Yeah, I know we’re almost through the first month of 2024 and I’m usually more on top of this, but I didn’t read that much last year anyway. So…
Words:
Malinda Lo – Last Night at the Telegraph Club (reread for the Leiden expat book club – the other participants didn’t love it as much as I did, but that’s fine too.)
Sonia Blanck – Hive (I don’t think this is published yet – I met Sonia on Mastodon and offered to read it. Good and weird SF. Keep your eyes peeled for it.)
Jaqueline Harpman – I Who Have Never Known Men (Weird and disturbing SF – the title shouldn’t put you off – this was a proper mindfuck.)
Dorothy L. Sayers – Strong Poison
M. Katz – Cybernetic Tea Shop
C. McMullen – A Space Girl From Earth
Rachel Churcher – Angels (I was a sensitivity reader on this *very* cool YA novel. A leap ahead in style and ability for Ms. Churcher. Check it out.)
Marek Šindelka – Aberrant (Another book club read – I really enjoyed this bit of weirdness that takes place in and around Prague in 2002. My colleagues in the club didn’t know what to make of the flooding in the city that occupies the last third of the book. I knew from the first dateline that the Prague Flood of 2002 would come up. But I lived in Prague at the time. Everyone else in the club was confused.)
Jonathan Scott – The Vinyl Frontier: The Story of NASA’s Interstellar Mixtape
Rachel Pollack – Unquenchable Fire (I’d never heard of Pollack, but when she passed away last year, Neil Gaiman penned an appreciation of her work, so I took a dive. Excellent as the recommendation would suggest.)
Terry Pratchett – Small Gods (Another one for the book club – still excellent.)
S. Jones – Sisters Cavendish (Another preread – this one’s not published yet either, but it’s great.)
Ursula K. Le Guin – The Lathe of Heaven (Read for the new book club at my office which still only has two members. Hadn’t read this in 30 years and gracious is it weirdly wonderful. Still.)
S.L. Rowland – Cursed Cocktails (Cozy fantasy goodness. Recommended.)
Dana Hughes – Rain (A Novella)
Kate Castle – Girl Island (Office book club. Female take on Lord of the Flies – very well done.)
Sean Carroll – The Biggest Ideas in the Universe
Satoshi Yagisawa – Days at the Morisaki Bookshop
Italo Calvino – If on a winter’s night a traveler (first read in college back in ’85 – still weirdly wonderful)
Haruki Murakami – Norwegian Wood (Office book club. I’d read other Murakami, but not this one, his “normal” novel. Enjoyed it a lot.)
Delacorta – Diva (I’d bought a DVD of the movie which I hadn’t seen in an age and when I posted about it, a friend said, ‘yeah, you have to read the books too. Lola and Luna are waiting on the bookshelf.)
Anne Leckie – Ancillary Justice (recommended by a cousin – wonderful stuff – want to get to the next ones in the series.)
Graham Greene – Travels with My Aunt (Amusing and strange in the way that only Greene is.)
George Orwell – 1984 (office book club)
Audio:
George Johnson – Miss Leavitt’s Stars
Carl Sagan – The Demon Haunted World
Richard Osman – The Thursday Murder Club
Bruce Dickinson – What Does This Button Do? (Interesting memoir from the lead singer of Iron Maiden who has done very cool things, but has abridged much that makes an actual life interesting. Not nearly as good as Rob Halford’s Confess.)
Jung Chang – Wild Swans (When a niece was recovering from a concussion, my sister read this aloud to her. Sis had recommended it in the 90s, but I never took the dive. This history of China from the period before the Communist victory through the Cultural Revolution is riveting stuff.)
Elliot Page – Pageboy (Memoir by excellent trans actor – very nicely done.)
K. Tempest Bradford – Ruby Finley vs. the Interstellar Invasion
Homer – The Odyssey (Emily Watson translation, read wonderfully by Claire Danes. Alas Danes does not read her translation of The Illiad, but that’s on my list too.
Trevor Horne – Adventures in Modern Recording (Memoir of many great albums from the guy who sang Video Killed the Radio Star and produced Welcome to the Pleasuredome. Among so many other things.)
