Oh, to be Young Again!

He was a child.

When I think of songwriting genius, names like Bob Dylan, Neil Young and John Prine come to mind first. And I use the word genius especially because they have managed to create brilliant music and lyrics over a sustained period of time, from a pretty limited set of chords/melodies/vocabulary/instrumentation.

When I think of powerful rock n roll, names like Neil Young, the Stones, the Clash are near the top.

As you can see, one name appears in both groups, so as you might imagine I find myself looking for newer artists who emulate artists like Neil Young, who, using a limited palette, somehow infuse their music with both great power and beauty nonetheless.

During the early 70s everyone was looking for the "New Dylan". Now we may be looking for a New Neil Young without even knowing it. We should have started a while ago, but here we are.

The following three artists have gotten me thinking of them as possible new Neil Youngs. Here are my thoughts on their latest albums:

MJ Lenderman: Manning Fireworks (2024)

I'd run into this guy a couple of years ago as part of Wednesday, which, if anything, sounds more like Neil Young than he does alone. And while their guitars delivered an overwhelming intensity, the melodies were less forthcoming. Neil wouldn't make that mistake. 

MJ himself has put out five solo records, and this is his latest. He's more laconic and more country than Wednesday. His singing style makes Neil seem like one of the Three Tenors. The lyrics pretend to be about nothing much, which makes them interesting. He almost dares you to not like him.

He plays a rudimentary style of lead guitar, much like Young, but doesn't make it a central part of his performance. The songs aren't as immediately catchy as Young's, either, but they do grow on you. 

Overall, less assaultive and more tuneful than Wednesday. Instead of a bunch of drunks in a bar fight, there's just one drunk minding his business. But he is still drunk.

B+

Wussy: Cincinnati Ohio (2024)

With both a male and female vocalist, Wussy covers Neil Young's vocal range. Their first album, Funeral Dress, was ragged, with electric guitars up front, interspersed with beautiful songs, and one of the best albums of the aughts. I thought of it as the Neil Young comeback album he never quite got around to making.

My next Wussy album was Attica! It was a bit more polished while simultaneously leaning even more heavily into droning guitar noise. Like Funeral Dress, it contained at least two or three masterpieces, but here they stand apart from the noise.

This time, the tone is hushed, in keeping with the sudden death of guitar player John Ernhart in 2020. Atmospheric and reverential, with vocals that no longer snarl, it captures the loss of a comrade in all its shock and confusion, and unlike certain other people they don't use it as an excuse to drown themselves in drugs and alcohol doing it, even if a better album came out of it.

Wussy now appears to have chosen a different path and is, thus,, less likely to be compared to Neil Young. And that's okay. Ultimately, it's about quality, and Wussy provides that in spades.

A-

Waxahatchee: Tiger's Blood (2024)

Meanwhile, this "band" (really just Kate Crutchfield and whoever she's playing with at the moment) doesn't have such aspirations or obvious similarities to Young. However, where she matches him most closely is her knack for tunes. I held off a while on getting this one, thinking, because I'd already loved Out in the Storm and liked the later St. Cloud, her songwriting might not keep up the pace she set for herself, especially since she's also done other records in addition to her solo stuff.

But that's not the case at all. I was pleasantly surprised that this one is a melodic rebound from St Cloud. The vocals are stronger, too, as is the production.

She did rock n' roll proud on Out in The Storm, and did the same for folk/country on St. Cloud. Now, with Tiger's Blood, which occupies a middle ground between those two records, she may have outdone herself. God only knows what I've missed on her other albums.

In songwriting, hooks, singing, simplicity, and most of all, consistency, she comes closest to Neil Young in spirit if not actual sound. 

And that's good enough for me.

A

2025 My Soundtrack to a Coup

My apologies to the makers of the documentary Soundtrack to a Coup D'etat - where several of these artists coincidentally appear - but I needed a title for this post. I promise to watch your almost certainly depressing film but not until our coup - because "coup" is what it f*cking is - is stopped. 

I'm listening to a lot of classical music and jazz. I typically do this in the winter anyway but it seems especially apt this year. Best to have one's ears stuck in the past than one's head in the sand. 

