We tried but there was nothing we could do (Eclectic Playlist Series 6.09 – Sept. 2019)

I started this playlist more towards the beginning of this month, and had landed on opening with “Since You’re Gone,” only to bump within days into the sad news of Ric Ocasek’s passing. This was always one of my favorite, less-heralded Cars songs; in it, Ocasek sounded, to my ears, a bit more emotionally tender than the icier and/or more ironic tone he employed more generally, and to great effect I might add. Tenderer doesn’t necessarily makes the song better, but in this case the hint of poignancy strikes me as a sort of magic ingredient. And, randomly, I’ve always loved “I took the big vacation” as a wayward description of heartache and its aftermaths. The fact that Ocasek was indeed 75 was a bit disconcerting; he was the same generation as the first wave of classic rock stars, even as he did not fully emerge on the rock’n’roll scene for ten additional years or so. In retrospect his extra experience may well have been one of the secrets of the Cars’ success; they weren’t just another bunch of 20-something wannabes hopping on the new wave bandwagon—they were savvy musicians, helping to create the bandwagon in the first place. I’ve always felt the Cars to be underrated in the annals of rock music. The outpouring occasioned by Ocasek’s death was a sign that this music had more substance and style than his band was often given credit for.

A few random notes:

* I don’t know as much about reggae as I’d ultimately like to; my ears too often hear reggae songs generically, for lack of better awareness. But every now and then a reggae tune slays me melodically, and “Book of Rules” is one of those. I really have to go dive into the sub-genre known as rocksteady, because it’s starting to seem to me that the reggae songs I most enjoy are related to this sound. In any case, this one is so good; thanks to the mighty curators at Radio Paradise for introducing it to me.

* For all the critical fuss that was made about new wave style power pop in and around 1978 to 1981, this became one of those moments in music history where a few well-worn (but, don’t get me wrong, absolutely fantastic) songs stand in for the entire period. There’s “Starry Eyes,” there’s “Another Girl, Another Planet,” a few other chestnuts, and there’s your power pop. Of course there were more bands and more songs now partially lost to the ages, most, probably for good reason–just glomming onto a coveted sound doesn’t guarantee quality. One band perhaps not entirely deserving of its obscure fate was the London band The Keys. Although a major-label release, on A&M, produced by none other than Joe Jackson, this was never widely heard; coming near the end of the original vinyl age and never ending up released as a CD didn’t help. Neither did the colossally generic album cover. But “I Don’t Wanna Cry” does have the sound of a missed power pop classic. Now you don’t have to miss it.

* Tom Waits, man. Check out that chord progression on “And if you don’t want my love/Don’t make me stay.” Gorgeousness wrapped in sandpaper, which somehow makes it extra gorgeous.

* Most people know the late Robert Palmer, if at all, for his ’80s and ’90s output, both solo and with the briefly popular “supergroup,” The Power Station. But he had made a lot of music of quite a different ilk back in the ’70s, aiming at a sound that sprang eclectically from New Orleans-style funk and soul, with a dash of Caribbean influence as well. “Best of Both Worlds” epitomizes the breezy, sophisticated pop of his pre-MTV days. Simpler times, people, simpler times.

* I can’t decide if 2004, back when Fingertips was a year old, seems like only yesterday or forever ago. These days I’m leaning towards forever ago. In any case, Nellie McKay’s playful, variegated double-disc debut album, Get Away From Me, came out that year, on Columbia Records, to a good amount of critical acclaim and a certain amount of radio play back in that more innocent age. (Note the album’s sly rejoinder to Norah Jones’ blockbuster Come Away With Me.) “David” sounded charming back then and maybe even a bit more so now, if only for how unlikely it would be for someone to release something like this today. McKay proved to be too idiosyncratic and un-tameable for a major record label. She has released six albums since then, including three albums of cover songs. She’s been on Broadway, she is an outspoken advocate for human and animal rights, and is in general one of those folks not easily pigeonholed into one category. As none of us should be, if you think about it.

Full playlist below the widget.

“Since You’re Gone” – The Cars (Shake It Up, 1982)
“Wisteria” – Death and the Maiden (Wisteria, 2018)
“Book of Rules” – The Heptones (Book of Rules, 1973)
“Backdrifts” – Radiohead (Hail to the Thief, 2003)
“Little Bird” – Annie Lennox (Diva, 1992)
“Just Say You’re Wanted (and Needed) – Gwen Owens (single, 1966)
“Me and the Farmer” – The Housemartins (The People Who Grinned Themselves to Death, 1987)
“Best of Both Worlds” – Robert Palmer (Double Fun, 1978)
“Night in Tunisia” – Dizzy Gillespie (1946 recording)
“Patience of Angels” – Eddi Reader (Eddi Reader, 1994)
“Sing to Me” – Cumulus (Comfort World, 2018)
“Ordinary Joe” – Terry Callier (Occasional Rain, 1972)
“David” – Nellie McKay (Get Away From Me, 2004)
“I Don’t Wanna Cry” – The Keys (The Keys Album, 1981)
“Don’t You Care” – The Buckinghams (Time & Charges, 1967)
“Celebrity Skin” – Hole (Celebrity Skin, 1998)
“Back in the Crowd” – Tom Waits (Bad As Me, 2011)
“Without You” – Sasha Dobson (Modern Romance, 2006)
“Lovefool” – The Cardigans (First Band on the Moon, 1996)
“Ships in the Night” – Be Bop Deluxe (Sunburst Finish, 1976)

Free and legal MP3: Diesel Park West (classic sound, smartly crafted)

Want to know just how instantly assured and well-built “Pictures in the Hall” is? Check out the way that Diesel Park West employs a mere two-second, slashing guitar riff for an intro.

