Archive for the ‘music’ Category

Run-DMSteve is shocked, shocked

Posted: October 26, 2014 in music, Record reviews
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Sign O’ the Times
Prince
1987

Back when I worked for Seattle Weekly, I had a conversation with our music editor, Bart Becker, about the fragmentation of commercial radio. Each Seattle station was locked into its own fenced-off musical world. Some formats had Reader’s Digest condensed playlists – Classic Rock had compacted Creedence to about eight tracks, for example. We lamented the lack of a commercial station that dared to play rock, reggae, jazz, classical, blues, punk, and country all on the same day.

Of course we were being unrealistic. No station could turn a profit without focusing on one subset of all radio listeners like a red-tailed hawk on a meadow mouse. I bring this up now for two reasons:

1) Bart’s team, the San Francisco Giants, are playing in the World Series, and with a name like Bart Becker you know he should be holding down the hot corner or frantically calling the bullpen for a left-hander.

2) Even though I have listened to several hours of music a day almost every day since I crawled out of the ocean and learned to breathe oxygen, I had never heard a single note from Sign O’ the Times.

Yeah. Radio is fragmented.

Why didn’t somebody tell me?
Sign O’ the Times is so good that I almost didn’t write about it. I’m not worthy! But I started out to review every album Prince ever made and goddammit I’m going to review every album Prince ever made. (Unless Rhapsody doesn’t have one. Prince is not sending me free merch.)

I started by looking at what critics said about Sign O’ the Times in 1987. Everyone compared it to The White Album, which makes sense because both albums are a mess, but nobody mentioned that The White Album was created by John, Paul, George, and Ringo while Sign O’ the Times was created by Prince, Prince, Prince, and Prince. This makes Sign even more monumental.

The songs here come from three different projects. They don’t belong together, especially the songs from the project in which Prince played a woman and speeded up his voice. It never occurs to me to do projects like that. Sign has something for everyone, but much of it is not my style: super-smooth soul ballads (I’ll only accept Barry White), hip-hop (doesn’t come naturally to Prince – he’s a rocker at heart), songs that are so slow they could be outrun by the walking dead, and God. What’s left is more than enough for a wretch like me, but I’m only going to mention the title track, “The Cross,” and “If I Was Your Girlfriend.”

“Sign O’ the Times” is an updating of Marvin Gaye’s “What’s Going On.” In fact, “Sign O’ the Times” would fit perfectly on Gaye’s 1971 masterpiece of the same name. But there is that Prince touch at the end, when he sets aside his concerns about AIDS, natural disasters, and nuclear war and suggests to his listener that we should just get married and have a baby.

“The Cross” is Prince taking on U2 at their most pompous and rocking them right out of Ireland. The song doesn’t even hit its crescendo until 2:28 and it’s over at 4:45. On this album, 4:45 streaks past like a comet. I’m staggered. And I say all this in praise of “The Cross” even though it’s more God.

“If I Was Your Girlfriend” may be the most singular song in pop music. Follow along: Prince, who has a girlfriend, imagines himself as his girlfriend’s girlfriend, because then they could be closer than they could be with him as her boyfriend.

If I was your girlfriend
Would you let me dress you?
I mean help you pick out your clothes
Before we go out?
Not that you’re helpless
But sometime, sometime those are the things
That bein’ in love’s about.

But his real question, and the heart of the song, is:

If I was your one and only friend
Would you run to me if somebody hurt you
Even if that somebody was me?

The music is distancing, almost ominous, and his voice is speeded up (in one spot he sounds like Snoopy), but this line has two points of view plus a gender switch. What is this, literature?

Oh, and the song eventually gets sexual. C’mon, it’s Prince.

Summing up
Sign O’ The Times, flaws included, rates five stars from any pointy-headed critic.

But!

This album is not fun, not like 1999 or Purple Rain or The White Album. Nothing on Sign is as plain silly as “Everybody’s Got Something to Hide Except Me and My Monkey.” I realize that I’ve been listening to The White Album for 46 years and to 1999 and Purple Rain for about 30 and to Sign for two weeks, and that artists should always try to grow, but I can already tell that I’m not going to replay Sign O’ the Times, just three or four of the tracks.

I just did…and then I listened to Ringo crooning “Don’t Pass Me By.”

