I remember working music retail on Black Friday, Super Friday, whatever you want to call the Friday after Thanksgiving. For us, it wasn’t too big a deal, since most people didn’t buy music as a gift until the last minute…whatever you call it, I did it in a record store for eleven years. Christmas Eve was always much crazier, with guys (and girls) grabbing a stack of new releases off the front racks no matter what they were…I’m sure somebody got Britney Spears, Yanni, and Ice-T all at the same time once.
Trying to suggest “good music” at times like the Christmas season was tough, though I loved giving grandmas asking for a “good country album” a copy of Hank Williams’ Greatest Hits instead of the latest Garth Brooks release. Invariably, a ticked-off teenager would come return it the day after Christmas, however. Oh well, at least I tried.

Thanksgiving Eve  (Wed., Nov. 25, 2009)

5:00 – 7:00 pm – Ollie O’Shea Solo!Green Mill

4802 N. Broadway/ Chicago/773-878-5552

Ollie O’Shea is well educated in the field of American country music. He has been playing guitar and singing most of his life and has worked with some of the best country musicians Nashville  has to offer.

Ollie has been recently signed as a songwriter to “Good Bit Music,” a publishing company owned by one of Nashville’s most successful songwriters, Jim Lauderdale. Ollie has played fiddle with such artists as Hank Williams III, Garry Allan, George Ducas, Buddy Miller and Jim Lauderdale.

Email: ollie@ollieoshea.com

Ollie center stage!

Ollie’s latest CD!

Häromdagen släppte Norah Jones ett nytt album och den här gången går hon ifrån sin hissmysiga pianomusik och låter nästan singer-songwriter. Med god hjälp från min (gamla) hjälte Ryan Adams. Ville visst låta lite opolerad och rå, enligt intervjuer och recensioner i bland annat HD, Expressen och DN. Men hon har ju fortfarande en sammetslen röst, så det låter ju liksom inte Janis Joplin. Inte heller låter det country bara för att gamle gode Ryan Adams skrivit en låt. Men å andra sidan var det ett tag sedan Ryan själv lät country, om vi ska vara riktigt ärliga.

Vad många dock inte vet är att Norah Jones faktiskt KAN låta country, bara hon vill. Och det vill hon i bandet The Little Willies”, och hon/dom gör det bra. Låter country alltså. Men så är det också ett coverband med idel ädel nobla musiker som alla huserar i New York och till vardags spelar med artister som Martha Wainwright och Diana Krall. Förutom bostadsort har de fem medlemmarna, med Norah Jones i spetsen, även det gemensamt att de hyser en stor kärlek till country musik. Efter att ha jammat tillsammans på klubben The Living Room i New York några gånger, och ett par välgörenhetsevenemang, insåg bandet att fans uppskattade deras, i många fall synnerligen alternativa (läs upptempo) versioner av countryklassisker, att det var läge för en skiva. 2006 ger The Little Willies ut sitt självbetitlade album som innehåller smittsamt glada och frejdiga låtar/versioner som “I’ll Never Get Out of This World Alive” av Hank Williams, “Tennesse Stud” som bl a Johnny Cash gjort och “I Gotta Get Drunk” av Willie Nelson.

Om du tror att country är förknippat med släpig, gnällig, tempofattiga låtar i moll – think again. The Little Willies dammar av och livar upp nya och gamla klassiker på ett sätt och med ett sound som får dig att dansa på bord, stolar och fönsterbräden.

Vill du inte sövas av Norah Jones vanligtvis, förvisso behagliga men också slöa röst, höj ljudet på stereon/datorn och pumpa The Little Willies för glatta livet. För precis s känns livet när tonerna från detta spelglada band sätter tänderna i sina countryfavoriter. Tror du mig inte så lyssna på “I Gotta Get Drunk” nedan. Har du Spotify kan du för nöjes skull kan du jämföra med Willies version.