“Pictures in the Hall” – Diesel Park West

Well here’s a terrific song from a veteran band I had previously managed not to know about, despite a history dating back to the ’80s. There’s always a world of music out there awaiting discovery, and it’s not always going to come to you via algorithm.

Want to know just how instantly assured and well-built “Pictures in the Hall” is? Check out the way that Diesel Park West employs a mere two-second, slashing guitar riff for an intro; it harkens back to something the Who or the Kinks might have done in the British Invasion days, and leads to an equally classic-sounding sing-song verse. This, in turn, is the kind of thing bands tend to pound into oblivion, but these guys keep the song moving; at 0:18, the music shifts tonally into a chorus tinged with Kinks-ian melancholy, before ending with an exclamatory upturn (0:30-0:36).

A lot of ground has been covered in less than 40 seconds, at which point we head back to where we started. This time around notice the barreling guitar line down below that links the lyrics together (e.g. 0:44). It was there in the first verse as well, but now that we’re settled in it’s somehow more noticeable, as part of a general sense of mischief in the air, which is reinforced by a few other goings-on, including an early bridge section (at 1:12, before the song is even half over), an abrupt key change (1:46), and, throughout, by front man John Butler’s ever-so-slightly unrestrained vocal style. The last bit of fun comes in the guise of that original guitar lick, the aforemenioned one linking the verses together earlier, now reimagined as a repeating, melodramatic descent (e.g. 2:10). That didn’t need to happen but the end result is meatier for touches like that.

“Pictures in the Hall” is the first single from Diesel Park West’s forthcoming album, Let It Melt, to be released at the end of the week on Palo Santo Records. This is the Leicester-based band’s ninth album; three of its four members were in the lineup all the way back to the ’80s.

Free and legal MP3: Kate Davis (bass-led indie rock charmer)

Fittingly enough, “Open Heart” has its central aesthetic attribute hiding in plain sight: a bass guitar more or less playing lead.

“Open Heart” – Kate Davis

Fittingly enough, “Open Heart” has its central aesthetic attribute hiding in plain sight: a bass guitar more or less playing lead. Which makes sense when you are hip to Kate Davis’s unusual background: she came to the fore musically as a teenage bass prodigy. Jazz was her thing, but as it turned out she also played the internet pretty well—an impromptu, breezily recorded version of “All About That Bass,” with Davis singing and playing the upright bass, uploaded in 2014, now has more than 18 million views.

But the New York City-based Davis apparently had no interest in being painted into a corner of standards and retro recordings. As her personal tastes veered more and more towards indie rock bands such as Beach House and TV on the Radio, she eventually knew she had a whole other kind of music in her. “Open Heart” is a deft example of what can happen when someone with serious training and chops discovers the potential in the seemingly simplified landscape of a rock song. A surface listen may detect nothing obviously abnormal in “Open Heart,” but once you pay closer attention, you’ll realize, on the contrary, that there’s actually very little that is entirely normal here.

Davis singing over her lead-like bass playing is just the start of it. Then there’s what the bass is specifically doing, which entails a lot more fret work than a typical rock song necessitates. The lyrics, too, have a sort of surreal directness to them, as an imagined doctor’s visit, leading precipitously to a heart transplant, is conflated with a love gone astray, delivered in a deliciously matter-of-fact way (“Hold tight/Oh we’re taking your heart out now”). Musically, there is flawless movement from verse to pre-chorus to chorus; as “Open Heart” unfolds, Davis’s skill as a writer of melody and crafter of song becomes clearer and clearer. Notice in particular how the heartbeat pulse of the bass leads us effortlessly from the contemplative verse through to a chorus that opens in double time and concludes, over a wonderful chord progression, in half time—all without Davis seeming to break a sweat.

As for that heart-mimicking bass line, that turns out to be one of a number of adroit touches that feel satisfying and almost comic, in a musical way. Another is how the music extends and momentarily freezes—we might call it a sustain—at the end of the line “the injury you sustained” (2:02). There’s also how the recurring phrase “Deep breath” is articulated with more or less the opposite affect: more of a short gulp. I like too the removal of the omnipresent bass for the last iteration of the verse (starting at 2:22), which somehow creates a sensation of an angel passing through the hospital room, conferring the stark recognition that being alive involves accepting pain.