1987 Scoreboard
Bruce Springsteen’s Tunnel of Love was the Rolling Stone critics’ best album. The runners-up:

The Joshua Tree – U2
Sign O’ the Times – Prince
Document – R.E.M.
Robbie Robertson – Robbie Robertson
Pleased to Meet Me – The Replacements
Bring the Family – John Hiatt
By the Light of the Moon – Los Lobos
Franks Wild Years – Tom Waits
Babble – That Petrol Emotion

The readers voted for U2’s The Joshua Tree for best album. Their runners-up:

Sign O’ the Times – Prince
Document – R.E.M.
Tunnel of Love – Bruce Springsteen
A Momentary Lapse of Reason – Pink Floyd
Whitesnake – Whitesnake
Hysteria – Def Leppard
Tango In the Night – Fleetwood Mac
…Nothing Like the Sun – Sting
Bad Animals – Heart

If you’re keeping score you may have noticed that African-Americans have been a small part of these Rolling Stone lists. We’ve had Robert Cray, Run-DMC, and Tina Turner once each and Prince three times as opposed to 33 white artists. Los Lobos are Chicano. But what I’m really mad about is that there’s only been two Jews, Paul Simon and Lou Reed. Plus now we have…Sting! You can’t get more Caucasian unless you activate the Perry Como hologram.

Today’s Randoms: WTF Edition 

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Paul Revere & The Raiders, Collage (1970)
The boys were running on fumes by 1970, plus on this set they’re playing in a higher league: Steppenwolf psychedelia and Guess Who hard rock. This album should’ve sucked the phone.

Wrong! “Think Twice” is good enough to have been the B-side of “Kicks,” “Hungry,” or “Just Like Me.” The tracks “Dr. Fine,” “Just Seventeen,” and “The Boys in the Band” are not bad. “Sorceress with Blue Eyes” is as dumb as its title, but Mark Lindsay shows what his voice can do – a sort of Mick Jagger with Robert Plant’s phrasing – and the guitar break is classic heavy ’60s.

Collage is not worth a purchase – most of it is Crud Gone Wild – but it’s definitely worth a listen.

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George Benson with the Brother Jack McDuff Quartet, The New Boss Guitar of George Benson (1964)
I only knew George Benson from his lightweight pop of the ’70s and ’80s (“This Masquerade,” “Give Me the Night,” and his signature tune, “On Broadway”). The New Boss Guitar was a happy surprise. This is jazz, alternately cool and funky.

The album was reissued in 1990 with one extra track, their reading of the My Three Sons theme. It doesn’t fit with the earlier cuts, and it sounds nothing like the music from that antique TV show, but Benson and his band were on fire when they waxed this one. All hail the drummer!

 

Play that funky music, white boys

Posted: October 19, 2014 in music, Record reviews
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The Best of Rare Earth
20th Century Masters: The Millennium Collection
Rare Earth
2001

[Editor’s note: Last week I took on Prince’s Parade. Next up is Sign ‘o’ the Times, which requires more thought. Also, the World Series is about to start. While I’m doing all this extra thinking about Prince and baseball let’s take a look at a much simpler topic.]

Rare Earth was a white Motown group with three superpowers:

  • They were expert interpreters of black R&B.
  • Their drummer, who was 3’ taller than anyone else in the band, was a terrific soul-shouter.
  • They began every song like they owned the world.

Unfortunately, they had a fourth power: a knack for getting lost three minutes into every song. They were like the party guest who never knows when to go home. This talent is most apparent on their cover of “What I Say.” For the first three minutes they run Ray Charles right off the road. They played another four minutes. They shouldn’t have.

The Best of Rare Earth is a disc for the most passionate Rare Earth fan. That’s why the first song is not their powerful three-minute hit, “Get Ready” (1969). No, it’s the 21-minute wall of blubber that the hit was carved from, like a burger from a buffalo. I can’t believe that anyone other than a specialist would willingly listen to this track more than once. I have – when my friend Jeff invited me over to his house one day after high school, and again last week when the CD arrived from Half.com. A 500-year interval is about right.

OK, so Rare Earth was long-winded. The late-’60s/early ’70s was a time of gusty musical winds. How do our boys stack up against their contemporaries?