Lyssnar mer på Spotify:

The Little Willies – “The Little Willies”

Willie Nelson – “Both Sides Now”

Johnny Cash – “American Recordings” (med Tennessee Stud)

Been reading the excellent Hank Williams biography Lovesick Blues, by Paul Hemphill (who just passed away last July).  Some choice anecdotes:

Hank’s manager and backup band both thought “Lovesick Blues” was about the worst country they’d ever heard.  They tried to keep him from recording it, telling him it would kill his career.  He was given 10 minutes to record it in the studio and he got it down in only 2 takes.  It went on to be #1 on the charts for 4 months and is possibly the greatest country song ever.

********************

He used to tell his guitar players to keep it very very simple.  “A lot of pickers has educated themselves clean out of a job,” he would say.

********************

Harlan Howard on Hank’s music: three chords and truth.

Amen.

********************

Hank at his best:  “You got to have smelled a lot of mule manure before you can sing like a hillbilly.”

Hank at his worst:  One night when he stumbled onstage in Lafayette, Louisiana, too drunk to perform, he waited until the catcalls subsided before speaking into the microphone: “I bet y’all drove a long way to see ol’ Hank, didn’t you?”  It was true and the crowd cheered.  “Well, now you’ve seen him,” he said, laying his guitar on the floor, turning on his heels and stalking off.

*******************

Hank had back surgery in 1951.  The surgeons reluctantly let him go home for Christmas.  He was ordered to strict bed rest, but when his witchy wife Audrey came home from one of her many trysts, he rose from bed to throw a chair at her, re-injuring his back and having to go back to the hospital for more surgery.

*******************

Paul Hemphill’s father was a huge Hank fan and the inspiration for the book.  He was kicked out of an old folks’ home for playing Hank endlessly on the grand piano, frightening the bluehair widows.

Once he came and saw a new car his son had bought.  A Chrysler man, he wasn’t impressed by the Chevy Blazer.

“Probably got a bad transmission,” he said.

“Yeah, but it’s got a real good radio,” I told him.

“Will it pick up country music?”

“Of course it will.”

“Must be a hell of a radio, then,” he said.  “Ain’t been no country music since Hank died.”

 Ollie O’Shea SOLO

Wed., Nov. 25, 2009

5:00 pm – 7:00 pm

Green Mill / 4802 N. Broadway

Chicago, IL / 773-878-5552

Ollie O’Shea is well educated in the field of American country music. He has been playing guitar and singing most of his life and has worked with some of the best country musicians Nashville  has to offer.

Ollie has been recently signed as a songwriter to “Good Bit Music,” a publishing company owned by one of Nashville’s most successful songwriters, Jim Lauderdale. Ollie has played fiddle with such artists as Hank Williams III, Garry Allan, George Ducas, Buddy Miller and Jim Lauderdale.

Email: ollie@ollieoshea.com

 Ollie’s latest CD!

Above: Gruhn Guitars is one of those legendary guitar shops, located right on Broadway in Nashville, in the heart of the honkytonking district.

There are places that transcend their geographical and spatial confines. Iconic places like Rome, Paris, or New York, or Stonehenge or Bamyan or Las Vegas: the very mention of their names evokes an iconography and a zeitgeist and they represent the apotheosis of a school of thought, a moment in time, a cultural legacy (think of the current epistemological implications that need to be navigated and negotiated when we utter the phrase Modena is Italy’s food Mecca). For me, and for many others, Nashville is one of those places.

Above: Robert’s Western World, which is a honky tonk/clothing and boots store, was my favorite and a great place to drink a beer, have a fried bologna sandwich, and drink a beer.

I took Thursday afternoon off and visited the Country Music Hall of Fame in downtown Nashville, ate fried bologna on Broadway and check out the myriad honky tonks, filled even at mid-afternoon with tourists from all over the country and fantastic, hypertrophically talented and driven musicians who play the venues all day long for tips (yes, just for tips).

Above: A scene from the bar at Robert’s.

