There’s a two-way race for my favorite album of 1995 between Ben Folds Five and Tomorrow the Green Grass, by the Jayhawks. I’ve gone on about the latter before, noting I discovered it in the very early days of dating my future wife, and that the Wilco/Jayhawks show I saw that summer ranks as possibly the best concert I’ve attended. It couldn’t have been long before I started investigating their earlier works Blue Earth (from 1989, on their hometown Minneapolis label Twin/Tone) and 1992 major-label debut Hollywood Town Hall, released mere weeks after I began working at Georgetown.
Over the years I’ve found I keep going back to Hollywood Town Hall periodically, and it never fails to delight. HTH, produced by George Drakoulias, was well-received critically at the time, and some consider it the ‘Hawks’ finest moment. Alas, it peaked at only #192 on Billboard‘s album chart (though it made some noise as a Heatseeker), lower than any of their next six disks. It’s more than worthy of some attention, so let’s listen in on a few tracks.
The album leads off with the only song of theirs to make the Album Rock and/or Modern Rock charts; “Waiting for the Sun” may also be the one you’re most likely to recognize now. That’s Gary Louris on lead vocals.
Next up is “Crowded in the Wings,” highlighting what made early Jayhawks music most stand out: the synergistic harmonies of Louris and co-leader Mark Olson.
“Clouds” starts off sounding like a rocker, but quickly settles in to a more gentle interplay between Louris’s and Olson’s guitars. We later find out that intro also serves as the bridge. “God of the rich man ain’t the God for the poor.”
Back in the old days, “Sister Cry” would have led off side two. It’s another bout of epic harmonizing, especially on the chorus.
My favorite on the album is “Settled Down Like Rain.” Understated playing, lyrics, and singing. Gorgeous and memorable.
I go on regularly about sequencing, particularly the importance of ending an album with the right tune. What makes a closer the “right” one? I suspect context plays a big role; sometimes it’s good to go out somberly, other times rockin’ hard. “Martin’s Song” is one of two songs on HTH that also appeared on Blue Earth. Whatever it is, it’s got that last song feel, and the band agrees–it concluded Blue Earth as well.
Olson left the band after Tomorrow the Green Grass. Louris continued on with the others for several more years (I saw them a second time in Lexington a couple years later in support of 1997’s Sound of Lies). Over the last decade, they’ve reunited, recording and touring periodically; Olson even came back for one album in 2011. Their most recent effort, XOXO, was released less than a year ago.
When I began teaching assistant duties in the fall of 1987, the students in my two Calc I recitation sections were only about five years younger than I was. Whether that made the job easier or harder, well, you’ve got me. On one hand, even if I didn’t come from the Chicago suburbs like so many of them did, we stil had roughly the same popular culture references to draw upon. I could be their advocate as the need arose with the professor who ran the course and lectured three times each week. On the other, while I knew how to do first-semester calculus, that hardly meant I understood it well enough, or had enough experience with it, to help my charges better grasp course material during our Tuesday-Thursday Q&A sessions. Regardless, at least one of them must have had an okay experience: I ran into Dave occasionally around campus over the following couple of years, and in the spring of 1990, he invited me to join his fantasy baseball league (took 2nd place that year, and 3rd in 1991).
The following semester I was given complete charge of a trigonometry class. A valuable experience, but I struggled with having so much responsibility for the first time. The worst of it was determining final grades in borderline cases. After the semester ended, I received a lengthy, impassioned, typed letter from Kathleen, who’d wound up on the low end of such a decision. She and I had met in my office shortly after grades had been posted to talk about the situation, and her letter arrived in my departmental mailbox early the next week. The grade assigned had real world consequences; it would keep her from admission to the program of her choice in the College of Education. “I know this is what the numbers say but sometimes you have to look past the numbers, William, and take more of the student and the efforts into account…As students, we generally get what we deserve and we are well aware of this. In this situation, however, I do not feel that I have gotten what I deserve.” It was a very close case, and to this day I’m unconvinced I did the right thing by electing not to change Kathleen’s grade.