  • They lack the discipline of The Byrds (the live version of “Eight Miles High”), The Rolling Stones (“Can’t You Hear Me Knockin’ ”), and Santana (“Black Magic Woman”).
  • They’re loose like Creedence Clearwater Revival (“I Heard It Through the Grapevine” and “Susie Q”), but they can’t bring things to a satisfying close the way Creedence can.
  • However, they don’t play funeral marches like Mountain (“Nantucket Sleighride”) or psychedelic plasmodium like Steppenwolf (“Magic Carpet Ride”) or Quicksilver Messenger Service (“The Fool”).
  • Their musicianship is superior to Iron Butterfly (“In-A-Gadda-Da-Vida”) and The Grateful Dead (just about anything).

Actually, they remind me of The Allman Brothers, even though the Allmans are closer to the blues and Rare Earth is closer to jazz. Neither group knows when to cry “Hold, enough!”

[Editor’s note: All of these bands are better than Yes.]

Racial profiling
I have serious trouble with six Caucasians singing an ode to their African-American swamp mama in the album’s closer, “Ma.” Nevermind that it’s 17 frakking minutes long. Forget the lyrics. (Ma raised 13 kids on her own, but always sent them to church because that’s what Pa would’ve wanted? Pa only showed up once a year for sex, but he was religious? Which religion? Ma should’ve shot him 12 kids ago.) The dudes in Rare Earth are white. They didn’t grow up in a shack and their lives were never restricted by the color of their skin. Why don’t they sing something from The Sound of Music?

Surely Universal could’ve used the space hogged by “Ma” for the radio edit of “Get Ready” and maybe some other track from Rare Earth’s best effort, Rare Earth in Concert (1971), which came in a cardboard sleeve that looked like a hippie’s knapsack.

Summing up
The Best of Rare Earth gives us “I Just Want to Celebrate,” “Born to Wander,” and “Hey Big Brother,” which fit just fine in any Classic Rock rotation. If you can handle all 11 minutes, “(I Know) I’m Losing You” is rewarding. It’s slower than but similar to the Temptations’ hit “Ball of Confusion.” Rare Earth’s producer, the late Mr. Norman Whitfield, co-wrote both tunes, as well as “Papa Was a Rollin’ Stone.” (And “Ma.” Anyone can have an off-night.)

Rare Earth rocks harder than Blood, Sweat & Tears and plays better than J. Geils. You can go straight from Rare Earth to any jazz-fusion outfit of the 1970s. Give them a try. But be ready to push Skip.

Today’s Randoms: 1968 Jazz Edition
OK everybody. Here’s some vocabulary to help you talk like a jazz critic!

Set: The songs (or cuts) you intend to record.
Reading: Your cover of somebody else’s cut.
Date: If you record the cuts at a concert or all in one day, it’s a date.
Platter: The medium on which you record the set. Also called “sides.”
Wax: You wax the set onto the platter. As in “The best set he ever waxed!”
Lay down a groove: Play your part in a song so it can get waxed onto a platter.
Burner: Any Hammond B3 organist who waxes a funky platter has laid down a burner.

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Frank Foster, Manhattan Fever
Fascinating sides from Foster, who played for years with Count Basie and led the band after Basie’s death. On Manhattan Fever, you get jazz you can almost dance to, some great soloing from Foster on the tenor sax, experimental stuff I skip no matter whose name is on the cover, and amazing drumming from Mickey Roker. I want to have his baby. Foster waxed some funky titles: “What’s New From the Monster Mill,” “You Gotta Be Kiddin’,” and the killer cut “Little Miss No Nose.”

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Jimmy McGriff, The Worm
Mr. McGriff played the Hammond B3 organ, so you know how I’m going to end this paragraph. The Worm is a funky, fun platter with many highlights, particularly the cuts “Keep Loose” and their reading of “Think,” which I only knew from Aretha Franklin’s performance in The Blues Brothers. (Aretha co-wrote the song.) “Girl Talk” is a slo-mo groove that deserved a good waxing. Nine musicians contributed to this set; the cumulative effect is of a swinging jazz orchestra. Burner!

Worth a mention
Hank Mobley, Reach Out!
Mobley led hard-bop marauders in dates with names like No Room for Squares (1963). They tried a more commercial sound for Reach Out! I can’t fault musicians who want to make some money for once, but I doubt the public tossed much bacon onto this platter. Mobley’s heart wasn’t in it.

But Reach Out! is notable for the band’s reading of The Four Tops hit of the same name – the only time I’ve heard anyone else give this cut a spin. Fun but klutzy, with people getting lost in the groove, particularly the drummer, who may have believed he was in another song. Lily Von Shtupp put it best in Blazing Saddles, when she complained that men were always “coming and going and going and coming…and always too soon!”