And since these days things like DEI are out of fashion this post will be based strictly on merit.

The Complete Ella Fitzgerald and Louis Armstrong (2007)

Perennially cited as one of the greatest jazz albums ever, Ella and Louis has been on my radar for some time. I never quite got it, though, because Fitzgerald's compilation 75th Birthday Celebration didn't quite do it for me. Plus, while I knew and liked Armstrong the cornet player, getting familiar with Armstrong the singer was not high on my bucket list. 

Last year, though, I fell in love with Fitzgerald's Cole Porter Songbook, so I figured maybe it was time to give Armstrong the singer a chance. I could have settled for the single disc Ella and Louis and be perfectly happy, but this three-CD set - containing all of their recordings as a duo - was very reasonably priced, so I dove into the deep end and didn't regret it for a second.

I got this compilation album in 2024 but, due to some technical issues, I didn't get to hear it all until 2025. It's comprised of Ella and Louis, Ella and Louis Again, Porgy and Bess, and a couple of live tracks. So that's three-plus albums spread over three discs.

Disc one or album one would have topped my best-of-2024 list. Disc two and possibly three would have made my top ten. The added bonus of disc three is that I'm finally getting to know Porgy and Bess. Miles Davis was no help in that regard, but after this maybe I'll be able to hear his version better. 

As usual, I opted for overkill so you don't have to. The original albums are all available, as are several single disc best-ofs, giving a smaller, more focused dose of this music if that's more your speed. No matter. Any of them would be wonderful. I can't see how you can go wrong here.

Song after beautiful, clever, funny, tuneful song, sung by two great singers. Pre-Beatles, of course, but I've made my peace with that.

A

Louis Armstrong: Louis in London (2024) 

Speaking of Armstrong, last year Verve released this recording of a 1968 concert - one of his last - by Armstrong and his band. 

It's half greatest hits and half songs of the day, so one could mistake it for nostalgia bait, but that would be a mistake. The performances are wonderful. The band plays with great enthusiasm even on the older material. 

Speaking as someone who only became acquainted with "What a Wonderful World" from Twin Peaks, I'm far from an expert.  But I'm now beginning to understand how someone with such a limited vocal range can be considered one of the greatest singers of the 20th Century. It's called expressiveness.

A-

Duke Ellington/Charlie Mingus/Max Roach: Money Jungle (1962)

I'd had my eye on this one for years mostly because I loved the title and the cover. Given such rigorous selection criteria, once I finally got it, I prepared myself for a major letdown.

No need. 

It's just three guys - one older legend and two youngish turks - Ellington on piano, Mingus on bass, Roach on drums, banging out some tunes. Given the set up there's not much in the way of soloing. This record's more about texture. And while I suspect Ellington isn't a technical virtuoso, he seems to ooze musicality, and that holds it all together. 

As the cover shows, Roach leans over Ellington, focused on understanding the compositions from score to piano, intent on finding rhythmic opportunities at every turn. Mingus keeps his distance (Mars is a ways away, you know) working by ear, and often playing what you'd least expect. 

As they say, sometimes less is more. This is a great record, and a perfect introduction to jazz. 

A

So Where Does This Leave Us?:

This music is more than fifty years old, and it all provides a great start to 2025. I count three - and possibly five - geniuses here. What are the chances of that?? When you think about it, quite good. (Note to fellow White Folks: Just pull yourselves up by those old bootstraps, etc.)

Next time I'll try to get back to pop, looking at some 2024 albums I'm only getting around to now.

Alas, the world is on fire. I'd like to help put it out but I've been a bit under the weather lately. Being agnostic and yet oddly superstitious, I put the former on hold while I tried to make a deal with God before the election. That didn't work out - Harris lost AND I got sick. 

For the sake of ending our current nightmare, I'm willing to give it another try, but I fear God may be agnostic towards me, too. Fair enough. 

I'll have to remind him I do, in fact, exist, and - more importantly - he's the one with the lightning bolts.

2024 Also Rans

Martin Phillips 1963-2024

Okay, we're all sick to death of the debacle that was 2024. I'm sure 2025 will be better. Look how it's going already! 