My remaining assignments as a TA were, with one exception, second-semester calculus. In the fall of 1988, I had two sections, taught back-to-back. This was the only time I wasn’t teaching in Altgeld Hall, the math building; instead, I was in Henry Administration, just south of Altgeld. Calc II is a fun class to teach, assuming you’re into that whole calculus thing to begin with. In my experience, though, it tends to be the hardest course in the sequence for students–determining which integration technique to use or which convergence test to apply to an infinite series can definitely be a challenge the first time through. I think my confidence (as well as my ability to explain) was on the rise by this time. I do still have the notes I made more than thirty years ago, and I continued to reference them with some frequency in my first decade or so on the job.
Kathy was in my first section that fall. A few weeks into the term, she asked me to attend an “invite a teacher to dinner” function her sorority was hosting at its house on a Friday evening. For someone who hadn’t imbibed of Greek life as an undergrad, this was an opportunity I felt I shouldn’t miss, and it turned out to be plenty interesting.The women of the sorority broke into singing a couple of times, and quite a number of fellows from a frat dropped by mid-event (I have no idea if this was expected or not) to start a back-and-forth songfest. However, this wound up being the last time I saw Kathy, as she dropped the class the following week.
I had a high school student in the other section. Kie was a senior at Uni High, a small, selective school located on campus–perhaps one or both of her parents were professors. Not terribly surprisingly, she was among the very best students in the class. She was also the most curious and inquisitive, occasionally staying after class to ask about generalizations or extensions of an example or a topic. Over the course of the semester, I learned that Kie was precocious in more ways than just mathematically. Altgeld Hall has a carillon in its tower; it normally just chimes every quarter-hour, but during the week there’s a daily fifteen-minute “show” right before noon. Kie provided that entertainment on Thursdays, and once I climbed up into the tower with her to watch her maneuver what looked like organ pedals (but were at hand level). She also had a weekly show at WEFT, Champaign-Urbana’s community radio station. I tuned into it once or twice. Her musical interest at the time was dub poetry, which has its origins in reggae.
(And now, an abrupt transition after that long intro…) I’m pretty certain it was on WEFT–maybe on the show right after Kie’s, maybe several weeks later–that I first learned of the wildly creative 3 Mustaphas 3. A collective of musicians in the UK, their conceit was they came from the Balkans and were all nephews (and a niece) of the fictitious Patrel Mustapha. They played a dizzying array of instruments, sang in a multitude of languages, and mashed together musical influences from all over the globe in an onslaught of rhythms, tempos, and time signatures. The group’s catchphrase–“Forward in All Directions!”–sums things up pretty well.
Eventually I came across the Mustaphas’ 1989 release Heart of Uncle at the Urbana Free Library, and my officemate Paul ripped it onto a cassette for me (fear not, I eventually bought a copy of the CD). I don’t have much “world music” in my collection, but Uncle is one of the most fascinating and entertaining disks I own.
Things kick off with “Awara Hoon,” sung in Hindi:
One of my favorites is the rollicking “Trois Fois Trois (City Version).” This time we’re treating to vocals in French and Spanish. It’s reprised in a ‘Country Version’ later on the album.
Several of the tracks are instrumental; I’ll embed two of them for you. First is “Sitna Lisa,” which combines elements of Celtic and Middle Eastern music.
Next is “Vi Bist Du Geveyzn Far Prohibish’n?” It’s a spirited piece that only becomes more frenzied as it builds.
“Kem Kem” is sung in Kiswahili with some beautiful harmonies.
The one tune sung in English is “Taxi Driver (I Don’t Care).” It’s pretty tame in comparison to most of the other songs.
And I’ll wrap up with the riveting and haunting “Aj Zadji Zadji Jasno Sonce,” sung in Macedonian.
As it turns out, back in Kentucky, my college roommate James and his wife Amy independently discovered the Mustaphas via their even more eclectic 1990 album Soup of the Century. That disk turned out to just about be it for 3M3–an outtake/remix album ensued, as well as a live album several years later. Maybe they felt that the string had just played itself out on this venture, and they were ready to move to other pursuits. Regardless, it’s a ride I’m glad to have found and taken.
One of the great things about teaching college is the ongoing opportunity to meet a wide range of promising young adults. That continued of course at Illinois after the fall of 1988–I still recall a number of students specifically, and wonder how things turned out for them–but for some reason, the moments you carry around in your head for years afterward happened less frequently after those initial semesters in the classroom. (I think I tend to have stronger memories of students from my first years at Georgetown, too, for what that’s worth.)
