Staff Picks: Music
This is an ambitious aural excursion that you really owe it to yourself to experience. But be warned, this isn’t your typical singer-songwriter verse-chorus-verse stuff. Bill Caskey’s Dymaxion Mothership takes the listener on a complex journey across a lush audio landscape that ranges from contemplative voice and piano to full-on multi-instrumental madness. Some parts are complex and challenging, while other bits are… well… as Buddy Guy once put it, “so funky you can smell it.” Tempo changes are around every corner and the production is superb. Bill’s lyrics are chock full of quirky wit and introspective wordsmanship, creatively weaving imaginative tales of love and life; dreams, a small town in the summertime, and dogs chasing dragonflies. The overall result is a carefully crafted musical journey that’s anything but ordinary.
“My doggie like to chase dem dinosaurs
She plays for sport even though she never scores
Barn swallows hunting bugs in the springtime
She jumps up and tries to utilize her hang time
Barn swallows slip and glide
Doggie tongue hangin’ out the side…”
Musical similarities? Sure, some of the obvious influences creep in here and there… “Hey Alligator” has an undeniable Steeler’s Wheel feel about it (remember those guys?), “Biggest Heart” could have been on Wally De Backer’s (Gotye) last album, and echoes of old school Steely Dan linger throughout… but the final outcome is all of these things… and yet none of them actually. Dymaxion Mothership is an intensely rich and remarkably satisfying original musical experience. Climb aboard the Mothership… it’s an outing you don’t want to miss.
In case you didn’t know (shame on you!), The Relations (including Bill Caskey) put on a July concert at Central Library featuring material from Dymaxion Mothership. The concert is now up in its entirety on KPL’s YouTube channel and our Concert Archives page.
Frankie Valli and the Four (4) Seasons made their mark on the popular music charts in the early 1960’s, combining heavily orchestrated melodies with doo-wop vocal harmonies. With his broad vocal range and unmistakable pipes, Valli helped the group score hit after hit, including such pop standards (aka “oldies”) as Big Girls Don’t Cry, Sherry, Walk Like a Man, Dawn (Go Away), Ronnie, The Sun Ain’t Gonna Shine Anymore, and Working My Way Back To You. Recent interest in the group has come about recently due to the success of the Broadway production of Jersey Boys. Check out Frankie Valli and the 4 Seasons: The Definitive Pop Collection for an introduction to their timeless hits.
Frankie Valli and the 4 seasons
Otis Redding wrote it, but Aretha Franklin owned it – “Respect”, one of the biggest radio and jukebox sensations of 1967, topped both Billboard Hot 100 and Hot R’n’B charts mid-year, reigning supreme on the latter for almost two months. The track cemented the Detroit native’s standing as the “Queen of Soul”, proving its potency as both a civil rights anthem and a dance floor phenomenon.
The Big O’s original Stax version, framed simply as a lover’s question, is a classic in its own right. Pleading being one of Redding’s strongest suits as a vocalist, it’s only natural that his request for “respect when I come home” is less demanding than begging, a “need” that he’s “gotta, gotta have”, never sounding sure that he’s going to get satisfaction as the track fades.
Aretha’s having none of that in her updated NYC arrangement, featuring infectious girl-group vocal support from her sisters Carolyn and Erma, as well as a sweet King Curtis sax break. Standing the nature of the lyric on its head, her assertion that “what you want, baby, I got it” is shouted out with absolute confidence. Adding a lyric not found in Redding’s version, Franklin drives the point home by spelling out “R-E-S-P-E-C-T”, in case it wasn’t clear, adding “find out what it means to me” as an emphatic imperative. The lover’s question has become a statement of purpose, writ large enough to put not just one person on notice, but any and every person within earshot.
"Respect”’s cultural resonance was immediate and lasting. The song’s refrains of “sock it to me” and “TCB” became all-American catch phrases overnight. In addition to earning numerous awards and consistently high rankings on critics’ “greatest songs” lists, it was among the first 25 recordings to be included in the Library of Congress’s National Recording Registry in 2002. A signature song of the civil rights movement, the feminist movement, and Aretha’s storied career, “Respect” deserves all its accolades, truly getting what it’s after play after play.
I Never Loved a Man the Way I Love You
Santigold's music straddles genres--punk, hip-hop, pop, new wave--it's all there. Her influences range from Devo to Nigerian musician Fela Kuti to James Brown. She's collaborated with Kanye West and Lykke Li, the Beastie Boys, and Mark Ronson among others. Her style is hard to define, but she's just so darn cool. After waiting four years since her last album, 2008's Santogold, which I listened to nearly nonstop for months, I'm pleased to finally hear her second album Master of My Make-Believe. Like her first album, Master of my Make-Believe is a genre-blending, layered work of art that you can dance to. My favorite tracks include the single "Disparate Youth" and the first track "Go," a collaboration with the Yeah Yeah Yeah'sKaren O that will make you bob your head. Listen to it at least twice--the more you hear it, the more you'll discover.
Master of My Make-Believe
Do you have a list of songs that simply remind you of summer or that you dust off from their Winter hibernation to crank out on your car stereo or I-pod? I like to have a couple of compact disc mixes in my car that feature some of my go-to tracks as I trek to the lake or head to the backyard cookout. What are your favorite summertime anthems?
