over the years I have attempted to write about Husker Du as a band. The following is the best of the several attempts with some new stuff thrown in. The time may be right to finally publish my homage to the Du.........

             HUSKER DU - Remembered and not forgotten:

Predicting shifts in musical trends is not something I expect to do anytime in the near or distant future. Yet, I can say “I saw it coming” as the 1980s morphed into the 1990s. Well, I didn't know exactly when that shift was coming, but I wasn't entirely surprised when it arrived. Grunge. Nirvana. Loud rock guitar based music with long hair again. To the average music fan of the 80s, the grungiest thing to hit the mainstream was Guns N' Roses, but of course they just looked like an updated version of Aerosmith to me. I often wondered where the Nirvana fans were when great independent rock trios of the 80s were blazing the pathway – Meat Puppets, The Minutemen, The Wipers, Agitpop and, especially, Husker Du.

I know I wasn't the only one. Yet, I was the only person I knew who KNEW. None of my friends were as interested in Husker Du as I was then. Now it's like, one other person I know personally. Of course, I never got to see them live - nor in any solo outings, alas. But I can honestly say, "I was a Husker Du fan in the 80’s". And for this I have to give credit to my main music news connection of the era – Musician Magazine. There used to be little profiles on up and coming bands in a section of the magazine devoted to that stuff. Once in awhile a band would be described as “neo-psychedelic”. Like the Rain Parade. I bought their album – not bad. More like 1965-era Byrds as opposed to psychedelic. 
Another issue had a little profile about Husker Du. Now, these guys looked more like wrestlers than psychedelic rockers, but I read how they covered the Byrds “Eight Miles High” – that sounded pretty cool. But it took me awhile to finally hear that record. In the meantime, I found an unlikely Husker Du record at the local mall chain-store record shop (they were known to carry some indie stuff at the time besides the usual major label crud). For some reason they did not have any of the SST releases, but they did have “Everything Falls Apart”. I debated about this one since it wasn’t on SST and I had never heard about it. The cover listed a song titled “Sunshine Superman”. Hmmm. Really? The Donovan song? Alright – a punk version of Donovan – sold!
I was a little dismayed to find out the record was cut at 45 RPM speed when I sliced open the shrink wrap and slid the vinyl out of the sleeve. 45? Well, this was going to be a short album. I think I put the needle immediately down on “Sunshine Superman”. Hey – a little abrasive, but not bad. A “tough” version, but this was no parody. These guys genuinely liked the song. I could tell. Fine. But it was when I placed the needle into the grooves at the start of the record that I was face to face with a new reality. This was PUNK music. Loud, fast, waaaay abrasive, but there were hooks, melodies lurking there. I will never forget watching that record spin so fast on my turntable as Grant Hart’s propulsive drumming thundered out of the speakers like an out of control herd of galloping cattle. 
Now, I had played in a little punk-type band for a brief time. It was fun, but kinda one-dimensional. So, to hear a “punk” band branching out into other musical vibes beyond “hardcore” was pretty interesting to me. I have to think it must have been 1985 or 1986 when I heard this record – only a few years after its release, but by then the Huskers had moved ahead musically – and I was still trying to catch up!

I’ll tell you why I adopted Husker Du as “my band”. First off – the abrasive stuff was interesting, but not speed metal. Everyone else I knew in high school was going bonkers over Metallica. I never latched onto that band. Maybe it was the guy that sat in front of me in Spanish class who had every Metallica T-shirt known to man – the ones with the glow-in-the-dark electrocuted skeleton and the fist with the dagger popping out of a toilet come to mind – I hate to say it, but those images seemed kind of contrived to me. Kinda like “here’s some stuff that adolescents will think is really rebellious and their parents will hate it and gosh aren’t we just soooooo rebellious???”. It struck me as a little obvious and paint-by-numbers in the image department. Probably prevented me from appreciating some great music, but that’s my un-hip brain for you…….
                                        What I never got to witness live. Raw Power!