But before we completely finish with that awful year, I must belatedly recognize some records whose true worth went unrecognized by yours truly until, like, now. Much like, say, a country choosing its President, I failed to choose these records when it mattered. 

Amy Winehouse: Back to Black (2006)

The only music I trust the British with is rock 'n roll, folk, and reggae. When they try to sing soul music the men are a disgrace. Amy does much better here.

She's got a great voice, the songs are good and the band is all over them. While I get the feeling that many women of color have done this before, with less monetary success, that's not Amy's fault.

The themes I pick up are that she's no good, her man's no good, love itself is no good, etc. (Alas, rehab is no good, either.) But she keeps your attention with great lines like What kind of f*ckery is this? 

And she meant every word.

A-

Beyonce: Cowboy Carter (2024)

I typically confine my comments to my own musical purchases, but for this album - gotten by Mrs. Jaybee - I'll make an exception. There's not a bad song here, and few really soar. Even when I don't hear a great song I hear people working hard to turn it into a great record.

So is this a country album or what? I neither know nor care. Whatever you may think - or want to think - this is an excellent record. Her versions of "Blackbird" and "Jolene" are fine, and the duets with Miley Cyrus and Post Malone are great.

Anyone who actually listens to this record and concludes it's bad is nuts. Or worse.

A-

Chappel Roan: The Rise and Fall of a Midwestern Princess (2023)

This sounds a bit like Olivia Rodrigo thanks to Daniel Nigro, who produced both records. But Roan is the more expressive singer. So expressive, in fact, at first the songs are indistinguishable from one another.

This led me to think I'd had my fill of this type of pop music, so I took a break. All that youthful energy in the summertime just made me tired. Not her fault.

When I returned this winter all those songs were patiently waiting for me to catch up. Each subsequent listen revealed more melodic details which gave each song its own identity. So that awful youthful energy paid off in the long run.

So have I had my fill? Not as long as I keep finding such worthy artists.

A-

The Chills: Brave Words (Expanded and Remastered) (2023)

The Chills spent the early part of the 1980s in their homeland, New Zealand, making legendary singles. In 1986, they pulled them all together and released the wonderful Kaleidoscope World, which I picked up in the fall of 2016.

I have fond memories of Election Day that year. The weather was sunny and mild, and I was off from work, so I spent the afternoon in my backyard listening to KW. Hilary was up by 5% and I assumed nobody would be stupid enough to change their vote because of Robert Mueller.

Now I ask myself, why, oh why do I keep buying Chills albums in election years? They promise so much and then reality dashes those hopes.

ANYWAY, this is their first proper album. It was originally released in 1987, and this version was remixed and remastered in 2023. Here, the band is almost militaristic in its rhythm and drive. Not to be outdone, their songwriter and leader Martin Phillips is obsessively singleminded in his pursuit of the perfect melody and thoughtful lyric. It makes for a very impressive record.

Their follow-up to this - Submarine Bells, one of my all-time favorites - is a bit more graceful, incorporating all of the above elements more organically. However, it's fun to hear all this sheer talent before it ripens into genius.

It's hard to love this record since the election. Harder still knowing that Martin Phillips died this year. But I keep playing it and it gets better and better each time. 

I'd hoped for joy, but I'll settle for solace.

A-

Sonny Sharrock: Seize the Rainbow (1987)

I'd checked out this avant-garde jazz guitarist a couple of years ago and found him to be a bit slick. Here he decides to rock out.

At first, the opener ("Dick Dogs") sounds rather silly, with its heavy-handed power chords seeming to announce I TOO can rock! Now, jazz musicians are capable of many things, but rocking usually isn't one of them. Oh, they play the notes technically better than any rock musician can but, in doing so, take all the fun out of it. (Kinda like Sting.) So I braced myself for the worst. 

Luckily, when it got to the solo parts Sharrock becomes himself and thus gets to have things both ways, sideways, up and down. In other words, six ways from Sunday. (That's means a lot.)

He's helped by a band that nimbly bypasses those moments when a rock cliche threatens to rear its empty head. 

What we end up with is something very worthwhile if not quite brilliant. 

B+

100 Gecs: 10,000 Gecs (2023)

Lots of beats for a not-quite-thirty-minute record. Lots of laughs, too.