It can’t be easy to get up every day and play a set at those honky tonks but the musicians and the tourists are there every day (or at least, even on a Thursday afternoon, there were a lot of folks out and music on every stage I walked by). Admission is free and you just bump from one place to the next.

Above: Broad Band with Megan Ellis on vox was the best act I saw. Man, could those gals play!

It’s just unbelievable the caliber of talent I saw that day. A long time ago, I asked someone from the south about Nashville, and he said to me, “if you can’t play guitar better than the gas station attendant one mile outside of Nashville, don’t even bother going in.” Nearly every place I stopped in, the musicians were working like they were at Madison Square Garden, giving the performance of their lives. Watching Beth Garner on Telecaster (above, left, originally from Dallas) made me want to take my axe to the nearest pawn shop. Megan Ellis’s vocals (above, center, originally from Ohio), were perfectly calibrated yet earthy and raw at the same time. All of the players could be superstars but, man, the competition in that town is fierce.

Above: One of Gram Parsons’s Nudie Suits at the Country Music Hall of Fame.

My day started with a tour of the Hank Williams and Williams family exhibit at the Country Music Hall of Fame (the show continues through the end of the year and I highly recommend it). Hank Williams made music for just 6 short years but he changed the face of popular music forever. He was a deeply troubled man and I couldn’t help but wonder, as I watched some of the videos and listened to some of his family members’s interviews, if today he would have been diagnosed with some sort of physical or emotional challenge. The era when he lived and worked, following the Second World War, was much less forgiving than the times we live in today. I’ve always loved his music and the exhibit was great: it was fascinating to learn about his origins in depressed Alabama, his meteoric rise to fame, and the stories behind some of the iconic songs he wrote.

My trip to Nashville with Kermit was such a blast. I got to meet so many great folks, hear so much great music, and even eat some great food and drink some great wine. Thanks again, Kermit, for letting me tag along! Tracie B and are talking about doing a road trip next summer: Nashville, Graceland, and, of course, Dollywood!

In other news, it’s official! I’m a Texan!

I finally got me my Texas driver’s license. Now all I gotta do is get me hitched to a Texan!

Buon weekend, ya’ll!

Hank Williams is not just an entertainer, a country music superstar, a pop song writer, a radio personality a million seller recording star, country hall of fame member, rock hall member. Hank Williams transcends these popular designations, honors,  and labels that change with the weeks and months and years.

Hank Williams is a world artist of the highest order whose work rises above region, place or time.  Hank Williams stared fearlessly into the depths of anguish, despair and death. Hank Williams exalts in  the triumphs of human nature, the  raucous sensual joys, and hopes and optimism in life and love. In his short life, he tasted the triumphs of commercial success, sold out concerts,  punishing national tours, million selling records, the top of the hit parade.  

Now 60 years later we are moving into uncharted territory as just recently seen by his inclusion in the New Literary  History of America. The release of the ‘The Unreleased Recordings’ last year was reviewed by newspapers, radio and television, magazines and other journals around the world. This modest little blog receives visitors from Europe and elsewhere around the world. I support the petition to have Hank reinstated to the Grand Old Opry, but find it rather amusing. Friends, in the Hank Williams’ universe of 2009, the Grand Old Opry is peanuts!

If  ‘Revealed’ the second 3 volume Box Set of Hank Williams’ Mother’s Best Recordings had been released first it probably would have had the same dramatic impact as the first set of ‘The Unreleased Recordings’ had a year ago. But now, I suppose, the exciting and wonderful new insights into Hank Williams talent and personality we experienced a year ago were taken for granted as we waited for this the second of three Mother’s Best Box Sets expected from Time Life. And so far the new set has not received the wide-ranging publicity avalanche that occurred when ‘The Unreleased’ was dropped into the music world.

