Ok, here’s what we have: an amazing amalgam of poetry and music from Mark (caged by rain, etc.), a moody groove Celeste sent my way four years ago, a current fav — funny with a nice beat — the best drug song ever (dig the drum on knock me clear out), and Levon’s daughter Amy Helm, who I am always pushing on folks, though maybe she’s old news to you, which would be great…
Music
Better than “Heaven”
Songs on the new Stones album might rev me up down the line, but I was put off by early hosannahs for the faux-gospel “Sweet Sounds of Heaven” which features Lady Gaga and Stevie Wonder. Compare “Heaven” with live collabs between Stevie and the Stones from 1972, when they’d mash up “Uptight” and “Satisfaction.” (You can watch here — check Mick and Stevie’s dance — now that’s a throwback!)
Fiesta
For a long time I used to get up early on the day of the Annual Anti-Gentrification Street Festival. I’d join the crew that set up traffic barricades on Claremont, Broadway and Riverside and lug tables from International House—the dorm for foreign students on Claremont—down to Tiemann Place. I’ve tended to flake off lately though. My nephew Jamie and his gen seemed to have taken on the job after my brother Tom died—retiring elders like me. Yet this September I’d been more involved in prep since we’d arranged with our Councilman’s office and the DOT to schedule the “unveiling” of an official sign co-naming Tiemann Place “Tom DeMott Way” on Festival day.
Thanks to a prompt I could not refuse from an Irishwoman, Anah Klate, on September 16th I was up and out on the street by mid-morn (as grey went blue).
Roots & Stem
Sparing you the seconds of time speeding by as the Pentagon’s unauditable bloated budget speeds us toward dead oceans, dead corals and a million species lost…
laughter makes you smarter (redux with Phil Greene & Robert Hunter)
Your editor realized it was dumb not to have put the vid of these Kenyan kids up top when I posted Charlie Keil’s poem (which they helped spark) so…
ted talks this morning one on laughter makes you smarter
another by 93-year old fitness freak got a few yucks
then I went to Drum & Dance Kenyan Children**
With Resolve, Paul
Sisters and Brothers,
Here’s an early musical warm-up for the Labor Day Weekend.
Yes, the United Auto Workers union, led by their new president, Shawn Fain, has edged closed to a strike against the Big Three automakers upon contract expiration on 14 September. And with that in mind, here is a “Rockin’ Solidarity,” originally arranged Dave ‘Redd’ Welsh circa 1985. It’s packed with spirit, and it features Reed Fromer on piano and a vocal chorus from the Freedom Song Network.
The updated and highly relevant images were posted just a couple of days ago by Saul Schniderman, editor of his great weekly, Friday’s Labor Folklore. Enjoy these 3 minutes and 22 seconds of solidarity:
Fanboy James & The Utilitarian Nature of the Blues
Last week on What Did Prince Do This Week?, someone mentioned the documentary, Mr. Dynamite: The Rise of James Brown. That caused me to remember when B. B. King and Bobby “Blue” Bland were on Soul Train in 1975 to promote their joint album, B.B. King and Bobby Bland: Together for the First Time, which is my favorite blues record of all time (here). It doesn’t hurt that King and Bland open the album with King’s seminal song, “Three O’clock Blues.” The first time that I got my hands on the album, it took me a month to listen to the entire thing because I just kept playing “Three O’clock Blues” over, and over, and over, and over until my mother finally yelled from the back of the house, “Boy, if you don’t let the rest of that album play, I’mma come up there and knock you into Three A.M.!” Even though I had the studio version (45”) of “Three O’clock Blues,” this live version was the most amazing thing that I had ever heard. Interestingly, this appearance by King and Bland on Soul Train is also a bonus scene on the Mr. Dynamite: The Rise of James Brown DVD. More than just the music, it’s wonderful to watch James Brown, at the height of his popularity, become a fanboy over King and Bland. When I first saw this performance years ago, it was something to see a man the stature of Brown become almost childlike in the presence of King and Bland.