Davis’s career as an indie rocker was first launched with a high-profile credit she earned with Sharon Van Etten (they wrote “Seventeen” together); I’m anticipating a new level of acclaim when her debut album Trophy is released in November on Solitaire Recordings. “Open Heart” will be track two on the record; you can listen to three other songs in advance over on Bandcamp, and pre-order it there as well.

* * * * * *

And, even as Kate has moved past this, I’m offering up the Meghan Trainor cover because it’s really impressive. I love musicians who both know how to play their instruments and know how to perform—not always the same skill.

Free and legal MP3: Seazoo (energetic Welsh rock)

Launched off a satisfying, off-kilter progression of four crunchy guitar chords, “Throw It Up” is a friendly, non-stop slice of catchy-quirky indie rock, courtesy of an up-and-coming Welsh quintet.

“Throw It Up” – Seazoo

Launched off a satisfying, off-kilter progression of four crunchy guitar chords, “Throw It Up” is a friendly, non-stop slice of catchy-quirky indie rock, courtesy of an up-and-coming Welsh quintet.

Let’s start back with those guitar chords. First: guitars! Slashy, crunchy guitars. Such sound must be honored here in 2019. I love all sorts of instruments, and am fine with many and varied electronic devices, but I will unceasingly repudiate the extremist cultural rejection of the guitar as an instrument in popular music. And will therefore celebrate with a bit of extra oomph those musicians and bands that still find guitars attractive and useful. Me, I can’t help seeing the lack of guitar in today’s pop world as an admission that performative musical aptitude is no longer a contributing factor in songs that are fed into the Pop Industrial Complex. This is not a news flash, of course. And it’s not to say that there aren’t other talents involved in what emerges onto today’s Hot 100. But as an old-school music fan my ears respond to music that at some level sounds palpably related to individual human capacity, connecting the heart, body, and soul. Maybe that’s just me.

But hey—turns out this is only a semi-unrelated tangent. Although it’s hard to discern from listening to the song, “Throw It Up” was inspired by people front man Ben Trow has seen who are re-thinking their attachments to some of the 21st-century conveniences and technologies that we’ve been sold over the last decade or so. The song, he says, is “about making the decision to reject something in an attempt to improve well-being.”

“Throw It Up” in any case is a fast-paced smiler, enhanced by Trow’s plainspoken vocal style, which conveys a steady bemusement even as the song rushes by. And my paean to guitar work notwithstanding, I love as well the keyboard sounds that founding co-member Llinos Griffiths weaves in and around the general crunch—you’ll hear her in earnest starting around 0:58; the keyboards get emphasized further in the chorus, and then have a wonderful showcase during the instrumental break starting at 1:46, tracing out noodly, sonic pathways and nuances I can’t begin to find words to describe. Maybe even better are the skidding, sci-fi flares going up in the background around 2:08. Did I say this was a guitar song? Actually maybe not.

Online as of mid-August, “Throw It Up” is the first Seazoo release since their debut album, Trunks, in 2018—which by the way you should definitely check out on Bandcamp. Based in Wrexham, the band began as a duo, but radio play led to invitations to perform live, which led to Trow and Griffiths realizing they needed an actual band, which they now have. By all accounts they are currently finishing up a second album, which I hope you are now eagerly awaiting.

Your attention please

The idea that the attention-economy landscape itself, however beneficial to those who navigate it successfully, is actually poisonous to human interaction and civilized culture is only starting to be recognized.

There has been much talk over the last five or six years about the so-called “attention economy,” the widely accepted term that posits that the scarce resource around which national and world economies now revolve is time itself, and that therefore people’s attention is in some important way the new “currency.” Many companies, in particular tech companies, have happily embraced this concept, and openly strategize about how best to succeed in this hyperactive landscape, in which gaining and holding your attention via your smartphone seems to be everyone’s primary corporate goal.

The idea that the attention-economy landscape itself, however beneficial to those who navigate it successfully, is actually poisonous to human interaction and civilized culture is only starting to be recognized. For an articulate discussion of the problem, I urge you to check out the work of a non-profit group called the Center for Humane Technology, starting here: https://humanetech.com/problem/. The leaders at CHT have thought deeply about the problems baked into this attention economy of ours and how we might collectively begin to address them. For you podcast fans, I also recommend their podcast, called Your Undivided Attention.

I’m completely on board with everything they talk about, and will not try to improve upon their general critique of a society that has handed over the cultural reigns to algorithms that have created, across our culture, in CHT’s words, “a race to the bottom of the brain stem”–what they also refer to as “human downgrading.” They talk about the damage this is doing to the social fabric via blatant problems such as the ease with which misinformation and/or hate speech spreads on YouTube and Twitter. This is obviously troubling, all the more so because the social media companies involved have long been hiding behind the weak and by now irrelevant “We are not responsible for what users upload” argument. It’s irrelevant because the problem is far less about what users are uploading than what the platforms themselves are algorithmically and vigorously choosing to amplify in order to keep eyeballs on their apps.