Kai Bird and Martin K. Sherwin – American Prometheus (The Pulitzer-winning bio of Robert J. Oppenheimer on which the movie Oppenheimer was based. If you thought that Robert Downey Jr.’s Lewis Strauss was a bastard in the movie, dang. Strauss was so much worse in real life.)
I tell a story about my sister having two tickets for Talking Heads at the Pantages in Hollywood in December of 1983. She was already in college and her boyfriend begged off the show she’d bought tickets for. She asked me if I wanted to go. Of course I did, but those gigs were a Tuesday, Wednesday and Thursday and the hard fast rule for me was no gigs on school nights. Our parents were out of town, and there was no way they’d find out. But I went to Hollywood with my sister and watched her sell the tickets around the corner from the show. How many of you have regrets that have lasted for four decades?
Eight or nine months later, that series of gigs was immortalized on film as Stop Making Sense. I went to see it in the theatre three or four times in its initial run (once with friends who were flying on LSD – I didn’t partake of that either) and I’ve seen it at least three or four more times in the intervening decades. And I’ve listened to the album hundreds of times. I’ve had it on tape, CD, and download.
So ever since that teaser of David Byrne picking up his big suit from the dry cleaner came out, I’ve been keen to see it again on the big screen. And I finally did this week with my friend Cheryl (who hadn’t seen it since that initial run). From that beautiful moment when Byrne walks out on a bare stage with an acoustic guitar and a boom box and says “I have a tape I want to play for you” and we hear the backing of Psycho Killer, we know we’re in for something special.
With each of the next several songs, another band member comes on: Tina Weymouth to play bass on Heaven, Chris Franz to play drums (the drum riser rolled out by crew all in black) on Thank You For Sending Me An Angel, and then guitarist/keyboardist Jerry Harrison on Found A Job. Two backup singers, Lynn Mabry and Edna Holt, percussionist Steve Scales, and guitarist Alex Weir join the action for Slippery People. Finally keyboardist Bernie Worrell joins on Burning Down the House.
On seeing it in 1984, everything was very new to me in terms of how rock and roll was put on film. The first surprise, having been far more familiar with the music than the visuals, is that there are two capable singers on stage for the song Heaven, but Tina Weymouth doesn’t have a mic. Lynn Mabry sings harmony from offstage. (Later in the film, Byrne leaves the stage to Weymouth and Franz, aka Tom Tom Club, to perform their hit Genius of Love, on which Weymouth sings lead. It’s not as though she couldn’t have harmonized on Heaven, as she was already on stage.)
As the film moves forward, there’s wonder in how long the cameras linger on Byrne, and occasionally on the other musicians. There’s none of the jump-cut editing that so annoys me on Strictly Come Dancing (and, to be honest, most movies these days), which is nice. On the other hand, there are nine really capable musicians on stage for most of the performance and the joy of a good performance film is being able to see them interact in the context of their art. The most egregious example of the hyper-focus on Byrne is the song Once In a Lifetime. The camera doesn’t move for five of the song’s 5 1/2 minutes, and when it does, we see Holt and Mabry out of focus doing interesting dance moves that Demme didn’t think we’d be interested in, somehow. (Then there’s this Siskel and Ebert review in which all they talk about is Byrne.)
There are other places in Stop Making Sense where we get wider camera angles and see the interplay of the performers, most notably in the gorgeous Naive Melody.
In ‘83, Talking Heads were touring their fifth album, the damn near flawless Speaking In Tongues, which provides six of the film’s 16 tracks. The sound on all of the songs (especially from the third song onward) is fuller and deeper than on the studio albums (and even the versions found on earlier live compilation The Name of this Band Is Talking Heads. When you can see the other members of the band, you can tell they’re firing on all cylinders, having performed as quartet for several years before expanding in ‘80 and ‘81 to a much larger touring act.
Even in ‘83 there was animosity between Byrne and the other Talking Heads, and they continued for three more very interesting albums (Little Creatures, True Stories, and Naked), but they never toured again. While the music on Stop Making Sense is obviously a collaboration of brilliant and capable musicians, one can only wish that the band and film makers had seen fit to share more of that collaboration with the audience.