I've never been a fan of sampling stomping Led Zep riffs a la Beastie Boys (although I think they got there first.) or the noisy use of noise ala the Sleigh Bells. But this young couple uses a larger palette, like throwing ska beats into the mix. Then they sew it all together into something almost coherent.

Fast, loud, and funny. There's something to be said for keeping things short.

B+

Ceremonial Washing of the Hands:

Now let's be rid of 2024 and try to bear 2025.

We Can Be Weirdos 3: Wrapped in a Flag, Carrying a Cross

Reality Can Go F*ck Itself:

In a time when those who are described as successful - media moguls and tech titans among them - line up to kiss the ring all in the name of making a buck, I prefer to stick with those strange folk over in the corner who don't dress well, and pass the time by making things they like regardless of what other people think.

Let's face it. What passes for normal these days is appalling. I'd prefer the company of those who, simply by being and creating, reject it all out of hand. None of these folks come out and say so, I'll admit. But I'd like to think so.

So let's all raise a finger to this new class of rich idiots playing with guns, while the powerless  - as usual - pay the price.

Thanks, Johnny! Thanks, Neil!

Musically speaking, we will move on from Ambient, to where things quickly get out of hand. 

Fishmans: Long Season (1996)

Thirty-five minutes long, built on a simple synth melody riffed on by guitar, bass, and piano. With vocals in Japanese, of course. 

It's more upfront than the records that follow below, in that it has an easy loping beat and a simple direction. It takes its time to get to its destination, which is nowhere in particular. Quite accessible and kind of laid back.

In other words, short and sweet. At first a bit strange but in the end, what's not to like?

WTFITS Score: 4.5

A-

Godspeed You! Black Emperor: Lift Your Skinny Fists Like Antennas to Heaven (2000)

Not ambient. It just seems that way because it takes its sweet time getting started. But unlike Fishmans, it's got places to go and people to see, and damn if it doesn't get to each and every one of them.

But that takes some time so this is over 80 minutes long. Just four cuts, each about twenty minutes long. So if you were patient enough for Stars of the Lid and not going anywhere for an hour and a half, you will probably be fine with the buildup, digressions, and somewhat anti-climactic, um, climax. Because the peaks - and there are many - are worth it. 

The word "symphonic" comes to mind. But not in that fatal way of sounding like classical music - it's a rock band after all - but more in how it develops themes and brings them to their logical conclusions. And it's not overly dependent upon keyboards, like typical prog rock. The guitars are front and center and stay there unless there's a mysterious digression to spoken/overheard words.

Quite daunting at first, but unlike many efforts, I keep coming back to it, and each time it sounds better and better. 

WTFITS Score: 7.0

A-

Captain Beefheart and His Magic Band: Safe As Milk (1967)

Remember the Summer of Love? Well, this has nothing to do with that. It's Captain Beefheart's first album, and let's just say it wasn't in harmony with the times. 

It's not exactly like the Captain just stomped out onto the world stage fully formed and took it by storm. In reality, this is the Captain before his vision comes fully into focus. It's a solid rock record - consisting of admirable takes on blues-based rock n' roll, with the occasional foray into pop and soul - that the record company wasn't going to let get too weird. And as usually happens in such cases, everyone pretty much ignored it. 

Some '60s cliches pop up here and there, and that might tempt one to dismiss this record. But I have to give it to the band, which is very tight. Excellent lead guitar and drums throughout. A young Ry Cooder helps out on the bluesier cuts, but the other guitarist Alex Snouffer is no slouch, either. And drummer John French gives even the wilder stuff some structure.  The only outright strange element is the vocals - a combination of Howlin' Wolf and Wolfman Jack - which are there from the start. Even then the twenty-six-year-old Captain had a downright scary growl.

My version has some bonus cuts taken from sessions for what would be his second album. And here is where the Captain and the Magic Band start to sound like who they would become. The songs are longer, the lyrics odder and the signature slide guitar sounds like it's being played on a rocking boat. Even John French risks losing his way. 