What I’d like to do is take all that as a background to talk about a subtler problem, but one I think worth considering. Among the less-often-discussed casualties of the attention economy are those of us who, by inclination, don’t have “being noticed” as a continuous goal and/or don’t feel the need to have significant numbers of people paying attention to us at all times. This doesn’t mean we don’t have reasons to engage in conversations, to speak our minds about things that are important to us, and to want people to listen to us when we’re talking. It does mean that we have no interest in the kneejerk style of attention-seeking that is continually going on all around us. We don’t need to share all the photos and experiences that so many reflexively share, apparently in search of the validation of being “liked.” Some of us understand that the tiny gesture of putting a finger on a like button is not a reward we need to seek with lab-rat tenacity.

Doesn’t everyone want more followers? (Actually, no)

This lack of interest in gratuitous attention-seeking cuts so much against the norm of a culture that has embraced the reality of its attention economy as to seem bizarre. Doesn’t everyone want to be noticed as much as possible? Doesn’t everyone want more and more followers?

Actually, no. We might want to remember that at earlier moments in our culture, up through the end of the 20th century, this lack of interest in receiving widespread attention was relatively normal. Back then, one had to make a definitive effort to attract attention. While many no doubt appreciated the occasional ability to bask in the glow of recognition of a job well done, I’m pretty sure that only a limited number of people lived lives that were grounded in and/or seriously dependent on ongoing attention-seeking. In theory people feeling that need gravitated towards certain specific occupations (actor being one, self-help guru another), while everyone else went along living their regular lives, devoid of very much attention, and no worse off for it (in fact, as I see it, better off).

In a culture overtaken by social media landscapes and mores, it becomes far less obvious that people still exist who are happy without a lot of attention or notice but–news flash–some of us are still here. And boy do we find this endless attention-seeking going on all around us really depressing; I think we are the ones who may be feeling even more battered than most by what digital technology is doing to us and our friends and families. For instance, as a non-attention-seeker, I find it all the more hurtful when a loved one, standing nearby, has his or her attention swiped away by a random phone notification–a notification inevitably coming from either someone not in the room who is nevertheless actively seeking attention or an app the entire purpose of which is to grab and keep attention as often as possible. It’s more hurtful to me because I don’t live with that same motivation, I am not captivated by that same value system. So the isolating moment of being ignored for a notification becomes more globally isolating, in that I ongoingly see less and less in our daily cultural reality that validates my own concept of what constitutes healthy interaction between human beings (and, I should note, what previous generations of humans routinely thought of as healthy interaction). In my mind, I deserve attention because I am a worthwhile human; according to our 2019 culture, I deserve attention when I successfully seek it out.

Can you see the vicious cycle being created? With so many people trained by social media to be consciously projecting their thoughts and activities into the maw of the attention economy, it’s become difficult to earn the attention of others on the merits of what it is you’re trying to say, even within your own personal network. In this way, long-standing rules of the capitalist marketplace have infected our non-commercial relationships. By which I mean that in the marketplace, it’s always been about being the best attention-grabber. We use the word “marketing” to describe that very thing. Here in the 21st-century, fomented by digital technology, this behavior has slipped beyond the bounds of the commercial, to the point where today it often seems that, however consciously or not, people feel compelled to “market” themselves in their own social worlds, and to require being marketed to. What are photos on Facebook of your trip to the Bahamas but an effort, conscious or not, to market yourself in a certain way to a certain group of people? The product you are marketing—this ideal version of yourself–isn’t (usually) something you are asking people to purchase with dollars and cents, but with the currency of their time/attention. (Notice we have always considered “attention” as something one can “pay.”)

It’s one thing for the most-advertised product to be the one that sells the most. It’s another thing–at least, to me–for the most attention-seeking people to be the ones who are paid most attention to. Remove qualitative considerations from the equation of supposedly social interactions and things just get silly and off-putting at best, culturally corrosive at worst.

Yet again the internet promotes surface over depth

I think this reduces to my eternal bugaboo here in the digital age, which is the problem of surface versus depth–more specifically, the defeat of depth at the hands of surface. Seeking attention is a surface-level occupation, dependent as it is, especially here on the internet, on immediate visual impact: the photo that stuns the eye, the video that amazes (or appalls), the headline that grabs the reptile brain by the tail. (I’ve discussed this in more detail back in 2011, in “It’s called it viral for a reason,” and more recently, in 2017, in my essay “Music delivery and the empathy vacuum.“) Worthwhile human interaction, conversely, requires depth, and depth by definition requires time for absorbing and considering. You get to depth via behaviors that are effectively the opposite of scrolling–by staying with something, exploring it beyond its immediately apparent attributes. Not that something or someone can’t have both surface appeal and gratifying depth–of course this is possible. In fact, one would think this could in theory be a logical outgrowth of our attention economy: as it becomes commercially important for people to be spending time with your product/site/brand, in theory this could mean really diving in depth into an experience.

But the social media companies that dominate our online experiences, aggregators by nature, have no vested interest in giving us an experience of depth, not since they have perfected an internet landscape based on the endless scroll of a feed coupled with the dopamine hit of being “liked.” The way to increase time on an aggregator’s site is to offer an endless parade of surfaces combined with a quick (i.e., surface-level) method of interacting with these surfaces.