There is nothing disappointing about this collection. As I wrote in an earlier post, the new format of dividing the discs by theme and presenting one complete show on each disk is a success. The first disc of hits contains some really rocking versions of Hank’s early rockabilly recordings such as ‘Move It On Over’, ‘Hey Good Lookin’ ,’Why Don’t You Love Me’, Moanin The Blues and ‘Mind Your Own Business’. Disc 2 presents the usual solid and moving renditions of sacred songs many  we may have never heard him sing before. Disc 3 will be a disappointment to some and will not get as much playing time as the first two. It’s called ‘Luke the Drifter’ although that’s a bit misleading. From my memory, and the discographers will know of course, but many of these songs did not appear as original Luke the Drifter recordings. Most of the songs here are familiar to fans  and a new cover of ‘Deck of Cards’ a late 40s narration hit  really doesn’t add much to the Hank Williams’ story.

But overall the new set continues the sense of  excitement that  the first Mother’s Best recordings  brought to the average Hank Williams fan for the first time. There is the clarity and broadcast quality of the sound which surpasses the original MGM studio recordings. There is the richness in his voice and subtlety of expression we never heard before, not  until these old acetate radio program recordings were remastered and restored.

We learn more about Hank. And this is where the new set even surpasses the first release. A lot more studio banter and Hank’s relaxed easy going kibitzing with his band and host Louis Buck is included.  It’s a relaxed presentation that doesn’t sound like Hank’s session recordings that he knew were carved in stone so to speak and would last forever. These are just more of the of thousands of radio programs in Montgomery, Shreveport and Nashville that he did through the years and for all he knew were going out across the airwaves to disappear forever.

But on the other hand, the recordings have an immediacy in his knowledge that they were going out live to thousands of people and this brings out a relaxed intimacy with the microphone and audience only ‘live’ radio creates. Another revelation from the first Box Set  was the breadth of  Hank Williams’ musical interests and knowledge. Once again the gospel songs are standouts, along with hits made famous by other singers, and  fascinating if obscure songs Hank Williams picked to fill out these radio programs, .

These recordings are an artistic treasure, because they shows us more. They unveil the Hank Williams as an artist for the ages.  An artist with a short life and limited output. But an artist whose breadth of knowledge of human emotions  expressed both a writer and a performer, who  explores  the deepest issues of human existence is unsurpassed  in popular music.

As I discussed in first Mother’s Best release, powerful performances of songs Hank did not write added so much to his stature.  I discussed ‘Cool Water’ On Top of old Smokey’  ‘Searching for a Soldier’s Grave’ and ‘Have I Told You Lately That I Love You?’ among others. The same is true this time.

There are some equally moving and forceful efforts on this new set. I’m just letting them sink in a bit, and as I did last time, will go over the new recordings disc by disc.

For the Miami New Times music blog Crossfade.

Burly, bearded Zac Brown and his band play Sunset Cove Amphitheatre on Saturday. The highlight of the evening will likely be a beer-drenched, sing along performance of his fiddle-laced, pleasantly simple and patriotic country smash “Chicken Fried.” It’s a fun little ditty that got me thinking about all the really great songs inspired by food — or with something edible in the title. Here’s my highly subjective list. 

Continue reading/check out the clips.

It’s been a while since we visited some worthwhile cover songs…

In honor of our new CD, How We Prospered, I thought it fitting to take a look at this little gem of the classic country world, Ramblin’ Man.

It was written by Hank Williams Sr. in 1951 as a B-side, and tells the tale of a man doomed to his rambling soul, destined to break his lover’s heart.

Let’s hear the original:

Of course, by law, all the Hanks have taken their turn with the song…

Now, I’m not fond of Hank Jr. He’s a part of what’s wrong with country music today; he helped usher in the new era of Nashville-Pop littering the airwaves, giving true country a bad name.

But it’s his birthright to sing the song, so here it is:

Okay, take a breath. Try to forget about that strange sax interlude.

Our reward for the existance of Hank Jr…?

Hank the Third…Here’s his version, performed with the Melvins:

Much better.

The most recent cover released into the wild, of course, is by Strawfoot, on our newest CD, How We Prospered.