A mere two years later, with the help of producer Frank Zappa, the facade falls away completely and the Captain and Band are on full display on Trout Mask Replica. I tried to play my vinyl the other day, and by the time I got to Side 3 my turntable died/refused to play it/committed suicide. Hard to tell. But with CB it's hard to tell when the record player is on the fritz to begin with. Lucky for me, unlike the Captain himself, turntables can be replaced.

But Safe as Milk is where it all starts.  It could have been a runner-up for my "Most Work But Not Necessarily Worth It" award, but I guess I played it one too many times and was converted.

A-

WTFITS Score: 7.5

Dirty Projectors: Bitte Orca (2009)

They are youthful, arty, pretentious, and precious, with a lead singer/songwriter who sounds like a cult leader. In all, annoying as f*ck. Upon my first listen I was tempted to fling the disc into the wall. 

It's my fault, really. I try to take in everything at once and end up hearing nothing at all. At least not the core of the songs. I hear the distractions only, and it first appears that this is made up entirely of distractions. 

Here's how my first few listens went:

First Listen: Grade: D,   WTFITS Score: 9.5 Utter loathing.

Second:        Grade: C,   WTFITS Score: 8.5 Arty, but with good musicianship

Third:           Grade: B-,  WTFITS Score: 7.5 That first song is actually good.

Fourth:         Grade: B,    WTFITS Score: 7.0 The fourth one is very pretty. 

So you see what's going on here? It's wearing me down. Just like this weird shit always does. Goddamn it. It's the old Jaybee shuffle. I go from hate to like/admiration/love and when I recommend it everyone thinks I've lost my mind and I know they're right.

WTFITS Score: 6.5

B+

Pere Ubu: The Tenement Year (1988)

Remember this Jack Benny skit?

A bandit points a gun at Jack Benny.

Bandit: Your money or your life.

Silence.

Bandit: Well??

JB: I'm thinking! I'm thinking!

That's how it was when I thought about buying another Pere Ubu album. Their album Dub Housing remains a 10/10 WTFITS score to this day. And no amount of replays or increased familiarity is going to change that.

But after forty-odd years, I'm in a strong f*ck you kind of mood, so I decided to give them another try.

In one respect they're weirder than ever. That is if you think matching David Thomas' "quirky" vocals with straightforward rock 'n roll, with the synth acting as glue is weird. If not, I take it all back. But otherwise, you might think you're listening to two different records playing at the same time. Maybe three.

But the rock and rock is very, very good. And David Thomas is, well, himself, but more "sociable" than before.

Who knows? You might even like it...

WTFITS: 8.0

B+

Ornette Coleman: The Complete Albums Collection 1958-62

After Of Human Feeling (WTFITS Score 9.0), Song X (9.0), and The Shape of Jazz to Come (8.5) I'm no closer to understanding this man's music than I was forty years ago when I started to try. So I didn't know what getting this set would do other than shorten my life, but that has taken care of itself and I've taken the plunge.

This collection brings together all of Coleman's first eight albums, all of them controversial to one degree or another. Most jazz enthusiasts found it to be an attack on jazz itself, or at least its foundations. My experience (see above) seemed to confirm that view. So I was afraid I was getting an endless barrage of unstructured, atonal, screech. 

And yet given the overall mood I've been in lately, I was attracted to the idea of that barrage. In that respect, it's sad to report that, over these eight albums, the barrage only occurs once. And even that isn't so bad. In fact, it's all really quite good. 

What is here is fast, hard, melodically intricate jazz. I'm just not hearing what's so strange about it. I guess you had to be there then.

And since The Shape of Jazz to Come is here, too, I'm getting to hear it - and enjoy it more - in this new context.

All in all, the news of Ornette's weirdness has been somewhat exaggerated.

WTFITS Score: 7.0

A-

All in all, there's nothing here to really piss people off. I do have a Cecil Taylor CD I can play with the car windows down, though, if needed. 

Nonetheless, all of this music will help me immensely during the farce that is about to commence.

In the meantime, hang onto your humanity.

And your weirdness.

The 14th Annual Jaybee-bies: 2024, or Love Among the Ruins

Billie Eilish

You don't need me to tell you how f*cked up 2024 was. I'll try to identify some silver linings.  

