Thursday, January 27, 2011

First-ever Clarksdale Film Festival begins today

I'm in Clarksdale, Mississippi for the very first Clarksdale Film Festival, which starts today and runs through Sunday. Presented by the Clarksdale Downtown Development Association (which also hosts the Juke Joint Festival every April), it will focus on films that highlight the music, culture, and people of the Delta.  

There are several music and blues documentaries on the schedule, as well as features like Prom Night in Mississippi, Paul Saltzman's 2008 documentary about the first integrated Charleston, MS high school prom (funded by Charleston resident Morgan Freeman), and Raiders of the Lost Ark: The Adaptation, filmed by three Mississippi teenagers over a seven-year period in the 1980s. Personally, I'm looking forward to seeing Standing the Test of Time: Bobby Rush (with Mr. Rush in attendance), and Robert Mugge's Scissormen doc Big Shoes: Walking and Talking the Blues (the Scissormen will also perform at Cat Head Delta Blues & Folk Art on Saturday afternoon).  My friends Joe York and Scott Barretta's documentary short Smokes & Ears, about Jackson, MS's Big Apple Inn and its famous pig-ear sandwiches, will also screen Saturday afternoon.  





Check out the entire schedule by clicking on the banner below.  If you're in the area, hope to see you there! (And while I'm in town, maybe I can get an update on the fate of WROX . . .)


Further reading:

Inaugural Clarksdale Film Festival starts today (Scott Barretta/Clarion-Ledger)

Clarksdale Film Festival (Delta Bohemian)


Monday, January 24, 2011

This week's musical miscellany

Remember a while back when I mused aloud my desire to see a DVD release of Renaldo and Clara? Looks like that dream just may become a reality . . .

Bob Dylan's Renaldo and Clara To Be Finally Released (Levi Asher/Literary Kicks)

Report - Bob Dylan's 'Renaldo & Clara' to be released on DVD (Harold Lepidus/Bob Dylan Examiner)

Here's a short snippet of one of my favorite Rolling Thunder-era songs.  "Never Let Me Go" was officially released on a rare DJ promo EP, 4 Songs From "Renaldo And Clara," and you can occasionally find it for sale on eBay.  I look forward to (hopefully!) seeing and hearing this in much better quality.



The Banjo Project: The Story of America's Instrument is a documentary/multi-media presentation by producer Marc Fields and banjoist Tony Trischka that aims to "chronicle the journey of America's quintessential instrument - the banjo - from its African roots to the 21st century."  It's narrated by Steve Martin and features a staggering array of interviews and performances from musicians such as Pete Seeger, Ralph Stanley, Béla Fleck, and Rhiannon Giddens.  To generate much-needed funding to complete the project, Fields and Trischka turned to Kickstarter.  The pledge period ended yesterday; the total amount raised was nearly double the goal figure of $25,000 ($46,098).  Check out the trailer below, and keep an eye out for the finished film in the near future.


See also Dustin Ogdin's excellent article and interview with Marc Fields at ear•tyme music show.

My friend Scott Barretta and photographer Ken Murphy have recently released the stunningly beautiful book Mississippi: State of Blues.  Both chronicle and love letter, it is the fruit of three years of traveling and photographing the rich, living blues heritage of my beloved home state.  Yesterday they were 
interviewed on Mississippi Public Broadcasting's Mississippi Arts Hour; the program is now available for download via podcast.  For a list of retailers offering copies of Mississippi: State of Blues for sale, click here.

Shooter Jennings is spearheading a new musical genre/movement that aims to represent those artists whose music falls "between the cracks of country and rock," and who have been largely overlooked by the mainstream musical press and radio.  He's dubbed it XXX, after the markings found on old-fashioned moonshine jugs (why, what else did you think he meant?).  If this idea runs right up your melodic alley, read more about it and sign the petition at www.givememyxxx.com.

The New Orleans Jazz and Heritage Foundation has just released the list of this year's performers, and it's quite the smorgasbord, as always.  Check out the lineup and order your tickets here.

