#Grace reissued

[communistkenobi]

A newborn baby girl will have to go through life with the wrong sex on her birth certificate after a registrar’s error, which her parents have been told they cannot change. Grace Bingham and her partner, Ewan Murray, were excited to register their first child at the Sutton-in-Ashfield Registration Office in Nottinghamshire last week. But, after nights of broken sleep, they failed to notice the registrar had written the wrong sex on the birth certificate until after it had been submitted. “We were horrified but assumed that, as we saw the mistake just a few seconds after it had happened, correcting it would be an easy matter,” said Murray. “But although the registrar apologised for her mistake – and the area manager also apologised – it turns out that birth certificates can’t be changed.”

this article is interesting because it demonstrates that cis people can very easily apply structural thinking to sex assignment - this couple immediately identifies that their daughter, having mistakenly been assigned male at birth by the registrar, will have administrative problems in employment, education, travel, and so on. they pretty adeptly identify the foundational role that sex assignment plays in the administrative and civil functions of a state, and how incorrect sex markers effectively produce a ‘rational’ reason for discrimination within these administrative and civil arenas:

The General Register Office (GRO), which is responsible for administering all civil registration in England and Wales, and the Home Office have both confirmed that Lilah’s birth certificate cannot be reissued, although an amendment can be made in the margin of the original document. But Bingham said this is not enough. “People reading a birth certificate might easily miss a tiny note in the margin – which means that Lilah could be regarded as male when she applies for school, her passport, for jobs – for everything that she needs a full birth certificate for.”

And given that this was published in The Guardian, this article makes zero mention as to why it’s impossible for this couple to receive an updated birth certificate with correct information (something the author notes was possible to do a year ago), but the reason is obviously transphobia. 

Now one might ask why there’s no exception for cis people whose birth certificates were recorded incorrectly at birth, but this reveals the instability of cissexualism. How would you determine who is a cis person with a mistaken birth certificate, versus a trans person who wants to change their mistaken sex assignment record? Sure, you could say well, this is an infant, of course she’s “really” “biologically” female (something the parents argue in the article as grounds for having their child’s birth certificate re-issued), but 1) that certainly can’t be argued for in all cases, 2) 'biological sex' is understood by medical doctors as alterable through hormones and surgery, which trans people are often required to undergo in order to change their records, and 3) binary sex assignment is already imprecise and discretionary, particularly if infants have sex characteristics that don’t conform to binary F/M assignment standards (which is part of how the category of intersex emerges, framing this failure to conform to state census categories as a biological defect - and in fact, many intersex people do not discover they are intersex until the onset of puberty or later, at which point they are even less in luck if they want to change their sex assignment - and if they don’t, if they are cis but have sex characteristics that do not conform to cis standards, they will be discriminated against anyway). 

Even setting aside the issue of transgender and intersex people for a moment, states fuck up all the time in administration! you've probably either experienced this directly or know someone who's had some kind of record fucked up by the government at some point in their life. If you get married they could fuck up changing your last name, fuck up your disability status, record your social insurance number wrong, print the wrong address on your driver’s license, fail to acknowledge you as a dependent when filing taxes, incorrectly mark you as having graduated when you’re still a student, fuck up your immigration paperwork, record your name wrong during immigration, etc etc into infinity, and this is not even getting into errors that occur when different levels of government pass information between one another. This level of administrative rigidity is purely to punish people who fail to perform cissexualism correctly, and in the case of this couple's child, the administrative error of the state is imputed to them as a personal failure that she and her parents will now have to deal with for the rest of their lives. 

I think the ultimate analysis is not that transphobia will become less precise and hit more "wrong" targets as it expands its reach, but that this is the exact same operational logic as all other liberal state measures - if you encounter a systemic issue, it’s your fault for not avoiding it, fuck you, go away. You’re poor because you’re lazy, you’re unhoused because you’re lazy, you’re disabled because you’re lazy, and your daughter is now administratively transsexual because you’re lazy. In this case, we don’t even need to assume the intentions of the state - they outright say it:

The family complained to the GRO but was told the mistake was their responsibility and could not be fully rectified. “The duty to ensure that information recorded in any particular entry is true is the responsibility of the person providing the information and not of the registrar general or the registrar recording the birth,” the GRO said.

[guitarbomb]

Jeff Buckley Guitar Gear - A Deep Dive into Grace

Jeff Buckley was a major influence on many musicians and guitarists. We take a deep dive into the gear he used.

Jeff Buckley’s Grace album is a tour de force in songwriting. It also features some exceptional guitar playing and recorded guitar tones. We take you through that gear and talk about how to grab some of those tones and integrate them into your rig. Jeff Buckley  Jeff Buckley’s album Grace is often seen as the perfect debut album by many because it is so fully formed. With the perfect balance of…

[dewitty1]

Fic Recs Wrap Up March 2024♡(੭ˊ͈ ꒵ˋ͈)੭*･:.｡. .｡.:*･゜ﾟ･*☆

tissue of silver by fearlessdiva

A love story concerning possessed furniture, black silk pyjamas, courtroom drama, premonitions of doom, assassination attempts, Death Eater yoga, absinthe, bare feet and a sensible werewolf. Rec Post

The Piano by shushu_yaoi_lj @orange-peony

He arrives on a boat during a particularly stormy day. Harry knew Astoria Greengrass had sent for a husband, someone to keep her company on the particularly dreary and dark winter days on this remote island. Harry didn’t know who it was she had arranged to be sent here. All he knew was that the weather was horrid today, and the Portkeys had never properly worked in this remote corner of the North Sea. The island was special, its magic working in odd and surprising ways. Rec Post

Turn From Stone by harryromper @harryromper

Something happened in the hours after the final battle, after the evacuation of the living and the dead. As the last of the survivors left the castle, and as the castle itself turned its wounded back on them all. The loss of Hogwarts has been felt by their entire community. And it’s something that needs to be put right. Harry knows there’s nothing he can do to stop Hermione (war hero, historian, author of the reissued “Hogwarts: A History”) once she sets her mind to something. Even an extremely risky last-ditch effort to restore the ancient castle and lay its newest ghosts to rest. What he wasn’t counting on was her insistence that Draco Malfoy be part of the plan. Rec Post

With and Without You by Shewhxmustnxtbenamed @shewhomustnotbenamed

Harry and Draco realize that they’ve been living in the same building for the past five years, hiding from the Wizarding world in Muggle London for a variety of reasons. They grow unexpectedly close and Harry realizes that Draco’s relationship with his boyfriend is abusive, spiraling as he tries and fails to figure out how to help. In Harry’s rejection of the Wizarding world in general, he has fallen out of touch with his friends and his magical abilities, but has to reconnect with both in order to find himself again. Rec Post

Inevitable [Drarry] by violenttulips @violenttulips

After the war, Harry Potter becomes a talented Senior Auror with a penchant for injury in defense of his colleagues. Draco Malfoy leaves the country for five years and becomes an accomplished Specialty Healer. He comes back after he accepts a job at St. Mungo’s Hospital. When they meet again, it’s clear that Draco has changed significantly in the years since they attended Hogwarts together, and Harry finds himself strangely attracted to his former rival. But things never come easy for the Boy-Who-Lived, and that’s not about to change now. Rec Post

