Power of the 45
Sales of 7" vinyl singles are up 500% from 5 years ago. What a warm fuzzy feeling that gives me.
I was one of the unfortunates who didn't discover the Go-Betweens until sometime in 2003. I stumbled across some tracks from Bright Yellow Bright Orange on the now-defunct site epitonic.com* and fell in love with McLennan and Forster's honest song writing and delivery. Since then, I've wanted to see them live, and regret that I didn't do so during the last tour promoting the much-praised Oceans Apart. I can't remember why I didn't. With the sad news that Grant McLennan died this past Saturday, I'm wishing for my own instant replay...Go-Betweens.net has posted a tribute to Grant, and the discussion board has more than 1000 personal memorials now, some from recognizable music names. Robert Forster has posted a lovely reply to these. As for me, Bright Yellow Bright Orange and Oceans Apart have been in constant rotation, and I've been doing something that I often do when thinking about Joe...wondering what Grant would approve of and mixing it in, or mixing in albums that have a sometimes unidentifiable similar quality. Today it's the Magnetic Fields' I and Edwyn Collins' Gorgeous George (on hometown label fave, BarNone)...Rarely his sentimentality would over-ripen a song, but mostly he could stun you with crystallised buried truth, deeper and more direct than nostalgia. He was a romantic in all the best senses of the word. And he could rock and he could roll with equal conviction.
Post-script: Justin Cober-Lake, another recent fan and music writer at Popmatters, has posted a memorial worth visiting.
Post-post-script: The sad details emerge in a Village Voice piece by one of my favorite music writers, Robert Christgau.*epitonic.com was one of my favorite sites for discovering new music; I loved it's "if you like this, you might like this" feature, and the streaming 'radio' was excellent. It is still online and you can still stream some good, obscure stuff, but the site hasn't been updated since sometime in 2004, when it was bought by Palm Pictures. Palm doesn't not response to any inquiries regarding epitonic's status, nor inquiries from those wanting to invest labor to resurrect it.
Grups: the moniker given by New York Magazine writer Adam Sternbergh to 30, 40, and (gasp!) 50-somethings who look, talk, act, and dress like people who are 22 years old. From this "obituary for the generation gap":
Being a Grup is about rejecting a hand-me-down model of adulthood that asks, or even necessitates, that you let go of everything that you ever felt passionate about. It's about reimagining adulthood as a period defined by promise, rather than compromise. Maybe there's hope for the parents that Ed Hamell (see post below) thinks are quick to put aside their passions. I, in part, find the labeling of this phenomenon kind of absurd. On the other hand, I feel like much less of a freak for introducing my kid to The National and being the oldest person at the Cordero show the other night...
Ten reasons I love "string-punishing punk minstrel" Ed Hamell (aka Hamell on Trial):
Following a few weeks of mayhem, I've been spending a lot of time this week catching up on news and blogs and such. I ran across an homage to real record stores in the LA Times last month, which only partly laments the decline of indie shops but recognizes that the author, like me, may be part of a last generation who found our musical educations in these alternative bricks and mortar contexts. There are still a few left from my past - St. Mark's Place in Kearny, NJ; Tunes, Hoboken, NJ; Crazy Rhythm Records, Montclair, NJ; Bleeker Bob's, NYC. I was also surprised to find a number of good record shops left in Pittsburgh a few years ago. By contrast, I found a
Wired interview in which indie store owners say that they are doing okay. In reading these pieces, I realized that since moving to Phoenix almost nine months ago, all of my purchases have been through the web, delivered either by mail or by download. I'm going to rectify that this weekend...I miss liner notes and album art.
Recently, Jimmy posted a piece about a Jackie Leven-Ian Rankin collaboration. Today from the Guardian, another bit about "musician-author hookups." In particular, this is a fun and sweet piece about British DJs embracing the work of the English poet laureate John Betjeman, and Betjeman's own recording career with the Charisma label. Nick Cave is a huge fan and there are some sweet quotes by DJ John Lycett Green, Betjeman's grandson. The article closes with a list of mucisian-author hookups, from the Clash and Ginsberg (with a note about Ginsberg dancing to I Wanna Hold Your Hand), to Cobain and Burroughs.
Saw a great film this week about the record collector and fantastic character Joe Bussard. Desperate Man Blues documents Joe's unparalleled collection of 78s, amassed by knocking on doors and scouring basements in southwestern Virginia and neighboring areas. Joe, who hated Elvis and thinks the Beatles were crap, has some pretty strong opinions about what constitutes "real" jazz and blues (more or less nothing after 1940 is "real"). Still, he now has a myspace page...
En Este Momento, the latest release by Cordero, has been in constant rotation in my CD players for a couple of weeks now. I caught them last night at the Rhythm Room after forcing myself to leave the house and I'm so glad I did. Sadly for the band but very good for me, the place was empty (which meant smoke-free), save for some underage kids there to see Koufax, in addition to me and another small group of fans who could shout out requests, which seemed to make Ani (Cordero) feel pretty good. The live show was a little rough around the edges, but in a good way...the way that makes you feel like you're in hangin' out in someone's living room with the band. Cordero, for me, is the perfect fusion of garage and punk with Latin rhythms...what Ani calls Georgiarican (she grew up in Atlanta and the band is based in Brooklyn). At the same time, they have something of a southwest sound a la Calexico and the Sadies. In addition to Ani's guitar, two of my favorite things about En Este Momento are the percussion and the trumpet. Live, the drummer was fantastic, playing at times with his maracas instead of sticks. The kid playing trumpet on tour turns out to be Frankie Lymon's nephew (man, my parents played a lot of the Teenagers when I was growing up)...he substituted keyboards for the trumpet in places where I think he just didn't have the range and that was a little disappointing. Still, I have no idea what this band is doing opening up for Koufax when they've been touring with Calexico, Ozomatli, Neko Case, and others (maybe I'm underestimating Koufax, but I tried to stick around only to take off two songs into their set). En Este Momento is infectious and one of my favorite purchases in a while.
Regular readers (all three of you) will know that I uncreatively attempt to label each post with a song title. The above is, in fact, the title of a composition by PLOrk, the Princeton Laptop Orchestra. Made up of fifteen laptop'ers, or laptopists, the group also features "PLOrkified" cellos, synthesizers, tablas, accordians, and various percussion in their performances. All of the pieces are written in a new music programming language called Chuck, created by a Princeton graduate student.