The surface versus depth problem is built into our digital environment, perhaps because of where the issue is ultimately grounded, which is in automation versus human deliberation. Depth is rooted in the human soul, which is to say in the ultimate mystery of each individual’s consciousness and interiority. Digital decisions, relentlessly based on data and effected at a black-or-white, zero-or-one inflection point, have no depth at all. Getting back to the matter at hand, this is what most troubles me about all the fast-paced attention-seeking that has come to dominate our interactions. In following the cues of the social media companies, we are collectively downgrading our humanity by aligning ourselves with the methodology and approach of the digital realm. Surrendering to surface interactions, surface concerns, surface attractions, we steadily lose what distinguishes us as thinking feeling beings.

In the current environment, someone like me is barely paid attention to–my Facebook posts unironically tell me that they are reaching zero people; my thoughtfully curated playlists get maybe 30 listens in an environment dominated by playlists listened to thousands of times. This can feel discouraging. One might easily think that our culture has reached a place where those of us not oriented towards attention seeking are pushed aside entirely, rendered as irrelevant in an attention economy as those without money to spend are in a financial economy.

But I have another idea about this. Assuming we collectively still do want to exist as a civilized culture, we must also therefore assume we can muster the wherewithal to combat the ruinous forces currently undermining the social goodwill required to maintain a free and functioning democracy, epitomized by a president who is both ignorant and hateful (never a good combination, although not an uncommon one). Because, to be blunt, if we can’t overcome this socio-political moment we will not continue as a civilized culture. It’s impossible to move forward with such rampant misinformation and surface-level interactions fueling such degraded behaviors, of which mass shootings are the most horrific example. (You’ll note that the most recent crop of mass murderers are young men who are in part motivated by the attention they’ll receive posthumously from those who approve of their cold-blooded exploits. Think about how warped but inevitable that attitude becomes in an attention economy.) So, assuming we can do this, assuming we figure out how to rescue ourselves, it is going to be necessary, as part of this course correction process, to break ourselves free of the trance induced by attention-economy operations such as Facebook and YouTube.

And guess what? There’s a population of people out here who have already figured this out. Don’t get me wrong, we’re still struggling with how to exist within a culture that has generally lost its capacity for nuance and informed discourse, but at least we haven’t imbibed the “look at me!” Kool-Aid that is operating like a slow-working poison in our collective bloodstream. We don’t need to be noticed as a perpetual state of being. This leaves us with a paradox, to be sure–the idea that those least interested in being noticed are going to have to teach everyone else how to stop requiring so much attention. How, exactly, can we do this?

I think the answer starts with what comes naturally to us: remaining silent. I don’t mean silent in the sense of not expressing ourselves, but I do mean silent in the context of the attention economy–which is to say, silent in the face of a culture that burns through people’s private concerns in that exact place where an all-consuming search for attention and profit-hungry data mining intersect. Because all that attention that people think they are seeking? In the end, the only ones truly being rewarded are the people pulling the technological strings. The Facebook model is instructive: allow everyone to believe they are just sharing things they like with people they know, then let the algorithms take over and watch the profits role in for the pipeline owner while our humanity is ongoingly degraded via privacy invasions and lowest-common-denominator amplification procedures. And then–an unhappy bonus!–watch the bad actors swoop in and wreak havoc on a culture being flayed by misinformation and rancor, which serves to ratchet up people’s need to participate, share, and argue. Rinse and repeat.

Being silent in this context is resistance. If people could learn to be silent in this way, refusing to put their words and pictures and emojis and links into the attention economy pipeline, a lot of it would rather quickly and thoroughly dry up. If people could learn that it’s far more important and rewarding to talk to one person, face to face, or ear to ear, or even screen to screen, than to broadcast to some imaginary audience, the pipeline would dry up. Civilization could re-group, re-orient towards actual collective well-being. Trolls would lose their maleficent sway over our national discourse. And–imagine this–we could at long last begin to harness the communicative power of internet technology in a way that benefits humankind rather than rewards those who embody our worst collective inclinations.

Not many make it this far (Eclectic Playlist Series 6.08 – August 2019)

The latest incarnation of the Eclectic Playlist Series, featuring music from many different decades and genres.

We are sometimes treated, in August, to a fleeting bit of weather that carries in it a subtle tinge of autumn, which always feels lovely after a long hot summer. I’m still waiting on that this year, fingers crossed, through this one last (?) heat wave. Waiting for all sorts of fevers to break here in 2019 as a matter of fact. (One can always hope.) In the meantime, the Eclectic Playlist Series strides onward, with its distinctive mix of genres and eras. One thing I don’t usually point out about my curated playlists is that in addition to making the conscious effort to distribute music relatively evenly across the decades, at least the decades from the ’60s through the present, I also work to balance the music between male and female voices. Given the male-centric history of rock’n’roll this is something I have to make a conscious priority, otherwise the lists would all too easily, well, list towards the men. Personally I’m friggin’ tired of men so each month I make sure there are no more than 11 of them, out of 20 slots. Ten is better, nine is best. Maybe one month I’ll whittle it down to eight. One can always hope.