On December 18, 2000, a 41-year-old mother of two boys was killed after being struck by a speeding motorboat as she pushed her older son out of the way of the oncoming craft. The boat shouldn’t have been there, and certainly not at that speed; the family was participating in a recreational diving expedition off the shores of Cozumel, Mexico. It turned out that the boat was owned by the founder of a large Mexican supermarket chain. Ultimately a boathand confessed to being at the helm when the accident occurred, though it’s not clear that was actually the case.
It took about ten days for news of Kirsty MacColl’s tragic death to reach a 36-year-old new father in Kentucky. He put disk after disk into the CD player on top of the refrigerator; more than once that day he rocked his eight-week-old son in the kitchen, in an attempt to console (for entirely different reasons) both the boy and himself.
MacColl is best-known for her collaboration with Shane MacGowan and the Pogues on “Fairytale of New York,” one of the UK’s most popular holiday tunes (it makes an annual pilgrimage to the British pop charts these days, and is currently sitting at #4). It’s a great song, though I sure wish it didn’t include a certain word they rhyme with “maggot.” ‘Tis the season for playing it, I suppose, but that’s not what’s on my mind today.
I’d proclaimed MacColl’s Kite in real time as my favorite album of 1990–it was almost certainly the disk I’d listened to most that year. Though it’d been released in the UK in May of 1989, it would take over a year for it to land in my hands, a purchase likely spurred by a positive Rolling Stone review.
Today, on the twentieth anniversary of her passing, I’ll attempt to honor MacColl’s life and work by playing some of Kite‘s top tracks.
I’ll bet I played “Innocence,” the first song on Kite, at least ten times the day I first slipped the CD into my player. The single mix we hear in the video is different from what I’m used to hearing, but I suppose it’s close enough.
“Free World” was the lead single and reached #43 on the British charts. (Note that they dub in “wag” for “shag” in the clip below.) It’s also the name of the fan site kirstymaccoll.com.
Steve Lillywhite, MacColl’s husband at the time, produced Kite. “Days,” a Kinks cover and the biggest hit in Britain from Kite, shows off Lillywhite’s skill in multi-tracking her voice.
“Don’t Come the Cowboy with Me, Sonny Jim!” is a plaintive cry from a woman too often on the bad end of romantic encounters to a man she sees as a little different from the rest. We’ve now hit on all four UK singles from Kite.
While there are multiple tracks on Kite I love to belt out alongside Kirsty, my fave for doing that (and fave song overall) is the driving “Tread Lightly.” Best line: “I curse the day I met you but I won’t forget you/Not in my lifetime.”
MacColl had done background vocals on the Smiths’ “Ask” in the mid 80s. She maintained contact with Johnny Marr, and the two co-wrote a couple of songs for Kite. “The End of a Perfect Day” might be the best Smiths tune that Morrisey didn’t sing. (A cover of “You Just Haven’t Earned It Yet, Baby” is one of three bonus tracks on the CD).
Another bonus is a rousing cover of Anna and Kate McGarrigle’s “Complaint Pour Ste Catherine.” Her French sounds pretty good to me (it’s one of two songs she sings en français).
I lapped up MacColl’s next two albums, though I didn’t find them nearly as magical. Her last disk, Tropical Brainstorm, was released just a few months before her death.
Rest in peace, Kirsty–you’re certainly not forgotten.
About a year after buying Kite, I found this on the Usenet newsgroup rec.music.reviews:
I don’t remember now if I noted at the time the reviewer was a mathematician, but several years after this, I found myself in his home. I was attending a conference in Atlanta; it turns out that Mulcahy’s wife, who teaches at Emory, is an occasional collaborator with my dissertation advisor, and I’d scored an invite to a reception they were hosting. I may or may not have chatted with Mulcahy, who’s Irish, about Kirsty that evening…
I know that MacColl will appear in this space at least a couple of times in 2021; look for another cut from Kite in February.
One night early this week I was grading exams, listening to a mix tape from 1995, one good enough to write up someday. One song came from Victoria Williams’s 1994 LP Loose, and she and her music have been on my mind all week. To the extent that Williams is actively recalled today, it’s probably as much due to health matters as her albums: after being diagnosed with multiple sclerosis in the early 90s and no health insurance, a number of her friends in the biz got together and recorded Sweet Relief, a tribute disk to raise money to help her address her condition.
