Oh, things are just crazy right now. It’s all good, but it’s like being covered in a pile of kittens – delightful, but you don’t get much done. So let’s just consider this day Two of the Monday Funday Dance Party – Holiday Edition.
Here’s a song I know from way back. There’s a recording somewhere of me singing this with my mom at the age of five; the only lyrics I knew for sure were “Five Golden Rings,” so I made sure to sing that at the top of my lungs.
Please feel free to do your own interpretive dance in silhouette while a cowboy sits by, or something that you like even better.
It’s been a super crazy couple of weeks. I just got a new job, which I adore, and have been transitioning from my old job, which I also adored. It’s a really happy time, but also a busy one.
So here’s a couple of tracks in honor of working folk.
“Working in a Coal Mine” was a hit for Lee Dorsey in 1966:
Until just now, when I looked up the song, I only really knew the Devo version. I’m surprised by how similar it is to the original.
Not that I’m complaining; they’re both great. And so is this:
Nobody sings like Roy Orbison. Nobody. Bruce Springsteen agrees with me, so it must be true.
I adore Sly and the Family Stone. They were so positive, and this was one of the very very few bands at the time that was both multi-racial and multi-gender. And they played great.
In honor of trumpeter Cynthia Robinson, who passed away this week, and also to celebrate a recent court decision that awarded Sly $5 million in back royalties, here’s 6 or 7 minutes of awesomeness. I dare you not to dance.
For many of us, the Alley Cat was an inescapable part of gym class in public school.
In case you’re not familiar with it, here’s a demonstration by a fantastic 94 year-old. She’s got me beat when it comes to dance skills.
Or you could do this:
The first concert I ever went to was the Alarm, at the Beacon Theater in New York. Three of us drove into the city in a tiny little convertible that may or may not have been made out of fiberglass.
I actually don’t remember anything about the show, except that I enjoyed it. Actually, my dominant memory of that evening is my two friends doing impersonations of DJ Scott Muni.
This was a time when U2 was The Big Deal, and any band that even kind of sounded like them had a good shot at having a hit. The Alarm were angry in a good way, and had awesome hair and cool fringe-y suede jackets, just like Bono.
And they were actually a good band. They played well, they had some good songs, and they had the right music at the right time.
My second concert was at the Pier, again in NYC. I was a lot more into the bands that played that night; it was the Cure, with 10,000 Maniacs opening.
That was a really fun night – I was with a bunch of friends, and we drove into the city in nice, safe sedans and station wagons.
Photo of the Alarm by Helge Øverås.
“Alarm kalvoya 01071984 10 500” by Helge Øverås – Own work. Licensed under CC BY 3.0 via Commons
I’m in a seventies mood today …
I don’t usually listen to Franz Liszt (liszten?), but the other day I went ahead and decided what the heck.
There’s just something about piano music of this era, around the mid-nineteenth century. People like Liszt and Chopin were taking piano to entirely new realms. Tonalities began to blur, Debussy would soon be exploring Asian musical scales, and a young Schoenberg was a few decades away from introducing the radical new concept of serialism (or as some call it, Ruining It for Everyone).
Here’s another one. It’s like listening to diamonds.
Apparently, he was a big hit with the ladies, during his day job as a concert pianist. Here’s an entirely correct historical re-enactment of one of his many triumphant concerts.
Chopin was less the rock star, but in my opinion the more interesting composer.He can do those big sweeping runs Liszt does, but adds rhythmic and melodic interest. They both do fantastic things with harmonic structure.
I used to play this one in high school.
Playing it always put me in a beautiful, elegant, peaceful space. Maybe time to get the music out again?
No matter how much you love your job, Monday mornings can feel like a slow-motion trudge into the deepest bowels of hell … again.
Just in case your morning feels like wading through a waist-deep sea of oatmeal, I’m starting a weekly “Monday Funday Dance Party.” For the days when coffee just isn’t enough.
I found this picture of an instrument I’ve never seen before; the “Autophone Organette.”
I figured I’d see if I could find one in action:
And the punch card thingy made me think of the composer Conlon Nancarrow.
Nancarrow wrote a lot of music that was so technically complex, he couldn’t find anyone who could play it.
So if he ever wanted to hear what his music sounded like, he had to come up with a better solution. Today we’d just multitrack it. But back in the late 30’s, the answer was player piano. Nancarrow punched out his music onto rolls of paper, one note at a time (and that’s a LOT of notes), just so he could hear it back.
Eventually, musicians came on the scene who had the technical chops to play his stuff, and his music is now performed live.
I really like his work, and I think folks who aren’t that familiar with this kind of music might also get into it. Even though it can sound like jazz in a blender, there’s enough relatable content there to keep you involved.
Conlon Nancarrow Fun Fact: I had lunch with Nancarrow and his wife many years ago. They were very nice people.
My ears get tired if I listen to challenging music for too long, so here’s something that should ground us.
It’s the absolute stillness of living in the now.
Just bought the original studio recording of “Jesus Christ Superstar.” My parents had this on vinyl (and still do), and I listened to it all the time as a kid. They remastered it in 2012 (not my parents, some other people), and I’m loving it.
I’ve seen the first movie version of this, as well as Rik Mayall’s great performance of “King Herod’s Song” in the 2000 version:
But I’m all about the album. I’ve listened it so many times, it feels like the only “correct” version. Also, it’s a really good record. Lots of great performances, especially Murray Head as Judas and Ian Gillan as Jesus, on hiatus from his day job as lead singer of Deep Purple. Word on the street is that Gillan recorded all his vocals in three hours.
Here’s Ian singing lead on “Smoke on the Water.” I don’t know about you crazy kids today, but back in the day this was a super popular riff to learn. I got the whole viola and cello sections in my high school orchestra to learn this. Yeah, I’m a nerd.