We tried to respect the original, while staying true to our sound, and this is what we ended up with. I think we did it justice. Ole’ Hank hain’t rolling over in his grave, at least.

Personally, I’m of the belief that nothing beats the original…but as they say, variety is the spice of life…

Garth Brooks

If an alien came to earth inquiring about country music and they watched the Country Music Association Awards, what would they report back?  If this production told them everything they needed to know about country music – what would they gather?  They could learn a lot by looking at the Entertainer of the Year category.

They might start by reviewing the list of entertainers that have been crowned Entertainer of the Year for the last 42 years:

Eddy Arnold

1967 Eddy Arnold

1968 Glen Campbell

1969 Johnny Cash

1970 Merle Haggard

1971 Charley Pride

1972 Loretta Lynn

1973 Roy Clark

Barbara Mandrell

1974 Charlie Rich

1975 John Denver

1976 Mel Tillis

1977 Ronnie Milsap

1978 Dolly Parton

1979 Willie Nelson

1980, ‘81 Barbara Mandrell

Alabama

1982,  ‘83, ‘84 Alabama

1985 Ricky Skaggs

1986 Reba McEntire

1987, ‘88 Hank Williams, Jr.

1989, ‘90 George Strait

1991, ‘92, ‘97, ‘98 Garth Brooks

1993, ‘94 Vince Gill

1995, ‘02, ‘03 Alan Jackson

1996 Brooks & Dunn

Kenny Chesney

1999 Shania Twain

2000 Dixie Chicks

2001 Tim McGraw

2004, ‘06, ‘07, ‘08 Kenny Chesney

2005 Keith Urban

Looking at sheer numbers, 6 out of the 28 recipients have been female. Maybe men are at the top because women drop out for their family.  If this title is driven by tour sales and popularity, that could mean that women are the major consumers, thus pushing men to the top.  If these people have been successful, one has to come to the conclusion that it has something to do with money.  Country music must be about raking in the dough and seeing who can make the biggest profit at the end of the year, right?

After some investigation one would find the actual roots of country music.  It all seems to have started in the Southern United States as an outpouring of the people who enjoyed traditional folk, Celtic, and gospel music.  Compare this beginning to the award shows of today and what is found to be entertaining seems to have evolved a great deal.  The genres of folk, Celtic, and gospel are woven throughout but not strongly represented.  Today the top performers seem to mimic rock more than folk.  If it isn’t money and sounding like traditional country – what makes someone Entertainer of the Year?

To answer this you have to investigate the term entertainer. “Culture relates to objects and is a phenomenon of the world; entertainment relates to people and is a phenomenon of life,” Hannah Arendt.  The performers we see on stage and listen to on our ipods relate to us.  They say and do things we need to hear.  This being the case, the Entertainer of the Year must be able to relate the most with his or her fans.  They need to be able to move the feet and touch the heart of their listeners.  While this may very well relate to higher tour sales, the greatest entertainers don’t seem to be in it for the money.  The ones that last the longest tend to be in the music industry for the love of music and how it moves the listening world.

Along with being relate-able, an artist needs to provide agreeable occupation for the mind; diversion; amusement (or so says dictionary.com).  Words like pleasure, diversion, and amusement accompany entertainment.  So of course the winner of entertainer should be able to do those things while performing their music live or on the cd/mp3.  Musical taste is always subjective – you can’t please everyone.  But the artists in the category ofEntertainer of the Year tried their darnedest to!

Kenny Chesney and Garth Brooks currently hold the most titles for Entertainer of the Year with four titles each.

• Kenny – 30 Top Ten singles on the U.S. Billboard Hot Country Songs charts, 17 of which reached Number One
• Garth – 11/5/07 named the best selling solo artist in US history, surpassing Presley (but still #2 after the Beatles) after audited sales of 123 million were announced.