 

Women not girls rule my world

Posted: October 12, 2014 in music, Record reviews
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Parade
Prince & The Revolution
1986

If I were a sensible person, I would’ve listened to Prince’s complete works first, identified continuing themes, drawn some tentative conclusions, and then, armed with this global perspective, returned to his debut and started the project.

NFW. I didn’t do any thinking at all, I just started bloviating as soon as I cued up track 1 of his debut, For You. Here I am eight albums later and I have outrun my personal Prince database. I only knew two songs on Parade and things aren’t going to get any better with his next 200 albums.

Parade is another soundtrack; this movie is called Under the Cherry Moon. Prince wrote the music, directed, and took the starring role as a gigolo. Of course he played a gigolo. I’ve always wanted to list “gigolo” as my occupation on my tax forms, but my tax preparer does not favor this plan and my wife has raised key objections. Under the Cherry Moon is another film that will never invade either hemisphere of my brain, although if there’s an afterlife, I suspect they show Prince’s films on a continuous loop.

Parade marks the high point for The Revolution and their influence on Prince’s records. (I’ve avoided writing about Wendy Melvoin, Lisa Coleman, and the many other talented musicians, mostly women, Prince has worked with because that would be a whole other project.) But if their influence here was to direct Prince toward a cabaret style that varies between pretentiousness and the aural equivalent of an eye test where everything is out of focus, then it was definitely time for Prince and The Revolution to break up. Which they did, after this record.

Some of these songs are boring. I had never connected the words “boring” and “Prince” until I heard “Under the Cherry Moon.” I can’t make it to the end of that one and it’s not even three minutes long. So instead let me point out the songs that are not boring, because they almost save Parade. And I don’t want to make The Revolution into the fall guys here, because they had a hand in the better tracks, too.

“New Position”
Shows what Prince can do when he strips out the orchestra and all that other frou-frou stuff. The lyrics are straight out of the ZZ Top planet, but ZZ Top could only dream of being this funky.

“Girls & Boys”
The B-52s if they’d been trapped in the wild and raised by David Bowie.

“Mountains”
This song is awesome. I’ve read that critics in 1986 complained that Parade was too “European.” What did they mean? Where were these critics from, the Ottoman Empire?

I mention this because “Mountains” reminds me of the music of a gentleman named Peter Godwin, who actually is from that place called Europe. Godwin had a couple of dance-club hits in 1982, “Images of Heaven” (banned video of naked women pretending to hang from crucifixes – that is so cool) and “Baby’s in the Mountains.” His disco, which was built on sedimentary layers of synthesizers, is not bad, though the lyrics never rise above Hello Kitty. Allmusic.com calls his first solo effort, Images of Heaven, “an interesting synth-pop artifact.” That’s what people will call me after I’m dead. Fun fact: Godwin’s voice is close to David Byrne’s.

In “Mountains,” Prince has taken Godwin’s “European,” shallow disco sound and improved it 500%, though not the lyrics, which barely budge from middle school.

“Kiss”
I have about six Prince songs that are my #1 favorite. Like this one. “Kiss” may be the best booty call of the last century – sexy and romantic. Rolling Stone ranks it 464 on its list of the 500 Greatest Songs of All Time. This makes me sad, because “Smoke on the Water” ranks higher on their stupid list. Once again, Prince demonstrates how to write a hit record and save money by not hiring anyone to play bass.

“Anotherloverholenyohead”
This is the funniest song here, at least to me, because “Anotherloverholenyohead” sounds like Prince making fun of Yes and their absurd dance hit, “Owner of a Lonely Heart.” OK, he probably didn’t set out to make fun of Yes and I’ll bet he hasn’t devoted more than 10 seconds of precious brain time to them in his life, which is more than I can say for myself. But this is still pretty funny.

Parade is not Prince at his best, though there are some astrophysical moments here. I give him credit as always for his willingness to try something new. I can’t imagine what he’s about to throw at me. I should’ve peeked.

1986 Scoreboard
Parade didn’t place in the Rolling Stone sweepstakes, but the critics voted “Kiss” the best single. Their readers voted for Peter Gabriel’s “Sledgehammer.” Here are the critics’ winning albums:

Winner:
Graceland – Paul Simon

Runners-up:
So – Peter Gabriel
Bruce Springsteen and The E Street Band Live/1975-85 – Bruce Springsteen etc.
True Stories – Talking Heads
Strong Persuader – The Robert Cray Band
Raising Hell – Run-DMC, whoever they are
Life’s Rich Pageant – R.E.M.

