For a solid week I listened to side A of Don Ellis’ Live in 3⅔/4 Time because I was too lazy to flip the damn record. Finally I gave up and put on the second Talking Heads album. That was a week ago and side one is finishing its umpteenth spin since then. Damn that television David Byrne shouts. Look at that picture. Found A Job he says. I snicker. The retired life.
“I was so enraptured by the whole Ramones’ oeuvre that I never even questioned their comical self-mythologising.”
“A favorite leitmotiv in the Ramones’ oeuvre.”
“A testament to the uplifting power of rock, and a welcome addition to the Ramones’ oeuvre.”
“All of which are the least necessary entries in the Ramones’ oeuvre.”
“Worthy additions to the Ramones oeuvre.”
“As well as a near-obsessive devotion to the Ramones oeuvre.”
“Deliberate dumbness pretty much sums up the Ramones oeuvre.”
“But the end result is a great bit of variety in the Ramones oeuvre.”
“One of the most amusing quirks in the Ramones’ recorded legacy is their penchant for songs with war movie themes: indeed, their oeuvre is stuffed to the gills with songs with titles like Blitzkreig Bop.”
“Made the Ramones so blessedly unique in the entire punk oeuvre.”
“The whole Ramones oeuvre was one long ode to the individual.”
“And, like much of Joey Ramones’s oeuvre, it reflects his mentality throughout life: don’t worry, be happy.”
“With almost mathematical totality the Ramones oeuvre turns away mourners, the self-obsessed, the wallflowers already retiring to life’s sidelines.”
“The Ramones were trailblazers unconcerned with imitating and who worked solely to develop their own distinct oeuvre.”
Robert Plant was always my fave Led Zep guy (Page was cool as guitar players go, except for that dorky bowing solo bit, sheesh, and I never was a Bonham fan), but Bobby Plant nailed it, though for years the Bilbo Baggins hippie shit drove me up the wall. As I hated everything they did after Houses of the Holy anyway I paid no attention to all his missteps early in his solo career, tho’ I remember a good Little Sister (which Elvis absolutely nailed in ‘56 or whenever, one of his best songs) and I have a vague memory of cut out bins full of something with Robert Plant in a late period spangly doo woo get up on the cover, smiling a lost hippie smile, but I was so fucking punk rock at the time Robert Plant might as well have been from another planet. Hell, I don’t know if they were missteps, everything by older rock musicians qualified as a misstep to me at the time, even Bowie. Those were revolutionary years, things had to burn.
But the years passed and one night I was bored or maybe just stoned and staring at the TV, a million channels and nothing to watch and suddenly there was Robert Plant on the normally underwhelmingly alt hip Austin City Limits. He looked great, one of those rare Englishmen over six feet tall, sounded great if a little shy of the high notes he once screamed about the wrath of the gods in, and had this amazing band that swung from outish ethnic alt into old timey into a killer Led Zep tune—I can’t remember which—and ending with some remarkable melange of Malian sounds with everything else. I was hooked. Watched that show several times. Said to Fyl we gotta go see Robert Plant! We’d get primo seats, of course, free to the press, and green room access and I’d ask him about Festival of the Desert instead of some stupid Led Zep question because I was a jazz critic. Then I’d see Patty Griffin and be so star struck I couldn’t talk. Homina homina homina…. Anyway, it never happened. The best laid plans of moose-like men, etc.
Then last night I was doing the million channels nothing to watch thing again unstoned and I’ll be damned if it wasn’t Robert Plant on Austin City Limits again, this time from 2016, still tall and looking great and sounding even better (and they’ve done a little audio trickery to stretch out the high notes a bit, but it barely shows). Robert Plant and the Sensational Shape Shifters I think he’s called it, fine musicians all, and the set was as old timey ethno Malian (or maybe Gambian) blues as before, but half the set was Led Zep tunes (I keep saying Led Zep covers) that are rearranged and jazzed up and weirded out but then kick into that classic babe I’m gonna leave you fury, the audience undulating to a hard and sinewy and groovily fucked up Whole Lotta Love like the gods never intended and the whole scene was beautiful and left me sort of nostalgic for an age yet to come.
It was good.