Learn To Fly by Ladderofyears @ladderofyears

January 2004: Draco Malfoy and Harry Potter are two of the finest Seekers in England, deadly rivals and secret lovers. As far as Draco is concerned, that’s how it’ll stay forever. He is betrothed to beautiful heiress Astoria Greengrass, and they are due to have a big summer wedding. Everything changes during a hotly fought Arrows versus Wimbourne game when Draco falls from his broom. To his huge shock, when Draco awakes in St Mungo’s, he discovers he is pregnant. What will Draco do, now everything in his tidily compartmentalised life has to change? Rec Post

He Comes Like a Thunderstorm by korlaena @korlaena

Draco is doing his best to balance the life he wants to live and the life he’s forced to live. He’s nearing the tail-end of a long, post-war probation when Harry Potter crashes back into his life with all the grace of a charging Erumpent, breaking through his carefully constructed rules and routine. Caught up in a whirlwind of sex and lust, Potter unwittingly shows Draco that his life as an Incubus doesn’t have to be as lonely and unfulfilling as he thought, but how long can it last? Rec Post

Denouement by the_never_was

Pale face in paler hands, he is devoid of color. He is only the moonlight. And he wonders if he’ll find the sun. A story about Draco entering a period of change that will either shatter him or enfold him into Harry Potter’s world. Rec Post

Here are a few more fics I've read recently that y'all might like to check out as well!(ノﾟ∀ﾟ)ノ━☆ﾟ･*:.｡. .｡.:*･.*･｡ﾟ*:・ﾟ✧

Stalking Harry by orphan_account

Harry Potter is the most eligible bachelor in the Wizarding world. Draco Malfoy is a disgraced ex-Death Eater with emotional baggage and a bit of a crush.

Through His Eyes (I Am Set Free)  by  Shewhxmustnxtbenamed @shewhomustnotbenamed

Harry and Draco have a telepathic connection that remains unexplained in both the Muggle and wizarding worlds. Draco is assigned a mission by Voldemort to locate and capture the Boy Who Lived-- the trouble is that they don't know anything about him. While Draco struggles to gather information on this mysteriously absent hero, he and Harry start communicating again for the first time since they were kids. Harry continues life as normal until he discovers information which compels him to abandon his ordinary Muggle life with the endeavor to rescue and emancipate his only friend-- even if that means bartering with his own life.

A Private Reason for This by Femme (femmequixotic) @femmequixotic

When the wife of a star politician in the Scottish Ministry turns up dead just outside Hogsmeade, Draco Malfoy and his murder investigation team are called in from the Edinburgh Auror force to find her killer. What DCI Malfoy doesn't expect, however, is to have an ex from two decades past end up in his murder room, endangering not only his case, but also his heart.

Consequences of Redemption by bobbirose @ominousflags

When Draco makes an impromptu decision to rescue Harry Potter from Malfoy Manor, the two find themselves completely alone and facing the looming climax of the war against Voldemort. Harry must start from the beginning with Draco--and starting over has more consequences than either of them anticipated.

( •ॢ◡-ॢ)-♡ I hope you enjoy these fics as much as I have! Happy reading, y’all! xoxo Carey  (◍•ᴗ•◍)♡ ✧*💜💙💚💛❤💗💕💖

[posttexasstressdisorder]

Tuesday, 12-03-24, 8am Pacific

'Mornin', everyone. Mr. Baggins here with our Morning Coffee Music, selections to get us in gear and in good cheer. Let's start this morning off with our daily three Preludes and Fugues played by Harpsichordist Malcolm Hamilton. Today we hear Preludes and Fugues Nos. 10, 11, and 12 from Book 2 of WTC.

Next, we hear another of the performances that Guiomar Novaes recorded in 1956, and was issued as side 2 of A Music Appreciation disc issued by The Book of the Month Club in 1957. This time she is playing Beethoven's Sonata No. 26 Op. 81a, in E flat major "Les Adieux". This is as definitive a performance of this piece as has ever been recorded. The poise, the grace and control in this are eye-opening, and yet it is as warm-hearted as anyone could make Beethoven be!

Next is a treat: a performance from March 21, earlier this year, by the UT Wind Symphony of Malcolm Arnold's "Four Scottish Dances", arranged for only winds by Paynter.

Next we hear the Philadelphia Orchestra, with Eugene Ormandy at the helm, in a performance of the piece Sergei Rachmaninoff dedicated to them, his Symphonic Dances, Op. 45, and the "Paganiniana" Op. 65, of Alfredo Casella. Another historic reference recording that has withstood the test of time!

We turn to the music of Schubert next, a very early recording featuring Sergei Rachmaninoff at the piano and Fritz Kreisler on violin, playing Schubert's Violin Sonata in A Major, D 574, in a historic recording from 1928, reissued on LP in several different incarnations.

Lovely, isn't it? The fact that we can hear these two in a performance that is nearly 100 years old is mind boggling. We even have Rachmaninoff playing his own concertos, all from 1925 to 1929! Let's jump ahead a few decades to the mid-late '50s and hear another of Chopin's Scherzos, played by Vladimir Horowitz, from his glory days in the 1950s at RCA. We hear the Scherzo No. 2 in B-flat Minor, Op. 31, recorded in 1957.

And I thought we might wrap today's Morning Coffee Music up with a couple of lovely songs, sung by Elisabeth Schwarzkopf, from her Carnegie Hall Recital of November 25, 1956. We hear Mozart's song "Abendempfindung", K. 523 and then Richard Strauss' "Wiegenlied" (Cradle Song), op. 41, nº 1. George Reeves is the Accompanist.

And with that gorgeous little melody still hanging in the air, we bring today's Morning Coffee Music to a close. I do hope you've enjoyed the selections this morning! Mr. Baggins signing off for now, but I'll return at 2pm Pacific with your Afternoon Stack of Classic Wax!

Until then, be kind, babies, be kind.

Baggins out.

[2000sanimeop]

I made myself an Astos playlist for fun last week and was compelled to make cover art for it, so here's that!

Why Quiet Quitting? What is Stranger of Paradise about if not a dark elf quiet quitting their job for XXXXX years?

✧ Step into my twisted mind (for the tracklist/notes) ✧

✧ 9 to 5 ✧

They just use your mind / And they never give you credit 

Dolly Parton

It's enough to drive you crazy if you let it

Note: One of my favorite Stranger of Paradise pastimes is thinking about Lufenia's TERRIBLE business practices. This was the last track added to the playlist.

✧ Never Recover ✧

The Cardigans

With a hero in the past / You hang on to history

Such a loss will always last / And there's no recovery

Note: The Cardigans have so much more to offer beyond Lovefool and the U.S. Gran Turismo 2 opening. A good flavor of upbeat misery. Side note: Gran Turismo's last track is titled Nil - It's all connected! 🤯

✧ Everyday Is The Worst Day Of My Life ✧

The Lemon Twigs

Everyday is the worst day of my life

Note: I had originally considered using They Don't Know How to Fall In Place (mostly on account of being more of a song and less of a shitpost) but this was too funny not to use. This is the only song on this playlist that isn't 20+ years old. Side note: this band capitalizes all of the prepositions/articles in their song titles, like a middle schooler titling an essay.