The readers voted for Bruce for the second year in a row. Their runners-up:
So – Peter Gabriel
Life’s Rich Pageant – R.E.M.
5150 – Van Halen
Invisible Touch – Genesis

Today’s Randoms: Female Debut Edition

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Keyshia Cole, The Way It Is (2005)
Ms. Cole might be the model for Ke$ha and other urban-dance-contemporary-fake-R&B horrors. She didn’t mean it! She doesn’t have Beyoncé’s voice, but how many people do? This record is not for me, but it’s definitely for someone – I can hear how good she is.

Thumbs-down
Lykke Li, Youth Novels (2008)
Some striking music here, particularly “Complaint Department,” but I can only take so much of a woman in her 20s singing like a 13-year-old. The late Amy Winehouse would’ve blown through this set like Comet Hale-Bopp.

I report, you decide
Lorde, Pure Heroine (2013)
Ella Yelich-O’Connor was 16 when she recorded Pure Heroine. The list of good teenage pop stars is short: Aretha, Stevie Wonder, Steve Winwood, the Everlys (just barely), Simon & Garfunkel (as Tom & Jerry), Esperanza Spaulding (I’m guessing here), and Mozart. The list of bad teenage pop stars is long and I refuse to type any of their names.

In which camp does Lorde reside? Her lyrics sound interesting but deliver little; that’s not necessarily a drawback in the pop music game. Musically, she’s as slick as Steely Dan, as calculated as any boy band. Everything about this record was designed to suction the money out of your PayPal account, but it’s done with such class and skill that I listened to nine of the 15 tracks before I decided it was getting monotonous. Lorde can sing, that’s for sure.

If I can stand it, you can. Play it.

 

 

And if the elevator tries 2 bring u down, go crazy – punch a higher floor

Posted: October 5, 2014 in music, Record reviews
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Purple Rain
Prince & The Revolution
1984

Purple Rain is the soundtrack to the movie of the same name. This soundtrack rocketed Prince to the level just below worldwide godhood – an orbit occupied at that time by only two North Americans, Michael Jackson and the ghost of Elvis. (Madonna joined Michael and Elvis later that year when she unleashed Like a Virgin.) Purple Rain has some slow spots. But when it’s good, it’s hammer-you-like-Mjölnir good.

As a critic, I should do my homework, but I was never good with after-school assignments. I haven’t seen the film. As much as I love this guy’s music, I know that Prince’s real topic is Prince. I can handle that on an album but probably not with visuals.

But it occurred to me last week when I saw Boyhood that I should do a soundtracks week, and if I do I might revisit this issue. I already have the following films lined up: Purple Rain, Stormy Weather, Almost Famous, Footloose, Backbeat, The Wiz, The Crow, The King and I, Fast Times At Ridgemont High, Sixteen Candles, Pretty in Pink, Dazed and Confused, Romy & Michelle’s High School Reunion, Krush Groove, ’Round Midnight, Rocky Horror Picture Show, High Fidelity, Chicago, Kansas City, Escape From New York, Meet Me in St. Louis, Viva Las Vegas, Head, Shaft, Great Balls of Fire, Where the Boys Are, Never on Sunday, all of the Batmans (or at least the one scored by Prince), anything where they play AC/DC’s “Back in Black” or “Highway to Hell” before the big battle, and Amadeus.

[Editor’s note: My wife has asked me to mark on the calendar the weeks I’ll require for this project so she’ll know when to fly to Kauai.]

On Purple Rain, “Let’s Go Crazy” kicks things off in typical kick-you-in-the-posterior, kick-things-off Prince fashion. I can only borrow a phrase my late father-in-law learned back in the 1940s when he wanted to express his appreciation for an attractive woman: “What a tomato!”

I often skip “Take Me With U” and “The Beautiful Ones.” They’re too earnest. But I don’t skip “Computer Blue,” which is funky, danceable, and (I think) told from the point of view of a man who lives inside a computer. He’s kinda blue. This is another song that David Bowie would’ve killed for 30 years ago.

“Darling Nikki” is sex. That’s all. You don’t dance to it, you scare your parents with it. An aspirational number for every gender, particularly female-type persons who grew up under the sway of Madonna or (God help you) Britney. The final minute is dumb. It was dumb in 1984 and it’s still dumb in 2014. There. It had to be said.