Use Him
In February 2023, music producer Ian Brennan traveled to Mississippi to record with the prisoners of the notorious Parchman Prison, which has a rich musical history. (Former inmates include Son House, Bukka White, Mose Allison and Elvis Presley’s father, Vernon Presley.) The bureaucratic process behind Brennan’s visit took over three years: “Granted approval a little more than a week before, Brennan caught a red eye flight to be there on a Sunday morning for the few hours he was allowed to record.” Parchment Prison Prayer belongs to the honorable tradition of song-catchers searching for unchained melodies in penitentiaries. This time around, Brennan may have caught at least one song for the ages…
“I give myself away,” sings the vocalist to his personal Jesus (as he makes the piano chime), “so you can use me.” That’s the gospel truth. The singer/pianist is the only Parchman prisoner/performer recorded by Brennan who chose to remain anonymous.
Heat and Light (Hearing Playboi Carti in “First of the Month’s” 25th Summer)
I’m in thrall to chaud bonheur – hot happiness? – a phrase I just learned from Stanley Corngold (who uses it near the end of his post in this batch). The burn flashed me back to my twenties when I locked on promesse de bonheur from Stendhal’s passionate NO to Kant’s el blando Germanic aesthetic: “That is beautiful which pleases without interesting.” Oh, please, please, please…
The rag you’re reading has always hoped to cultivate instincts for happiness. (When I recall my crew’s gone good times in the 80s and 90s, it seems sadly apparent to me that First has served as a sort of substitute for all yesterday’s parties.) First’s fun had never been tuned to disengagement. In our time your editor has invoked C.L.R. James’ “struggle for happiness” and Arendt’s “public happiness.” You can trace the stages of First’s happiness in the About section of this website where there’s an archive of mission statements. What you’re reading here may end up there since I’ve found myself looking backward in this summer of our 25th year in the game.
It’s Playboi Carti’s “Sky” that’s put me in retrospective mode. Carti repurposes a melodic line from a hip hop track by Bone Thugs-n-Harmony that gave First of the Month its name.
“Every Brain Needs Music” (Ren & Professors)
The camera shows an apartment with cracked and peeling walls, empty except for two old lamps that flicker, only deepening the gloom.
A masked figure pushes a wheelchair into the center of the room, then leaves. In it sits a young man dressed in a hospital gown, hunched over an acoustic guitar. A title card flashes: “Hi Ren.” Looking up, the guitarist begins to pluck out a flamenco-style tune, which, after a few bars, lingers on a bended note before sputtering into a series of dissonant arpeggios that climb the neck. The melodic line pivots again—now to a simple round of harmonious chords, the stuff of countless folk songs. And then the performer begins to sing …
The next eight minutes defy genre labels, although the song contains elements of hip-hop and punk, plus a little yodeling. It is a piece of one-man musical theater featuring two characters, both called Ren. (The artist is a young Welsh singer-songwriter named Ren Gill.) One of them is a musician, just barely back on his feet after years of a debilitating illness. The other is a personification of his anxiety and self-contempt, with a raspy voice full of needles and poison, who gets the best lines. The characters have contrasting demeanors and even play the same tune differently. Clearly they have been fighting for a long time. The healthy Ren wants to escape his doppelgänger, or even destroy it, but he remains at a profound disadvantage: you cannot escape your own shadow.
Ren & Band
“Hi Ren,” per Scott McLemee above, might be the best intro to the range of talents that’s made virtuoso Ren a trauma-stomper for his own gen and plenty of elders. (McLemee also twigs to Ren’s rap.) Right now, though, I prefer hearing our Rennaisance boy-prodigy play with Big Push, the band he’s busked with in recent years. Their live performances are shot through with plain joy in musicking. When they do “Paint it Black” or “Johnny B. Goode” or “Guns at Brixton,” I flash back to mid-60s battles of bands. Ren and Big Push haven’t covered “Gloria“ yet but I’m sure it’s in their future…
A couple videos of Ren and friends pushing the feeling:
Work With Me Anna (A Tina Turner Diary)
J.T. Lewis wrote up “my Tina Turner story” a couple years ago. Wish it wasn’t on time again but…
“Love…Thy Will Be Done” (& Jody is a Preacher)
C. Liegh McIness commended a lovely track by Prince that wasn’t released until after his death, Baby You’re a Trip, and that, in turn, led your editor to another amazement on Prince’s posthumous Originals collection. A version of this song, with the Cuban American pop singer, Martika, doing the vocal, was a hit in Australia. Here’s Prince’s version…
Taking Bad Bunny Seriously
First, some facts about Bad Bunny, in case you think he’s a rowdy pet. He’s Billboard’s artist of the year and Spotify’s most-streamed artist for two years running—an amazing feat for someone who sings in Spanish. His reach is global, but his songs are local, rich with Puerto Rican slang. (I’ve heard him introduced as “Ba-Boney” on Spanish-language TV.) He looks like he was born in a baseball cap, but he sometimes performs in a dress. He chose his stage name because, as he told the late-night host James Cordon, “even when he’s bad, he’s cute.”