The worst day of my life

✧ The Good Life ✧

Weezer

I should have no feeling / 'Cause feeling is pain

As everything I need is denied me

And everything I want is taken away from me

Note: I felt some trepidation including this one—mostly due to preconceived notions on what I assumed the vibes of this playlist would be like. Happy to be incorrect and it's funnier to have Weezer and Brand New here than on Jack's list (I'd sooner give Jack The Sweater Song, anyway). Side note: this is much funnier, in retrospect, now that I have Jack's set figured out; the vibes of that list are incredible, is what I'm saying.

✧ Onde Sensuelle ✧

-M-

Mais comment t'atteindre? Onde sensuelle

Toi qui me donnes des ailes

Pourrais-je te rendre un jour éternelle

Pour nous lier jusqu'au ciel

How could I reach you? Sensual wave

You who lend me wings?

Will I manage one day to make you eternal

And bind us toward the skies?

Note: An entirely vibes-based selection! Fitting, as this is the *I'm vibing* track.💜 Auto-translated, sssorry!

✧ Positive Contact ✧

Deltron 3030

Light-years from watchful eyes while my thoughts provide

I'm bio-enhanced

Hiero advanced series, monstrous evolution

Headed, tooth and nail, scoop the trail

Super-sleuth, a new race / Mad creator, savage nature

World Wide Web, the ebb and flow

Objectives to ostracize pompous prophecies

Note: Upon actually committing to making this playlist, I hoped to god there'd be a Deltron track I could use, because it would be so funny for Astos. I would've first heard this album not long after the 2008 reissue. The transition between this and Onde Sensuelle feels real good.

Brand New

✧ Okay, I Believe You,

But My Tommy Gun Don't ✧

This is the grace only we can bestow

This is the price you pay for loss of control

This is the break in the bend / This is the closest of calls

This is the reason you're alone / This is the rise and the fall!

Note: I actually switched this between playlists a couple of times before settling with Astos, but idk what I was thinking otherwise with lines like My tongue's the only muscle that works harder than my heart, lol. I think it was due to Jack's playlist feeling a little too Soft, at the time; past-me was incorrect, of course.

✧ It's Too Late ✧

Carole King

Though we really did try to make it

But it's too late, baby, now it's too late

Somethin' inside has died / And I can't hide it

I just can't fake it

Note: The quintessential breakup song!

But that was long ago

✧ Stardust ✧

Billy Ward and his Dominoes

And now my consolation / Is in the stardust of a song

Note: this is the first song I added to this playlist, and I always had it right at the end. something about having a bittersweet oldie felt like a nice echo of My Way. I would've first heard this via the Goodfellas soundtrack, which I wholeheartedly recommend.

Thanks for looking at whatever this is! While you're here, please be sure to check out @corvuscorona's excellent Astos playlist: SHADOW MONSTER.

[therecordchanger62279]

THE RECORDCHANGER YEAR-END EDITION 2024

  My annual year-end review of my favorite records and books.

   TOP NEW RELEASES

   1. The Tortured Poets Department: The Anthology – Taylor Swift

   2. TexiCali – Dave Alvin & Jimmie Dale Gilmore

   3. The Border – Willie Nelson

   4. Sensual – Rachel Z

   5. Heaven (EP) – Softcult

   6. The Lost Record – Susanna Hoffs

   7. Short N’ Sweet – Sabrina Carpenter

   8. Smoke and Fiction – X

   9. =1 – Deep Purple

 10. MoonDial – Pat Metheny

 11. Memories Have Faces – The Loons

 12. Brasil – Lee Ritenour & Dave Grusin

 13. The Vienna Recital – Yuja Wang

 14. Viva – Lone Justice

 15. Hit Me Hard and Soft – Billie Eilish

    REISSUES / ARCHIVE RELEASES

    1. Woodstock 1969 – Ten Years After

    2. The Best of Rory Gallagher at the BBC

    3. Welcome to Shepherd’s Bush – The Rolling Stones

    4. Live at The Wiltern – The Rolling Stones

    5. Live at Fillmore East, 1969 – Crosby, Stills, Nash & Young

    6. Live Through the Past, Darkly – The Dream Syndicate

    7. Miles ’54 – Miles Davis

    8. Brooklyn, NY 2011 – Sonic Youth

     ARTIST OF THE YEAR

        Taylor Swift

     FINDS OF THE YEAR

        Folklore; Red; Speak Now; Fearless; Evermore; Midnights – Taylor Swift

        Norman Fucking Rockwell; Born to Die: The Paradise Edition; Ultraviolence; Did You Know That There’s a Tunnel Under Ocean Boulevard – Lana Del Rey

        John Adams: Must the Devil Have All the Good Tunes? – Yuja Wang with the Los AngelesPhilharmonic

        NVM; Lost Time; This Mess Is a Place – Tacocat

        All Hands on The Bad One – Sleater-Kinney

        Holly & the Italians – Holly Beth Vincent

        Out of the Mist – Illusion

        Back to Black – Amy Winehouse

        Siren – Roxy Music

        Children of the Future; Brave New World; Your Saving Grace; Number 5; Rock Love; Recall the Beginning…Journey to Eden – Steve Miller Band

        Sheet Music – 10cc

        Happy Nightmare Baby – Opal

        Ask the Ages – Sonny Sharrock

        Room of One’s Own; Under the Milky Way Express – Rachel Z

        Bright Lights; The Deep End – Susanna Hoffs

        At Home – Shocking Blue

     BEST BOOKS OF THE YEAR

       The Penguin Book of Rock & Roll Writing edited by Clinton Heylin (1992)

       Just Backdated by Chris Charlesworth (2024)

       Zip It Up! The Best of Trouser Press by Ira Robbins (2024)

THE YEAR IN REVIEW

     This was the year where I finally accepted the inevitability of listening to music more often on digital files through a computer, rather than through a stereo system with a turntable, CD, and cassette player. My stereo got less use this year than any year since I began listening to music, but I listened to far more music than any year since I left the music retailing business. I made the transition out of convenience, and out of financial necessity. I have been priced out of buying physical media when it comes to music. I bought some things, of course, but very little after July. Prices on records, compact discs, and even cassettes just continued to rise. Delivery got more expensive, and less reliable. And availability fell to an all-time low. Everyone else can do as they please. But I will not overpay for anything. And I will not spend hours or days chasing what I want to buy – new or old. If the musician or the label can’t give me access to the music without hassle, and at a reasonable price, then it’s no sale. Plenty of music can be accessed, and listened to, and even owned digitally without any hassles, and, in some cases, even owned without having to pay. I’ve never been reluctant to buy what I wanted, but I simply refuse to be robbed, and I will not jump through hoops to find what I’m looking for. Looking at titles that were added to my collection this year, I only bought a single vinyl record in 2024, and not one cassette. I bought 29 compact discs, and 5 digital downloads. But I added many more titles to my digital collection this year at no cost. Most of those were titles I could not find a physical copy of anywhere. Some were available at prices that were outrageous. Still others were unavailable to me through regular channels. I was forced to improvise, and that’s what I did.