Before MS set her back, Williams had released two records: Happy Come Home on Geffen in 1988, and (after that bombed) Swing the Statue! on Rough Trade two years later. It’s lost on me now how I became aware of her work–forced to guess, I’d say I took a flyer on Swing the Statue! from a cutout bin late in my time at Illinois. Eventually I learned that Williams had been married to Peter Case in the mid-80s, appearing on his mighty fine first solo LP.
Williams has a keen eye and is a good storyteller. Her voice might be a bit of an acquired taste–at its most endearing, it’s childlike, full of wonder about the world. I could see how some folks might not exactly dig it, though. As for me, well…I’m writing about her, yes? Here are some of the highlights from Statue, a very solid record.
The album starts off with the whimsical “Why Look at the Moon.” The clip below is from an appearance on The Tonight Show (short interview with Carson at the end). I think we get a good sense of what she’s about from it.
Did I know that Swing the Statue is a children’s game? It plays a role in “Tarbelly and Featherfoot.” Lou Reed performed this on Sweet Relief.
Williams was definitely influenced by the Christianity of her youth, as “Holy Spirit” attests.
On the other hand, ”Summer of Drugs” gives us a tour of a completely different world. Soul Asylum led off Sweet Relief with their version.
Somehow I know “I Can’t Cry Hard Enough” better than any of the songs on this album. A version by The Williams Brothers (no relation–they’re nephews of easy listening legend Andy Williams) hit #42 in 1992; maybe that’s what I’m thinking of. You’ll notice below that David (who co-wrote it) and Andrew are both contributing here.
Victoria Williams made a cameo appearance at one of the most enjoyable concerts I ever attended, but I guess that’s a tale I’ll save for whenever I write up that mix tape.
My wife and I are outliers when it comes to watching television. As in, we rarely have the TV on. No Netflix subscription, no Amazon Fire Stick or Roku. I received the complete Rockford Files for Christmas last year, and we’re about halfway through Season 1, for what that’s worth. We do have basic cable, but mainly because it seemed to make sense to bundle it with our internet (I’m not sure that’s the case any more).
I have the distinct sense we’ve missed out on some very good series over the years; I guess the good news is that living in the streaming era allows us to catch up sorta quickly if we ever get the bug? Via my Twitter feed, I’ve become aware of the titles of many of the possibilities. And since the Emmy Awards happened just a couple of days ago, I guess I’m learning even more about them this week. Take Schitt’s Creek, for instance. Record number of awards for a comedy–that’s pretty cool, I suppose. But while I knew the name, I’d never bothered to find out it was a Canadian series, or that it just ended, or that it starred those SCTV stalwarts of long ago, Eugene Levy and Catherine O’Hara.
Even though I don’t know much of anything about TV these days, I do store plenty of music trivia in my noggin, and the tidbit coming to mind right now is that Mary Margaret O’Hara, Catherine’s sister, released an album in 1988. Miss America had actually been recorded four years earlier, and it took all that time for MM to win the battle with Virgin to get it out on the market. Feel certain that it came to my attention via Rolling Stone; apparently they were sufficiently impressed, and sometime in the early 90s I picked up a used copy:
(Aside: my friend Greg was adamant about not peeling the stickers off used CDs he bought–he wanted to maintain some semblance of an historical record. I think I began following suit the year he and I roomed together. Now if only I could remember whether Periscope Records was in C-U, or the Cincy area, or Lexington, or somewhere else. Another case of winning the battle but losing the war.)
I found Miss America a difficult listen the first few times I put it in the player, and it wound up falling out of favor pretty quickly. In the last couple of years, though, I’ve sought out a song or two from it on YouTube, and am finally beginning to embrace O’Hara’s exquisite, tortured voice. Let’s wander around some of its better tracks.
“Year in Song” is track 2, and one of the more challenging cuts. “Joy is the aim,” O’Hara notes, and proceeds to make it clear that’s not on the horizon. Nonetheless, the title has stayed with me over the years, and was incorporated into the title of one of my earlier posts.
Next up is “Body’s in Trouble,” which as this Pitchfork review from a couple of years ago notes, straddles the divide between stuff like “Year in Song” and the stunningly beautiful songs here. O’Hara isn’t so much singing as she is inhabiting her work. It’ll be a while before I’ll think of the phrase “Who do you talk to” in a way different from how it’s presented here. We also get to witness her approach to the craft in the video.
Probably my favorite right now is “Anew Day,” the closest thing to a potential pop hit on Miss America. In contrast to just about everything else on here, it’s jaunty and optimistic. We also get to listen in as O’Hara creates new language.
