Music


Space Car Driver will be playing a special early set
Saturday July 26th, 2008
at O’Gara’s Garage: 164 Snelling Avenue North, St. Paul MN
One-hour set starting at 9pm sharp

Space Car Driver

Space Car Driver’s entire debut album is currently available for FREE listening at spacecardriver.com. The album is also available for download at eMusic, iTunes, Amazon, Rhapsody, Lala, Napster, and more.



Space Car Driver (album cover)

Album: Space Car Driver
Release Date: May 09, 2008
Genre: Alternative
Copyright 2008 Space Car Driver

Space Car Driver recently released their first album.

I attended their CD Release show [May 9, 2008]. Excellent show — solid grooves, interesting arrangements, wide range of dynamics, good chemistry between the musicians.

Special Bonus Download — I got permission from bassist Adam Lutz to sponsor an MP3 download here at karljones.com:

Enjoy!

Space Car Driver (mashup #1)



This short animated cartoon by Dan Meth really cracks me up:


Meth Minute 39
Link.



VirgilThought for today:

Do not commit your poems to pages alone, sing them I pray you.

- Virgil (70-19 BC): Link.

Virgil @ Wikipedia: Link.



Roland TrenaryRoland is a fine singer, songwriter, guitarist, dancer, and more.

He’s recently posted some of his music online, along with schedule of upcoming shows, etc.

Check it out:

Link to Roland’s MySpace page.

PS, I took Swing dance lessons from Roland, back in the day; and we’ve been known to jam at the occasional party. (Memo to Roland, when’s the next barbeque?)



Gene Krupa“Music is sex.”
- Dick Dale

… I used to love to listen to Gene Krupa records, you know, and Gene Krupa drumming, because he was … you know, music is sex. It’s a sensual driving mode that affects people if it’s played a certain way, and Gene Krupa was smart enough to go, and for instance, study the natives … went into the jungle to study their fertility dances, what caused them to be mesmerized … the drummer played on a beat …. Gene Krupa wanted to know why … what is it that made people mesmerized. Now what it was was that the natives would create these fertility dances and they would use these rhythms on logs but they kept it simple and they kept it thriving and they kept it driving, they didn’t break it. They’d go ding ding-dah dah ding ding-dah dah ding ding-dah and they would keep that always going.

… Krupa somehow mesmerized the audience more so than any drummer in the world

… Gene Krupa had something. So he kept it going, just going doom bada doom bada doom bada doom badada he kept that going. So what happens when you go doom bada doom bada doom bada biddli-ba-da-doo, you wake people up …

… Sexual, sensual, guttural sound, that throbbing sound is where it’s at.

[Dick Dale @ roctober.com ]

Dick Dale, King of the Surf Guitar
See Also:

Dick Dale @ Wikipedia

Dick Dale Interview @ YouTube



Muddy Waters once explained how he wrote Country Blues:
“In nearly one breath, Waters offers five accounts …”
Muddy Waters

In 1941, on his front porch, Muddy Waters recorded a song for the folklorist Alan Lomax. After singing the song, which he told Lomax was entitled “Country Blues,” Waters described how he came to write it. “I made it on about the eighth of October ‘38,” Waters said. “I was fixin’ a puncture on a car. I had been mistreated by a girl. I just felt blue, and the song fell into my mind and it come to me just like that and I started singing.” Then Lomax, who knew of the Robert Johnson recording called “Walkin’ Blues,” asked Waters if there were any other songs that used the same tune. “There’s been some blues played like that,” Waters replied. “This song comes from the cotton field and a boy once put a record out—Robert Johnson. He put it out as named ‘Walkin’ Blues.’ I heard the tune before I heard it on the record. I learned it from Son House.”

In nearly one breath, Waters offers five accounts: his own active authorship: he “made it” on a specific date. Then the “passive” explanation: “it come to me just like that.” After Lomax raises the question of influence, Waters, without shame, misgivings, or trepidation, says that he heard a version by Johnson, but that his mentor, Son House, taught it to him. In the middle of that complex genealogy, Waters declares that “this song comes from the cotton field.”

[Jonathan Lethem: Harper’s, Feb. 2007]

Via SlashDot.

See Also

Muddy Waters @ Wikipedia



FBI to release last of its John Lennon files. LA Times: “The U.S. had said such an act could stir military retaliation. The papers, withheld 25 years, don’t seem to bear that out.”

John Lennon FBI file excerpt

The FBI agreed Tuesday to make public the final 10 documents about the surveillance of John Lennon that it had withheld for 25 years from a UC Irvine historian on the grounds that releasing them could cause “military retaliation against the United States.”

Despite the fierce battle the government waged to keep the documents secret, the files contain information that is hardly shocking, just new details about Lennon’s ties to New Left leaders and antiwar groups in London in the early 1970s, said the historian, Jon Wiener.

For example, in one memo, then-FBI Director J. Edgar Hoover wrote to H.R. Haldeman, President Nixon’s chief of staff, that John Lennon“Lennon had taken an interest in ‘extreme left-wing activities in Britain’ and is known to be a sympathizer of Trotskyist communists in England.”

