In Memoriam – October 2011
The Grim Reaper feasted on a rich harvest in October, though he (or she; let’s not be sexist about grim reaping) thankfully let off a bit towards the end. Incidentally, today’s post is the best-timed of the year: published on All Souls Day.
The headline death this month probably is that of folk-music legend Bert Jansch, who influenced so many musicians – and not only folkies. Among those who cited Jansch as influences are Jimmy Page, Elton John, Nick Drake, Johnny Marr, Mazzy Starr’s Hope Sandoval, Neil Young, Donovan, Blur’s Graham Coxon, Suede’s Bernard Butler, Al Stewart, The Fleet Foxes and Paul Simon.
Clarence Johnson, who has died at 69, might have become a soul legend with the Chi-Lites; instead he became a fine producer of soul music. With future Chi-Lites frontman Eugene Record and Robert “Squirrel” Lester (the good-looking one in the Chi-Lites), he was a member of doo wop band The Chanteurs. That band then merged with members of The Desideros to form The Hi-Lites who, after Johnson left, renamed themselves the Chi-Lites (in tribute to their hometown of Chicago). Of the Hi-Lites line-up, only one member, Marshall Thompson, is still alive.
Even if the name means nothing to you, you’ll be familiar with the photography of Barry Feinstein, who died at the age of 80. Many Feinstein photos became famous album covers, including Bob Dylan’s The Times They Are A-Changing, George Harrison’s All Things Must Pass, Janis Joplin’s Pearl, The Byrd’s Mr. Tambourine Man, and Eric Clapton’s eponymous solo debut.
Two young musicians died young of brain haemorrhage. Peter Sykes of the upcoming British Indie group This Many Boyfriends (I’ve been unable to ascertain his age) and Zimbabwean musician Taku Mafika, 28. Both tracks included here to mark their passing are quite excellent.
Tragically upcoming R&B singer Gilani Taylor, 27, died in Los Angeles of injuries sustained in a car accident three weeks earlier which also killed her young daughter. It seems the driver of the car that caused the accident fled the scene. A tragic story. Likewise, Joel “Taz” DiGregorio of country band Charlie Daniels Band (whose big hit The Devil Went Down To Georgia he co-wrote) died in a car crash. Another band member and co-writer of Devil, Tommy Crain, died in January. And Aaron Beamish, drummer of Canadian rock band Slow Motion Victory, died in a skateboarding accident, apparently after being hit by a car. At 25, Beamish is the month’s youngest dead. He died on the same day as the month’s oldest, 100-year-old Edmundo Ros.
The most bizarre death must be that of Finnish metal guitarist Mikko Laine, who was run over by a truck while apparently sleeping backstage in Holland. Also strange was the death of hard rock guitarist Terry Span, who fell into a coma after being hit by a fellow band member. It seems Span had tried to break up a fight between band mates.
As a fan of The Blues Brothers, I must also note the death at 75 on October 5 of actor Charles Napier, who played Tucker McElroy, the grudge-bearing leader of the Good Ole Boys.
Clarence Johnson, 69, soul producer and doop wop singer with The Chanteurs (who would become the Chi-Lites), on September 23
The Chanteurs – Wishin’ Well (1961)
The Brighter Side of Darkness – Love Jones (1973, as producer)
Uan Rasey, 90, jazz trumpeter on movie soundtracks (Taxi Driver, Singing In The Rain, Ben Hur, West Side Story, Chinatown a.o.), on September 26
June Christy & Pete Rugolo – Midnight Sun (1953)
Peter Sykes, guitarist with indie pop band This Many Boyfriends, on September 27
This Many Boyfriends – Young Lovers Go Pop! (2011)
David Bedford, 74, British composer and musician (collaborator with Mike Oldfield), on October 1
Kay Armen, 95, actress, singer and composer, on October 3
Kay Armen feat. The Balladiers – Cuddle Up A Little Closer, Lovey Mine (1943)
Mikko Laine, 30, guitarist of Finnish metal band Sole Remedy, on October 3
Bert Jansch, 67, Scottish folk musician and songwriter, member of folk group Pentangle, on October 5
Bert Jansch – Needle Of Death (1965)
Bert Jansch – Just A Dream (1995)
Bess Bonnier, 83, jazz pianist, on October 6
Bess Bonnier – Sonnet XVIII (Shall I Compare Thee To A Summer’s Day) (1999)
Donald Banks, 76, bass singer with soul group The Tymes, on October 7
The Tymes – You Little Trustmaker (1974)