Kenny is on the ballot for this year and if he wins, he will have the most awards as Entertainer of the Year.  These two men in particular have definitely covered all the categories of what makes you qualified to be Entertainer of the Year. Between soaring tour sales, multiple number one hits, and a highly devoted fan base they continue to keep crowds on their feet and in line for their music.  Garth has actually been noted for conducting a twenty-three hour marathon signing autographs at an unannounced visit to Fan Fair in 1996. Anyone that does that is dedicated to his craft and the people that make a musical life possible.

Until those aliens come to investigate the deeper meaning of what it takes to be an entertainer in the Country Music Business – we will continue to learn from those that have come before us.  Taking notes from past award winners gives us insight into what it takes to be successful in this industry.

Tune in to the 43rd Annual CMA Awards tomorrow night to see musical history in the making.  Weigh in with your votes here on the Nashville Music Buzz… who do YOU think should win???

Saturday was my first day at the races.  It was the Breeder’s Cup, which I’m told is the biggest day at the races, worldwide.  All those fantastic feathered hats I’ve refused myself over the years finally would have proved useful.  Or, one of them would have.  I bet approximately 5% of the face value of my exorbitant (gifted) ticket and lost every penny.  Betting by alliteration is as bad a strategy as it sounds.  (Unfortunately, you bet by horse number, so my exacta box on Courageous Cat and Cowboy Cal was a private joy.)  In race 5, I bet on Radiohead to win, obvs.  Then for the big purse I bet against the undefeated mare Zenyatta, favored for a historic win in a field of boys.  I deserved to lose, on behalf of women of all species.

After a Maker’s Mark (a necessary nod to the Derby) and some number of glasses of champagne, I weaseled out of my Saturday night plans, crashed before 10pm and slept 11 hours.

Sunday I met my book club in Barnsdall Park where a closing event for the Silver Lake Art Crawl was underway.  The food trucks had gathered, but Coolhaus was not serving its roasted pear ice cream.  Midway through our discussion, I saw lostandgone in the distance, with a woman I recognized from behind only from his Facebook.  (Damn you, social networking!)  She seems like someone I’d like, not that it matters.  “Did you see someone you used to know?,” I heard, fearing I’d blanched, but it was a book-related comment twisted by my distracted mind.

That cosmic DJ thing happened on my drive home when Anne Litt played a cover of Hank Williams’ “Wedding Bells” followed by the Rolling Stones’ “Angie.”  It was the only logical thing to load Elliott Smith’s XO and listen to “Pitseleh” half a dozen times.

I got home, returned lostandgone’s call, and told him that I didn’t want to hang out again.  I hoped for protest, explication, plea but settled for the usual “ok” and an indication that I’m not the only casualty of his retreat.

I marked the event by barhopping alone.  Last night I gave out a card, got an e-mail address, and received a text message that said, “Next time I really want to kiss you.”  This morning I told my friend I must be sending off vibes that I’m lostandgone-free.  She said they are “Fuck you, lostandgone!” vibes.  Well, good.  Fuck you!  (And I wish I could reach you!  Still.)

And of course lostandgone found me in the coffee shop, moments after I’d saved the above.  Awkward convo across a chasm, but liberating.  Zenyatta came from the back of the pack on Saturday, cut inside, found a hole, and burst out the front.  A role model.  I have cut loose and am sailing ahead.

Jerry Lee Lewis

I’m So Lonesome I Could Cry

Jerry Lee Lewis – I’m So Lonesome I Could Cry

Hank Williams Sr. – I’m So Lonesome I Could Cry

I’m So Lonesome I Could Cry – Hank Williams Live Performance

I’M SO LONESOME I COULD CRY – Hank Williams

Hear the lonesome whippoorwill
He sounds too blue to fly
The midnight train is whining low
Im so lonesome I could cry

Ive never seen a night so long
When time goes crawling by
The moon just went behind a cloud
To hide its face and cry

Did you ever see a robin weep
When leaves begin to die
That means hes lost the will to live
I’m so lonesome I could cry