Random notes:

* The T-Bone Burnett project known as The New Basement Tapes kind of got shunted aside as quickly as it came to public awareness back in the middle of our current decade. The back story is that Bob Dylan had recently come across a batch of lyrics he had written around 1967 or so—the same Dylan era in which the legendary Basement Tapes recordings were made. Dylan gave the lyrics to Burnett, his old Rolling Thunder compatriot, to do something with. What T Bone did was call Elvis Costello, Marcus Mumford, Rhiannon Giddens, Jim James, and Taylor Goldsmith together into a studio for two weeks to create music for the lyrics. A surprisingly engaging documentary about the project aired on Showtime back in 2014, of which, mysteriously, no trace remains on Showtime’s web site. The best thing I can find is a clip from the doc of the song from the project that I’m featuring on this month’s playlist: Marcus Mumford’s “Kansas City,” one of the standout tunes from the album. You don’t get the build-up drama of Mumford stressing out from writer’s block as the project unfolded around him, but you still do get a frisson of delight watching as the song picks up steam. Elvis had another commitment that day so for unexplained reasons, Johnny Depp was sitting in on the guitar.

* Fingertips has been at this long enough to warrant a “Where are they now?” series were I so inclined. A band that might be thus featured would be the one-time Santa Cruz quartet Division Day, which put out three albums between 2004 and 2009 and were heard from no more. The song “Colorguard” came from their highest-profile release, 2007’s well-regarded Beartrap Island. Post-Division Day, the members are somewhat hard to locate. The eminently Google-able singer Rohner Segnitz did put out a three-song release labeled “Stuff for Films” in 2013, on Bandcamp. Bassist Seb Bailey, meanwhile, landed in an L.A.-based band named Geronimo Getty that released an album in 2014 and was active at least up until last year.

* Patrice Holloway’s “Stolen Hours,” released to little notice in 1966, earned a second life as a Northern Soul gem in the 1970s, as happened to so many previously obscure R&B records. Holloway’s sister, Brenda, had a more visible career, having recorded at least one big hit for Motown/Tamla (“Every Little Bit Hurts,” 1964), but she ended up another major talent that Berry Gordy couldn’t or wouldn’t develop properly. Patrice, meanwhile, a genuine child prodigy, found employment through the ’60s and ’70s largely as a session singer, with one especially curious side gig: providing the singing voice for Valerie Brown, one of three band members in the Archie Comics’ TV spin-off, “Josie and the Pussycats.” Valerie, for what it’s worth, was the first African-American lead character in an American cartoon series.

* If you zoom in on the picture of the record label for the 1967 Dana Valery single on Columbia Records with the slightly odd title of “You Don’t Know Where Your Interest Lies,” you will see the writer listed as “P. Simon.” And yes that would be Paul, as you can probably tell when you listen to the song and hear that male speaking voice in the background, rather nerdily snarling “You don’t begin to comprehend.” Born in Italy, Dana Valery had been a recording star in South Africa, where she grew up, before coming to the U.S. and somehow—I can’t find details on this—hooking up with Paul Simon in Nashville and recording this song of his in 1967. Simon & Garfunkel made their own recording of the song, also in 1967, released on a single with the Bookends song “Fakin’ It”; listen here if you’re interested.

* I’ve long been a fan of David Bowie’s perpetually overlooked Black Tie White Noise album, which feels like one of his most cohesive efforts, and is highlighted by his playing the saxophone again after many years away from the instrument. The album received positive reviews at the time, but Bowie was at something of a career low point when it came out—he had followed up two mediocre albums with a five-year stint in the hard rock group Tin Machine, which in the long run served rather to diminish his cultural and artistic stature. And so while Black Tie White Noise seemed to creatively rejuvenate him, his next few albums were not especially accessible, leaving him further off by the cultural wayside through the rest of the ’90s and into the ’00s. There was a lot of fine music released during this period, but most people seemed to have stopped paying attention. Finally, in the 2010s, came the full-fledged Bowie revival we seemed collectively starving for at that point, with 2013’s The Next Day and especially, if tragically, the all-but-posthumous release in 2016 of Blackstar. As for “Jump They Say,” the lyrics have very vaguely and impressionistically to do with Bowie’s step-brother Terry, who suffered from mental health issues and committed suicide. The song made the dance charts but not the pop charts here in the US; over in the UK, however, it was Bowie’s only top-10 single between “Absolute Beginners” in 1986 and “Where Are We Now?” in 2013.

* The Band was rare if not unique in rock’n’roll history for having three terrific lead singers. And while Rick Danko might not have been the most powerful or obviously talented, he was always my favorite; there was something in that forlorn quaver of his that reassured me on many different levels. His debut solo album, self-titled, came out in 1977 to solid reviews but generated very little interest, especially as The Last Waltz was released not long afterward and far overshadowed it. But Rick Danko a solid effort, with a bunch of fun and hearty songs, and the benefit of hearing Danko sing on every one. While it was eventually released on CD, it’s not that easy to find. If you ever see it selling for a few bucks in a bin somewhere, scoop that baby up. I’ve closed out the playlist this month with the album’s closing track.