“When Doves Cry” has no bass player and doesn’t need one. How many confessional, soul-flayed-open, bass-less songs that compare the singer to his father and his lover to her mother go straight to #1? I like Prince best when he’s more light-hearted, but I can’t help liking this song.

“I Would Die 4 U” is a good rocker, but it’s really the set-up for “Baby I’m a Star,” which goes nova within seconds. This is one of the songs I want played at my memorial service.

Hey! Look me over
Tell me do you like what you see?
Hey, I ain’t got no money
But honey, I’m rich on personality

OK, big finish
And finally, “Purple Rain.” For once, Prince ends rather than begins an album with the title track. I suppose this was the music for the triumphant, light-washed and love-filled final scene in the film, and I suppose if I’d been in the theater for it, it would’ve given me chills. All 9 minutes of it. Listening to it as I have all these years without the movie in front of me, I always wish it were shorter. Well, it definitely sets a mood, and there’s a guitar onslaught halfway through that would’ve caused Huey Lewis or Night Ranger to spontaneously combust. Send the violins off to somebody else’s house and I’d be a lot happier.

It was with this record that I finally recognized the twin messages of empowerment and reassurance in Prince’s lyrics. I heard this 20 years later in Lady Gaga’s “Born This Way.” When I launched this blog after one of her concerts, I wrote that she was “Prince in a bikini.” I shouldn’t have been so flippant. Lady Gaga is not one of the many young women Prince has mentored, but she’s definitely his heir. Also, Prince has probably worn a bikini.

You knew this was going to happen
I should’ve figured that when I started out to review every Prince album ever made, he’d strike back by making more. Sure enough, he has a new album. If I had chosen Sir Paul instead of Prince, the same thing would’ve happened.

Scoreboard
Just as 1999 ran into the buzzsaw of Thriller, this year Purple Rain was overwhelmed by Born in the USA. Not many albums can stand against Born in the USA and not look silly. Purple Rain is one.

Rolling Stone’s best albums of 1984:

Winner:
Born in the USA – Bruce Springsteen

Runners-up:
Purple Rain – Prince
Private Dancer – Tina Turner
How Will the Wolf Survive? – Los Lobos
Learning to Crawl – The Pretenders

In 1984, Rolling Stone gave their readers the vote. They too went for Born in the USA in the top spot. These were the runners-up:

Purple Rain – Prince
1984 – Van Halen
Sports – Huey Lewis & The News
Eliminator – ZZ Top

Nobody picked Amadeus. Dudes!

Random Pan of the Day
Prince, Around the World in a Day (1985)
A good album from anyone else but a disappointment from Prince. (Be fair: How do you follow the stupendiosity of Purple Rain?) For the first time in years, the opening track of a Prince album doesn’t rock the house. “Around the World in a Day” doesn’t even knock on the front door. “America” is too much like “Baby I’m a Star,” this time with a few remarks on poverty (he’s against it). The religious-themed songs (Prince became a Seventh Day Adventist around this time) don’t make me jump up and shout “You go, God!”

The one song that’s up to Prince’s standards is “Raspberry Beret,” which sounds vaguely like Michael Jackson territory. I like it, but The Jackson Five would’ve done it better. (The J5 could never have written lyrics anything like Prince’s, though.)

R.I.P.: Paul Revere, 1938-2014. Thanks for the kicks.

You can never take too many vacations

Posted: September 28, 2014 in Miscellaneous, music
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We’ve just returned from a week in Utah, where Special D and I visited Capitol Reef National Park, Bryce Canyon National Park, and various roadside attractions.

The hiking in Capitol Reef is beyond belief. In this hot, arid, wind-sculpted, high-altitude wonderland I felt that I had invaded an ancient Egyptian city. The silent domes and cliffs and hieroglyphs suggest unimaginable chasms of time.

CR 3

Bryce Canyon, which was new to me, is filled with spooky stone towers called hoodoos. (This makes me think of comic-relief characters in old novels who were constantly fending off the heebie-jeebies, the jim-jams, and the dipsy-doodles.) Some of the hoodoos look like the terra cotta soldiers buried with Chinese emperors; some look like Hindu gods. If I were a little less awed, I’d say they all look like candle drippings on a Chianti bottle.