Wanda Jackson and Jack White's performance on the Late Show with David Letterman last Thursday night took the roof off of the Ed Sullivan Theater.  



As previously reportedThe Party Ain't Over is out tomorrow; they will perform again on Conan tomorrow night. 

The Queen of Rockabilly Returns (John Jurgenson/WSJ.com)

Wanda Jackson, Rockabilly Queen, Prolongs Her Party (Melena Ryzik/NYTimes.com)

Live review: Wanda Jackson at the El Rey Theatre (Evelyn McDonnell/Pop & Hiss)

Must read: Adam Sheets' review of The Party Ain't Over at No Depression.  He loves her new album as much as I do!

Other random items I've enjoyed recently:

Patti Smith: Warrior Poet (Paul Zollo/American Songwriter)

Mick Without Moss (Zoe Heller/NYTimes)

Interview: Merideth Sisco Discusses The "Winter's Bone" Soundtrack & The Music Of The Ozarks (Chris Mateer/No Depression)

John Cohen's Passionate Pursuit, From Kentucky To Peru (Karen Michel/NPR)

And last, but certainly not least, there's this . . . 

Thursday, January 20, 2011

For Wanda Jackson, The Party's Just Beginning

All right, I admit it - I love Jack White.  How could I not, when it's obvious what a righteously chivalrous dude he is?  First, he worked his special brand of magic on Loretta Lynn's excellent Van Lear Rose, and it was some of her best work in years. Now he's done it again with Wanda Jackson's The Party Ain't Over, and from the sound of it that's the literal truth.  Jackson sounds every bit the rockabilly firecracker she did in the late '50s, and the music sounds like Jetsons-era Sun Records and the Dap Kings got married and had a baby.  It's the sexiest, most raucously delightful album I've heard in a long time.  

Among the highlights is a cover of Bob Dylan's "Thunder on the Mountain," originally released on 2006's Modern Times.  It was apparently suggested by the man himself, who once aptly dubbed her "an atomic bomb in lipstick."  A video of the song was released yesterday on Spinner's website.  Filmed at United Record Pressing in Nashville, it shows Jackson, White, and the band kicking it old-school in a room somewhere on the premises and looking like they're having the time of their lives doing it.  White jumps around like a hyperactive 8-year-old while frenetically soloing, and Jackson frequently swats at him playfully.  According to Jackson, White did that for every single take; she told Spinner that he was "in rare form . . . Every time that we taped it, he had the energy, jumping around and playing the guitar like that."  


Other faves include a version of "You Know I'm No Good" that manages to out-Winehouse Amy Winehouse (girl, I love you, but it's time to step up your game, for real), and a soulfully funky yet entirely reverent update of "Dust On The Bible," a nod to Jackson's days as a Christian evangelist.  But don't take my word for it - give it a listen, and discover for yourself why they (rightfully) call her the Queen of Rock.  NPR is previewing the album in its entirety until its January 25th release date.  

First Listen: Wanda Jackson, "The Party Ain't Over" (NPR)

You can pre-order The Party Ain't Over from both Third Man Records and Nonesuch.  Third Man has also produced two 45s featuring Wanda's versions of "Thunder On The Mountain" and "You Know I'm No Good."

She is currently on tour (click here for dates), and will appear on CBS's Late Show With David Letterman tonight and TBS's Conan on January 25.

Wanda Jackson to perform on 'Letterman,' 'Conan' shows (NewsOK)

And just for perspective's sake (and because it kicks absolute ass) . . .


Wednesday, January 19, 2011

It's Official: Bob Dylan Signs Six-Book Publishing Deal

My last blog posting pondered whether we would soon see Chronicles Volume Two, as posited by Uncut magazine's weekly email blast. It appears those assumptions weren't "Blowin' in the Wind." Among Rolling Stone's headlines this morning came the announcement that Bob Dylan has indeed signed a six-book publishing contract with Simon & Schuster. According to Andy Greene, the deal includes the two long-awaited follow-up installments to 2004's acclaimed Chronicles Volume One, as well as a book based on dialogue from his Sirius/XM radio show Theme Time Radio Hour."

