We move on; that’s what survivors do, and we are all survivors now because that’s all any of us lucky enough to be breathing in and out in some safe space or another ever are. To have to be focused on actual surviving is a state too close to not-surviving to register at the time as survival; the rest of us, however, not often concentrating on what it takes to draw each breath, neglect our survivor status with a teenager’s carelessness. But you and me and the person next to you and the one behind them, that’s what we are in the age of COVID-19 and the general idiotic mayhem surrounding us—we are (right now, in this present moment) survivors. If we tend to recognize this mostly in response to someone else’s passing, I suppose that’s only natural; one might, in fact, view grief in part as an expression of the displaced guilt of the survivor.
I’ve been thinking these thoughts in recent days because of the unexpected passing of Nanci Griffith, and I type them up in the aftermath of hearing about Charlie Watts. He was 80; she was 68. The rest of us, right now, survive. Music remains its own sort of immortal presence, recorded music in particular. This strikes me as another reason to be listening to music from our culture’s multifarious decades, which lends to your individual instance of humanity a breadth and depth that ongoing exposure to a limited range of musical expression can’t yield. And what do we have going for us, as survivors, if not our own individual depth? Which we ignore not at our own peril, exactly, but at a price that may yet be extracted from us in some excruciating moment in the future, however near or distant, when our own human fate, as it must be, is sealed. When your days as a survivor are over, how shallow a life do you want to have led? This has nothing to your career accomplishments or your impressive hobbies or how much money you’ve accumulated and everything to do with the connections you’ve made with other people, whether they are in your personal network or via their artistic expression, which links one consciousness to another over time and distance, and which, come to think of it, advantages music over other art forms for its logistical accessibility and focus on only our sense of hearing.
And if that’s not a long-winded and barely relevant introduction to this month’s mix, I don’t know what is. But you may find a few semi-relevant, interweaving themes running through these songs, and maybe even also an ear-catching segue or two. Chapter 8.08 now in the books:
“Canção de Novela” – Adriana Calcanhotto (Seleção Essencial Grandes Sucessos, 2010)
“Neighborhood #2 (Laika)” – Arcade Fire (Funeral, 2004)
“What Do You Hear In These Sounds” – Dar Williams (End of the Summer, 1997)
“Fallen” – Philip Rambow (Shooting Gallery, 1979)
“Another Day, Another Heartache” – The 5th Dimension (Up, Up and Away, 1967)
“Hard Way Home” – Brandi Carlile (Bear Creek, 2012)
“Going Down To Liverpool” – The Bangles (All Over the Place, 1984)
“Emergency Exit” – Beck (Guero, 2005)
“Wade in the Water” – Ramsey Lewis (Wade in the Water, 1966)
“Two By Two” – Nils Lofgren (Nils Lofgren, 1975)
“You’ll Never Be So Wrong” – Kim Wilde (Kim Wilde, 1981)
“The War in the Gulf Between Us” – Adrian Belew (Inner Revolution, 1992)
“Smile” – Lily Allen (Alright, Still, 2006)
“Complainte pour Ste-Catherine” – Kate & Anna McGarrigle (Kate & Anna McGarrigle, 1976)
“Survival” – Adult Mom (Momentary Lapse of Happily, 2015)
“I Was Made To Love Her” – Stevie Wonder (I Was Made To Love Her, 1967)
“Caution” – The Killers (Imploding the Mirage, 2020)
“Genius” – Warren Zevon (My Ride’s Here, 2002)
“When I Dream” – The Teardrop Explodes (Kilimanjaro, 1980)
“Across the Great Divide” – Nanci Griffith (Other Voices, Other Rooms, 1993)
* The loss of any favored musician comes as a blow but when death arrives at too-young an age it induces a particular jolt. Nanci Griffith was but 68 when she died, of causes yet to be announced. As talented a songwriter as she was, it was her album of cover songs, Other Voices, Other Rooms, that turned me from casual fan to much more attentive follower when it came out in 1993. She indeed had a magical way with covers; I’ll always remember seeing her take on the Beatles’ “Things We Said Today” in concert and being moved by the peculiar power a newly interpreted version of a familiar song can possess, given the right voice, arrangement, and artistic vision. (She never put that one on an album that I’m aware of, but here’s a roughly recorded live version.) Now then, you can read all sorts of tributes to her that have been posted in the last couple of weeks, and I’d encourage you to, but for my money the best thing to do right away is watch this meticulous compilation on YouTube of all of Nanci’s appearances on David Letterman’s shows (both Late Night and The Late Show). Dave’s ongoing, heartfelt appreciation of this masterly, somewhat offbeat singer/songwriter is touching beyond words, especially now.