Mikey Welsh, 40, bassist (Weezer, Juliana Hatfield), apparently of suicide on October 8
Weezer – Island In The Sun (2001)
Roger Williams, 87, easy listening pianist, on October 8
Roger Williams – Autumn Leaves (1955)
David Hess, 69, songwriter and actor (including a terrifying turn in 1972′s Last House On The Left), on October 8
Pat Boone – Speedy Gonzales (1962, as composer)
Taku Mafika, 28, Zimbabwean Mbira musician, on October 10
Taku Mafika – Zhizha (2009)
George “Mojo” Buford, 81, blues harmonica player, on October 11
Kim Brown, 66, British-born singer with Finnish rock band the Renegades, on October 11
Paul Leka, 70, songwriter and arranger, on October 12
Steam – Na Na Hey Hey Kiss Him Goodbye (1969, as songwriter)
Buddy Sharpe (Bernard Gareis), 73, leader of Rockabilly band Buddy Sharpe and the Shakers, on October 12
Joel DiGregorio, 67, keyboardist and songwriter with The Charlie Daniels Band), in a car crash on October 12
Charlie Daniels Band – Saddle Tramp (1976)
Chuck Ruff, 60, drummer with Sawbuck, The Edgar Winter Group, Sammy Hagar a.o., on October 14
Edgar Winter Group – Frankenstein (1973)
Theron Brison (known as Thee Ram Jam), 48, masked funk bassist, Bootsy Collins collaborator and drug counsellor, found murdered on October 14
Betty Driver, 91, English Big Band singer and actress on UK soap Coronation Street, on October 15
Betty Driver – I’ll Take Romance (1935)
Tongai ‘Dhewa’ Moyo, 43, Zimbabwean musician, on October 15
Pete Rugolo, 95, jazz bandleader and arranger, movie/TV composer (theme of The Fugitive), jazz arranger, on October 16
Billy Eckstine & Pete Rugolo’s Orchestra – I Apologise (1951)
Pete Rugolo and his Orchestra – Jingle Bells Mambo (1954)
Bob Brunning, 68, English blues bassist (Savoy Brown, original line-up of Fleetwood Mac), on October 18
Savoy Brown – I’m Tired (1969)
Earl Gilliam, 81, blues pianist, on October 19
John-Alex Mason, 35, blues musician, on October 19
Barry Feinstein, 80, photographer of musicians, on October 20
George Harrison – Behind That Locked Door (1970, album cover photo)
Terry Span, 48, guitarist of hard rock band Alisteir Wild, on October 20
Edmundo Ros, 100, Trinidadian bandleader, on October 21
Edmundo Ros and his Rumba Band – Zombie (1941)
Edmundo Ros and his Orchestra – Light My Fire (1970)
Aaron Beamish, 25, drummer of Canadian rock band Slow Motion Victory, in skateboarding accident on October 21
Freddie Ferrara, doo wop singer (The Del-Satins, The Brooklyn Bridge), sang back-up on Dion’s hits Runaround Sue and The Wanderer, on October 21
The Del-Satins – Ballad Of A Dee-Jay (1962)
Gilani Taylor, 27, R&B singer, from injuries in a car cash, on October 21
Gene Kurtz, 69, bassist and songwriter, on October 23
Roy Head and the Traits – Treat Her Right (1963, a co-writer and bassist)
Tommy Doss, 91, singer with Sons of the Pioneers, Bob Wills, Ole Rasmussen a.o., on October 25
Jimmy Savile, 84, British disc jockey (BBC, Radio Luxembourg) and television presenter (Top of the Pops, presented the first and last shows; Jim’ll Fix It), on October 29
Theme of Jim’ll Fix It
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“You’re gonna look pretty funny trying to eat corn on the cob with no fuckin' teeth.”
The are at least two types of Ben Folds fans: those who don’t think that Folds has ever topped the work he did in union with with Robert Sledge and Darren Jessee as the ironically named Ben Folds Five, and those who prefer his more mature solo output. Put me down as belonging in the latter group. While the very funny title track, the driving Zak And Sara, Annie Waits or Not The Same would fit snugly in the Ben Folds Five canon, Folds’ solo debut exhibited a greater empathy for the subjects of his lyrics. On Rockin’ The Suburbs (released on September 11), Folds took the baton from BFF songs such as Brick, Don’t Change Your Plans or Best Imitation Of Myself, musically and lyrically.
The first time I saw the Hedwig and the Angry Inch, I was gobsmacked. The curious storyline, the intense performances, the incongruous humour (black GIs in East Berlin!), the imaginative setpieces, the animation and costumes, and, above all, the fantastic music, written by Stephen Trask and performed mostly by John Cameron Mitchell as the genitally mutilated Hedwig, which ranges from ballads and punk to Ziggy-style glam rock.