Crain's New York Business reported on January 16 that literary agent Andrew Wylie had reached the agreement with Simon & Schuster after months of shopping it around to other publishers, in spite of S&S's insistence that it already owned the rights to Dylan's Chronicles series.  Wylie apparently argued that since the book was a collection of "non-fiction stories" rather than a memoir, S&S didn't own the rights to it.  No other publishing company would touch it, however, fearing legal action from S&S.  Wylie was reportedly negotiating an eight-figure sum for the deal, but no word on the final price has been issued.

At any rate, the deal has been inked, so hopefully we shall soon hear of the imminent release of Volume Two, as well as news of what the other books in the series will consist of.  The moment I know, my dear readers, so shall you . . .

Further reading:

Bob Dylan Signs Six-Book Deal (Andy Greene, Rolling Stone)

Highway S&S Revisited (Crain's New York Business)

Bob Dylan's new book deal - What does it mean? (Harold Lepidus/Bob Dylan Examiner)

Monday, January 17, 2011

Shall we soon see Chronicles Volume Two?

From today's Uncut email blast:

Uncut
Uncut
Monday 17th January 2011
Nearly everyone who read the first volume of Bob Dylan's Chronicles when it was published in 2004 was ready by the time they finished it for the second instalment, which in the opinion of all and probably sundry couldn't come quick enough.

Well, it's now nigh on seven years since Chronicles came out and despite the occasional rumour that a follow-up was definitely in the works, Dylan working on the manuscript between tours and other commitments, there's been nary a sign of the elusive second volume, let alone a date for its publication. The last we heard, in fact, was that Dylan didn't even have a deal in place for a new book, although when Chronicles was published it was loudly talked up as the first of three volumes of memoirs.

In news just in, though, we hear that Dylan has just signed a new deal, with Simon & Schuster, who published Chronicles and have long maintained they had an agreement with Bob to put out the two further volumes of Chronicles, as previously announced.

The deal is apparently for six Dylan books – the two follow-ups to Chronicles and four more apparently based on Dylan's Theme Time Radio Hour, which will presumably be based on Dylan's often hilarious commentary and links between songs, although this has yet to be confirmed.

The new contract with Simon & Schuster has been brokered by American literary agent Andrew Wylie, whose nickname in appropriate circles is ‘The Jackal’, due to his aggressive pursuit of big money deals for his clients and the ruthlessness with which he makes sure the writers he represents are paid top dollar, nothing less, and usually a lot more. Among the authors Wylie represents are Martin Amis – who he controversially poached from a rival agent in 1995, setting off all manner of literary blood feuds – Dave Eggers, Al Gore, Salman Rushdie, Philip Roth and Elmore Leonard. He apparently also looks after the estates of Saul Bellow and John Updike.

Although Simon & Schuster have always insisted they had the rights to any Chronicles sequels, Wylie, living up to his reputation and nickname, has recently been touting Dylan around to other publishers, much to Simon & Schuster's evident discomfort. Wylie apparently contested their claim to the Chronicles sequels because, he argued, and this is interesting, Chronicles wasn't exactly a ‘memoir‘, so much as it was a collection of ‘non-fiction stories’ from Dylan's life.

This wasn't quite enough to encourage rival publishers to bid for the six-book package, most of them probably figuring that any new deal they signed with Wylie and Dylan would bring about a hostile response from Simon & Schuster, whose lawyers were doubtless watching proceedings on a very short leash, ready to pounce if required.

We'll bring you more on this and – we hope – a date to put against the arrival of Chronicles Volume 2, as soon as we hear something.

And finally, just a reminder that you can now read Uncut every month in its entirety on your iPad, laptop or home computer by subscribing to our online edition. A 12 month subscription costs only £19.99. Individual issues are priced at £2.99. Uncut is easy to read - in its entirety - on your home computer or laptop.