The silence of a falling star
Lights up a purple sky
And as I wonder where you are
I’m so lonesome I could cry

Cowboy Junkies – I’m So Lonesome I Could Cry

Cowboy Junkies – I’m So Lonesome I Could Cry

LeAnn Rimes

I’m So Lonesome I Could Cry

LeAnn Rimes – I’m So Lonesome I Could Cry

Randy Travis

I’m so lonesome I could cry

Randy travis – i’m so lonesome i could cry

Dale Vinicur, who co-wrote a memoir by Hank Williams’ step daughter Lycrecia, and an autobiography of Don Helms as well as other books, contributions to country music history journals, and articles about the Williams’ family died last week.

He estado leyendo detalles sobre la muerte de Hank Williams: debaten, con la fruición de los extremistas, sobre la última hamburguesa, la última copa, la última gasolinera, el último condado…

Mencionan la impericia e inhumanidad del conductor, un universitario de 17 años sin más deseo que recibir los 400 dólares convenidos por conducir el Cadillac azul pálido del cantante hasta la siguiente actuación.

Concluyen que en el fondo del alma americana hay una oscuridad en suspenso, esperando con fiebre de loba. La misma tesis expone el gran Greil Marcus en The shape of things to come. Prophecy and the American voice:

America is a place and a story, made of exuberance and suspicion, crime and liberation, lynch mobs and escapes; its greatest testaments are made of portents and warnings, Biblical allusions that lose all their certainties in American air

Sería un buen trabajo sondear la oscuridad española, buscar los hilos que la sostienen, las creencias aún vivas, su base, sus héroes, su sangre derramada, sus certezas bíblicas, perdidas en el viento, en el adobe, en los gritos de nuestro conversar, en la vergüenza que padecemos por ser nietos de campesinos, la cadencia siniestra del latido patrio…

Pero aquí adentro, en mí, no hay ningún teorema: la tarde del martes se explica sola, extensa, dama elegante en un entierro, y el silencio, mi Cadillac azul pálido, no invita a cosa distinta que redactar una lista de dolencias.

Por ejemplo, que ya no puedo oir cómo ladra el perro de Robert Jonhson, no acierto a distinguir la angustia de la vida, no encuentro palabras, no sé mancharme de noche, no conozco el camino hacia el último condado…

Są na tym świecie wykonawcy, którzy zyskali dużą popularność, ale grają muzykę bez praktycznie żadnych wartości artystycznych. Jest to sprawa normalna, ludzie o tym wiedzą, co najmniej część naszej populacji ma świadomość badziewności takiej twórczości. Czasem jednak trafi się na rynku taki zespół/piosenkarz, który jest tak samo (lub niemalże tak samo) bezwartościowy, ale z różnych powodów zdobywa nie tylko popularność, ale też uznanie pewnych (szerszych) kręgów. To już jest sprawa zdecydowanie niefajna, dlatego też postanowiłem się nią zająć.

Jednym z bardziej popularnych aktualnie zespołów takiego pokroju są Red hot Chili Peppers. Zgadza się – rozpropagowali i nieco dopracowali brzmienie tzw. funk rocka. Na tym jednak ich zasługi się kończą, a Kiedis i reszta bandy męczą nas wtórnością swoich utworów już od zdecydowanie zbyt długiego czasu. Nie chcę tu przeprowadzać długiego i nudnego wywodu – marność RHCP ukażę wam na prostym przykładzie.

Otóż weźmy trzy utwory. Każdy z nich wykonuje inny wykonawca, każdy utrzymany jest w  z u p e ł n i e  innym stylu. Mamy acid rockowego Hendrixa, folk-rockowego Dylana i Williamsa z jego country. Możecie oczywiście owych utworów nie znać, więc nie wypiszę ich tytułów, tylko zarzucę odpowiednimi linkami.