No overview of Miss America would be complete, though, without showcasing how breathtakingly beautiful O’Hara can sing. I’ll give you two examples: “Help Me Lift You Up,” and the phenomenal closer, “You Will Be Loved Again.” (But don’t overlook “Dear Darling.”)
Mary Margaret went down a completely different path in the arts from her more famous younger sibling, and hardly recorded following this release. We’re fortunate to have Miss America, though, and I plan on keeping it in occasional circulation now.
When I learned I was moving back to Kentucky from Illinois to start the small-college academic life, a top priority was figuring out where to live. Lexington had many more options for apartment living, so it made sense to concentrate my efforts there. I wound up choosing a complex called Raintree, on the southeastern side of town. Not for the indoor pool, which I never used, but for its fairly easy access to the interstate, and hence work: turn left at a stop light, go two-point-five miles until you hit I-75 North, whereupon after another fifteen minutes you’ve reached Georgetown. I lived in apartment #2602 for not quite a year-and-a-half.
There was a strip mall within easy walking distance of Raintree. Among its offerings was a TCBY, a couple of restaurants (locally-owned Cajun and Italian), a gaming store, and an independent CD shop. I imagine I was in the last of these around twice a week, scoping out both new releases and the used bins. Their prices were only okay–I got more stuff at a couple other places in town–but you couldn’t beat the convenience factor.
In those final months at the apartment, maybe one mid-fall, late Friday afternoon on my way home, I swung by this store (alas, the name’s long forgotten to me now) and picked up Ring, the new album from Raleigh’s Connells. I’d known of the band for a few years by that point, though I wouldn’t be shocked if in-store play factored in my decision to buy it.
I wouldn’t say that Ring ever slotted in as one of my go-to CDs, with repeated listens over several weeks. It does, however, possess a top-drawer first four songs, along with a few other charmers among its thirteen cuts. Let’s take a dip into it.
Leading off was the Connells’ third and final Modern Rock Tracks top 10 song, “Slackjawed.” This would definitely have caught my attention if they played it over the store’s system. Could have been a pop hit in another universe…
Next is “Carry My Picture.” One of a couple of songs here about a romantic relationship gone sideways in one form or another. Nice, driving track.
“’74-’75” was a top 10 hit all over Europe in 1995. I heard it on the radio occasionally here, probably on WRFL, but it somehow never dented a chart in the U.S. “I was your sorry ever after”–this is the one that truly never left my head.
I came across the song’s video a few years ago and was fascinated by the then (as of 1993)-and-now shots of sixteen members of the Class of ’75 from Broughton HS in Raleigh. It was only in writing this up that I learned the director updated the clip in 2015 for their 40th reunion. As you’ll see, one of the 16 had passed in the intervening years. It’s almost as affecting as the song.
“Doin’ You” wraps up Ring‘s incredible start. It’s got quite the load of vitriol, but I way dig it.
We’ll wrap with a couple of the songs from later in the disk. “New Boy” was the B-side to “’74-’75.”
And the closer, “Running Mary,” lopes along nicely, throwing in a time signature wrinkle here and there.
After Ring, things got a little tougher commercially for the Connells (not that success really ever found them). Three more albums followed, the last in 2001. There are hints on their Wikipedia page that there may be another one forthcoming in the near future.
Over the past four weeks I participated in a class called Course Design Institute, offered via Spalding University and under the auspices of the Association of Independent Kentucky Colleges and Universities (AIKCU, for short). Roughly forty colleagues from across the state, including ten or so from my institution, learned alongside me about best practices in setting up online courses, you know, just in case. It was very much a worthwhile endeavor; our instructor shared many valuable insights and resources, and I’m already putting a good bit of it into practice as I prepare for the coming school year. Even though current plans call for as much face-to-face interaction as possible, I’m expecting to be doing plenty of classroom-flipping in most of my courses.
Our instructor’s first name–which I’ll reveal down the way–isn’t all that common, and is one that always makes me think of a song on a fine but obscure album from 1984, Jane Siberry’s No Borders Here. I’ve written some about Siberry before, featuring tracks from her 1988 disk The Walking a couple of years ago. No Borders Here was her second album, the one that began to get her noticed in her native Canada. It’s plenty arty–there’s a reason why she was promoted as being in the vein of Kate Bush–with lots of word play and abundant shifts in time signature, tempo, and rhythm. The production is competent but not as lavish as she would receive on future recordings. One of my bridge-playing friends at Illinois put me on to No Borders Here; since I already knew about The Walking, that wasn’t a hard sell, and it quickly became the album of Siberry’s I most consistently enjoy. Here are a few of the choicest cuts (though one of my faves isn’t available on its own on YouTube).