All you need to do to get Uncut on your iPad, laptop or home computer is sign up by following this link

Adios for now.

Allan

An MLK Day Miscellany

Today is Martin Luther King, Jr. Day in America, and I've gathered a collection of relevant and interesting links in honor of the great man's birthday.

LIFE has just released an selection of never-before-seen images taken by Paul Schutzer of Dr. King and his involvement with the Freedom Rides in the South.  I respectfully submit that anyone who doesn't "remember it as being all that bad" should take a look at these.  


PBS has a section dedicated to the 1987 documentary Eyes On The Prize, which will be rebroadcast on April 1, 8, and 15. One of the many things you can view on the website is footage of the 1963 March on Washington for Jobs and Freedom, which includes a portion of Dr. King's "I have a dream" speech.  If you have never read the speech in its entirety, I encourage you to do so.  

More than at any other time in recent memory, music was a force for social change during the 1960s. Bernice Johnson Reagon discusses in her excellent essay "Music and the Civil Rights Movement" just how important music was to those involved in the struggle, and what purposes it served.



Here's the complete video of "Civil Rights: The Music and the Movement," a panel hosted by the University of California/Davis' Mondavi Center for the Performing Arts on January 15, 2009.  Mavis Staples discusses music's role in the movement with Jeffrey Callison and Dr. Milmon Harrison.


From NPR's Take Five: A Weekly Jazz Sampler comes "Songs of the Civil Rights Movement," a short list of jazz and jazz/blues covers of inspirational songs from the era (originally published on January 18, 2010).

Likewise, Rolling Stone contributing editor David Wild has assembled a playlist of inspirational songs for this day.  "Dignity": An Uplifting Playlist For Dr. Martin Luther King, Jr. Day (Huffington Post)

Wild heads off the list with "Dignity," which is one of my favorite of Bob Dylan's latter-day songs.  Here's a video of him performing it on MTV's Unplugged in 1995.
Searchin' high/Searchin' low/Searchin' everywhere I know/
Askin' the cops wherever I go/Have you seen dignity?

Dr. King, this world sure could use some of your dignity right about now.

"And so Jesus gave us a new norm of greatness. If you want to be important—wonderful. If you want to be recognized—wonderful. If you want to be great—wonderful. But recognize that he who is greatest among you shall be your servant. That's a new definition of greatness.
And this morning, the thing that I like about it: by giving that definition of greatness, it means that everybody can be great, because everybody can serve.  You don't have to have a college degree to serve.  You don't have to make your subject and your verb agree to serve.  You don't have to know about Plato and Aristotle to serve.  You don't have to know Einstein's theory of relativity to serve. You don't have to know the second theory of thermodynamics in physics to serve. You only need a heart full of grace, a soul generated by love.  And you can be that servant."
- Dr. Martin Luther King, Jr., from "The Drum Major Instinct,"  
February 4th, 1968
"You know that those who are considered rulers over the Gentiles lord it over them, and their great ones exercise authority over them.
Yet it shall not be so among you; but whoever desires to become great among you shall be your servant. And whoever of you desires to be first shall be slave of all. For even the Son of Man did not come to be served, but to serve, and to give his life for all."
- Christ speaking to His disciples, Mark 10:42(b)-45 (NKJV); Dr. King used the passage these verses are taken from as the basis for his "Drum Major Instinct" sermon. 

Thursday, January 6, 2011

The end of WROX?


I still enjoy listening to radio.  Terrestrial, local, regionally-defined radio of the kind you almost can't find anymore, and when you do it's like a drink of cool, clear water.  I wonder if, in this post-digital, corporate-conglomerate age, we're starting to forget just how powerful radio can be.  Hearing an unexpected song on the dial at just the right moment can change your life, as I can testify to.  If I hadn't heard Bob Dylan's magnificent "finger pointer" "Positively 4th Street" on Mobile, Alabama's WZEW that fine, bright afternoon in 2004, I might never have started listening to him more closely, and I certainly wouldn't be where I am today - writing about the music that I love.


