Archive for the ‘music’ Category

1999
Prince
1982

Is there a better way to open a prom, a wedding, a bar mitzvah, an election, a Supreme Court hearing, the Ring cycle, or yet another Christmas production of the Messiah than with “1999”? You’re smiling just thinking about it, just like you do when you hear The Rolling Stones start up “Start Me Up.” We humans have been wired to be happy when we hear “1999.” How can we not? The first words on the record are spoken by God! That’s a God I can get behind.

“1999” is going to be huge forever, but I predict a surge in 2099. In case I don’t make it that far, I want one of you to grab your personal anti-grav fanny pack and hit the dance floor in my memory.

Prince names his third album in a row after the opening track and each time the opener gets better. How do you follow an overture like “1999”? Before we answer that question, let’s take up another: What makes Prince’s records sexy? I have a theory, which I will illustrate by comparing him with two of his peers, Mick Jagger and Michael Jackson.

My theory, which is mine: Why Prince is so Lovesexy
1. Funny guy who makes fun of himself: Prince yes, Mick says who, Michael no.
2. Really wants to have sex with you: Prince yes, Mick yes, Michael not applicable.
3. Really wants you to enjoy it: Prince yes, Mick says what, Michael not applicable.
4. Willing to be vulnerable: Prince yes, Mick just left with a groupie, Michael yes*.

* When he was younger. Way younger.

The first half of 1999 is the house party
“Little Red Corvette” gives us a breather after “1999.” The macho narrator at the song’s conclusion who wants to tame your “little red love machine” started far short of that:

I guess I should’ve closed my eyes
When you drove me to the place where your horses run free
’Cause I felt a little ill when I saw all the pictures
Of the jockeys that were there before me

The sweet-sounding “Delirious” comes next, with plenty more car imagery. “1999” is my favorite Prince song, but so is “Delirious,” and also the next one, “Let’s Pretend We’re Married.” It takes almost a minute for that one to get going because the man knows he’s got us.

The second half of 1999 is the private-club rave
Five and six tracks in and we’re still smoking. “D.M.S.R.” (dance, music, sex, romance) and “Automatic” are some of the best funk ever recorded, but these songs are long – 17 minutes together. (“Let’s Pretend We’re Married” runs seven minutes but feels shorter.) After the headrush of the first four songs, they bog things down.

“D.M.S.R.” is an amalgam of Johnnie Taylor’s “Who’s Making Love,” Michael Jackson’s “Don’t Stop ’Till You Get Enough” (without the string section), everything by Ohio Players, and of course Prince. The synthesizers are the stars, but everyone’s playing them in the ’80s, including The Rolling Stones – listen to what they do the following year on “Undercover of the Night.”

“Automatic” takes on the computer-chipped Gary Numan at his own frigid game. David Bowie of the Station to Station/Low/Heroes period would’ve killed to write a dance groove like this one – but Bowie would never have let it run loose for 9 minutes.

A pause while we consider a sex act
Could it be that Prince was writing 8- to 9-minute rhythmic dance songs because he wanted to create a soundtrack for the average length of intercourse? Or what men think is the average length of intercourse?

Now stop considering a sex act
The air leaks out of this album with “Something in the Water (Does Not Compute),” which is like a serious version of The B-52s, which is like a terrible idea, and “Free,” which offers no surprises, which for Prince is a surprise. Teddy Pendergrass, Rod Stewart, and even Supertramp could’ve recorded “Free” while they were walking from their car to the front door of the studio.

Prince tries to seal the leak but gets mixed results with the final three tracks. “Lady Cab Driver” (this being a Prince album, you know how the ride went) rocks, but not over the entire 8 minutes. “All the Critics Love You in New York” is a dues song; at least he held off for five albums before birthing one. But “International Lover” is a strong finish. The spoken word ending, which includes the title of this post, is funnier and sexier than Mick Jagger’s knight-in-shining-armor shtick at the end of “Emotional Rescue” (1980).