The album kicks off with “The Waitress.” You get a good idea of what you’re in for from the get-go. Most memorable line: “I’d probably be famous now if I wasn’t such a good waitress.”
Next is “I Muse Aloud,” whose narrator takes the odd position that she “fill(s) (her boyfriend) up with so much love” that he has no option but to fall for the girls he meets while out and about.
After treats like “Dancing Class” (about a woman who takes lessons for many years) and “Extra Executives” (in which a salesman’s behavior gets compared to that of a grouper fish), we get “Symmetry (The Way Things Have To Be).” Just remember: “You can’t chop down the symmetry.” The poster of the video on YouTube indicates these scenes come from Dames, a 1934 flick choreographed by Busby Berkeley.
And our last feature is my favorite, a track that reached #68 on the Canadian charts. “Mimi on the Beach” is also the song that’s been on my mind this past month as I’ve gone through my class. Great lines: “I stand and scan on this strand of sand;” “She’s checking out her arms and legs/In case her casing’s getting burned.”
Many thanks to Prof. O’Malley for her feedback and help–I hope I can translate the experience into good things for my students.
You can find a link to the entire album here. Twenty-seven minutes in is “Follow Me,” a real charmer that I wish I could have more easily shared.
Last week I saw that we’d reached the twentieth anniversary of the release of one of my all-time favorite albums, Aimee Mann’s Bachelor No. 2. Martha was close to the four-months-point of her pregnancy with Ben when I picked it up; I know I had it already on play in the car when we went to a shower thrown by her soon-to-be former colleagues at Midway early that summer. Songs such as “Red Vines,” “Satellite,” “Ghost World,” and (especially) “Calling It Quits” are all brilliant–I recommend going out and finding it if it’s not familiar.
But that’s not my agenda today. Instead, I’m taking a closer look at Mann’s first solo record, Whatever. It came out in May of 1993, twenty-seven years ago this week, and more than four years after ‘Til Tuesday’s third and final album, Everything’s Different Now. Whatever is very close to Bachelor‘s equal, and signaled that the growth and potential Aimee showed in songs like “Coming Up Close” and “Rip in Heaven” (from ‘TT’s second and third albums, respectively) had fully matured/been realized. Even without much commercial success, Mann was here to stay. Here are a half-dozen cuts from it.
The opening track and lead single, “I Should Have Known,” had a more muscular sound than anything Mann had done before, and could be considered an announcement of her arrival. Somehow I’d never seen this video before.
The fourth track, “Could’ve Been Anyone,” is a strong contender for my Mann Top 10. I can’t say now if I put the line from the bridge, “It isn’t description so much as disguise” on the label for one of the tapes I made for James, but it’s perhaps the standout lyric on the whole album.
Mann is a master of the rhyming triple. She’d already begun the practice while still in ‘Til Tuesday, but it flourished over the course of her solo career. This song, about what the narrator believes is a premature end to a promising relationship, treats us to “departed/outsmarted/started” in the chorus.
I swear I didn’t choose to write this album up because Mann included a song called “Mr. Harris.” However, I’ve always found this tune, about the desire for a June-October relationship, deeply moving. The oboe/brass interplay in the musical interlude doesn’t hurt, either.
Another highlight is “I’ve Had It,” a poignant exploration of the frustrations and inevitable disappointments of being in the music biz.
The album wraps up with the rollicking “Way Back When,” another song I know I put on a tape somewhere along the way. I love to sing along. Also: many more triples!
I’ve skipped over several good ones: “Fifty Years After the Fair,” “Fourth of July,” and “I Could Hurt You Now,” among others. It’s a delight from start to finish. As I said in one of my earliest posts, I would have been surprised if you’d told me in 1985 (as much as I liked “Voices Carry”) that Mann would be the one artist from the 80s whose work I tracked consistently over the following thirty years. Without Whatever, that might not have happened.