     I spent a lot of time on You Tube listening to albums, and even more time with what is called The Vinyl Community. That’s a group of music lovers who upload videos to You Tube where they discuss what they own, what they’re buying, what they like and don’t like. That was in Spring, but before Spring turned to Summer, the novelty had worn off for me. There are still a few channels I follow, but I don’t fit in as a part of this “community.” Most of these collectors have a passion for music, but making videos for You Tube is a side business for them, and because they have a following, record labels and musicians often send them free copies of new releases hoping for favorable reviews, and, consequently, free or cheap advertising as a result. That business model calls into question the integrity of their opinions which, to my way of thinking renders them useless.

    In any case, I’d hoped that my involvement as a viewer with that group would fill the gap that’s existed since I left the record business, as I no longer had a way of interacting with people who came into my shops and wanted to talk music, and exchange opinions. And while there are four or five of these people whose work I do enjoy, it’s clear I don’t belong there. They don’t respond to comments or questions you might ask, so it’s not dissimilar to being back on Facebook again where even your friends and family ignore you. I’d rather talk to myself on Tumblr.

     You Tube did give me the opportunity to hear a lot of new releases this year that might otherwise have slipped past me. My lists would look very different, and would be much shorter if not for You Tube. So, the experience with the channel overall was certainly a good one.

     As for the lists above, it turned out to be a pretty good year for music. I’ve already posted pieces about Taylor Swift, and Lana Del Rey, and they were the artists I listened to most in 2024. My choice of Taylor as Artist of the Year was easy. It wasn’t even close. She made the best record by far. She had the year’s biggest tour. She got written about, and photographed more than anyone else. And she deserved every accolade, and award she got. She’s the best, and most talented artist to debut this century, and I will listen to her music until my ears fall off. The Tortured Poets Society: The Anthology already cracked my all-time Top 200 Albums list when I revised it this summer. No album has ever done that in the year of release. And when I revise the list again, I would expect the album to move into the Top 100, and pull three or four of her older albums onto the list, too. Lana Del Rey will probably make the list as well, and maybe more than once.

     Several of the artists who made my Top New Releases list have never made the list before. Rachel Z released her first album, Sensual, in 15 years, and it might be her best. Softcult’s 6 track EP, Heaven was one I listened to again and again. Sabrina Carpenter’s Short N’ Sweet jumped seven places on my list after I saw her Tiny Desk Concert last week for NPR. She’s far more talented than I realized on first listen. Even Billie Eilish slipped onto the list this year. First time I’ve actually taken the time to listen to her, and I was impressed. But the old guard was well-represented by Dave Alvin and Jimmie Dale Gilmore whose TexiCali would’ve been an easy number one had Taylor Swift taken the year off. Willie Nelson released The Border, his best record in decades. X, Deep Purple, The Loons, and Lone Justice surprised with fine new albums. Lee Ritenour (at 72) and Dave Grusin (at 90!) bring decades of experience to their tasty Brasil album. Susanna Hoffs, Pat Metheny, and Yuja Wang have been here many times before, of course.

     The Reissues/Archive Releases list, on the other hand, has many of the usual suspects, but that’s the nature of the beast, so it’s fitting. Seven of the eight releases are live albums while the one studio set is a snapshot of what Jazz trumpeter Miles Davis was up to in the calendar year of 1954. It’s telling, too, that I didn’t buy a single box set this year.

     But the Finds of the Year list is always the one that excites me most because that’s where I get to add great albums to my collection that had previously slipped through the cracks. Half a dozen Taylor Swift albums, and four more by Lana Del Rey led the way, followed by a concerto John Adams wrote specifically for pianist Yuja Wang that is both old world Classical, and thoroughly contemporary. It was recorded in 2019, and is already among my favorite Yuja Wang recordings.

     I also caught up with a Sub Pop band called Tacocat whose first for the label was released in 2014, with a follow-up in 2016, and a third in 2019. The band is still together, and I hope planning a fourth release soon. It’s great Indie Pop that is without pretensions, and fits nicely with the very best bands in that genre. The rest of my “finds” are older than these, and I wrote about them previously in these pages.

     Finally, my three favorite books of the year were all books of music journalism, one a memoir by the Melody Maker’s Chris Charlesworth, and the other two collections of essays, and reviews from Rock’s history, and Trouser Press magazine. I read 44 other books in a variety of genres and categories, but none I enjoyed as much as these.

If you like what you see here, hit the ‘follow’ button, and then the ‘like’ button when the spirit moves you. Thanks for reading The Recordchanger. I hope you found it worth your time.

[betterwatchout]

Why We’re Here

My birthday gift in 1965 was a reissue of Harry Simeone’s Little Drummer Boy (recorded 1959). Yeah, you hate me right now.

Not being a cool kid, I succumbed. I'd seen Sound of Music the previous summer, so it was fun when I discovered the original 1951 recording by no less than the Trapp Family Singers.

It’s hip to hate this song: one hook on endless loop, child labor, the humblebrag of Christian grace, onomatopoeia? Please.

Being shameless (obvs), I’m happy to fix this post now for the non-haters. Tap your poison.

Cheekyboy (Johnny Cash mashup)

And for Jim:

When Dean Wareham gave Marlene Dietrich's 1964 version a solid shoutout, it made my day.

Finally, a newish (2022) version by Jon Bell that works really well.

[wutbju]

Jim Berg is the infamous, GRACE-sanctioned Dean of Students in the GRACEReport. I just started to look through the Report to find a few things about how he counseled students, and I was overwhelmed. And that's just READING it!

Here's GRACE's summary about James Arlen Berg (231):

As the most influential member of the BJU community regarding the many issues related to the counseling and discipline of sexual abuse victims, Dr. Berg bears a responsibility for much of the pain caused by BJU’s failure to understand and respond adequately to matters related to sexual abuse. It is recommended that as long as Dr. Berg is employed by BJU, he no longer be authorized to teach on any issue related to sexual abuse or victimization. It is recommended that Dr. Berg also no longer be allowed to provide any counseling and/or discipleship on or off campus. It is also recommended that Dr. Berg not be allowed to speak or consult on any issue related to counseling on or off campus.

BERG is the most to blame for BJU's criminal reaction to criminal actions on campus.

And what has he been doing over the last ten years?

He earned an actual accredited degree (Dmin) from Southeastern Baptist Theological Seminary.

He reissued the heretical Changed into His Image with P&R Publishing.

He still teaches "counseling."

He "oversees" the "online counseling program" in BJU's seminary.

He leads his registered-trademark Freedom That Lasts® and Faith Counseling Institute at Faith Baptist Church in Taylors (used to be L.E.A.D. ministries).

And, of course, he's still preaching in Chapel.

That BJU doubled-down on Jim Berg's bad counseling despite the overwhelming evidence that it was dangerous proves one thing:

BJU and Jim Berg are ...