Full playlist below the widget.

“Velocity Girl” – Primal Scream (b-side, 1986)
“Dog” – Widowspeak (Expect the Best, 2017)
“Stolen Hours” – Patrice Holloway (single, 1966)
“Jump They Say” – David Bowie (Black Tie White Noise, 1993)
“Grafton Street” – Dido (Safe Trip Home, 2008)
“Summer Soft” – Stevie Wonder (Songs in the Key of Life, 1976)
“Calcutta” – Lawrence Welk (Calcutta!, 1961)
“So Here We Are” – Gordi (Clever Disguise EP, 2016)
“I Can’t Forget Tomorrow” – Sylvain Sylvain (Syl Sylvain and the Teardrops, 1981)
“Until You Came Along” – Golden Smog (Weird Tales, 1998)
“It’ll Take a Long Time” – Sandy Denny (Sandy, 1972)
“Colorguard” – Division Day (Beartrap Island, 2007)
“Kansas City” – The New Basement Tapes (The New Basement Tapes, 2014)
“You Don’t Know Where Your Interest Lies” – Dana Valery (single, 1967)
“Gates of the West” – the Clash (single, 1979)
“Between the Lines” – Sambassadeur (Sambassadeur, 2005)
“Where Will I Be” – Emmylou Harris (Wrecking Ball, 1995)
“The Desert Babbler” – Iron & Wine (Ghost on Ghost, 2013)
“Ain’t Nobody” – Rufus & Chaka Khan (Stompin’ at the Savoy, 1983)
“Once Upon a Time” – Rick Danko (Rick Danko, 1977)

Free and legal MP3:Mattiel (irresistible, retro-current indie rock)

“Keep the Change” is a high-energy stomper that has the air of an instant classic about it, straddling with flair and sly humor that often fine line between where we’ve been and where we’re going.

Keep the Change” – Mattiel

Featured here previously last April, Mattiel is back with another irresistible slice of retro-current indie rock. “Keep the Change” is a high-energy stomper that has the air of an instant classic about it, straddling with flair and sly humor that often fine line between where we’ve been and where we’re going.

The recurring, six-note motif that launches the song through the intro is an apt aural symbol of the slightly off-kilter fun to come: on the one hand it’s got a Springsteen-esque grandeur, on the other hand it’s being plinked out on what sounds like a xylophone. When the drums join in at 0:14, the momentum is literally unstoppable, the drummer hitting every beat equally through the entire song except for a brief deviation in the pre-chorus, as lead singer Mattiel Brown sings, “When I throw my weight/I never throw it crooked/I always throw it straight” (itself an obliquely amusing thing to say). Another curveball arrives via the decision to call the song “Keep the Change,” in defiance of standard practice, which would derive the title from the song’s most often heard phrase (in this case that would be “Wasted all my time”). “Keep the change,” on the other hand, is a lyric we hear just twice (starting at 2:53) in the song’s late-arriving bridge.

And don’t get me wrong—there’s nothing laugh-out-loud funny going on here; the humor is more of that special, smile-inducing kind that music alone can create. If anything, Mattiel herself appears to favor humor of a particularly dry kind. The video for “Keep the Change” is a good example, featuring her setting about, blank-faced, on a series of inscrutable tasks, by herself, in an industrial site that has no recognizable purpose. The biggest clue that she’s having fun comes from the title she’s given the album where you’ll find “Keep the Change”—that title being Satis Factory. It took me a moment to register that. You can listen to the whole thing, and buy it in a variety of formats, via Bandcamp.

The album, her second, was released in June. She still seems to be employing Mattiel as a band name, even as her Facebook site doesn’t list band members. She/they is/are based in Atlanta. MP3 via The Current.



(Note that MP3s from The Current are available in files that are 128kbps, which is below the iTunes standard of 192kbps, not to mention the higher-def standard of 320kbps. I personally don’t hear much difference on standard-quality equipment but if you are into high-end sound you’ll probably notice something. In any case I always encourage you to download the MP3 for the purposes of getting to know a song via a few listens; if you like it I still urge you to buy the music. It’s the right thing to do.)

Free and legal MP3: Marti West (gauzy surface, robust depth)

Underneath the gauzy surface lies a robust and rewarding composition.

“Give Me Light” – Marti West

It might nearly be its own genre: music featuring delicate male vocals in an acoustic setting. I am not inherently a fan of this sound—which can get too whispery-slight for my ears—but it turns out I’m a big fan of “Give Me Light,” because underneath its gauzy surface lies a robust and rewarding composition.