My other all-time favorite radio stations are New Orleans' WWOZ and Clarksdale, Mississippi's WROX.  I discovered WROX while I was living in Oxford, Mississippi, which is about an hour east of Clarksdale. Being an Ole Miss Southern studies master's student who is passionate about music, I naturally gravitated towards this storied blues town, and one of the first historical locales I became acquainted with was the local radio station.

WROX was founded in 1944, and is the oldest station in northwest Mississippi.  It's had several homes around town, but its most noteworthy location was at 257 Delta Avenue.  From 1945 to 1955, the station was housed here, and it was here in 1945 that Early Wright joined the station's staff.


Early Wright was Mississippi's first African American DJ, and his six-nights-a-week program was one of the longest-running in American broadcast history.  For three hours, the "Soul Man" spun R&B records; afterwards, as "Brother Early," he played two hours of gospel music.  Often he wouldn't identify the artists whose records he was playing - he believed that his audience would already know them.  He was beloved by the Clarksdale community; his unique, folksy way with language - including his delightfully idiosyncratic advertisements for local businesses - made "everybody in Clarksdale feel as if he were talking directly to them," Living Blues founder Jim O'Neal told the New York Times in 1999.

Many seminal blues artists appeared live on WROX.  The list includes Clarksdale natives Ike Turner - who also hosted his own program for a time - and Sam Cooke; Sonny Boy Williamson II, whose "King Biscuit Time" program was shared with WROX by Helena, Arkansas' KFFA; Jackie Brenston, of "Rocket 88" fame; B. B. King; Robert Nighthawk; Rufus Thomas; and Pinetop Perkins.  Even Elvis Presley showed up one night and performed live on Wright's show.

Wright retired from broadcasting in 1997, after having been on the air for fifty years; that same year, the station was sold.  He passed away in 1999 at the age of 84.  The 257 Delta Avenue building, now on the National Register of Historic Places, hosts Kinchen "Bubba" O'Keefe's WROX Museum; it's open on festival weekends and by appointment.  The current location for the WROX office is at 628 Desoto Avenue, near the famous "Crossroads" of Highways 49 and 61.  The station is now owned and operated by Delta Radio LLC, based in Las Vegas, Nevada.


The front entrance of 257 Delta Avenue, the former home of WROX and 
currently the location of Bubba O'Keefe's WROX Museum.


The view inside the museum; it was closed the day I first visited Clarksdale.  
Note the old Coca-Cola signboard on the far right.

WROX's format has changed a few times over the years, but when I began listening in 2008 it was an oldies station, broadcasting hits from the '60s through the '80s.  As the signal doesn't quite reach all the way to Oxford, I would listen to the station at home through my iTunes.  It was here that I fell in love with the warm, monaural sound of AM radio.  That, combined with a playlist of music beloved from childhood, was very comforting to me while I was living alone in an unfamiliar town half a day from home.  I'd often leave my computer on at night and let the softly-playing station drift me away to sleep. 

On Saturday evenings the station would revert back to its blues and R&B roots, hosting shows such as Cathead Delta Blues & Folk Art proprietor Roger Stolle's "Cat Head Delta Blues Show."  It was while listening to the Saturday night blues programming that I had another of those epiphanic moments. Driving across a bright, storm-cleansed Delta on my way to see the Levon Helm Band in Robinsonville, I heard Blind Willie Johnson's 1930 recording of "Soul of a Man."  It may have been brand-new to me that afternoon, but I was singing along by the time it was over.  It had the same effect on me that the previous night's storms had had on the area I was traveling through; it washed away the dust and brought everything into sharp, almost painfully clear focus.  When was the last time a song did that for you?


Another thing I credit WROX with during this time is raising my awareness of the Beatles' American R&B roots.  In the mornings around 10:30 they would play two Beatles tracks back-to-back, and usually the offerings were their covers of '50s rock songs.  Though I've heard the Beatles all my life and certainly understood the importance of their musical legacy, I had yet to begin to really dig into and absorb their catalogue.  Listening to them in this context opened my eyes and gave me a new appreciation for the four gentlemen from Liverpool - and how, in a way, they helped "give" our music back to us in the '60s, spawning another musical revolution.  