Bryce 3a

The canyonlands were well-stocked with Brits and Germans in rented RVs, followed by the French, the Japanese, and the Australians. Are Australians always happy, or are they just happy to be anywhere but Australia? Are all Germans over 30 depressed, or do their faces just naturally do that?

Kudos to the state of Utah. Of all the states I’ve traveled in, Utah has the most highway signs that haven’t been aerated by gun slobs.

Chow time
We found something good to eat almost everywhere we went. The last time I hiked in Capitol Reef was about 25 years ago, and back then the best you could hope for for dinner was barbecued iguana. Plus you had to run it down yourself.

Capitol Reef Inn & Café was just up the road from our cabin in Torrey. Ooh-la-la! If this restaurant were in downtown Portland, it would be so popular that no one would go there anymore.

At the Burr Trail Grill, the tattooed staff not only serves up a first-class burger, they also produce the best apple pie I have ever eaten, and that includes my wife’s, and it’s safe for me to say this because she said it first. We took some pie back to our cabin for breakfast. Later that morning I did a solo hike with no more fuel than that pie. Sure, on this hike I was lost for about an hour, but was I hungry and lacking in energy? Heck no!

On our way into Utah, we stopped at a town called Payson, and not because Footloose was filmed there. We didn’t know that. All we knew was that we wanted lunch. We found a terrific Mexican place: Mi Rancherito. Good town to walk around in, but it was Sunday and we couldn’t get into the Peteetneet Museum and Cultural Arts Center, a Victorian extravaganza named for a Ute Indian chief.

On our way out of Utah, we stopped in tiny Snowville. At Mollie’s Café, where the staff is friendly even though the building looks as if it wants to fall down and take a rest already, we split a superb cinnamon roll.

In Idaho we stopped for a late dinner in the desolation of downtown Mountain Home. Frankie’s Burgers was empty on a Saturday night and I can’t understand why, because I don’t know where in Idaho you’re going to get a better burger.

In Baker City, Oregon, we breakfasted in the 19th-century splendor of the Geiser Grand Hotel, and then, in the only non-food shout-out in this section, we spent a pleasant hour at Betty’s Books. I have never seen an independent book store with so many new books from traditional publishers and so many small-press regional histories and indie press fiction and memoir. They even had used books:

Betty's Books b

I’m home. Next week we return to Prince and my usual hailstorm of unlikely opinions.

Song of the Day and Bonus Song of the Day
“Bring It to Jerome,” on Bo Diddley (1957)
We stayed one night in a hotel in Jerome, Idaho, which whacked this song into my head. Bo Diddley didn’t write “Bring It to Jerome” because he stayed in the Comfort Inn and he liked the scented soap. He wrote it for his maracas player, Jerome Green.

In 1959, Bo and Jerome collaborated on “Say Man,” which is three minutes of them trash-talking each other and slinging bad jokes while the guitar and piano play. (“Where you from?” “South America.” “What part?” “South Texas.”) “Say Man” was Bo Diddley’s only trip to the Top 20. That ain’t right.

Bo Diddley is an important step forward for rock ’n’ roll. But like most stuff from the ’50s, it sounds dated, and a lot of it sounds the same. Chuck Berry has the same problem. But “I’m a Man,” “Before You Accuse Me,” and “Who Do You Love?” are all on Bo Diddley. Give it a listen.

Book of the Day and Bonus Books of the Day
Nicholson Baker, U and I: A True Story (1991)
This is the story of Nick Baker’s friendship with John Updike…which he made up. Lots of children have imaginary friends, but how many adults write 179-page books about one? Baker’s impossibly convuluted sentences gallop on for days, including one startling specimen about Updike being “so naturally verbal that he could write his fucking memoirs on a ladder” which began on page 43 and collapsed, all passion spent, on page 45. Possibly the weirdest book on my lifetime reading list, not counting Baker’s other books that I’ve read, musings by various French existentialists and Irish nihilists that I was forced to march through in college, and the Bible.

The Rejection Collection: Cartoons You Never Saw, and Never Will See, in The New Yorker (2006), and
The Rejection Collection: The Cream of the Crap (2007)
Cartoons rejected by The New Yorker. Any questions? Vol. 1 is funnier than vol. 2. Each chapter begins with an artist responding to the editor’s ridiculous questionnaire. Paul Noth, who led off vol. 2, has two of the best answers. Where do his ideas come from: “From a magical place called Boredom.” What would be a terrible pizza topping: “Mike Wallace.”

 

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