Executive Summary:

Music: Pop music good, if not exactly in my comfort zone. Jazz, Blues, and Oldies wonderful. Weirdos thriving. (More to come on that).

Music/Personal: No longer striving for competence on guitar. 

Personal: Retired and grandfather of two. Getting old fast.

Politics: Everybody knows the war is over, everybody knows the bad guys won. Fascism is cool again, apparently. The young folks - men, mostly - let us down.

Humans:

Best:

• Jimmy Carter
• Adam Kinzinger
• Liz Cheney
• Many, many others who, in my current state, I just can't bring to mind. Feel free to write in some names.

Worst:

The ever-expanding "Usual Suspects", as I called them last year, make a repeat appearance here. I'll only make special mention of their Rookie of the Year, Nancy Mace, whose popularity confirms the existence of a new mini-industry busily producing Awful Women, like veterans Elise Stefanik, Nicole Malliotakis, Marsha Blackburn, Kristi Noem, and others. However, I will risk being accused of sexism by saying they'll never quite match the production of Awful Men. But keep up the bad work gals!

Best Books:

During this, my first year of retirement, my ambition was to "just lie down on the damn couch and read a f*cking book or two". 

And I did! I read all of the following books with great enthusiasm:

• A Distant Mirror by Barbara Tuchman: A remarkable history of Europe (mostly France) in the 14th century. 
• The Spy and the Traitor by Ben MacIntyre: A true-life spy story and a great one.
• Kitchen Confidential by Anthony Bourdain: A true-life restaurant story, and a very entertaining one.
• Consciousness Explained by Daniel Dennett: What's an "I", anyway? Mr. Dennett tries to explain.
• Karla's Choice by Ken Hardaway: John le Carre's son admirably continues the George Smiley saga.

The following are part of my World History Project, which has now reached the end of the American Civil War. I read a lot more than these five, but these are the best of the lot:

• The Good Lord Bird by James McBride: A hilarious and tragic retelling of the John Brown story.
• The Fiery Trial: Abraham Lincoln and American Slavery by Eric Foner: Notorious flip-flopper's views on slavery. 
• Battle Cry of Freedom by James McPherson: The entire Civil War, miraculously, in a single volume. 
• Team of Rivals by Doris Kearns Goodwin: Lincoln and his Cabinet. Possibly the best history book I've ever read.
• Lincoln by Gore Vidal: Vidal could be pompous in interviews and lectures but he did work his ass off to get his historical fiction right. I read this alongside Team of Rvals, and was in awe of his grasp of the details. And, like Burr, it's funny too.

Best Movies:

I did manage to get out and see a few movies, but the only one worth mentioning here is A Complete Unknown. What it may be lacking in specific details, it more than makes up for with Timothee Chalamet's performance (and performances). Ed Norton is also great as Pete Seeger. The music is pretty great, too.

Best TV:

• Somebody Somewhere
• I May Destroy You
• Insecure
• Bodkin

Best Concerts:

Still none. I'm still waiting for one that's worth time/trouble/$.

Music Awards:

Most Work (But Worth it): 

    Billie Eilish

Most Work (And Possibly Not Worth It): 

    The Dirty Projectors

Most Surprising (and Not Necessarily in a Good Way): 

    Nico

Best Nostalgia:

    Jimi Hendrix 

Best Artist:

    Daniel Nigro, producer of both Olivia Rodrigo and Chappell Roan

Best Albums of My Year:

1. Billie Eilish: Where Do We Go When We Fall Asleep? - The key to this young lady, and what eventually wore me down - is not the loopy sound effects (that's her brother). It's the songwriting that stays consistent from beginning to the very end.
2. Cannonball Adderley: Somethin' Else - NOT "worse" than Billie. Just a slower burn.
3. The Quintet: Hot House: The Complete Jazz and Massey Hall Recordings - Ditto.
4. Jimi Hendrix: The Cry of Love - Not a masterpiece. Just a very consistent (that again!) yet relaxed set of tunes with great guitar playing.
5. Chappell Roan: The Rise and Fall of a Midwestern Princess - I'll get to this at another time, but in short, she edges out Olivia by the sheer volume of hooks and emotion she brings to the table. Geez!
6. Olivia Rodriguez: Guts - A smart young woman. NOT worse than Chappell. Just a bit more professional sounding, which is both a plus and a minus.
7. The Chills: Brave Words - Another one for a later time. RIP Martin Phillips.
8. The Feelies: The Good Earth - "Only" rock n' roll and I love it.
9. John Cale: Paris 1919 - Professed weirdo plays it straight with lovely results.
10. Low: I Could Live in Hope - Just how depressed can you get? Find out here and come back alive.