The Beatles' 1964 cover of Larry William's "Slow Down" . . .


. . . and the 1958 original.


Since I've moved back to south Mississippi I've not listened to WROX much, but the other day I was feeling under the weather and decided to check in with the station via the internet.  Imagine my surprise when I discovered it was broadcasting modern country in FM format.  I checked the website and learned that effective December 31 it was simulcasting Cleveland, Mississippi's WKXY.  Confused and a little upset, I sent an email to the station's address and quickly received a reply from Larry Fuss.  He assured me that he would have loved to have continued WROX's former format, but that the majority of Clarksdale's businesses would not advertise with him for whatever reason, and that it was not fiscally viable for him to keep things as they were.  The station is currently for sale, and if anyone is interested in purchasing it, they can contact him here.  

Let me state that I'm not taking any political sides in this matter; again, I'm simply a music-loving college student who doesn't want to see this historic station die, and I present this story in that spirit.  Hell, if I could afford to buy it, I would - I dream of working at a station like the WROX of yore.  I can't imagine why the Clarksdale community wouldn't support it, as Larry says; there's obviously a story there, but I've no idea what it is.  Maybe it's simply that WROX has outlived its usefulness, but I don't really want to believe that's true.

Can WROX be saved?  Personally, I'd love to see it go the way of WWOZ - listener-supported, with volunteer DJs.  At the very least, I'd rather it be returned to its former format than to keep the one it has now, which is completely bereft of any reference to its historical and cultural importance.  I have no idea how to go about it, but I would think that with the many blues fans from around the world who come to Mississippi every year to see "where the blues began," that somehow it just might be possible.  What say you?

"technology to wipe out truth is now available. not everybody can afford it but it's available. when the cost comes down look out!  there wont be songs like these anymore. factually there arent any now." - Bob Dylan, from the liner notes to World Gone Wrong, his 1993 album of blues and folk covers 


The flyer announcing the installment of WROX's Mississippi Blues Trail marker at 257 Delta Avenue.  
To view images of the marker and read the accompanying text, click here

Wednesday, January 5, 2011

This week's musical miscellany

I've gotten way behind on my weekly collections of interesting and noteworthy musical tidbits, so let me see if I can catch up . . .

The biggest news of the past few weeks was the announcement of the 2011 Class of the Rock and Roll Hall of Fame.  This year's inductees include Dr. John, Tom Waits, Neil Diamond, Alice CooperDarlene Love, and Leon Russell.  Congratulations to them all!

Dr. John, Rock and Roll Hall of Fame Inductee, Was 'Surprised' By the News (Andy Greene, Rolling Stone)

Dr. John a deserving Rock and Roll Hall of Fame inductee (Keith Spera, NOLA.com)

Tom Waits issues statement regarding his induction into the Rock and Roll Hall of Fame (Randall Roberts, Pop & Hiss/LA Times)

Neil Diamond, Rock and Roll Hall of Fame Inductee, Says He Feels 'Very Lucky' (Andy Greene, Rolling Stone)

Alice Cooper, Rock and Roll Hall of Fame Inductee, Was 'Elated' When He Got the News (Andy Greene, Rolling Stone)



Chuck Berry collapsed during his performance New Year's Night at Chicago's Congress Theater.  He was assisted offstage but returned, only to be led off again.  He apologized to the crowd before leaving, getting in a few of his famous duck-walk steps on his way out.  He was examined by paramedics at the venue and apparently refused hospital treatment, leaving instead in a limousine.  His agency posted an official statement on his website Monday, stating that "he is fine and has returned to his home near St. Louis."

The NPR blog All Songs Considered asked its readers to comment on why Chuck Berry matters, even though modern rock sounds almost nothing like it did in Berry's heyday.  It's simple: One must know what the rules are in order to break them and create something original, and Berry helped write the rule book. His signature, driving riff is at the very foundation of rock and roll, and all of the innovators who've come after him - the Beatles, the Rolling Stones, and Bob Dylan are only three - went through him first. One revolution inevitably inspires another.