A teraz przechodzimy do rzeczy. RHCP są znani z tego, że lubią wykonywać covery cudzych piosenek. Niestety ich niska ambicja muzyczna sprowadza owe, często bardzo różnorodne, utwory niejako do wspólnego mianownika. Mówiąc prościej: każdy kawałek brzmi w zasadzie tak samo. Przykłady? Proszę bardzo. Przypomnijcie sobie, jak brzmiały (skądinąd genialne) utwory zaprezentowane wyżej i…

Bardziej upodobnić do siebie tak rożnych kawałków już chyba się nie dało. Jedyne co je różni, to te elementy linii melodycznej, których fragmenty przetrwały proces coverowania. Ta sfera, gdzie w buciorach wleźli RHCP jest już w zasadzie zhomogenizowana. Wniosek? Red Hot Chili Peppers uzyskali popularność grając swojego funk rocka, nie potrafią jednak zaoferować niczego innego, zamknęli się w ciasnym, zbudowanym przez siebie pudełku. I ciągną to już od naprawdę długiego czasu. A wy wciąż uważacie ich za objawienie. Litości!

Odpierając zarzuty:
1) Tak, artykuł ten jest wybiórczy. Przecież nie zaprezentuję całych dyskografii czterech wykonawców, co nie?
2) Tak, jest to moja subiektywna opinia. Trudno żeby było inaczej…
3) Nie, RHCP nie są konsekwentni. Oni są ubodzy muzycznie.
4) Gdyby ktoś potrzebował innych przykładów, to może sięgnać chociażby po “They’re Red Hot”, które w oryginale wykonywał bluesman Robert Johnson.

Why? Because look what I just got for review!

Two new box sets from country legends! YEE-HAW!

The first box set, “Hank Williams: Revealed,” is a three-disc collection that is actually the second in a series from Time Life Entertainment. (The first was released last October under the same title.) In the early 1950s, at the height of his popularity, Williams recorded numerous commercial radio shows for Mother’s Best Flour Company. In between advertisements for hog mash and cow feed, he performed both classic hits and personal favorites, all recorded live and in their entirety. Those recordings were recently uncovered, and a handful of them have been collected here. The 50-track set starts off with what would go on to become Williams’ career changer, “Cold, Cold Heart.” But when this live recording took place in 1951, Williams had no idea that it would go on to make him a legend in the annals of country music. What sets this collection apart from most others is the storytelling and banter that was captured in between songs. Similar to Johnny Cash’s legendary jailhouse performances (Folsom or San Quentin, take your pick), the core of the collection is the music, but those side interactions and comments are really what make the set special. It serves as a time machine of sorts, whisking listeners back to 1951 and into the studio with the country legend himself. If you’re a fan of country greats and have a desire to hear them raw and uncut at their peak, this set is for you.

With a title like “Dolly,” I shouldn’t have to tell you who the second box set’s artist is. First, I have to get the art nerd stuff out of the way: This four-disc set is damn pretty. It’s designed beautifully, features amazing photography (some of which is by photographer Jim Herrington), and is a wonderful shelf piece for all CD dorks. Now that the visuals are out of the way, let’s get to the music. This set collects some of Parton’s best work from 1959 to 1992, starting with a scratchy little number called “Puppy Love.” From there, the discs roll through the decades, mixing well-known hits with previously unreleased tracks and demos. Included are a few of her duets with Porter Wagoner, whose popular television show Dolly appeared on numerous times. Of course, I’m not that big on her “9 to 5″ days, but I have to admit to a bit of nostalgia for “Islands in the Stream.” Kenny Rogers! Listening through the set chronologically, I realized how much Dolly’s voice matured through her career, changing from a squeaky girl into a strong-sounding woman. Sure, I probably like her earlier work a little more than I do her more recent stuff, but capturing that wide range of material–more than four decades worth of music–made me realize how cohesive it really all is. If you’re not familiar with Dolly’s work and easily chalk her up to Dollywood and big breasts, you should do yourself a favor and pick this up. You’ll soon learn what lies beyond her caricature.

Cold, Cold Heartbreak Express,

-Shady