… Another describes an interview with Lennon published in 1971 in an underground London newspaper called the Red Mole. “Lennon emphasized his proletarian background and his sympathy with the oppressed and underprivileged people of Britain and the world,” the document says.

Wiener and his attorneys, Dan Marmalefsky of Morrison & Foerster and Mark Rosenbaum of the American Civil Liberties Union of Southern California, all said the documents revealed there was no sign that government officials considered Lennon a serious threat. They said they were mystified that several administrations had resisted making the material public.

John Lennon FBI document… Wiener initially obtained some files showing that the FBI closely monitored Lennon’s activities in 1971 and 1972. The documents indicated Nixon administration concern that Lennon would support then-Sen. George S. McGovern (D-S.D.) for president against incumbent Richard M. Nixon in 1972, the first year that 18-year-olds could vote.

But the FBI also withheld numerous files, saying they were exempt from the Freedom of Information Act, including part of a surveillance report on a December 1971 antiwar rally in Michigan. There, Lennon urged the release of activist and singer John Sinclair, who was serving a 10-year sentence for possession of two marijuana joints. A judge soon freed him.

… Scott Hodes, who was acting chief of the FBI litigation unit dealing with freedom of information cases, said disclosure of the documents could strain relations between the U.S. and a foreign government, lead to diplomatic, political or economic retaliation and have a chilling effect on the flow of information between the two countries. Hodes also said disclosure of the documents could subject the government agents involved in the Lennon operation to “public ridicule, ostracism” or even jeopardize their safety.

The Justice Department declined to comment.

[LA Times]

Interview with Jon Wiener: Talk of the Nation, December 21, 2006

After a 25-year-long legal battle, the FBI has released the final documents relating to its surveillance of John Lennon in the 1970s.

Jon Wiener, a professor of history at the University of California, Irvine and author of Gimme Some Truth: The John Lennon FBI Files.

[NPR]

John Lennon - FBI Files: lennonfbifiles.com

Yoko Ono and John LennonInterview - Thursday 21st January 1971 - John Lennon and Yoko Ono talk to Robin Blackburn and Tariq Ali for the underground magazine Red Mole

John Lennon: I’ve always been politically minded, you know, and against the status quo. It’s pretty basic when you’re brought up, like I was, to hate and fear the police as a natural enemy and to despise the army as something that takes everybody away and leaves them dead somewhere.

… I’d always felt repressed. We were all so pressurised that there was hardly any chance of expressing ourselves, especially working at that rate, touring continually and always kept in a cocoon of myths and dreams. It’s pretty hard when you are Caesar and everyone is saying how wonderful you are and they are giving you all the goodies and the girls, it’s pretty hard to break out of that, to say ‘Well, I don’t want to be king, I want to be real.’

… Art is only a way of expressing pain. I mean the reason Yoko does such far out stuff is that it’s a far out kind of pain she went through.

… Oh, Jesus Christ, [stardom] was a complete oppression. I mean we had to go through humiliation upon humiliation with the middle classes and showbiz and Lord Mayors and all that. They were so condescending and stupid. Everybody trying to use us. It was a special humiliation for me because I could never keep my mouth shut and I’d always have to be drunk or pilled to counteract this pressure. It was really hell …. I found I was having continually to please the sort of people I’d always hated when I was a child.

… I keep on reading the Morning Star [the Communist newspaper] to see if there’s any hope, but it seems to be in the 19th century; it seems to be written for dropped-out, middle-aged liberals. Khrushchev RemembersWe should be trying to reach the young workers because that’s when you’re most idealistic and have least fear.

… I’ve been reading Khrushchev Remembers. I know he’s a bit of a lad himself - but he seemed to think that making a religion out of an individual was bad; that doesn’t seem to be part of the basic Communist idea. Still people are people, that’s the difficulty.

Yoko Ono PeaceYoko Ono: I want to incite people to loosen their oppression by giving them something to work with, to build on. They shouldn’t be frightened of creating themselves - that’s why I make things very open, with things for people to do, like in my book.

Because basically there are two types of people in the world: people who are confident because they know they have the ability to create, and then people who have been demoralised, who have no confidence in themselves because they have been told they have no creative ability, but must just take orders [emphasis added]. The Establishment likes people who take no responsibility and cannot respect themselves.

[Link]



Muses: Karl Gregory Jones

RealAudio tracks — thanks to Tom @ Trancer Software:

I played everything on my beloved Guild acoustic guitar, with various effects. Some songs have two or more guitar tracks. All of the mistakes and fluffed notes are mine alone.

This post is really a stopgap while I hack WordPress page handling code. When everything is right, the real page will be located here –

http://www.karljones.com/index.php/music

Copyright 2006 by Karl Gregory Jones


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Luaka BopLuaka Bop, Part II — David Byrne’s former label:

I don’t have much to do with Luaka Bop these days …. Clearly, for me at least, it was time for a change …. So I got out.