Aside from a much more mysterious image than Metallica, Husker Du – even at their most abrasive – knew how to incorporate melody and harmony into their music. They gave the listener something familiar to latch onto while being ushered into the “new” era of aggressive rock and roll music. Actually, by the time I latched onto Husker Du, it must have been 1986. I seem to recall seeing the 12” single for “Don’t Want to Know if You Are Lonely” in the same bin as “Everything Falls Apart”. I’m sure I had heard some other tracks on WVKR – the local college radio station. I distinctly remember hearing “Green Eyes” on there from the fabulous “Flip Your Wig” album.

What else made Husker Du so compelling in the 1980s? The 80s seemed to be the decade when mainstream acts were afraid to crank up their amps. Popular music sounded so………manufactured. Husker Du had just enough “edge” to their sound to be contemporary, but enough quality singing, hooks, interesting lyrics and songcraft in general to stand out from the crowd. Nobody was doing what they were doing in that era. Not knowing any of the inside info on the band – it looked in 1986 that they were going to hit big and push music in the proper direction (which they ultimately did). This noisy-as-hell band signed to Warner Brothers and certainly the Grant Hart songs on “Candy Apple Grey” had “hit single” written all over them. “Don’t Want to Know If You Are Lonely” is an 80’s power-pop masterpiece. Not to mention “Dead Set on Destruction” – what a great track that is! I really thought – finally! A ballsy power pop group with good songs is going to save popular music from the freeze-dried hell of the 80s!

1987 arrives – new double album. Tours. Show in Poughkeepsie cancelled. Even though I was not yet 18 I was determined to get into that show. My one missed opportunity. By 1988/9 they were done. Nobody seemed to care. Then……..THEN! All of a sudden in 1991, everyone is crapping themselves silly over this new band Nirvana – lessee – a power/punk/pop trio in the Husker Du mold – basically reaping the glory that the Huskers laid the groundwork for all through those miserable 80s? Where were all these people when Husker Du was laying it down only a few years before? I have never been a Nirvana fan. My loss I suppose. I just couldn’t…………….

There was something else about Husker Du’s approach – the music was intense, but the lyrics usually betrayed some inner turmoil and awkwardness that certainly spoke to me as an adolescent teen. There was a certain willingness on the part of Mould and Hart to reveal some vulnerability in their lyrics which was quite different from the typical vapid posturing that went on in 80s popular music for the most part. To me, it was Grant Hart's stuff that truly set the band apart - his material had an unmistakably deranged, desperate and unhinged quality to it. At once compelling and, at times, disturbing. It is possible that both the main songwriters encouraged each other to plumb the depths of their psyches to dredge out the best of what was lurking inside them. To magnificent effect for the art, if not for the business side of their relationship. In their case, one could argue what made them special is what also tore them to pieces as a band.

With the grunge revolution of the 90s, it was reported to be fashionable to name-drop Husker Du as an influence if you wanted some alternative-credibility. Since I was essentially out of the rock music loop by that point I could care less about how hip it might be, but I was never too bowled over by what I heard other bands coming up with in an attempt to carry the torch the Huskers lit back in the 80s. Context is everything. I’m sure to modern ears the music Husker Du came up with sounds like an interesting curiosity. Like some weird science experiment gone wrong. But those records were (for me) the only worthwhile direction rock music could go in. And for the band who brought the change as close to becoming reality as it could get in their day NOT to get any of the credit or payoff just pissed me off to no end. Maybe there were others like me who reacted the same way. I have this thing about "myth". To me, Husker Du was the LAST band to conjure up the MYTH FACTOR - perhaps for other people it would be Nirvana. The elusive way people "talk" about a band in excited tones. Telling stories of past glories and future conquests. That kind of mythical stuff. To watch the Huskers come so far and then wipe out right when they should have led the charge was a lot like - breaking up with the first girlfriend who meant something to you. Well, you can guess why I make that particular analogy! The Huskers breakup and my first breakup happened pretty much simultaneously. In fact, Bob Mould's "Workbook" solo album was like the soundtrack to my immediate post-breakup world - can't hear it any other way. So I have a fair amount of emotion tied in with this particular band! Lucky me!