[human-antithesis]

Neurosis Country: United States Genre: Hardcore Punk (Early); Sludge Metal, Post-Metal (Later) Formed in: 1985

Lineup: Stephen Vontill - Vocals, Guitars (1989 - Present) David Edwardson - Bass, Additional Vocals (1985 - Present) Noah Landis - Keyboards, Organ, Piano, Samples (1995 - Present) Jason Roeder - Drums (1985 - Present) Scott Kelly - Vocals, Guitars (1985 - 2019)

Albums:

1987 - Pain of Mind (Reissue. 1994) 1990 - The Word As Law (Japanese & Remastered Editions) 1992 - Souls At Zero 1993 - Enemy of the Sun 1996 - Through Silver in Blood 1999 - Times of Grace 2001 - A Sun That Never Sets 2003 - Neurosis & Jarboe - Collaboration (Reissue. 2019) 2004 - The Eye of Every Storm 2007 - Given to the Rising 2012 - Honor Found in Decay 2016 - Fires Within Fires

[bandcampsnoop]

4/21/24.

When I saw that Chapter Music (Melbourne, Australia) was splitting a vinyl reissue of Guy Blackman (co-founder of Chapter Music and member of Minimum Chips), I was anticipating a good album.

I wasn't really expecting a great one. "Adult Baby" was originally released in 2007 and now is being reiussued by both Chapter Music and Pop Superette (Pierre, the label owner, is just amazing), a French label responsible for one of my favorite Bandcamp releases, Irmão Victor.

As usual, the Bandcamp write-up contains some gems I need to pass on. First, Guy Blackman is a "nerdy fan of Syd Barrett". His voice reminds me of the melancholy voices associated with Nick Drake, Belle and Sebastian, and Jens Lekman (who appears on the 3rd song!) And finally, the Bandcamp page hypothesizes how the Guy Blackman CD made it to France in the first place. The blame is laid at the feet of Maxwell Farrington - an Aussie living in France who says of Guy Blackman:

“Guy Blackman is one of Australia’s finest singer/songwriters. There are very, very few artists who can make me cry like he does. Normally I don’t give a damn about the lyrics, but with him it’s genius. After his moving (unpretentious) words come his graceful and sticky melodies and arrangements. ‘Adult Baby’ - this is a very important album for me, it’s the Mount Everest of Australian pop.”

[athetos]

Not going to do an official ranked list, but here are my favorite albums, EP/reiusses, and singles of 2023 thus far. I have a significant backlog I have to get through still, so I’ll update it in a month or so once I’ve torn through everything. Genres in parentheses.

Albums:

Panopticon - the rime of memory (atmospheric black metal)

Hot mulligan - why would I watch? (Emo)

Silent planet - superbloom (metalcore)

Anita velveeta - i saw the devil in Portland Oregon (emo)

Citizen - calling the dogs (alternative rock)

Beartooth - the surface (metalcore)

Creeper - sanguivore (rock)

Pvris - evergreen (alternative rock)

Sleep token - take me back to Eden (progressive metal)

Free throw - lessons that we swear to keep (emo)

EPs/Reissues:

The callous daoboys - god smiles upon the callous daoboys (Mathcore)

Portrayal of guilt - Devil music (black metal/screamo)

Pinkshift - suraksha (punk)

Deafheaven - sunbather remastered (blackgaze)

Blood incantation - luminescent bridge (death metal)

Better lovers - god made me an animal (hardcore)

Singles (either from albums that didn’t make the cut, or albums that aren’t out yet)

Glass Beach - CIA (post-emo)

Laura Jane Grace - dysphoria hoodie (folk punk)

Trash Boat - Liar Liar (metalcore)

Save Face feat. The callous daoboys - favorite lullaby (post-hardcore)

Ben Quad - would you tell Picasso to sell his guitars? (Emo)

Blink-182 - anthem part 3 (pop punk)

The menzingers - hope is a dangerous little thing (cowpunk)

Tigers Jaw, Joyce Manor - constant headache (emo)

Rivers of Nihil - hellbirds (technical death metal)

Mannequin Pussy - I Don’t Know You (alternative rock)

The wonder years - goddamnitall (pop punk)

Jessie ware - pearls (r&b)

Brutus - love won’t hide the ugliness (post-hardcore)

The story so far - big blind (pop punk)

Itoki Hana, Toby Fox - the greatest living show (rock)

Bayside, ice nine kills - how to ruin everything (patience) (punk)

Sum 41 - rise up (punk)

—-

All in all, I think my favorite EPs of all time came out this year, but there were some disappointments from big bands album-wise (taking back Sunday, the used).

My most anticipated for next year are albums from laura jane grace, glass beach, mannequin pussy, deftones, Ben quad, casey, and sum 41. Also ngl am insanely curious to see how job for a cowboy’s new album shapes up.

[dollarbin]

Dollar Bin #15:

Gordon Lightfoot's Summer Side of Life

Forget Dylan going electric; let's talk about when Gordon Lightfoot did it.

I said so early on in our quest through the Dollar Bin, but I'll repeat it here: Gordon Lightfoot is The Lord of the Dollar Bin. He dwells there and holds the title because he recorded a zillion albums in the 60's and 70's that people are too dumb to seize.

Why don't they get seized? Maybe it's his perm; or maybe it's his occasional corpulence or his often regrettable mustache: Gordon always used his album covers to show off his latest look, and I'm not sure that was the best call.

Consider the cover for Dream Street Rose. Gordon presents himself as the stepdad you keep a leery eye on, the mechanic you supervise, the dentist you keep your mouth shut for, the first guy to get bounced out of the bar. He sure doesn't look like someone you should invite onto your turntable. He might knock it over.

His male peers were either handsome and/or goofy enough to grace their covers (Bob Dylan is a handsome dude and a goof; Bruce Springsteen is freaking hot) or they were smart enough, most of the time, to focus their album covers on something other than their gangly looks (here's looking at you Neil Young!).

But don't be fooled by Gord's covers; every Lightfoot album, from the greatest hits collection Gord's Gold (for which he wears the most pleather of jackets) to Back Here On Earth (for which he sniffs a daisy, sensitivey) is a Dollar Bin steal. And Summer Side of Life is a Dollar Bin behemoth.

Summer Side of Life came out on the heels of what most Gordos (that's what you can call the most serious fans of Gordon, like me) consider his masterpiece, 1970's Sit Down Stranger (which was reissued almost immediately as If You Could Read My Mind). That record saw him do more than offer up one of the greatest songs ever written (that would be, of course, If You Could Read My Mind; and if you don't consider that song to be one of the greatest songs ever written, please, reader, read my mind: you are wrong.) 1970 also saw Lightfoot pivot up to Neil's own Reprise Records, and with the move you can hear him beginning to trade his humble Canadian penchant for simple folk-country production for the orchestration and grandeur one associates with "serious" 70's artists.

Take a listen to his expanded palate on Poor Little Allison. The guy who once lived off rice, beans and brewskies has ordered up some guac.

So, let's call Sit Down Stanger/IYCRMML his version of Bringing it All Back Home: new instruments come in, and there is even a whisper of drums in the mix, but he's not ready/allowed to leave his winning folky formula behind for good.