Before the Idols franchise spewed forth disposable singers of debatable ability, at least in South Africa, televised talent shows in the country brought several artists of notable aptitude to the public’s attention. One of these was Judith Sephuma, born in the northern town of Polokwane (then Pietersburg) and a music graduate from the University of Cape Town. Her 2001 debut album is a captivating blend of jazz and Afro-pop which fully met, and even exceeded, the expectations observers had invested in the artist since her performance at the inauguration of President Thabo Mbeki in 1999, a year before she made a huge impression at the misnamed North Sea Jazz Festival in Cape Town (the local equivalent of the Montreaux festival). If the wonderful Randy Crawford had been South African, this is what she might have sounded like.
Much as I love Sandoval’s group Mazzy Starr, I struggled long and hard to “get” this album. It’s the sort of ambient set one needs to be in a perfect mood for (perhaps when one is recovering from a bout of inebriation). But when everything is set, it hits home in its quiet way. If Sandoval sounds fragile on Mazzy Starr, here you want to pack her in cotton wool and keep the volume low, just in case she breaks. The result is exponentially mesmerising and ultimately gorgeous. It’s not the sort of album from which one can pick a representative track (though I’ll try here); it works best as a body of music. If one is in the mood.
Last month Hawley released a masterpiece, Truelove Gutter. Without wishing to resort to hyperbole, I’ll claim with confidence that it is not only the best album of the year, but one of the best of the decade. Hawley, a former member of Britpop groups Longpigs and Pulp, has produced a series of delightful and always affecting albums that started with his full debut, Late Night Final (it was preceded by a self-titled EP in 2000). The gorgeously melancholy, late night mood of that great triptych of Hawley albums — Coles Corner, Lady’s Bridge, Truelove Gutter — is already evident here. His voice has now dropped a register and the arrangements have become more intricate since Late Night Final (on which Hawley’s country influence is still evident), but the basics of the Hawley sound, and the quality, are already there. The stand-out track is Baby, You’re My Light, which I featured on 
Death Cab For Cutie is one the most stupid band names in modern music. It evokes the image of shouting and wailing nu-metal emo types, or perhaps a death metal outfit that failed in conjuring a suitably satanic-sounding moniker. Death Cab are nothing of the sort, of course, nor do they deserve to be dismissed for featuring so prominently on the teen drama-soap The O.C. (which was actually quite good for a couple of seasons and featured some excellent music that otherwise would not have received wider exposure). The Photo Album is Death Cab’s transition album, still drawing from the Indie rock of the earlier albums but preparing for the almost symphonic feel of 2003’s Transatlanticism and last year’s Narrow Stairs. It lacks the diversity of 2005’s Plans, but like Plans and more than Transatlanticism, it does have tracks that stand on their own. This is solidly guitar-driven, ambient Indie rock, but more accomplished (or, purists might say, polished) than the four preceding Death Cab albums.
In 2004, Rilo Kiley released a brilliant album in More Adventurous. The preceding two albums are more patchy. Take-Offs & Landings borrows its influences widely, blows some alt.country over it, and voila. Sometimes it works, and there is nothing here that is really objectionable, but this is very much the work of a group still finding its way. Likewise, the wonderful Jenny Lewis is still discovering her voice, which here is still banking on its cuteness before it became the sexiest voice since Julie London’s. If all this sounds half-hearted, then that is not quite fair on an enjoyable album. It suffers not on its own merits, but in comparison to what the group and Lewis as a solo artist produced later.
At a time when soul music is dying a gangrened death at the hands of dancing corporate muppets and sexless nasal whiners, we ought to be grateful for the few artists who still refer to the rich heritage of the genre. So I find it difficult to sympathise with those who dismiss the artistry of Alicia Keys. OK, she’s not quite all that which the hype claims her to be, as a pianist or as a singer. Much of her material is bland. It’s safe to say that she cannot compare with, say, Roberta Flack. Judging only from her appearances at the Grammys (which I still watch for reasons I cannot comprehend; probably only for the In Memoriam section), I find her a bit smug, a bit corporate, a bit too convinced of her own genius. And yet, her albums includes a clutch of tracks which, had they been recorded 35 years earlier, would be noted as fine contributions to the canon of soul music, celebrating the derivations of her material as reflecting an astute choice of influences. Despite all the caveats I have raised, I’m glad that Alicia Keys is around.
Playing the song New Slang from this album, Natalie Portman’s character in the fine film Garden State promises Zach Braff’s protagonist that it will change his life. Without wishing to spring spoilers upon the reader who unaccountably have not seen the film, it indeed does so. The Portland, Oregon-based band’s debut thus broke out from the ghetto of Indie cult on the back of Braff’s championing. If the Kinks had been Americans recording their music in the ’00s, this is what they might have sounded like. I have quite enjoyed The Shins’ subsequent albums, which are musically accomplished, perhaps more than Oh, Inverted World. But if I want a fix of The Shins, it’s the debut I turn to.