"If you tried to give rock and roll another name, you might call it 'Chuck Berry.'" - John Lennon

"To me, Chuck Berry always was the epitome of rhythm and blues playing, rock and roll playing.  It was beautiful, effortless, and his timing was perfection.  He is rhythm supreme.  He plays that lovely double-string stuff, which I got down a long time ago, but I'm still getting the hang of.  Later I realized why he played that way--because of the sheer physical size of the guy.  I mean, he makes one of those big Gibsons look like a ukulele!" - Keith Richards

"In my universe, Chuck is irreplaceable . . . All that brilliance is still there, and he's still a force of nature. As long as Chuck Berry's around, everything's as it should be." - Bob Dylan, from his latest Rolling Stone interview (#1078).  

Official Statement from Chuck Berry's Agency, CMG Worldwide

Before his collapse, Berry was complaining, cutting songs short (Dave Hoekstra, Chicago Sun-Times)

Chuck Berry's Collapse Reminds Us How Much He Matters (Bob Boilen, All Songs Considered/NPR)

Berry performs at least once a month at the St. Louis venue Blueberry Hill and other tour dates as they are announced on his website.  I see a road trip at some point in my future!

Just a few days before his Chicago performance, his first hit "Maybellene" turned 55 years old.  Get well soon, Mr. Berry, and long may you rock!


Levon Helm was also recently hospitalized, but has since been released and has returned to performing. Helm has chronic obstructive pulmonary disease (COPD); a cold aggravated the condition, and he was admitted to a New York hospital for nearly a week, forcing him to miss a scheduled Midnight Ramble at his Woodstock home and studio.  He was released on December 17 and performed at the Ramble the next night.  Levon, we love you, and we're glad you're feeling better!

Levon Helm hospitalized, but OK (John W. Barry, Poughkeepsie Journal)

Levon Helm home from hospital (Poughkeepsie Journal)

The music world lost Captain Beefheart on December 17 and Stealers Wheel's Gerry Rafferty on January 4.  Rest in peace, gentlemen.

Captain Beefheart Dead at Age 69 (Maura Johnston, Rolling Stone)

Don Van Vliet, Known To Rock Fans As Captain Beefheart, Dies (Rick Carr, NPR)

Captain Beefheart: A Rock Critic Fable (Mitch Myers, All Songs Considered/NPR)




Robbie Robertson has announced the release date for How To Become Clairvoyant, his first solo album since 1998's Contact From the Underworld of Redboy.  It comes out on April 5, just in time for my birthday - thanks, Robbie!  Now if only you'll tour, my year will be complete . . .

How To Become Clairvoyant, Robbie Robertson's First Album in Over a Decade, Is Due Out April 5, 2011 on 429 Records (Digital Journal)

The album art is up on the front page of Robbie's official website.  The title track was previously released on the HBO series True Blood and is included on the show's latest soundtrack.  You can preview another song, "When the Night was Young," here.  


Two movies and a musical:  The Phil Ochs documentary There But For Fortune opens today at the IFC Center in New York City.  Director Kenneth Bowser and Ochs' brother Michael will be present tonight and tomorrow night at the 7:20 and 9:30 showings.  Wish I could be there!



While researching something for a friend yesterday I ran across the blog A Warehouse On Tchoupitoulas. Apparently there is a film in the works about the late, legendary New Orleans musical venue The Warehouse, which during the '70 hosted everyone from The Who to the Allman Brothers to Bob Dylan's Rolling Thunder Revue. The Grateful Dead played the inaugural weekend, and their subsequent arrest for drug possession inspired their classic "Truckin'"; the Doors played their final concert there.  The filmmakers are trying to raise $40,000 to pay for the film's soundtrack.  Take a look at the blog, and donate if you feel so inclined.  Good luck, y'all - I really want to see this film!