Summer Side of Life, recorded in late 1970, is where Gord puts his foot down and declares full revolution, complete with bayonets, cannons and intrigue; Summer Side of Life is therefore his Highway 61 Revisited. Is it as good as that? No. Nothing is! But Summer Side of Life is awesome enough for the analogy to (mostly) hold up.

Let's go song by song on this edition of the Dollar Bin, and thereby demonstrate that Gord is indeed gold.

Side 1.

The record opens with a reminder that Lightfoot likes to write about the weather. The sleigh bells in his classic Song for a Winter's Night take us out into the glistening snow; and of course he knows all about the Early Morning Rain. And so we are instantly comfortable and hooked by 10 Degrees and Getting Colder.

And the characters! By verse two I'm already anxious about the roving musician who's trying to get home to mother. Listen for the tambourine to come in, especially during the bridge. No one is playing the Moog or a sitar here, but Gord's already on track to redefine his signature sound.

And then we come to the second track, Miguel. Drop the needle immediately on Gord's passionate, stirring and straight-up lovey rewrite of Spanish is the Loving Tongue.

Was Gord reading All the Pretty Horses while he wrote this? Hell no; that book came out 20 years after this song. Rather, Cormac McCarthy must be a big deal Gordo. Feel free to skip the novel, says I. You can just listen to Miguel instead.

The third track, Go My Way, is classic Lightfoot: three minutes of note perfect confectionery. It's like eating cream puffs while drinking beer. They're good together!

And then there's the title track. The omnipresent Kenny Buttrey shows up in a big way on Summer Side of Life, reminding us that this is a Nashville Record. What doesn't good old Kenny play on from this era? Was he the only drummer in Nashville? His Wikipedia page must be as long as Chewbacca's. They're both in everything, and they are always driving the beat/spaceship. They even kinda look alike!

But the real jedi master on Summer Side of Life is Richard Haynes on bass. He sounds like Jaco Pastorius here, and that dude was probably about 6 years old at this point. Listen to Haynes riff above the melody rather than dwell passively below.

I love this track. Everything swells and sways. Gord was always too polite to write anything abrasive and reckless to compete with Like a Rolling Stone. But I'd argue songs like this one show he could write on an epic scale all the same. I'd be good with this song playing, alongside Carefree Highway, on giant speakers while my grandkids spread my ashes about in the backyard while cracking jokes about their crazy grandpa. Check that. I'll be stoked if that's what happens.

I suspect that the next track, Cotton Jenny, is why this record is not considered a masterpeice on par with IYCRMM. There's nothing wrong with the track - the arrangement is dense and complex and, when compared to what Dylan had done early that year to Little Sadie in a studio next door, the song is utterly masterful - but the melody falls into Gord's bubblegum category alongside other Lightfoot lightweights like Rainy Day People and Boss Man.

Perhaps it's because of Cotton Jenny's upbeat, sing-song riff that it was chosen as the only song from this record, other than the title track, to appear on Gord's Gold.

For anyone out there who doesn't own Lightfoot records and yet is, bizarrely, still reading this: Gord's Gold is your best first purchase. The Dollar Bin has plenty of copies, despite the fact that I routinely buy the record for my friends. I just feel like everyone deserves a copy.

I came of age listening to Gord's Gold. My buddy Eric and I would jubilantly declare our own bedtime long after midnight during our middle school sleepovers by blasting his dad's copy of disc 1. Lightfoot's trembling vibrato served our teenager idea of irony well when paired with our favorite song of that era, Dinosaur Jr's The Wagon.

Purberty was dropping our voices in its uniquely erratic fashion at that point so singing along with good old Gordon about the Ribbon of Darkness checked every box of hilarity we needed.

But we'd fall asleep long before Cotton Jenny ever came on, and whenever I did make it that far in Gord's Gold I always found the track skip worthy. It was too happy, too pop-infused, too sweet. So when my wife brought Summer Side of Life home from the thrift store for me 6 to 10 years ago, I was polite but not stoked. I already had the song Summer Side of Life on Gord's Gold, and none of the other titles looked promising. Plus Cotton Jenny was on it.

However, my wife, for reasons best known to her, loathes Gordon Lightfoot. So her gift was a very generous one, even it had cost a grand total 50 cents. So I played it. No one else in the family cared too much, but I was instantly ashamed of having passed Summer Side of Life by in the Dollar Bin for 20+ years.

Let's all pause for a moment and acknowledge my sainted wife. She isn't Dylan girlfriend material: she doesn't cook, sew or make flowers grow for me; rather she is the greatest human in the history of humans. And she bought me Summer Side of Life.

Back to our song by song meander:

Happily, after we make it through Cotton Jenny, Gordon ends Side 1 with one of his greatest and least appreciated songs. You won't find Talking in Your Sleep on Gord's Gold, or even on any of the subsequent and expanded "best of" packages that followed. But it's a better love song than Softly or Beautiful and it's a worthy successor to the best story of strained love this side of Blood on the Tracks, If You Could Read My Mind.

Enjoy the perfect picking, sway along with Buttery's driving murmur, reach out for the pulsing bass, and then, midway through, marvel at The Jordanaires' odd, yet perfect, backing vocals. Slow down, my friends. Slow down and listen to Gordon Lightfoot calling out to us, lending each of us some pure Dollar Bin beauty on this fine Friday.

Side 2!

We open with a bilingual piece of grace, Nous Vivons Ensemble. I love hearing English speaking artists sing in French, a language I cannot count past un du tua in. Think of Leonard Cohen crossing that surreal, trembling border in The Partisan, or Sandy Denny explaining Dylan to French people in Si Tu Dois Partir. Remember Mick Jagger busting out his grammar school knowledge of the language in Brussels in 73 while he struts and sweats and whoops. Best yet, think of James McNew mangling the language and probably the entire culture on A Plea for Tenderness.

Lightfoot, alternatively, clearly speaks French well enough to write a song in the language, then warble it over a hunting piano borrowed from the Bryter Layter sessions. Hey Gord: Je vous aime. Like, totally.

And then there's Same Old Loverman. Yes, Gordon Lightfoot wrote a song with that title and he sings it with a straight face. It's pure and perfect schmaltz, and I love every note. Again, listen to the bass! There are two separate and glorious lines of it side by side in the opening, then again in the bass solo at the 2 minute mark. Yes, this song has a bass solo, and that allows Gordon ample time to drop in on seven separate ladies midsong. All of them swoon.

I find it incomprehensible that Dylan, who is a huge Gordo himself, has never covered this track. My Famous Brother is probably standing up and shouting at this moment that Dylan did indeed cover Same Old Loverman in February, 1996 while touring Sweden on the Neverending Tour. If that's indeed the case, spend me a link Bro! I'll bet Bob sounds like he's singing about a Sane, Bold Lumberjack. I hope he plays Handy Dandy directly afterwards.

Redwood Hill finds us suddenly in Cajun country; Lightfoot sets the stage for much of the rest of Paul Simon's career here by successfully dipping a beautiful big toe in a foreign genre for one single song before abandoning that genre and moving on. If I was a Ragin' Cajun I'd call this cultural appropriation. But I'm not Ragin' or Cajun, so I'm into it.