(from a Brick’ s Picks in the LA Weekly, c. 2007)
Several years ago i can remember walking into a posh Valley jazz joint and realizing, alas, no one else had wandered in. The place was so empty that the lounge area where the musicians set up away from the main dinner room seemed cavernous….which was too goddam bad, as one of the best pianists in jazz was up there with a remarkable quartet and the music was simply stunning. Chuck Manning was subbing for the regular saxophonist, and the stuff he came up with…free thinking rushes of chords that just filled up all that space in the room, or low tones, held, that flowed over the rhythm section in shades of blue…wow, and when he and the pianist met in the middle entirely new compositions burst out of whatever standard they were doing, completely new creations that took the breath away and then disappeared forever when they got back to the head and the traditional melody fell into place. Oh man, this jazz music is so ephemeral. All the recorded jazz that there is in the world—your entire music collection—it’s just an infinitesimal bit of all the jazz that’s ever been and will never be heard. Improvisation, it comes, and it goes. If you’re there, you’re lucky enough to hear it and maybe later you’ll remember a bit of it, can even pick out a trace on the piano, or try and write about it. Maybe a photo you took will spark a snippet in your mind’s ear. Maybe, just maybe, there’s even a recording somewhere. Those recordings….jazz fanatics can be driven mad by those, like that junkie following Bird around, desperately trying to catch every last note of his solos on a wire recorder before the bartender threw him out for not buying anything. Imagine that poor tortured bastard, haunted by all Bird’s solos that the world never hear again unless he can catch the sounds on his tinny little machine…and imagine his desperation as he was tossed again out into the street, hearing Bird’s alto spinning brilliance into the air that disappeared like a morning fog in the brutal summer sun….
The last time I took a bath was in this beautiful Victorian tub with cast iron feet in a fabulous apartment in the Castro. Later that night we were out of our minds on psychedelics as beautiful boys in leather copulated madly all around. Rushes of color, swirls of sound. We woke up in a vast bed to the sounds of the streets coming through an open window. We dressed, she shimmered. Everything shimmered. Everything vibrated. Touches had colors. She took my hand and we took a long walk though the city streets, smoking a furtive joint and looking, just looking. What a beautiful analog world it was then. Words came and disappeared unrecorded and unworried about. As last we piled into the car and took the long ride down the 101 back to Santa Barbara, punk rock screaming from the cassette player. It was an unusual courtship, ours.
Fyl decided her husband is still too sick to be life of the party on a wet, cold night and so we’re sitting home on New Year’s Eve. I didn’t argue. Besides, there’s a Jack Benny marathon on Antenna TV. When the pizza came It was guest star Frankie Avalon singing, so I joined Fyl in front of her TV watching old Sid Caesar shows and munching on a Palermo’s special, thin crust, crispy, anchovies on half. Taking my empty plate into the kitchen later the Benny marathon was still on in the living room and I could hear Robert Goulet. Even an hour apart the difference in timbre, phrasing, range–hell, in sheer quality of everything–with Frankie Avalon was beyond glaring. Plus Goulet was much, much funnier in the follow up bit, a natural. Funniest of all, though, was Joan Marshall, the woman in the sketch and one of the great undiscovered comic talents of the sixties. Alas, she was gorgeous, and in that decade gorgeous and funny were not allowed to mix. In the thirties she might have been a screwball superstar, another Carole Lombard; in the fifties she could have been the female lead in a sophisticated comedy. But in the sixties only Jack Benny recognized how funny she was and let her run riot in a couple sketches. They said it really bothered Joan that she never got choice comedy roles, and she never seemed happy in her career being beautiful. Hollywood is full of beautiful women. It’s not full of naturally funny people. But sometimes what you are really good at and the times you live in don’t coincide. If only you’d been born twenty years earlier.
About fifteen minutes into Hard Day’s Night it occurred to me I had never seen it before. I was kind of amazed at that feat of unhipness. I’ve seen so many other Richard Lester flicks. And I liked the movie. It’s funny, for sure, and Paul’s grandfather was as weird a maguffin as any movie has ever had. Alas, I’ve never been a fan of the early Beatles tunes, they’re way too pop for my grizzled sensibilities, though without them it wouldn’t be much of a Beatles movie, would it? The title track is catchy, but I’m embarrassed to admit my favorite musical bit was the inventive little thing Paul McCartney goofed around with on the piano early in the flick. I listened to that three or four times, in fact. There was also a terrific saxophonist in the television studio band, and left me wondering who it was. Maybe John Dankworth?
Meanwhile I kept waiting for the lads to do Hide Your Love Away, my favorite by far of their old tunes, but by the time the credits began rolling it dawned on me that Hide Your Live Away was from Help!, which apparently I had seen and confused with Hard Day’s Night. Anyway, it’s a fun movie, a very unique bit of comedy, and certainly no other rocknroll band managed to be anywhere near as funny on celluloid. But the Beatles, musically, were much more interesting once they’d started doing drugs. Two years after Hard Day’s Night they recorded Tomorrow Never Knows. Amazing how fast things change sometimes.
I gotta admit that it’s kind of embarrassing to see Hard Day’s Night for the first time at age sixty one. Even more embarrassing when your favorite Beatle is the old man. In my defense, though, I did see all the Stones films, even Charlie Is My Darling. I was one of those high school kids in the seventies who hung out at the hippie art houses when they showed rocknroll movies. I saw them all. I could sing along to Country Joe and The Fish in Zachariah. Saw Jimi Plays Berkeley four times. Watched Stephen Stills sucker punch a freak in Celebration At Big Sure. Saw Yellow Submarine I don’t know how many times. But Hard Day’s Night not even once, somehow. Hard to be so ungear.