Wanna be startin’ something
1999 was released just one month before Michael Jackson’s Thriller, the biggest-selling record since the invention of the sackbut. I said a while back that I’d take Prince over Michael for career performance and Michael over Prince for peak performance. Thriller is Michael’s peak, and it’s Mount Everest. Prince has to settle for Mount Rainier. No shame in that; Rainer has many neighbors and dwarfs all of them.

1999 is my favorite of the two, but Thriller is the better album.

Rolling Stone’s best albums of 1982:

Winner (tie):
Nebraska – Bruce Springsteen
Shoot Out the Lights – Richard and Linda Thompson

Runners-up:
Imperial Bedroom – Elvis Costello
1999 – Prince
The Blue Mask – Lou Reed
Marshall Crenshaw – Marshall Crenshaw

Random Pick of the Day
The Rolling Stones, Sticky Fingers (1971)
The Beatles are #1. The Rolling Stones are #2. Why is this? Because The Beatles were original. The Rolling Stones are not. The Stones excel at other people’s genres (including disco but excluding punk). They didn’t invent hard rock, but Sticky Fingers is the best hard-rock album this side of Paradise. It’s easily worth the entire Pearl Jam catalog. Take away “You Got to Move,” a blues cover (oddly, for them, it’s not a good one), and this record is almost perfect.

Random Pan of the Day
The Rolling Stones, Undercover (1983)
By this point the Stones were well on their way to becoming the Christmas fruitcake of popular music. The only salvageable song on Undercover is “Undercover of the Night.” It would’ve fit well on their last good album, Some Girls (1978). The rest is crap.

A few years ago, I set out to listen to every Rolling Stones record in chronological order. After I listened to Undercover I was so annoyed that I dropped the project.

Compensation: If you type in “Undercover” on Rhapsody, you also get an electronic dance trio by that name. They play dancified covers of big ’70s pop hits, including Gerry Rafferty’s “Baker Street,” Earth, Wind & Fire’s “September,” and Foreigner’s “Waiting for a Girl Like You.” They’re not bad. They’re better than Foreigner!

 

When I was visiting my parents in July, I spent some hours tunneling through decades of debris in the old family mansion. My assistant was my 12-year-old nephew, Jared. We had hard hats, headlamps, rope, pickaxes, specimen bottles – everything you need when dealing with your parents’ lifetime store of stuff. My main goal was to not lose Jared back in the 1950s.

Jared wasn’t impressed by most of what we found that afternoon. I think he was hoping for something that had fallen off a passing comet and that Dad had trapped in the back yard and boxed up in the basement. About the only thing that interested him was an electric, plug-in calculator that only printed on one side of a roll of paper tape. Jared, who lives in a wholly digital world, thought it was cool that a machine could leave a printed record of its work. Either that or he just thought it was cool that I let him take it apart.

But I found something I thought was cool: Pencils.

Toward the end of our expedition we uncovered Dad’s buried office-supply ammunition dump. Among the billions of staples and petrified erasers and rubber bands that no longer band and gummed labels to label things that no longer exist, were unopened boxes of pencils he’s been accumulating since World War II:

Bygone pencils
In case you’re wondering, an old pencil’s value on eBay is approximately one dollar in U.S. money.

I was thrilled to find these, though I couldn’t say for sure why. When I don’t have a computer in front of me, I have a pen in my hand. But there’s something about pencils, and their fragrance, that makes you happy. Like skipping. You can’t skip and not be happy. You can’t open a box of pencils and not feel happy looking at all that unsharpened potential.

Crayons
I’ll use these extra-thick crayons when I write to emphasize my characters’ emotional traumas.

I brought some boxes home in my luggage and vowed to try writing with pencils. Why not? Two writers who have meant a lot to me, Thomas Wolfe and John Updike, used pencils.

Thomas Wolfe holds two important records in American letters:

  1. Most posthumous novels: 2 (The Web and the Rock and You Can’t Go Home Again)
  2. Most bad writing from a great writer: I figure it’s about 50-50.