Husker Du's music is raw emotion. The intensity of the emotion behind their songs – that’s what set them apart. These guys put out the most haunted and tortured-sounding power-speedpop songs imaginable. And a good majority of those were damn catchy! Well, not all of the songs were torture-fests. Mould’s songs kinda split between the frenetic scream-fests and the sombre dirges. Grant Hart’s stuff struck a much more sinister vibe – some songs could be singalong sweet pop confection while the more screamy songs often had a just-escaped-from-the-mental-institution sensibility going on. Mould was definitely angry, but he didn’t come off sounding half as dangerous as Hart. Yet, even with these edgy qualities, Husker Du made such unlikely inroads into mainstream culture at the time – it’s hard for the current crop of young people to realize that although there were figures from the music world capable of criticizing the “system” in an intelligent way (Bob Dylan, John Lennon and Frank Zappa were the three most media-savvy truth tellers of the era), even those people had “star quality” to the extent that they “fit in” as the Court Critics. The guys in Husker Du certainly did NOT have that vibe about them AT ALL. And seeing their appearance on the Joan Rivers show in 1987 – the mere PRESENCE of Husker Du on that TV show was like……..”Oh my god…..they’re letting the real, non-glamorous, intelligent people on TV……holyfuckinggoddamn! This must be THE REVOLUTION!!!” 
They certainly pointed the way and they were RIGHT. Yet, it couldn't be them. This is brought home especially by Bob Mould's autobiography. As problematic as his account of the breakup might be - if nothing else the reader is given a clear sense of his feelings about the band, even if the events that created those feelings aren't explained too well. I got the sense that Mould just wasn't willing to be tethered to Husker Du for his whole life in music. For better or worse he simply wanted out. Partnerships are tricky - even when the art sets audiences on fire.

As time went on, I eventually picked up Mould's second solo album - Black Sheets of Rain. For whatever reason I never quite got into that. I didn't bother with Sugar for the longest time. Some of that stuff is okay. I know it means more to Mould than that. I prefer his more recent solo albums - Beauty & Ruin and Patch The Sky are wonderful! Yet, it took me awhile to check his stuff out again. I totally missed all the electronic business. Maybe someday I'll catch up with that. Grant Hart was much less prolific and his records were harder for me to find. Yet, when I did track them down I was quite impressed! Nova Mob deserved better than what they got. How great is this video?

I really got into his 1999 release "Good News For Modern Man". Then - I don't know what was going on up to the release of The Argument. I'm happy to say I reviewed that here when it came out and I still like it. Since then I managed to snag the compilation LP and DVD set - Every Everything:
The documentary on Hart is well worth seeing for the Husker Du fan. He is the narrator and it's really his own view of himself we get to see. And that is WAY more than the average fan has had access to - and a welcome thing, indeed.
 A few months ago I had a ticket to see Grant Hart open for The Meat Puppets in New York City. I was so sick that week - I bailed. Wish I hadn't now. It probably was my last chance to see him. Reports from that show weren't very kind. I guess he isn't doing so well these days. Out of respect for him I won't post pictures here. Whatever his struggles - I salute his art and his bravery. Mere words can't convey how important that music was to me growing up and even now. It meant courage - the courage to face the depths of one's own darkest regions and somehow transform all of that into brightly illuminated energy - to push outside the confines of one's own mental / spiritual dungeon. I hope to get there someday - at least the brave among us have trailed the way ahead. For the artists in Moby Grape and Husker Du - thanks for the hope and courage. Not easy torches to pass along. May the efforts continue to crackle and spark!

I'll give the last word to Grant Hart - live in 2014. If it's worth saying, it's worth saying LOUD!