Love and Maple Syrup should be as awkward as the title, and the transition between verses is a bit clunky, I guess, but otherwise this is classic hometown Lightfoot. People in Gordon's hometown don't just talk about the home team, which is still on fire. They also contemplate the laws of nature and line up to rob the forest of her wine; everyone longs to be understood.

Three different times in the track there's a slightly unhinged guitar piece that Gordon doubles with his voice. Keep in mind that this was recorded pretty much at the same moment as Moondance and Stephen Stills' paean to all things terrible, Love the One your With. In 1970 Stephen Still was just beginning his reign of harmonic terror and Van Morrison was still figuring out what music could be made with his voice. Meanwhile, Gordon was recording his sixth album. Five years later Van the Man would record the greatest jazz/pop live record of all time by any grumpy, anti-vaccing white dude, but in 1971 Gord was his Dad. And Stephen Stills forever trembles before them both, cowering.

Cabaret ends the record and is its oddest song. The track definitely is not Lightfoot's Desolation Row, so my Highway 61 analogy has fallen on hard times at this point. But the song's title is apropos: this is really a collection of unrelated side by side performances rather than a unified song. Belle and Sebastian's future horn section jumps in and out early on; the guitar work initially doodles without any direction. It all sounds odd, especially for someone as finicky about arrangements as Lightfoot.

But then, mid-track, we find ourselves in a totally unrelated road song. We're on our way to Reno from north On-tar-I-0. And that's a long drive! I checked Google Maps and they refuse to even calculate the distance or drive time. But the bass is once again bubbling conversationally and we fade out of this wonderful record wishing we were taking an even longer drive with good old Gord.

Rest in peace, Gordon Lightfoot. Thank you for forever lording over the Dollar Bin; you made timeless beauty for us all to treasure.

[jazzandother-blog]

“John Coltrane and Johnny Hartman"

“John Coltrane and Johnny Hartman" is a jazz album like no other. Released in 1963, this collaboration between saxophonist John Coltrane and vocalist Johnny Hartman is pure magic. The album features six romantic ballads, each one a testament to the duo's incredible chemistry. Coltrane's saxophone and Hartman's baritone voice blend seamlessly, creating an intimate and emotive experience.

Recorded in a single session at Rudy Van Gelder's studio, the album's production is legendary. Each track was captured in one take, showcasing the musicians' deep familiarity with the material. The simplicity of the arrangements allows the emotional depth of the performances to shine through. This album is a perfect example of how music can convey profound emotions with grace and elegance.

The album opens with "They Say It's Wonderful," setting the tone for the entire record. Coltrane's saxophone weaves around Hartman's vocals, creating a dialogue that is both tender and profound. The interplay between the musicians is palpable, making each track a standout. This album is a timeless classic that continues to captivate listeners.

Recorded on March 7, 1963, at Van Gelder Studio in Englewood Cliffs, New Jersey, the album was produced by Bob Thiele and released under Impulse! Records. The recording session was efficient and spontaneous, with most tracks being recorded in a single take.

“John Coltrane” was a pioneering saxophonist known for his innovative approach to harmony and improvisation. Leading up to this session, Coltrane was exploring more lyrical expressions in his music. “Johnny Hartman”, a jazz vocalist with a smooth baritone voice, brought a unique sensitivity to the ballads. Despite initial hesitations, Hartman's collaboration with Coltrane proved to be a perfect match.

“McCoy Tyner”, the pianist, was known for his powerful left-hand chords and harmonic approach. His contributions to this album are subtle yet profound. “Jimmy Garrison*”, the bassist, provided a solid foundation with his supportive and melodic bass lines. “Elvin Jones”, the drummer, showcased his versatility by adapting his dynamic style to the album's intimate context.

“They Say It's Wonderful" opens the album with a gentle and romantic tone. Hartman's smooth vocals and Coltrane's emotional saxophone create a warm atmosphere. “My One and Only Love” features a tender performance by both Hartman and Coltrane. The seamless interplay between the vocals and saxophone makes it my favorite track on the album. “Lush Life" is a poignant interpretation of Billy Strayhorn's classic song, with Coltrane's expressive saxophone complementing Hartman's sophisticated delivery. “Autumn Serenade" closes the album with a warm and inviting performance, showcasing the lyrical and expressive talents of both artists.

Upon its release, the album received critical acclaim for its unique collaboration and emotional depth. It showcased Coltrane's versatility and brought Hartman much-deserved recognition. The album's success helped elevate Hartman's profile in the jazz world.

Today, "John Coltrane and Johnny Hartman" is regarded as a timeless classic. Its continued significance lies in its ability to connect with listeners on an emotional level. The seamless interplay between Coltrane and Hartman creates a listening experience that is both intimate and powerful.

Recent reissues of the album have introduced it to new audiences, preserving its legacy for future generations. The album's enduring appeal continues to captivate listeners, ensuring its place as a beloved classic in the jazz canon.

"John Coltrane and Johnny Hartman" is more than just an album; it's a timeless masterpiece. The collaboration between Coltrane and Hartman, supported by Tyner, Garrison, and Jones, creates a listening experience that is both intimate and profound. This album remains a testament to the power of music to convey deep emotion and connect with listeners on a profound level.

Source: 3rd Street Jazz

[y-ta-nees-simblr]

Chapter 1.22 - Dinner with Kings

When Andria stepped into the private dining area, she was startled to find her Aunt Nikole was not alone.

Two men were also present, whom she recognized for different reasons. The one sitting with her aunt on the sofa, was the more famous of the two men.

“Aunt Nikole? What’s going on here?”

Nikole stood and so did the man that had been sitting with her.

“Hey, bug!” Nikole pulled her goddaughter in for a hug and kiss on the cheek. “How’ve you been? Where’s Devon.”

“I’ve been fine. Devon is home. What’s going on? Why is the King of Vinford at our dinner? And how do you know Mr. Richard.”

It was Nikole’s turn to be surprised, “You know King Elias?”

“King Elias?!” Andi turned to her favorite chess partner.

“You’re King Elias?!”

“Wait, dad, you’ve already met Andria?” Anthony asked.

Nia remained quite as she was probably the only person in the room who had a complete picture.

“Nia you’re suspiciously quiet back there.” Nikole said.

“I always knew this would be messy.” Nia said.

“Can someone please just explain to me what the hell is going on?” Andria said.

“Andi…” Nia began slowly, but she was interrupted by Elias.

“Andria, I’m your grandfather.”

“My what?!” Andria sat down in the nearest chair. “I’m sorry, but you’re my grandfather? And you never thought to tell me over the last ten years we’ve been playing chess in the town square?”

Elias, Anthony, and Nikole all sat down as well while Nia remained standing with her back against the wall.

“I was afraid if you knew who I was, I’d never get the chance to get to know you.”

“I don’t understand. You’re my grandfather, and you’re the retired king. What about all of the stories you told me about your life, your family. Are any of those true?”