Honorable Mention: Arto Lindsay, Fishermans, Steely Dan, Godspeed You! Black Emperor, Stars of the Lid, David Behrman, Elliott Smith, Beyonce

Best Compilations:

1. Muddy Waters: Anthology
2. Robert Johnson: The Complete Recordings
3. The Shirelles: 25 All-Time Greatest Hits 
4. Fats Domino: My Blue Heaven, The Best of...
5. Sir Warrior etc: Heavy on the Highlife!

The Album I Listened To Most but Had the Least to Say About It Due to Density (Mine, not the music's.):

Bach: Violin Concertos

Some of the best songs I heard this year can be found here.

Oh, and Mrs. Jaybee's Favorites:

1. Beyonce: Cowboy Carter
2. Billie Eilish: Where Do We Go When We Fall Asleep?
3. Gorillaz: Cracker Island
4. Bill Withers: The Ultimate Collection
5. Amy Winehouse: Back to Black

Conclusions:

Now with two granddaughters, I'm slowly beginning to understand what life is all about. I hope I'm not too late. 

Pop continues to grow - sometimes away from me. That's okay. I don't have to be in the middle of it. As long as I can find some electric guitar music - now a small sub-section of pop - I'll be okay.

Jazz and blues (and oldies, and older pop) will always be there to fill the gap. I was hoping to keep you informed about new stuff, but if old stuff is new to both of us what's wrong with that?

And finally, I have come to realize that most of my countrymen think a dictator is someone who is NOT popular. A little more education might have helped. One can only hope the bad guys form a circular firing squad.

Happy New Year!

Post Election Blues

Given how one of our esteemed political parties was accused of being weird this election year, I could have called this post "Weirdos, Part 3", but since I'd rather focus on music, I decided not to. 

This one's about music for a special occasion, which the advent of fascism kinda is, doncha think?

Upon hearing the election results I didn't need an analysis. I didn't want some smarty pants nabob explaining things to me. Oh, I wanted to know the why and how all right, but the habit of our media ecosystem to provide an explanation while the fucking thing is still happening just rubs me the wrong way, even if that explanation were to be correct. (It wasn't, of course.) 

It's the same reason why I watch the Superbowl with the sound off. The event itself is quite enough thank you. I don't need the additional aural input. I could see what was going on, and now just f*cking needed quiet. 

Well, not complete silence, mind you - just something that takes that as a starting point, and adds the least possible amount of stuff to end up with something I can deal with. In other words, something that doesn't try to match the energy level of said media ecosystem.

Last time, I mentioned a few records that one might think would fit the bill. But no. They were good at dealing with negative possibilities. I needed something to get me through negative realities. Not overtly political music, either. Just music for (God forgive me for using this word) existential realities.

Robert Johnson: The Complete Recordings (1990)

When I bought King of the Delta Blues Singers about forty years ago I had trouble getting into it. I was young and still had a smidgen of hope. Not even Reagan could inspire me to gaze into the abyss from which it emerged. 

But this year, in the months leading up to November 5, I could listen to this two-CD set in its entirety and love every second. Was I - or it - tapping it a general vibe portending the collapse of what little was left of our social contract? 

This collection has alternate versions of some songs, which some folks might find annoying. If so, King of the Delta Blues Singers is for you. But for now, listening to the complete recordings is a willful act - the equivalent of refusing to leave my room until this new era is over. 

Perfect, but a lot.

A

Low: I Could Live in Hope (1994)

Funny story about this band. A few years ago, I was listening to their eighth album, 2001's Things We Lost in the Fire. It took until near the end of it for me to notice that - probably due to a syncing issue - iTunes had two copies of each song and was playing them in numeric order. In other words, like this: First song, First song again, Second song, Second song again, etc.