Stop Making Sense on Spotify
Tom Tom Club: Genius of Love (YouTube)
A friend I’ll call G recently wrote an impassioned post about the experience of growing up female, that this is a unique thing that trans women somehow dilute. Her post included also argued that the sheer average size of biological males argues against their right to occupy biological female space. They are incapable of knowing the fears and joys of being female, from the perspective of being biologically female from birth in the world.
As cisgender humans, G and I are incapable of occupying the spaces of other genders. Our experiences don’t allow for that – nature or nurture – but we can empathise with others’ experiences. I can start to imagine the fears of women making their way through public spaces where they’re catcalled – fears that as a cis-presenting male, I don’t live with. I can imagine those fears and be with those who have them in their space without, for example, denigrating their lived experience. Stating it this way is, I admit freely, very harsh to my friend’s position – possibly harsher than it needs to be. With that empathy I can try to a better human, advocate, partner, and friend.
I also didn’t grow up suffering any kind of gender dysphoria, but I can empathise with those who experience it now – who spend every moment with the feeling that the space they occupy, the space assigned to them, the roles society puts them in are wrong – and argue to make their existences easier and more aligned with who they are. I don’t need to live their experience to trust their lived experience. I was reading today about Brianna Titone, a trans woman in the Colorado legislature. Her childhood dream was to work for the FBI and she remained closeted until she aged out of admission to the Bureau at the age of 37. I can barely imagine the pain that cost her.
From my perspective, it matters what those initial experiences imprint on a person, but those experiences are both internal and external and shouldn’t be legislated back into the closet.
Paraphrasing from Thomas Hobbes’ Leviathan: We can’t know the inner experiences of other people, but we can know our own hearts and by this know the hearts of others. Not what their desires and needs and fears are, but the nature of desire and need and fear. (Hobbes presents this idea in the introduction to the Leviathan. The syntax is very old-school, but it’s four paragraphs worth reading.)
This is possibly the key to the argument. G knows the nature of her fears and needs and desires as she grew into womanhood – or does if she examines her own heart, just as I know mine. We can use that self knowledge to examine the fears and needs of those who grow in a body that doesn’t feel right. Or with desires that don’t align with what the so-called majority posits are the only legitimate paths for desire.
How do we make things equitable in the public square in the face of state after state legislating against trans existence? It’s truly fascistic, in my view, and sets the stage for a full rewrite of the sexual freedoms Americans have had since Griswold. Women are already suffering as a result of restrictions on procedures and medicines that are associated with abortion even if the mother’s ability to further bear children should she survive complications of a pregnancy gone awry. It’s a demonic state of affairs. A few years ago there was a case in Dublin where a woman’s pregnancy went septic – she was denied abortion and died as a result. In response, Ireland legalised abortion and at the time was seen as a latecomer to abortion rights in general. Since then, the US has gone backwards with alarming speed.
What does all of this have to do with trans rights? Good question. Affirming that a person has the right to determine where and how they are most comfortable in their body is one place – bodily autonomy is another. Gender affirming care is a phrase, like ‘woke’ and ‘political correctness’ that has been twisted out of all recognition. G has also argued that drag in general mocks femininity rather than embraces and exalts it. Was Barry Humphries, or Ian McKellen for that matter, mocking women? Do panto dames mock women by their very existence?
G has shared a point about drag being men in ‘woman-face’ and she’s not the only one of my friends to do so. What makes drag different than minstrel shows – Al Jolson singing Mammy in black face? The sidestepping of discrimination and thereby making fun of an underclass group is partially at the heart of each one. But drag has always seemed to me more celebratory of those things that make women different than men.
In considering the arguments against trans people, I’ve wondered if autism in a similar category as gender dysphoria? In both cases, societal and medical changes developments should make it more possible to live comfortably and successfully in the world than was possible ten, twenty, thirty years ago. I can hear a case that these are totally different – one is something that you can show in a medical diagnosis and is historically identified. And the other? Very much the same.
The main problem I have with my friends expressing anti-trans or anti-drag sentiment is that trans folks and queer people in general are in the legislative crosshairs in the US and elsewhere. And the last couple of years have seen a massive uptick in these things.