Like my college, the church I attend has gone the Zoom route for gathering dispersed people for face-to-face conversations. Our minister isn’t doing live services–he’s working with congregants to piece together abbreviated services that are recorded in advance–but today a couple of the adult Sunday School classes got together over Zoom for a while. It’s good to see people’s faces and hear their voices after weeks away from one another (the same holds true for my students–I’m not having class per se online, just Q & A sessions at our regularly scheduled meeting times–I may be a little surprised at how much of a lift I’m getting from interacting with them).
But this morning, rather than watch the pre-recorded service with Martha, I was in the basement gathering thoughts about my next set of Calculus II notes and videos (if you’ve been wondering what my voice sounds like, my YouTube handle is cayleytable–there’s some really enthralling calculus content there, letmetellya) and attending the church of Steve Forbert, specifically his 1988 album Streets of This Town. A couple of songs from it have been knocking around my head as of late, resonating with how I’m feeling about the current times. Streets was a comeback album of sorts, Forbert’s first release in several years. It didn’t sell all that much, but the little buzz it generated reached my eyes or ears; I got it through Columbia House as I was building my nascent CD collection.
Here are a few selections.
Track 3 is “I Blinked Once.” So much feels impermanent right now.
My two favorite tracks are the ones that would have been side-enders had I bought it on vinyl. “As We Live and Breathe” is truly uplifting to listen to, and it offers me some small measure of hope today.
“Hope, Faith, and Love” is another cut that reminds me to look for the good out there.
It was the rocker “Wait a Little Longer” that flitted through my brain this morning and led to this post today.
The CD ends with the quiet “Search Your Heart.” “Don’t take gloom for granted/And don’t bridge time to time/And if you search your heart/You’ll ease your mind.”
So ended the sermon. I’ll try to take what I can from it and go forth to be as good a math professor and person as I can be in the coming weeks.
To date, the Forgotten Albums series has been about lifting up recordings I’ve listened to time and again over the years that I believe are under-appreciated. This entry’s different, in that I’m the one who was doing the forgetting.
After I wrote up a little about Dusty Springfield a couple of weeks ago, I sought out her highly-regarded Dusty in Memphis LP on YouTube. It’s amazingly good, definitely worthy of purchase. When its last song came on, I thought, “I know I’ve heard this somewhere else before,” though I couldn’t immediately place it…
One quick internet search later, I was reaching for a CD on a shelf in my basement, one that to my complete discredit hadn’t graced a player for maybe a quarter-century: Maria McKee’s second solo release, You Gotta Sin to Get Saved. I popped it in and immediately forwarded to track six (which I hadn’t realized was written by King/Goffin). Yes, this is what I was thinking of:
After the song finished, I let the rest of the album play out. Two thoughts dominated: 1) how had this never gotten into serious rotation? and 2) this sure sounds like a lost Jayhawks album in places.
I can’t defend myself regarding the first, but the second came with good reason: Gary Louris and Mark Olson, then the Jayhawks’ co-leaders, are part of McKee’s backup band this go-round, and also contributed one of the songs. The album was produced by George Drakoulias, who’d vaulted into fame of sorts by working with the Black Crowes a few years earlier. Drakoulias also produced my two favorite Jayhawks albums, Hollywood Town Hall and Tomorrow the Green Grass, which bracket You Gotta Sin in time.
I got the McKee album very soon after it was released in the summer of 1993. Alas, it’d been put to pasture by the time those Jayhawks releases were added to my collection a couple of years later; I guess it was already too late to make the connection. That’s true no longer, though–I’ve played most of the songs from You Gotta Sin several times over the last week, so now I’m here to share a few highlights.
Leading off is the single that didn’t go anywhere, “I’m Gonna Soothe You.” That was a collective mistake on all our parts.
“My Girlhood Among the Outlaws” wouldn’t have been out of place on Hollywood Town Hall–it’s got some signature Louris licks–had they allowed McKee to take over the mic for one song.
The album was also an excuse to reunite with Marvin Etzioni and Don Heffington, two guys from the first iteration of Lone Justice (Etzioni has co-writing credit on three songs here). “Only Once” almost feels like an outtake from Lone Justice.
McKee also covers a couple of Van Morrison tunes: “My Lonely Sad Eyes,” from his days in Them, and Astral Weeks‘s “The Way Young Lovers Do.” The latter simply swirls around you.
In summary, mea culpa. I suppose now it’s time to seek out the albums in McKee’s catalog I’ve missed over the years…