Wolfe, who was six and a half feet tall, used the top of a refrigerator as his desk. He wrote with a pencil almost as thick as a crayon to scrawl 20 or 25 words on a page. He then swept the page off the fridge and started on the next. Then there’s Updike, who wrote Couples and three of the four Rabbit books with a pencil. So who am I to argue?

“Lying in bed would be an altogether perfect and supreme experience if only one had a colored pencil long enough to draw on the ceiling.” (G.K. Chesterton)
The first thing I noticed about writing with a pencil is that the physical process is exhilarating. The feel of the pencil in your grip, the paper under the point, the lead wearing down, your words spooling out from under your hand. Some of these pencils were of a diameter that no longer fits inside modern electric pencil sharpeners, and I don’t have one of those crank models with the different aperture sizes. I had to whip out my pocketknife and whittle these guys to a point.

The second thing I noticed about writing with a pencil is that it’s goddamned slow. We are not accustomed anymore to slow. We live in a world where our computers occasionally ask us if we want to “disable add-ons and speed up browsing.” Some of those add-ons are adding an extra 0.2 seconds to our browser load times. Accursed add-on! From Hell’s dark heart I stab at thee!

However, I do love revising, and writing with a pencil reminded me of writing with a pen and, when I got the story off the ground, moving to my typewriter. Later I wrote with a pen and moved to my computer, and for years now the computer is where I’ve started.

But this pencil thing was interesting, and not just from nostalgia. A couple of pencils and a pad of paper work better for me on a plane because the airlines have taken away all the space I once had to write with my laptop. Pencil and paper works better for me at my favorite coffee spot. And if you love to revise, you’ll love pencils, because what you just wrote with a pencil is in no way ready for public viewing.

You can also doodle with a pencil. Try that in Word.

I’m not going to replace my computer with pencils, but they’re a welcome change-up. As for my nephew, a retired gentleman in his hometown has been teaching Jared how to whittle. Cool is not reserved for what’s online.

Random Pick of the Day
Fitz and The Tantrums, More Than Just a Dream (2013)
1960s soul meets alternative rock, assuming anyone can define “alternative.” If you love whistling (and I know you do), you’ll love “The Walker.” The album’s closer, “MerryGoRound,” is a throwback to Phil Spector’s Wall of Sound.

Random Pan of the Day
Prince, Controversy (1981)
Coming off the success of Dirty Mind, I would’ve expected better. The title track is a towering inferno, offering an inescapable dance groove and a recitation of the Lord’s Prayer. C’mon, isn’t that what you want to hear at a club? But musically, the rest of this album lies down and stays put.

These songs are about sex or social protest, or sex and social protest. When Prince sticks to sex he’s on surer ground, particularly on “Jack U Off,” in which he volunteers to help sexually frustrated females: “I only do it for a worthy cause/virginity or menopause.” After side trips to “the movie show,” a restaurant, and “your momma’s car,” he demonstrates his egalitarian nature:

If you ain’t chicken baby, come here
If you’re good, I’ll even let you steer
As a matter of fact, you can jack me off

Unlike Springsteen, who hit his stride with his third album and didn’t falter until he released Lucky Town and Human Touch in 1992, Prince’s fourth album doesn’t sound good after Dirty Mind. But on his next album he parties like it’s 1999. Until then.

Random Wife of the Day
This weekend, Special D is touring the gritty, industrial, culturally backward wasteland that is Seattle. Hope she can find a decent cup of coffee. In case you’re reading this: I have conquered the wisteria.

Random Video of the Day
If you haven’t visited my video yet, please do! True, it’s one minute and 11 seconds of your life that you’ll never get back, but what were you going to do with that time except watch cute animal videos? (Many thanks to Loyal Reader and Southern Industrialist Corncobb for the link.)

 

 

 

 

 

My early reading career in science fiction taught me that technology was going to revolutionize how we would work for a living. Nevermind offices and assembly lines and Dr. Kildare. In the future, working for a living would involve saving the galaxy from marauding alien species who were somehow metaphors for everything that already terrified us. Wow! Plus look at all that futuristic sex those guys wrote about. So what if most of them had never actually had sex?