There are eight trans legislators in US statehouses. None in the US Congress. The silencing and outlawing a class of queer people is happening in at least half of the states with very few voices able to stand up on the other side. And when they do stand up, they’re often silenced. The case of Representative Zooey Zephyr in Montana comes to mind. She was ousted from her duly elected seat for speaking against an anti-trans bill and is still unable to return. The bill passed and was signed by the state’s republican governor.
I read the papers everyday and above the virtual fold, always, is something about the targets on the backs of gender non-conforming people. There’s the bill in Texas trying to legislate that people working for government dress to match the gender they were assigned at birth. (This is nothing new in Texas – I had a housemate 20 years ago who fought her previous employer, the Houston office of the Internal Revenue Service for the right to wear trousers to work. If I recall correctly, she had to take them to court.)
And the BBC reports that the Proud Boys (yes, the source of five seditious conspiracy convictions this week) are now targeting drag shows.
I’m not sure of the answers and I think my lack of certainty is me being played into a more fascistic position. I’m not active in drag (though I once dated the first drag queen to run for president, Joan Jett Blakk), and I’ve never watched Ru Paul’s Drag Race. Are a bunch of queer men dressing up and making their faces exaggerations of femininity problematic in ways that I as a queer-adjacent male can’t comprehend? Are we really that different, men and women (and all human points between and beyond), that we can’t bridge this divide without othering and criminalising a valued (or any) segment of the population, without devaluing any of us? It’s the devaluing of humans for something that’s inherent (heck, even if it’s for something as harmless as drag, that’s chosen) that gets me first, whereas othering people at all takes a piece of my heart and incinerates it while I still breathe.
So the BBC posted an article last week about music industry profits and greed with the title Music industry makes $26bn but wants streaming prices to rise.
Of course the music industry wants streaming prices to rise. They’re in the business of maximizing shareholder value by hook or by crook. Raising streaming prices, of course, doesn’t mean they’ll pay the artists any more, but the coffers of those at the top will be enriched. More.
The BBC article has an interesting table of the top ten earning artists worldwide last year, with the assumption that these are the artists who make up the bulk of that 26 billion in the headline. Four are from Southeast Asia, four from North America (including Taylor Swift at the top of that list), and two from the UK. The table doesn’t include their earnings.
Who the artists are and where they’re from aren’t very useful metrics for understanding the position or state of the music industry as a whole.
To get closer, sure I want to know what those artists earned, but the music industry is massive. What the artists earned might be peanuts compared to what the labels earned on the backs of their work. Also, the music industry is comprised not just of artists and labels, but of touring and ticketing organizations (dominated by LiveNation and Ticketmaster), distributors, agents, and all the people and infrastructure around secondary markets such as television and film.
Once upon a time, there were about a dozen major labels. When I was in high school, the shop I worked in sold almost entirely 45s. (When, you ask? I worked at American Pie on Venice Blvd from 1983-1985. I don’t know when it eventually closed.) The business model included a storefront, but was mostly dedicated to wholesaling. The records were organized by label and then by record number. It was MCA, Polgygram, WEA (Warner / Elektra / Atlantic), CBS (which was Columbia and Epic, later subsumed by Sony), Capitol/EMI, A&M/RCA and a small scad of independents. We dealt entirely in reissues of the oldies and the current top 40. Even those six conglomerates have shrunk to a smaller number. The thing is, at the time, they were all doing well as separate entities.
Fast forward 20 years for an anecdote about the times they’d fallen on. In 2005, EMI (and whatever agglomeration it then belonged to) pinned all of its financials on one release. One. The release in question was Coldplay’s X&Y. Great pop album. It did really well, but EMI, once home of the Beatles, Duran Duran, Kate Bush, and Pink Floyd, sold its recorded music division to Universal Music Group. UMG, by my own finger in the wind estimate, accounts for about 40% of the recorded music business. A list of UMG’s labels is here.
(A side note regarding EMI’s accounting: In 1985, coming off the massive success of Hounds of Love and The Whole Story, someone at EMI dropped the ball and forgot to renew Kate Bush’s contract. Her next albums came out on Columbia.)