(P.S. If anyone out there can tell me the exact location of the Warehouse at 1820 Tchoupitoulas, I'd be grateful.)

A Gram Parsons musical? Yes, please - especially when it sounds this good.  Grievous Angel: The Legend of Gram Parsons wrapped a West Coast tour in October, and there are rumors of an East Coast tour in the works.  Check out a video from the show, and you can preview other tracks from the soundtrack and order a copy of it here.



Neil Young and Daniel Lanois are on the cover of the current issue of American Songwriter, and the unabridged interview by Jann Uhelszki is available to read online


Neil is also on the cover of the latest issue of MOJO.  Try their Neil Young "Name The Album" quiz - it's just as hard as the previous Dylan one!

Speaking of Dylan, my favorite of Rolling Stone's recent playlists is from Patti Smith - she focuses on Bob Dylan's love songs.  Bob is not primarily known for his romantic ballads, yet Patti and I are in agreement that few songwriters can turn heads quite like the Bard of Hibbing.

"What is sadder than 'One Too Many Mornings,' more troubling than 'Ballad in Plain D' or more poignant than 'Love Minus Zero'? And from a female point of view, what testament is more breathtaking than the words, "Love you more than madness" in 'Wedding Song'?"

What indeed, Patti.  Check out the the rest of her list here: Patti Smith: Bob Dylan's Love Songs 



The Washington Post recently featured Dylan in their "On Success" section.  In response to the recent Wall Street Journal concert review I wrote about earlier, several commentators offered essays answering the musical question, "Are there age limits on success?" Some, like Virginia Bianco-Mathis', are laughable and extremely out-of-touch; to say that a Pulitzer Prize-winning songwriter - make that the first rock songwriter to be given such an award - in the middle of a golden career renaissance, and whose shows regularly sell out, has "flopped" as a touring act says more about Ms. Bianco-Mathis than it does about Dylan.

My favorite is by Seth Kagan, who offers the following astute observations:

"If your primary aim is to establish a legacy, then, sure, leave while at the top of your game. But that is a more selfish motive than a true artist pursues. The expression and application of creative skill and imagination is the ongoing destination of every creator worth his or her salt. That is what Dylan continues to do . . . 
As long as he can wrangle a stage, he is entitled. And all the pundits who spin their thread on his dime have a choice. They can spit and castigate or they can take note of an aged poet and his mysterious process."

Or to put it in that mysterious poet's own words, "he not busy being born is busy dying" - a great meditation for a new year.

Saturday, January 1, 2011

Happy New Year!/Song of the moment: "Everything I Do Gohn Be Funky"

Happy New Year!  I wish a bright, blessed, and prosperous 2011, filled with good music and good times, to all of my readers out there.

I've got a few things in store for my blog this year . . . I hope to start contributing some concert and record reviews, as well as some occasional essays, as time allows.  I may even throw in a few surprises here and there.  So stay tuned - the best is yet to come!

I don't know 'bout you, but I've resolved that "everything I do gohn' be funky from now on." Let Lee Dorsey tell you how it's done.

Everything I do gohn' be funky from now on, yeah
Everything I do gohn' be funky from now on, yeah

I got to be myself and do my thing
A little soul can't do no harm, yeah
Everything I do gohn' be funky from now on, yeah

Everything I do gohn' be funky from now on, yeah
Everything I do gohn' be funky from now on, yeah

Some may say that I've got no class
But I'm doin' what I want to do, yeah
So groove with me if you can
Or just do what you can do

Aw, shucks
Why you whining
I'm on fire

Yeah, everything I do gohn' be funky from now on, yeah
Everything I do gohn' be funky from now on

Never before have I felt so good
Just being natural me
My little hangup and my little times
But deep inside I'm free

Let your hair down and get down with me
Who's to say what's right or wrong
Everything I do gohn' be funky from now on, yeah

Everything I do gohn' be funky, yeah, from now on, yeah
Everything I do gohn' be funky from now on
(Repeat and ad-lib until fade)