Pavement's Cut Your Hair
The Faces' Ooh La La
The Chi-lites' Oh Girl
Michael Jackson's I Wanna Be Where You Are
The Descendents' Silly Girl
Big Star's Thirteen
Stevie Wonder's My Cherie Amor
Seals and Croft's Summer Breeze
Wilco's She's a Jar
Best Coast's Our Deal
Neil Young's Out on the Weekend
Crowded House's Don't Dream It's Over
Hall and Oates' Kiss on My List
Santo and Johnny's Blue Moon, Teardrop and Sleepwalking
The Monkees’ first chart hit featuring Davy Jones as lead singer, “A Little Bit Me, A Little Bit You”, was also the last of its kind. Featuring no musical input from any of the band members other than its vocalist’s, the single’s pre-fabricated nature was at odds with the group’s growing interest in having more creative input, as writers and musicians, on their own recordings.
Assembled in 1966 to star in a TV series about the fictional exploits of a struggling rock combo, the Monkees were considered actors first and foremost, despite their musical credentials. Music biz veteran Don Kirshner provided the music for the first season’s episodes and related record releases. Working under his supervision, Brill Building tunesmiths crafted pop confections honed to perfection in the recording studio by a who’s who of ace session musicians. With few exceptions, the Monkees’ only contributions to these tracks – distinctly appealing as they are – were their vocal tracks.
The formula proved so successful, demand for live appearances by the band grew, and the fictional band found themselves becoming an active performing unit by the start of the new year. Prepared to record their songs as their own instrumental accompanists, the band was surprised to discover that Kirshner had released his production of the Neil Diamond-penned “A Little Bit Me, A Little Bit You” as a 45 without their permission. This move led to Kirshner’s dismissal as musical supervisor of the Monkees project, and paved the way for the band’s first recordings on their own.
This behind-the-scenes drama went unnoticed at the time, and Monkees fans sent the single up the charts by mid-spring of 1967. While the band’s next recordings didn’t abandon the sunshine pop sounds that helped establish them, a wider range of styles and experimentation would begin to appear on their records, especially once their TV series ended after its second season. Pre-fab or homegrown, the consistency of the band’s recordings defines a true “Monkees sound”, and “A Little Bit Me, A Little Bit You” is one of its best examples.
I'm a Believer and Other Hits
I was thrilled to finally check out the newest CD from electronic music legend Thomas Dolby, A Map of the Floating City, but not because I wanted to hear his new music. The reason was the album cover because it was designed by local artist and award-winning comic creator, Paul Sizer. Dolby could not have selected a better designer than Sizer to create a cover that conveyed his feeling of a “dystopian vision of the 1940s that might have existed had WWII turned out a lot differently.” Sizer has a strong history of crafting books like Little White Mouse and Moped Army, with bleak futures that contain strong characters not only struggling for survival, but also fighting for what is right. His “steampunk” style of art works extremely well with Dolby’s theme for the CD. It will remind you classic pulp fiction that Sizer has expertly updated for today’s fan. Paul can now add awesome album cover designer to his resume. I will now go listen to the CD.
A Map of the Floating City
There’s a lot to dislike about the 1970’s including bell bottoms, a gas shortage, and poorly managed sideburns to name but a few but musically speaking, the radio has never been as varied as it was during this decade that saw the birth of punk, progressive rock, disco, Philly soul, funk, and a slew of fantastic singer songwriters like Joni Mitchell, Neil Young, Nick Drake, Harry Nilsson, Billy Joel, Carol King and Elton John. One of the least recognized legends of the Nashville music scene of the early seventies was Mickey Newbury, whose contributions to Outlaw Country is well documented on Drag City’s recently released An American Trilogy. Like Townes Van Zandt, Newbury’s fans have mostly been fellow musicians who revere his beautifully crafted songs. Those who sing his praise include Will Oldham, Kris Kristofferson and Steve Earle. Known as the first “Hippy-Cowboy”, Newbury bucked the Nashville music establishment by doing things his way. He found little commercial success for his recording of the seventies but critics have long praised his touching ballads and lyrical writing. Those who have sung and recorded Mickey Newbury penned songs include Linda Ronstadt, Johnny Cash, Bill Monroe, Roy Orbison, David Allan Coe, Willie Nelson and many more.
An American Trilogy
The Paris Sisters were the first girl group that Phil Spector produced (1961-62) prior to his working with more well known groups like The Ronettes. This collection is a real treat for those who love Spector-produced albums and those strings-heavy, pop songs about boyfriends, heartache and falling in love for the first time. The album culls together for the first time, all of the A and B-side singles from this influential group that with the help of the eccentric Spector and his talent for production, kick started the Wall of Sound style that became Spector’s trademark during the early 1960’s.
The Paris Sisters: Complete Phil Spector Sessions
Fans of Canadian singer-songwriter and poet Leonard Cohen are anxiously awaiting the release of Leonard’s new release, Old Ideas, his 12th studio album and his first since 2004. With a career that spans more than four decades and fresh from almost three years of relentless touring, Cohen (now 77) presents a new body of work that is as introspective and intensely sweet as anything he’s done to date. Somewhat reminiscent of recordings by the late John Campbell, the album’s dark bluesy feel and Cohen’s deep-throated growl puts this release in a class with recent works by Tom Waits and Bob Dylan—dark, sure, but reassuringly soothing and warm.
Old Ideas is scheduled for release on January 31st, so reserve your copy now. Can’t wait to hear it? NPR lets you listen to Old Ideas in its entirety right now! Go give it a listen. Sometimes, Old Ideas are some of the best ideas.