My perspective is (as is usual) different than that of the BBC. The larger metrics I’d like to have at my disposal are those associated with the independent music sector. While I enjoy a lot of pop, I was amused by the fact that I could hum exactly one song by one artist on that list up top. (To get Shape of You by Ed Sheeran out of my head, a friend sent me a link to BTS’s Butter which is a straight-up banger, no doubt about it.) As noted, I don’t listen to a lot of pop, but the artists I do spend a lot of time on have carved out their own interesting niches.
The folks I discuss here are ones I’ve long been fans of – Bandcamp and other such platforms support thousands and thousands of artists, many of whom are more or less successful on their own terms as well.
Michael Gira finances the recording of Swans albums by releasing limited edition CDs of demos and live material. The fan base snaps them up and the band goes into the studio every few years. Gira owns his own label, Young God Records and has been known to manage his own distribution by hand (though they inked a distribution deal with Mute for their last album, 2019’s leaving meaning which I think is still in effect for the upcoming release, The Beggar).
Laura Kidd, whose first several albums came out under the moniker She Makes War, and now records as Penfriend. Her most recent release, One In A Thousand came out under the name Obey Robots with Rat from Ned’s Atomic Dustbin), runs her own label, My Big Sister Recordings. She does all her own marketing and promotion and her last two albums have debuted in high positions on the UK’s independent music charts. She’s been doing things her way for almost 15 years without major label support. Check out the Obey Robots track Elephant.
Godspeed You! Black Emperor is another band who run their own label (Constellation Recordings). I’m well aware that music that falls under the rubric of post-rock aren’t going to be raking in the big bucks. Even as a fan, I was unaware of their last album, G_d’s Pee AT STATE’S END!, until about a month after its April, 2021 release. They’ve been recording on and off since 1997’s F♯ A♯ ∞ (there was a break between 2002 and 2012 since which time they’ve released four insanely good albums) entirely on their own terms. When they tour, they sell out decent-sized venues without a lot of promotion. Given the chance to get their music to an even wider audience, the band holds to its principles. They allowed Danny Boyle to use a track in his film 28 Days Later but wouldn’t allow its inclusion on the soundtrack. My guess about this is that they stick to a singular artistic vision. Their albums, much like their concerts, are best experienced as full pieces, but there’s probably more to it. GY!BE are also one of those bands that allows taping of their shows and there’s an extensive list of concerts posted at archive.org. Here’s Job’s Lament from a gig last year in Minneapolis.
Unwoman, who creates cello-based music which is ostensibly pop, reaches her fans through Patreon and judicious use of social media. I’m not sure how I would have found her had she not been part of group I belonged to who met regularly at a pub on Haight street back in the 90s. She releases independently, using Bandcamp as a distribution tool (as do most of the artists I mention here). One way she keeps her fans engaged is by polling them to choose which covers she’ll record. The music itself tends to emotionally bare electronic/goth sounds (which is really reductive, I know), but she’s an experienced enough musician to have fun with songs like Everything Is Awesome.
SUNN O))) is another one of those acts who make difficult music for the benefit of an ever-expanding audience. Two guys who drive their sound with feedback-heavy riffs, performing in hooded robes behind waves of fog to keep their appearance hidden. Like the other artists I talk about here, they’ve been in this game for a long time. Evolving from acts such as Burning Witch, Goatsnake and Engine Kid (by way of Thorr’s Hammer), they created Southern Lord Records to release their own material and since 1998 of cultivated quite a roster. (Around 70 acts call or have called Southern Lord home.) Interestingly, Southern Lord’s distribution is handled by UMG. SUNN O))) also post audience recordings of their shows to Bandcamp. As was said about the Grateful Dead back in the day, the albums are fine, but the best way to experience them is live. That said, the in-studio set they recorded for the BBC, Metta, Benevolence, isn’t a bad intro.
To bring the thing full circle, the acts I mention here have been actively engaging the music industry for anywhere from 15 to over 40 years. (Swans evolved out of the same early 80s No Wave scene that gave the world Sonic Youth.) Many learned the hard way or took the hard way to satisfy the drive to create unapologetic music. Taylor Swift, according to Wikipedia, wanted to be making pop from a very young age and with the help of parents who were in a position to do so, she worked within the industry to develop her skills and create music that would sell. And sell it she has, by the truckload.