* Kim Wilde is one of those artists whose worldwide success (10 million albums sold) never translated into much recognition in the U.S. (Wikipedia tells me that her 17 top-40 UK hits in the ’80s made her the most charted British female solo act of that decade.) And it’s not like she didn’t get a strong introduction here: “Kids in America” was a reasonable hit with quite a long shelf life. But despite the strength of the rest of her debut album she ended up pretty much of a one-hit wonder with those very same kids in America, getting little to no attention here for any of the 13 albums which followed, including the relatively recent Here Come the Aliens, released in 2018. “You’ll Never Be So Wrong” is a track dating back to the 1981 debut, and happens to have been written by her brother Ricky and her father, the early British rock’n’roller Marty Wilde, whose later version of the same song appeared on a ’90s retrospective album of his.
* I don’t know of many songs that are about therapy, but the Dar Williams song “What Do You Hear In These Sounds” definitely is, and contains this deep and delightful lyric: “And when I talk about therapy, I know what people think/ That it only makes you selfish and in love with your shrink/ But oh how I loved everybody else/ When I finally got to talk so much about myself.”
* Like most people. probably, I’ve long associated the 5th Dimension with their good-natured but somewhat cornball hits—“Up, Up and Away” being perhaps the epitome of both their success and their easy-listening inclination. But Questlove’s recent documentary, Summer Of Soul, about the long-forgotten but monumental Harlem Cultural Festival of 1969 gave me new eyes and ears through which to see and hear this pioneering singing group, and sent me off listening to tracks of theirs that didn’t turn into big hits; in the process I came across “Another Day, Another Heartache.” This was actually the second single released from their debut album, after their Mamas and the Papas cover “Go Where You Wanna Go.” The cover made it to #16, but “Another Day, Another Heartache” didn’t crack the top 40. Luckily for everyone, the record company persisted, trying another single from the album, the soon-to-be-ubiquitous title track. “Up, Up and Away” went to #7 in the US, and established the group as hitmakers for the next four or five years. Me, I kind of prefer their somewhat harder-rocking sound, and also really appreciated hearing thoughts and reminiscences from the group’s two main voices in the Questlove film, which is well worth seeing.
* Warren Zevon as a teenager was briefly mentored by Igor Stravinsky. You can occasionally hear the classical composer he never became showing through the seams of his rock’n’roll.
* Remember Lily Allen? In some ways, in retrospect, the first half or so of the ’00s seems like its own little world—definitely not the ’90s anymore, but before the iPhone, disguised as your best friend, intruded on our culture, our psyches, our general well-being. “Smile” comes to us from the edge of that transition, and somehow sounds like as much of a breath of fresh air now as it did then, if not more so. Allen herself has been through the invidious gauntlet we manage to reserve for young women who make a pop cultural impact; her musical life has been intermittently interrupted if not derailed by a variety of circumstances, some beyond her control, some not. She seems now to be focusing on her acting, and this month, coincidentally enough (I just noticed it while typing this), made her West End debut in the play 2:22 A Ghost Story.
* That guitar solo in “Caution”? It’s Lindsey Buckingham.
* Born in Montreal, and borrowing his stage name, phonetically, from the French poet, Philip Rambow had a historically interesting run in his early years as a musician in the ’70s, personally traversing the territory from pub rock to glam rock to new wave, working and/or cavorting with the likes of Brian Eno, Mick Ronson, Ellen Foley, and Kirsty MacColl, among others, along the way. (Side note for fellow Kirsty devotees: Rambow co-wrote her first UK hit, “There’s a Guy Works Down the Chip Shop Swears He’s Elvis,” and played on her debut album, Desperate Character.) “Fallen” was the lead single from the first of two solo albums he released during the new wave era, but it kind of has its own rollicking sound about it that doesn’t have that much to do with what was going on otherwise in 1979. Rambow ended up leaving the music business for a couple of decades, re-emerging to play at a Kirsty MacColl tribute concert following her tragic death in Mexico in 2000. His 2014 album Whatever Happened to Philip Rambow? is perhaps self-explanatory, and he appears since then to have re-started his musical career; 2020 saw the release of his latest album, Canadiana.