The song launches with urgent finger-picking, strings held relatively high up on the guitar neck; the aura is of reverberant glass. West adds vocals at 0:17, in a tenor register mirroring the spangly guitar line. The verse melody is concise and potent, circling towards a solid but unresolved end point, which leads in turn to a chorus (0:49) pitched around the same melodic space, with now the added sway of percussion. And listen here to how carefully the lines this time build one by one into a firm resolution (the steps proceed from 0:55 to 0:59 to 1:03), so satisfying in its payoff precisely because of the subtle uncertainty propagated by the earlier unresolved melodies.

Another thing I appreciate here are the careful harmonies West provides for himself, which begin in the chorus. Note how they start as same-note harmonies, then separate into beautiful, affecting intervals as the phrase “Give me light” unfolds, twice. Note too how the harmonies then draw back into the melody on the closing phrase (first at 1:03 and then, as the chorus repeats melodically, at 1:17). In an elegantly crafted song like this, these harmonies provide their own gorgeous hook. Yet more elegant craft: the electric guitar that floats in, twice, as structural support (1:24, 2:45)—and, all the better, each guitar break is its own construction, not just one solo repeated.

Born in England, West lives in Göteborg, Sweden. He has previously released two EPs and one eight-song mini-album. “Give Me Light” is the first single to be released off his next EP, coming later this year. You can listen to everything, and buy what you like, on Bandcamp.

Free and legal MP3: Monster Rally (splendid cut-and-paste tropicalia)

Feighan constructs his tunes by mining old records for sounds to cut and paste together, and you can surely hear bygone decades in the instrumental tones—those saxophones all but scream 1940s to me, in the most delightful way.

“Menagerie” – Monster Rally

And then there are sounds I’m so fond of that I love a song from its opening notes, and willingly follow it wherever and however it goes. If you want a more detailed idea of what Monster Rally is about and why I like this so much, you can read what I wrote when I first featured the project back in September 2013. All still holds true for me, despite the years that have passed and the dismal situation we find ourselves in since then. Though I suppose here in 2019 there’s an added air of escapism attendant to the tropical amalgams served up by Ted Feighan, the singular musical brainiac behind Monster Rally.

In any case, listen to this and just enjoy the heck out of it, from the funky tropical groove (those splat-y bass notes from what sounds like a tuba are priceless down there at the bottom of the mix) to both of the two lead melodies (the upward/downward swing of the saxophones; the smooth-as-silk answer from the trombone), to the clunky thump of percussion holding it all together. Feighan constructs his tunes by mining old records for sounds to cut and paste together, and you can surely hear bygone decades in the instrumental tones—those saxophones all but scream 1940s to me, in the most delightful way.

“Menagerie” is the lead single from the new Monster Rally album, Adventures on the Floating Island, coming in September via Gold Robot Records. Note that the project’s previously featured song, “Orchids,” also made its way onto an Eclectic Playlist Series mix (5.07, September 2018), for those keeping score at home.

Free and legal MP3: Pure Bathing Culture (glistening indie rock w/ notable guitar work)

“All Night” – Pure Bathing Culture

I’ve got one more artist with a Fingertips track record for you this month, as the Portland duo Pure Bathing Culture returns with another glistening piece of indie rock, this their third feature here, dating back to 2012. Whereas in previous incarnations the duo presented their guitar-based material wrapped in a cloud of hazy electronics and constructed beats, they are now embracing their inner Fleetwood Mac and going all in on sprightly riffing and buoyant melodies. (Seeing them in person definitely adds to the Buckingham-Nicks vibe, Sara Versprille white-gowned and witchy up front, Daniel Hindman working guitar magic under a balding, curly-haired pate.)

“All Night” is as upbeat as these guys get; the song’s momentum receives an added push thanks to its persistently on-the-beat melody—in the verse in particular, there are a limited number of quarter or eighth notes, and little in the way of syncopation. Over time this lends a subtle breathlessness to the proceedings, reinforced by Versprille’s recurring yelp in the chorus at the end of the lyric “Till black in the sky turns blue.”

Most of all the song in particular, and Pure Bathing Culture more generally, presents an ongoing affirmation on the power and purpose of the electric guitar, despite its relegation to the scrap heap of history by 2010s mainstream pop. Sure, Hindman still tucks his licks in and around a glossy bed of bounce and reverb, but if you have any questions about the intensity of his instrumental commitment, even here in 2019, listen closely to the last 60 seconds of this song, where he out-Buckinghams Buckingham and maybe even out-Knopflers Knopfler in the process. Personally, I think he gets faded out a bit too gently and too early but even in those closing seconds you can feel the heat of his playing.

“All Night” is the sixth of 11 tracks on the band’s album Night Pass, their third, which was released in April and produced by Portland crony Tucker Marine. Listen to it and buy it, in your format of choice, via Bandcamp. There’s even a tote bag for you tote bag fans. MP3 once more via The Current.



(Note that MP3s from The Current are available in files that are 128kbps, which is below the iTunes standard of 192kbps, not to mention the higher-def standard of 320kbps. I personally don’t hear much difference on standard-quality equipment but if you are into high-end sound you’ll probably notice something. In any case I always encourage you to download the MP3 for the purposes of getting to know a song via a few listens; if you like it I still urge you to buy the music. It’s the right thing to do.)