This was heady stuff for a young teenager suffering in the middle of Boredom, USA, but one thing those old books and stories didn’t much venture into was what technology was going to do to the ways in which we play. (Let’s leave, for example, Robert A. Heinlein’s theories on sex out of this.)

In my case, all this tech has given me a new way to play with art. Thanks to the magic of Animoto, I present to you my latest video! Please watch it, it’s just 1:10 and I don’t want to pressure you but this may be my last chance to be famous. Why are you being so mean?

I am not what you’d call a traditional artist. Perspective is something I expect from an editorial in The New York Times. Colors? Special D explains it all for me. Awhile back, she found the Farnsworth-Munsell 100 HueColor Vision Test and loved it so much she took it twice. I took it once and it was torture.

But thanks to Animoto, I can stamp my heart out, upload my masterworks, and go head-to-head with funny cat videos! Welcome to the future. (Welcome to my blog, random person from Latvia who stopped by earlier today. Sorry, I don’t know how to say WTF in your language.) The authors I was reading in the days before I discovered girls right here on Earth had no idea what the future would really be like.

Next time: We will get the lead out.

Random Pick of the Day
Dum Dum Girls, Too True (2014)
Why wasn’t this album released in 1985? It combines the pop-music lyricism and self-absorption of Tears For Fears with the dark, otherworldly guitars of The Dream Syndicate. Give me more of that.

Bonus: On their previous record, Only in Dreams (2011), they pretend to be The Pretenders!

Random Pan of the Day
Beyoncé, Dangerously in Love (2003)
The woman can obviously sing, but why won’t they let her? On Dangerously in Love, Beyoncé is surrounded by back-up singers galore plus famous guest stars including Jay-Z, Missy Elliott, and the somnolent Luther Vandross, who must’ve been channeling Perry Como. I kept waiting for her to floor it, but except for the thunderous opening cut, “Crazy in Love” (her first trip to the top of the charts), she mostly plays it safe.

Beyoncé can definitely croon, and “Be With You” is fun with its echo of the Shuggie Otis/Brothers Johnson disco classic, “Strawberry Letter 23.” But I wanted some action. The closing track, “Daddy,” is Beyoncé’s heartfelt appreciation of her father. I’m glad they have such a loving relationship, but to an outsider this lullaby is a good time to get up and see what the boys in the back room are having. Prince would’ve turned this song inside-out. Hey, remember Prince? I haven’t forgotten. I’m about ready to tee up on his fourth album, Controversy.

 

Cleo at her command post
This dog is guarding the house.

We had to put our dog Cleo to sleep yesterday. She had been gradually losing control of her back legs, but her descent had accelerated and she was spending more time just sitting, inspecting the grass around her and taking sensor readings of the air. It was five months to the day since I first saw her wobbling at high speed around the pen where she was being held. How can one undersized corgi become an oversized part of your life in just five months?

On her last day, Cleo slept on the bed, ate lots of treats, rolled in the grass, took a few steps on her favorite trail, charmed one last stranger, and (briefly) chased a squirrel. That would be a good day for most humans. I’ll miss the war she waged against the chickadees in our backyard, the way she swam through the undergrowth in the forest, and how she would kick me awake at 3am because she was dreaming about chasing down a moose. Like most of us, in her dream life she was invincible.

Cheryl Strayed wrote in Wild, “The universe takes things away and never gives them back.” But the universe also gives you gifts. Cleo was a gift to us in a dark hour, and we’ll never regret taking a chance on her.

Cleo's tulip parade 041414
Tulips on parade.

Horace Silver, 1928-2014
Horace Silver was my favorite jazz pianist, though I didn’t discover him until his 1996 release, The Hard-Bop Grandpop. The man was a jazz institution and I came to him very late in his career. Two earlier albums that I know and can recommend are Blowin’ the Blues Away (1959) and especially Song for My Father (1964). RIP.