I know I’m not Swift’s target audience, but I recall my boss at American Pie telling me that the ability to write pop music that sells is a skill. I believe we were talking about Van (“The Hustle”) McCoy who had just passed away, but the same holds true of many such artists, Swift among them. She took her early successes and has continued to build on them. While she’s not my cup of tea, I can’t help but appreciate that. There are, however, massive communities of creators of hundreds of different musical styles who I’d like to see accounted for in these discussions.
A couple of weeks ago I was listening to a favourite album, and had the thought that it was a perfect enough album that it would be one I’d take to a desert island. And thinking on the very long-running (80 years!) BBC program Desert Island Discs, I considered what my other seven would be. And my thoughts took me further – most of my friends are music mavens and would have though on this concept as well. So in the new year, I’ll be interviewing my friends as to what music would see them through if they were the last person on Earth and there were only eight records to listen to.
I came to most of these albums in my 20s, that period after the teenage enthusiasms have been sloughed off. While I still love the music I cut my teeth on, the albums associated with that first period of coming into my own seem more timeless.
The website will be l8roe.blog as soon as the registration goes through.
So what was that perfect album? Premiers Symptômes by Air (1997), a compilation of songs from their first three singles. I first picked it up in 1998 or so, when everyone, it seemed, was going crazy for Air’s first full-length, Moon Safari. I preferred the slightly weirder, rawer earlier singles (though, to be fair, Moon Safari is a well-nigh perfect album as well). On these songs, the combination of Fender Rhodes, Moog, and euphonium bring me a strange feeling of nostalgia (for a period and place I never experienced) and are also perfectly of their own moment mid-90s moment.
Favourite track: J’ai dormi sous l’eau (YouTube link).
Duke Ellington and John Coltrane (1963) – When my friend Steve introduced me to this album in about 1996, I’d known of Ellington because of Stevie Wonder’s Sir Duke and had some idea of his importance in jazz, but I hadn’t yet delved. And I knew Coltrane’s A Love Supreme (an album that after more than 30 years of listening, I still can’t get inside of), but this was something else. This meeting of two giants whose paths hadn’t crossed in the recording studio. Only in the last decade or so have I heard the vast number of collaborations Ellington undertook in the early 60s, but this was the first. For me it’s the interplay of Coltrane’s mastery of ballad forms and Ellington’s understated piano work. There’s a different sweetness in each of the album’s seven tracks that runs from the ebullience of The Feeling of Jazz and Big Nick to the yearning trills of In A Sentimental Mood and My Little Brown Book.
Favourite track: Stevie (YouTube link)
I came to Sister Rosetta Tharp much later than most music in this selection, while I was researching the origins of rock and roll for a series of blogs I wrote several years back. I’d never heard of Tharp. She was one of the progenitors whom the historians reference, but doesn’t get the kudos she should, for her delivery, her style, and her guitar mastery (not in that order). There’s a wealth of compilations to choose from, but Volume 2, the Document Records collection of 1942-1944 recordings has both rock and roll and gospel and my favourites Trouble In Mind (YouTube link) and Strange Things Happening Every Day. (Other favourites, This Train and Didn’t It Rain came later – I might have to keep looking for the perfect album.)
Aviary by M-1 Alternative (1991) – This band should have been huge, something I’ve said for 30-plus years. I got into them on the release of La Llorona, the first of their three albums in 1988 or so. My flatmate Mikki introduced me to them and I saw them perform in clubs in San Francisco over the next couple of years. I love all three albums, but this one features Ghetto and Reclaim (YouTube link), two of my favourites songs of theirs. The line I am a ghetto / a maze of streets far from the landing field always spoke to me – my feeling that I was too complicated and not near enough emotionally or intellectually to any place those I was close to landed and met. Theirs was a sad story, to me. They signed to C’est La Mort records for Aviary, and released the followup, The Little Threshing Floor on CLM as well. Just after The Little Threshing Floor was released, CLM’s distributor, Rough Trade, went under. One of the two members moved to New York and out of sight. The other has recently been remastering their work, starting with their earlier demos, and releasing them to Bandcamp.