“Andi, I may not have told you who I am, but I’ve never lied to you. Everything I’ve ever told you is true. Especially about how I regret the way I treated your mother.”

“Your daughter, the one who ran away and died a few years later, was Princess Tatiana…and Princess Tatiana was my mother. I…” Andria looked to her aunt. “My mom’s name was Tia Beaumont. I know this. It’s a fact. It’s on my birth certificate. She was not Tatiana Sovanti.”

“Tatiana Grace Sovanti.” Anthony corrected. “Grace is a family name, after Queen Grace. To me, she was Tia. In school, she was Tiana. Just like no one who actually knows dad calls him Elias. He’s Richard, or some form of the name. I go by Tony.”

“But the legal document would need her legal name.” Andria tried to reason.

“The birth certificate you have was reissued after she legally changed her name when she turned 20. The original document was destroyed.” Nikole explained.

“Not exactly.” Anthony said.

“What do you mean not exactly?” Andi asked.

“I kept track of Tia, and you, as best I could. When the Royal Trust’s network learned that Tia had changed her name; they obtained all of the original documents she had to turn in and filed them away. Tony’s got those documents now.”

“Of course, Tia always said she could never truly get away from it all.” Nikole said.

“You…?” Andi looked at Nikole confused.

“I just would like a complete story. Can someone, anyone give me that?” Andi begged.

[krispyweiss]

Album Review: Blind Boys of Alabama - Live in New Orleans

Released in audio and video formats in 2009 and subsequently taken out of print, Blind Boys of Alabama’s Live in New Orleans has been reissued for streaming.

The sonic equivalent of a paperback book, this re-release is most welcome as the LP captures the vocal group at a 21st-century peak on the vaunted Tipitina’s stage alongside friends Susan Tedeschi, Marva Wright, Dr. John, Preservation Hall Jazz Band and Henry Butler.

The recording is a perfect balance between what’s happening on stage and how it’s received in the audience. So when a guitar solo slices into the Blind Boys’ “House of the Rising Sun” arrangement of “Amazing Grace” or Tedeschi shreds her vocal cords on “People Get Ready,” the rapturous concertgoers are part of the electrifying mix.

Featuring gospel songs by secular artists (Tom Waits’ “Down in the Hole,” Norman Greenbaum’s “Spirit in the Sky”), pure New Orleanian strut (PHJB’s “Bourbon Street Parade”) and all-hands-on-deck worship (“I’ll Fly Away”), Live in New Orleans can make believers of agnostics and entertain the atheists while sating the faithful. For while secularism pervades life in New Orleans, soft-sell Christianity is Live in New Orleans’ and the Blind Boys’ calling card.

Paise what- or whomever you like - the second coming of this LP is reason for joy.

Grade card: Blind Boys of Alabama - Live in New Orleans - A

3/5/24

[grandhotelabyss]

Thoughts on Guy Davenport?

A great essayist, the generalist to rebuke all specialists, whose dizzying associations gradually overlap and braid together until all of humane culture appears as a unity. He was almost the last of that type, after his friend Kenner, or, in a more strictly academic vein, the likes of Frye and Auerbach. But Kenner, Frye, Auerbach—or even Bloom, Steiner, Sontag—all feel much heavier, more armored and therefore crushing in their erudition, while Davenport had the lightest touch. He was a true belletrist, an amateur in the etymological sense, who seemed to be doing it for fun.

I'll give just one example, from the title essay in the soon-to-be reissued collection, The Geography of the Imagination. I quoted part of it here before almost a decade ago, so I assume it's been forgotten by now: a literally extravagant ("from Latin extra- ‘outside' + vagari 'wander'") exegesis of Poe, who stands revealed, by the time Davenport is finished, neither as a panting pulp scribbler nor a dipsomaniacal poète maudit but as an encyclopedist of Joycean proportions, except in miniature:

Poe titled the collection of his stories published that year Tales of the Grotesque and Arabesque. These two adjectives have given critics trouble for years. Grotesque, as Poe found it in the writings of Sir Walter Scott, means something close to Gothic, an adjective designating the Goths and their architecture, and what the neoclassical eighteenth century thought of mediaeval art in general, that it was ugly but grand. It was the fanciful decoration by the Italians of grottoes, or caves, with shells, and statues of ogres and giants from the realm of legend, that gave the word grotesque its meaning of freakish, monstrous, misshapen. Arabesque clearly means the intricate, nonrepresentational, infinitely graceful decorative style of Islam, best known to us through their carpets, the geometric tile-work of their mosques, and their calligraphy. Had Poe wanted to designate the components of his imagination more accurately, his title would have been Tales of the Grotesque, Arabesque, and Classical. For Poe in all his writing divided all his imagery up into these three distinct species. Look back at the pictures on the wall in his ideal room [in the essay “The Philosophy of Furniture”]. In one we have grottoes and a view of the Dismal Swamp: this is the grotesque mode. Then female heads in the manner of Sully: this is the classical mode. The wallpaper against which they hang is Arabesque. In the other room we had a scene of Oriental luxury: the arabesque, a carnival piece beyond compare (Poe means masked and costumed people, at Mardi Gras, as in “The Cask of the Amontillado” and “The Masque of the Red Death.”): the grotesque, and a Greek female head: the classical. A thorough inspection of Poe’s work will disclose that he performs variations and mutations of these three vocabularies of imagery. We can readily recognize those works in which a particular idiom is dominant. The great octosyllabic sonnet “To Helen,” for instance, is classical, “The Fall of the House of Usher” is grotesque, and “Israfel” is arabesque.”

But no work is restricted to one mode; the other two are there also. We all know the beautiful "To Helen," written when he was still a boy:

Helen, thy beauty is to me Like those Nicaean barks of yore, That gently, o'er a perfumed sea, The weary, way-worn wanderer bore To his own native shore.

On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece And the grandeur that was Rome.

Lo! in yon brilliant window niche How statue-like I see thee stand, The agate lamp within thy hand! Ah, Psyche, from the regions which Are Holy Land!

The words are as magic as Keats, but what is the sense? Sappho, whom Poe is imitating, had compared a woman's beauty to a fleet of ships. Byron had previously written lines that Poe outbyrons Byron with, in "the glory that was Greece / And the grandeur that was Rome." But how is Helen also Psyche; who is the wanderer coming home? Scholars are not sure. In fact, the poem is not easy to defend against the strictures of critics. We can point out that Nicaean is not, as has been charged, a pretty bit of gibberish, but the adjective for the city of Nice, where a major shipworks was: Marc Antony's fleet was built there. We can defend perfumed sea, which has been called silly, by noting that classical ships never left sight of land, and could smell orchards on shore, that perfumed oil was an extensive industry in classical times and that ships laden with it would smell better than your shipload of sheep. Poe is normally far more exact than he is given credit for.

That window-niche, however, slipped in from Northern Europe; it is Gothic, a slight tone of the grotto in this almost wholly classical poem. And the closing words, "Holy Land," belong to the Levant, to the arabesque.

Now I haven't read Davenport's fiction yet. Word on the street is that the best of it is a pederastic fantasia on themes from Fourier, but I could be wrong.