I was dreamin’ when I wrote this/forgive me if it goes astray
Let’s change the mood here. The Prince Project is on hold (just when were getting to the most notorious albums) because I am once again participating in the Clarion West Write-a-thon. I’m not going to blog about it because doing that last summer was insane. Instead, I’m signing off. See you on August 2. Enjoy your summer!

Random Pick of the Day
The Beatles, Revolver (1966)
Four things strike me as I listened to Revolver after many years of not listening to it:

One is that The Beatles embarked on 14 separate explorations of new musical pathways and brought each of them home in a concise 2-3 minutes. Arcade Fire or Pink Floyd would still be playing.

Two is that the album begins with something as mundane as taxes and ends with the Tibetan Book of the Dead. (Do the Tibetans read any fun books?)

Three is that “She Said She Said” would fit into any alt-rock radio playlist in 1986, 1996, 2006, and probably in 2166.

Four is that The Beatles’ experiment with Indian music is like punk’s flirtation a decade later with reggae – interesting, but only to a point, which in The Beatles’ case will come the following year on Sgt. Pepper.

A must-own album. But you already do.

Dirty Mind
Prince
1980

Chapter 3 of the Prince Project. I really should’ve thought of a better name for this.

Here we are with Prince’s third release, Dirty Mind. In just three seconds short of 30 minutes, Prince creates an irresistible dance album and, by my guess, the first sexually explicit (yet still funny) mainstream album.

I never was the kind to make a fuss
When he was there
Sleepin’ in between the two of us

He played almost every note himself. And he was just 22!

Although Dirty Mind has more rock to it than his first two releases, it’s still a disco album – the best ever recorded. It’s as if Prince has mastered all the disco idioms and can now not only play them flawlessly, he can do whatever he wants with them.

“Dirty Mind,” “Uptown,” and “Partyup” are seamless, unstoppable, and oh-so-danceable. “Dirty Mind,” the opener, is guaranteed to pump up your jam. “Uptown” is everything The Trammps wanted to do with “Disco Inferno” but couldn’t because they were basically not very good. “Partyup,” the closer, is an anti-war dance number. The writing on this one isn’t exactly J.D. Salinger (“They got the draft/I just laugh/Fightin’ war is such a fuckin’ bore/party up”), but who expected this on a party record?

Prince doesn’t stay within the safety of the disco ball’s glittering glow, either. “Head,” the moving saga of a man who receives oral sex from a woman who is on the way to her own wedding (“I came on your wedding gown”), is R&B, while “Sister” shows that Prince had been listening closely to the Nick Lowe/Dave Edmonds roots-rock movement…though those guys never wrote about incest. “When You Were Mine” is a peppy number about the end of a ménage à trois that was covered most famously by Cindy Lauper on her debut and most obscurely by guys I vaguely remember from my first years in Seattle, Hi-Fi (on their 1983 release, Moods for Mallards).

Dirty Mind is the first Prince album that demands to be played loud. Now this is what I call sweatin’ to the oldies.

What I was doing at 22: The only thing I’m going to mention is that in the year I turned 22, I saw an amazing performance by Harlan Ellison. First he and his typewriter spent the afternoon in the window of the Avenue Victor Hugo bookstore on Boylston Street in Boston, writing a complete short story. That evening he gave a talk at MIT that lasted almost four hours (about the length of a Springsteen concert) and was never less than riveting. It went on so long that the buses stopped running and I had to walk four miles back to my apartment. I kept thinking, I could do that! I haven’t – but I’m still game to try.

Rolling Stone’s best albums of 1980:

Winner:
London Calling – The Clash

Runners-up:
The River – Bruce Springsteen
Remain in Light – Talking Heads
Doc At the Radar Station – Captain Beefheart & The Magic Band
Le Chat Bleu – Mink De Ville

Random Pick of the Day
Killing Joke, Wardance (1980)
This album scared me in 1980. It was murky and nihilistic. It made their cousins, Gang of Four, sound about as scary as the Partridge Family. Thirty-four years later, it seems clear and crisp. Killing Joke is in complete control. I’d buy Wardance just for one song, “Requiem.”