“Old Violin” & Hate Songs
Anger is an energy. Per Johnny Rotten and Richard Meltzer, though I couldn’t recall where/when Meltzer mused on animus in rock ‘n’ roll attitude so I asked him for a steer…
I’m sure—I know—I’ve said it…and things much like it…in lots of places over the years, but I couldn’t give you a GPS on it…it’s just in multiple creases and cracks in the rock-roll road.
I’m sure I’ve said, specifically, that SECOND-PERSON HOSTILITY is an omnipresent aspect of rock all the way back to its Delta Blues origins, much deeper than anything as benign as “attitude”: I dislike, detest, abhor YOU. Add gender hostility to the package (usually, but not always, as “misogyny”) and you got one throbbing heap of reliably functional HATESTUFF.
Anger isn’t quite the same…no…but…well…good luck in your search.
Levin Speaks of Rivers
on hearing dexter gordon
and the sam rivers trio
at zellerbach
“Baraye Azadi” (Iran’s Freedom Song)
The single best way to understand Iran’s uprising is not any book or essay, but Shervin Hajipour’s 2m anthem ‘Baraye’ which garnered over 40m views in 48 hours (before he was imprisoned). Its profundity requires multiple views. (Translation by @BBCArdalan)
The lyrics are a compilation of tweets for #MahsaAmini that evoke felt life among the young in a modern society ruled by a geriatric religious dictatorship. The tweets speak “to the yearning for ‘a normal life,’ instead of the ‘forced paradise’ of an Islamist police state.” [Per Karim Sadjadpour. More adapted tweets from him below the song.]
https://www.youtube.com/watch?v=0De6Asvzuso&ab_channel=iWind%21
Jerry Lee Lewis: An Appreciation
“One of the Most Talented Human Beings To Walk on God’s Earth”
Killer Storm
What’s above is the entry on Jerry Lee Lewis from Greil Marcus’s annotated discography to the collection of essays he edited: Stranded: Rock and Roll for a Desert Island.
“Folk Music” (Amplified)
Greil Marcus’s new book on Bob Dylan opens with a Dylan quote—“I can see myself in others.”—from a loose press conference with journalists in Rome in 2001. I recall listening to audio of that same rap session on YouTube and noticing another line that’s not at odds with the one that jumped out at Marcus. Dylan responded to a convoluted question with his own humorous query: “Am I an idiot?” he asked. This wasn’t a mid-60s prickly (Neuwirthy?) tease. While Dylan was playing to the crowd and encouraging them to laugh with him, he wasn’t coming hard at his questioner (who seemed to take his soft goof well). What struck me was that Dylan, even though he was only acting as if he was clueless, seemed entirely alive to how it might feel to be hopelessly at sea mentally. After all, he’s known what it was to be an unworldly Midwesterner at a Village party with an older generation of haute-bohos. (“I was hungry and it was your world.”) And that, in turn, puts him a thousand thought-miles away from heads who act like they’ve been tenured since they were ten.
The Girl Who Fell to Earth
One day, I’ll come out of my shell, I’m sure,” says Aldous Harding. She does not seem to be speaking to anyone in particular; her words seem directed mostly at herself. A few minutes later, she repeats those exact words as if she hasn’t said them before. Aldous Harding—real name Hannah Harding; her stage name is presumably taken from the author of Brave New World and even now produces a brief mental ripple of confusion every time I say it out loud—is from New Zealand, and this is the second time I have seen her. My dear friend Andi is with me; this is the third time she’s seen her. Harding is just that sort of singer, the kind you wish you could see every year.