Yale Evelev, God bless him, kept it going. …. Yale’s got a distribution deal with V2 and has released some records in the last year that have been very well received.

[DavidByrne.com: Link]

Byrne is streaming a delightful, diverse selection from the Luaka Bop catalog — I’m digging it, song after song.

Vijaya Anand
: Lots of great music in the mix, but one song stands out — no, it leapt out, through the air, past my ears, deep into my helpless brain — traditional raga meets Klezmer meets Loony Toons while tripping

Asia Classics: The South Indian Film Music Of Vijaya Anand
Naane Maharaja (I Am the Emperor) [4:33]

Byrne notes:

Vijaya AnandVijaya Anand
One of our worst sellers. Yale had, over the course of many visits to India, collected examples of some of the stranger and wilder examples of filmi music I’d ever heard (music done for film soundtracks and musicals.) The Chennai productions of Vijaya Anand were among these — psychedelic techno cut and paste tunes that encompassed more genres that one could imagine, not just Indian genres — but disco, techno, blues, romantic ballads and synth pop. Wonderful stuff that never failed to make me smile. Despite being appreciated by the hip downtown crowd who saw similarities to Zorn, Zappa and others, the public stayed away.

[David Byrne]

Vijaya Anand — the early years:

When he was in the 10th grade, he started an orchestra at school. He also began composing songs for different occasions on a harmonium that his father bought him and began listening to more and more cinema music.

His mother’s worst fears were confirmed when he finished his schooling. He did not want to continue his academic education. Instead, he started a band of his own called the Melody Cans. By playing the latest cinema hits, he captivated the ever-hungry cinema-music audience at wedding halls and in theaters. Vijaya Anand and his Melody Cans continued to play cinematic music until he came to a saturation point; just playing the latest hits on stage became unexciting. This is when Vijaya Anand felt the urge to create cinema music rather than simply to reproduce it.
[Luaka Bop: Link]



I’ve posted a dozen or so of my guitar etudes in MP3 format:

Link

Plus other miscellanous music-related links etc.

Karl



David Byrne streams thematic playlists. July’s offering: Standards

David ByrneA standard is something that we use to measure other things. It is the Ur thing, the original hidden Platonic thing that casts the shadows on the cave, which we then perceive as all other things. These songs, most of them written between the last two world wars, are popular songwriting carried to a level of melodic, harmonic and sometimes lyrical sophistication that was rarely superceded. The Bossa Nova composers maybe were their equal, the Philly soul of Thom Bell, Burt Bacharach and others — but those were all afterwards. In North America, between those wars, due to the symbiosis of the songs with musicals and films, the belief and confidence that there could be a new kind of popular music really took hold. Talent arrived by the boatload. Immigrants. Uh huh.

Radio DavidByrne.com

I admire Byrne — he’s talented, versatile, smart, insightful, funny … plus I get the impression he’s a genuinely nice guy. He is “the Ur thing” in his own right.

See also:



I heard JP at Cedar Cultural Center in Minneapolis, several months ago, during Open Stage night. I was mightily impressed by JP’s stage presence and musicianship, so I bought his CD, The Live Beta Project.

The opening number, Always, catches JP’s spirit — an open-hearted emotional vocal style, strong yet vulnerable, very much feeling what he’s singing about. JP HoeHis guitar work nicely supports and complements his voice. On the album, his band, The Truly Richards, delivers the rock context; although I preferred his solo interpretation at the Cedar Cultural Center, just JP and his guitar.

Closing with Bowie’s All The Young Dudes works okay, it’s a respectable homage.

But the best of the album is JP’s stuff — Since You Could Be and Why Can’t You Say both make my A-list. Always also makes the list. And I particularly like Nicest — I may want to cover this one myself.

All of his work sounds confident, competent, right on — the guy knows what he’s about.

The arrangements offer a lot of dynamic range, not exactly rock-opera, yet dramatic, almost theatrical. Perhaps inevitably; it’s a live-in-concert album.

Yet I get the same larger-than-life vibe from JP himself. I mentioned stage presence. The guy has got charisma and then some — when he opens up onstage, you can feel the emotional truth of the songs, right there in real time. So, I suppose that theater and music run concurrently through his shows.

I should add, he was humble in person when I bought his CD. Nice guy — he was carrying on a solo tour at the time, his band having dissolved earlier in the tour — a real trooper.

Keep an ear open for JP Hoe, expect more good things to come.

JP Home Page

JP MySpace page



Noted musicologist and red-hot guitarist Eric. S. — a close personal friend of mine — recommends the following musicians:

Kathleen Edwards

Allison Moorer

Eliza Gilkyson

I don’t know any of these musicians, but if Eric recommends them, that’s good enough for me.



My friend Tom Allen now has a member bio page at the American Composers Forum.

Artist’s Statement:
I bring humor and levity to songwriting. I have done several commissioned songs for individuals, and enjoy matching the music to the story and needs of the commissioning parties. I combine modality, tonality, and atonal elements, achieving a harmonious yet varied palate of sound.
[Link]



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