I remember thinking wow this album is longer than I realized. But since the songs were so glacial, mournful, and quiet I didn't notice they ended and started again. I thought, well, that's the way they are. They're slow so why wouldn't there be a pause in the middle of each one? 

This time around, I'm listening to their first record where, if anything, they're even more quiet and mournful. I had to listen hard (even with the hearing aids) to confirm there were drums. Oh, yeah, there they are. But there's no beat to speak of here, except that of nails being hammered into a coffin.

Low's music comprises one man and one woman singing in harmony. He plays a muted electric guitar. She plays the drums. They sound like they're in an abandoned church. Their sound fills that space better than any organ or sermon would.

One-word song titles, cryptic, minimal, vaguely menacing lyrics about various states of isolation, disrepair, and dislocation, that don't become explicit until you get to "Rope", followed by their straight version of "You Are My Sunshine".

It's cold, but oddly beautiful. In other words, everything The Marble Index was aiming for but missed. Ripe for parody, but I dare ya. 

Perfect for the day after a particularly tough election.

A-

Cannonball Adderley: Somethin' Else (1958)

I used this as a palette cleanser in between listening to Captain Beefheart and Nico, who I always (well, since just now) saw as an ideal couple.

I've done my best to get exposed to all the top-tier jazz geniuses and am only now getting around to the next-level players. And if you think that's a knock I recommend you listen to "Freddy Freeloader" from Kind of Blue. Yeah, it's the ever-searching Coltrane who takes you to Mars, but Adderley's relaxed, open solo tells you how great things can be here on Earth.

Adderley worked for Davis on KOB and Milestones. Here Davis returns the favor, and one could be forgiven for thinking it's a Davis record. If it is, it's one of his best.

If Kind of Blue is quiet jazz played and heard in the middle of the night, then Somethin' Else is the jazz played - and heard - the following morning, after everyone has had their coffee and is ready to take on the day.

A

The Feelies: The Good Earth (1986)

Gaffa, in his one-star Amazon review, writes:

"I cannot figure out how anyone in their right mind could give this record a good review. You would have to be insane. In this day and age, to have a producer mix the sound of this record/CD to the extent of ruining the vocals is beyond me. This may have been a really good record if the vocals were able to be heard. The music for the most part is really catchy and well done. But, having to listen to the vocals so low ruins the listening experience. I cannot imagine that the band was alright with this, and if they were, shame on you. Terrible all the way around and a huge waste of money."

Now, for Jaybee, that's a rave.  I should say upfront that I was already a fan of the Feelies' first record, the nervous, jittery Crazy Rhythms. But I needed a push to go back for seconds. Thanks Gaffa!

Poor Gaffa. The vocals don't remind him of Lou Reed and the ominous momentum doesn't remind him of the Velvet Underground.  Of course, mere imitation would never be enough, and the Feelies know that, so they're faster, cleaner, and more modest.

Peter Buck from REM (another band known at the time for murky vocals) produces here, and suddenly the two band's similarities are obvious. REM's own third record - made the year before - is good but a little too tangled in the kudzu. This one beats it. The next REM record - while still short of magic - was a little snappier, thanks, I believe, to the influence of this record.

Alas, some of the Feelies' lovable/scary awkwardness got left behind (I can only wonder what Gaffa would have thought of Crazy Rhythms), the chord progressions are well-worn, and the solos usually stick to the scales. And yet they still sound great. Besides their trademark furious strumming, the guitars now chime and echo, too. 

This, their second album, was made six years after their debut. During those years they broke up and then re-formed with a slightly different lineup. That experience may account for some of the lyrical themes. Topics include not flying, taking the road, being away too long, and even company. In other words, rock cliches with aging added for spice, and sung in a manner that fits the music like a glove and makes one hear them as if for the first time. What a relief from singers who sing them as if they're hearing them for the first time. 

The cover of "She Said She Said" is less than essential but it's the thought that counts.

There is no funk here, and no syncopation I can hear. Just drums and bass marching in lockstep with those guitars. The sound of a renewed commitment after some setbacks.

The sound I need now.

A-