What is it with all those people who are so quick to dismiss every Weezer album because it isn’t Pinkerton? It seems to be accepted wisdom that Pinkerton, one of the great albums of the 1990s, set some kind of standard that Rivers Cuomo and the other three chaps must live up to. The trouble is, by the time the Pinkerton evangelists listened to the other Weezer albums, they were no longer of an age when they locked themselves in their bedrooms because school and parents and jocks sucked and listened to Pinkerton in the recovery period between wanks. The Green Album is a fine album; it has some great tunes, it’s fun, it doesn’t challenge you; it does everything you’d want from a Weezer album. Island In The Sun is my cellphone ringtone, by the way.
The group’s main songwriter John Phillips was a bit of a bastard. He had Cass Elliott singing about being fat, and he had his not always scrupulously faithful wife Michelle sing about her inability to remain monogamous. On 1967’s Glad To Be Unhappy he had Denny Doherty and Cass Elliott sing about unrequited love — knowing well that Cass was in unreciprocated love with Denny and that Denny was in love with John’s wife (need I post a Venn diagram?). There was, clearly, a lot of pain. So John has them croon the sadistic taunt “Like a straying baby lamb, with no Mama and no Papa, I’m so unhappy”! And then the mocking: “I can’t win, but here I am, more than glad to be unhappy.” The sentiment is not foreign to the experience of unrequited love, of course. “But for someone you adore, it’s a pleasure to be sad.” That ties in with the lyric of a song used in last year’s series (and which will be recycled this year): “There is pleasure to be had in this kind of pain” — the emotional masochism is a lifeline to hope, the delusion that the true love will come eventually.
This is a slowed down, quite superb cover of the Cheap Trick hit by the blues/soul/gospel Holmes Brothers. The lyrics make more sense when sung by a goofy pop-rocker, but this version is just too lovely to be ignored. Unsurprisingly, the singer is promising sacrifices to get the girl, right down to shining “up the old brown shoes” and making himself even more presentable by wearing a new shirt (throw in the use of deodorant and shampoo, and you might clinch the deal). It is not clear, of course, whether our hero’s sartorial countenance is the problem. Indeed, he seems quite clueless if he thinks that shiny shoes will provide comfort to the girl who seems to be experiencing a case of dejection herself, as our singer observes: “Feelin’ all alone without a friend, you know you feel like dyin’. Oh, didn’t I, didn’t I, didn’t I see you cryin’?” Or is he just projecting?
There is an even more acute sense of hopelessness when the object of unrequited affection is in a solid, happy relationship. So it is in this superb song. “I think you two are forever, and I hate to say it, but you’re perfect together.” Which sounds pretty magnanimous. Except it isn’t, as we learn in the next verse: “So fuck you and your untouchable face, and fuck you for existing in the first place.” Quite right. This isn’t in angry outburst, though. There is some self-loathing and immense sadness in this song. Witness the final verse: “In the back room there’s a lamp that hangs over the pool table, and when the fan is on it swings gently side to side. There’s a changing constellation of balls as we are playing. I see Orion and say nothing. The only thing I can think of saying…is fuck you.”
After all this profundity, we can find refuge in Weezer and in dreamland. Mr Cuomo is in love: “She’s in the air, in between molecules of oxygen and carbon dioxide”, but evidently he is too shy or otherwise reluctant to approach her, except in his dreams where he has the courage to ask her to dance, and she accepts (rhyming ‘dance’ with ‘chance’ – charity impels me to interpret this as a shrewd homage to the lyrical genius of Abba). In his fantasy he is charming and considerate, literally sweeping the girl off her feet on the dancefloor: “It’s a good thing that you float in the air – that way there’s no way I will crush your pretty toenails into a thousand pieces.” We imagine she laughs with her head tilting back, revealing her throat (Body Language 101: it means she wants you). We don’t go to Weezer for lyrical sophistication, so we see the conclusion coming: “But when we wake, it’s all been erased.”
There aren’t many songs that feature the word “unrequited”. We’ve had Glad To Be Unhappy earlier, and here’s Billy Bragg using it in perhaps the best song from his 1984 debut album. It’s the poignant story of a schoolboy crush. At first she reciprocates the affection, but after a while (which in schoolboy terms is a wink of the eye) things cool off. “But I never made the first team, I just made the first team laugh. And she never came to the phone, she was always in the bath.” The boy experiences his first broken heart, poor kid. “In the end, it took me a dictionary to find out the meaning of ‘unrequited’, while she was giving herself for free at a party to which I was never invited.”
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