The Good Son by Nick Cave and the Bad Seeds (1990) – Dang, but choosing a Nick Cave album for this list was a task. Nearly every album has more high points than lows. I was leaning towards Push The Sky Away which is so beautiful. Other contenders were The Boatman’s Call (beautiful and perfect but closely associated with a difficult time in my life) and Let Love In (great, but I don’t really need to hear Red Right Hand again – it seem to show up everywhere!). When I got into this album, I was still mourning my father who died in 1986 when I was 19. The father/son dialogue of The Weeping Song (YouTube link) spoke volumes to me in its invitation to reconciliation. The son asks in turn why the women, men, and children are all weeping, and finally asks, ‘Father, why are you weeping? / I never thought I hurt you so much,’ with the word ‘hurt’ is stretched out to seven or eight syllables.
Lady In Satin by Billie Holiday (1958) – This is such a strange album – it’s late in Lady Day’s career – one of her last albums, released a year before her death at the age of 44. Her voice is much thinner than it was in her prime, but somehow more expressive. The orchestration is lush and befitting the songs she chose. Violets for Your Furs (YouTube link) and I Get Along Without You Very Well are particularly poignant. My mom or sister bought it when I was in high school and at 15 or so, I definitely didn’t get it. On someone’s recommendation I came back to Billie a few years later with a cassette of Lady Sings The Blues which was in heavy rotation on my walkman for many years. The sheer weight of Lady In Satin, with its lush orchestration started to mean something to me when I turned about 40. A few years ago, I found a 180-gram reissue and my heart just sings when I listen to it now.
Dømkirke by SUNN O))) (2008) – This is definitely the odd one out in my collection. It’s 60 minutes of drone metal and feedback, made melodic and holy. SUNN O))) (pronounced Sun) are known for shows of punishing volume, the use of deep feedback and strange guitar tunings, but that put the listener in an altered state if they come with open ears. While the shows I’ve seen have been in performance spaces, this set was constructed for a one-off show at the titular Dømkirke church in Bergen, Norway. (To be fair, Paradiso in Amsterdam was once a church, but it’s been a concert venue for several decades.) The band’s lineup for this show included vocalist Attila Csihar whose bass rumblings compliment the guitars of founders Stephen O’Malley and Greg Anderson. My favourite of the four tracks is probably Cannon, but telling the differences between any set of SUNN O))) songs is its own exercise. (Greg Anderson, AKA The Lord, recently released a collaboration with Petra Haden called Devotional (Bandcamp link), which may overtake Dømkirke if you ask me in a year. It’s glorious.)
Favourite track: Cannon (YouTube link)
Bandcamp link: Dømkirke
USA by King Crimson (1975) – I had a very hard time choosing a KC album. They’ve been one of my favourite bands for ages. I think my choice was between this live album and Larks’ Tongues In Aspic (represented here with three tracks – part two of the title instrumental, the ballad Exiles and Easy Money, but not Talking Drum). USA was recorded over two dates on the 1974 tour for Starless and Bible Black, but released as an obituary of sorts after its followup, Red. (USA was not a contractual obligations album the way the near-bootleg quality Earthling was a couple of years before.) This version of the band imploded during the recording of Red and there was no tour for it. Even though some of David Cross’ violin work was overdubbed after by Eddie Jobson, this era was intense and beautiful and never matched. I probably bought my first copy of USA sometime in the 90s. Previously I’d most liked the early 80s incarnation with Adrian Belew on vocals and Tony Levin on Bass (alongside founding guitarist Robert Fripp and drummer Bill Bruford), but I picked up Larks’ Tongues on the recommendation of my then partner’s violin teacher for the intensity of Cross’ work. I then delved into the ‘72-‘74 period (Fripp, Bruford, Cross, John Wetton on bass/vocal) with more interest. For me, the version of LTIA Part II here is one of the best I’ve heard. (It’s been in their set lists for all lineups from this period through the tours of the last 10 or 12 years.) And the version of USA that I’d want is the 2002 reissue that includes Fracture and Starless (the studio version of which is on Red. Fracture is an insane instrumental that was the result of Fripp wanting to write a piece that he himself would find too difficult to play. And it blows my mind whenever I hear it.
Standout improvisation: Asbury Park (YouTube link)
Joe Jots 