Michael Jackson was a phenomenally talented individual. Most folks seem to agree that he had some very deeply rooted issues going back perhaps to his childhood. I do not know the whole truth, but I think it is fair to say that he deserves a place among the all time greatest singer/songwriter/performers of all time.
Michael Jackson sold over 750 million titles in his lifetime. This places him in an elite group of entertainers including Elvis Presley, Bing Crosby, the Beatles, and much to the surprise of a lot of people, Mariah Caray.
I first remember the Jackson Five when I was maybe 12 years old. I had a few of their 45's including ABC and I'll Be There. I recall hearing two young girls singing I'll Be There in harmony as they walked home from grammar school one day. I did not know them, but they sounded really good to me.
A few years later, I bought a Motown set that had 3 or 4 lps. Those records are long gone, but I think I may have been the only white boy in Georgia who owned this particular set at the time. It had Marvin Gaye, the Jackson Five and the Supremes among many other notable Motown artists of the time. I remember taking the record set to a party at a friends house and putting the records on the stereo. I just remember how the girls at the party seemed to favor this music over the harder rock music. Nonetheless, I was brow beaten into submission by my peers and I no longer shared my facination with this music openly with my friends. I would listen to WRDW Radio (owned by James Brown) in my car when I was alone, but I would quickly switch back to the Top 40 station or my tape deck when friends were around. Nonetheless, it was the beginning of a long journey for me and it all started with the Jackson Five. I bought records by Stevie Wonder and Jimi Hendrix. When I got to college I started a retrospective of listening to blues artists like Muddy Waters, BB King, and Freddie King, a facination that continues today for me. I also still love funk and R&B music. But Michael Jackson's music was mostly dance and pop.
Anyway, many more years passed and I recall listening to Michael Jackson again when his song Billie Jean played at all the dance clubs. I was a lonely guy in a predominately male population at an engineering school, so dancing at the clubs was a way to get within a few feet of a female. I appreciated Michael Jackson, but not to the level of my wonderful wife. She loved Michael Jackson and still does. I admit that I was amazed by his dance moves, the relevance of his music and the shows that were drawing record crowds. This guy had a lot of everything. A great voice, great songs, great moves, and for a while, charm and boyish good looks.
I found out that Anne, my wife, was born in the same hospital as Michael Jackson in Gary, Indiana. My father-in-law loved to tell me that Michael's father, Joe had worked for him at Gary Works, a large steel plant that employed much of Gary's population during the late 50's and early 60's when Anne and Michael were born. I frequently played devil's advocate to Anne's insistance that Michael missed his childhood and was tormented by isolation and success. I would offer examples of his strange behaviors to counter her position, although I believed then and now that she was correct in her assertion. That is, I believe that Michael should have received help very early to deal with the childhood issues and spoils of mega-stardom. He certainly had the financial means to get help. I cannot help but wonder why he did not receive the guidance from friends and family. This story has become all too familiar. A very wealthy entertainer surrounded by sycophants.
We all witnessed a variety of transformations with Michael Jackson after Thriller. His appearance began to change and was seen many times with various veils to cover his face. He told the press that he had a skin disorder, but his skin color began to become much lighter. At some point, Michael indicated that he was teased about the size of his nose. His nose started to get smaller and smaller and his skin around his mouth started to change into a odd shape that reminded me of the cowardly lion on the Wizard of Oz. Perhaps it was no coincidence that Michael once had a role in the musical, The Wiz.
Then it was the children and Michael's insistance that sleeping with small boys was harmless. several allegations were made. The first involved a settlement of $20 million. The second was an undisclosed amount that was negotiated along with a final verdict of innocent. There were also many lawsuits that had no merit and it is not surprising given Michael's reported $500 million net worth during the pinnacle of his career. He made a few very good business decisions during this time, including the purchase of a significant portion of the Beatles song catalog. However, his career began to falter in the mid 90's and his extravagant spending quickly caught up with him. Michael was sometimes spending over a million dollars a day on lavish decorations and art for his home. Of course, everyone knows about the other stories of exorbitant spending including his Neverland ranch, a hyperbaric chamber, and rather large array of exotic live animals. He also attempted to buy the body of The Elephant Man, Joseph Merrick. Perhaps the incident that revealed the most about Michael, however, was dangling a very young son over a balcony in Paris. This was apparently too much for the public to dismiss as many began calling for the removal of the children from Jackson's custody.
Most recently, Michael had planned a comeback tour consisting of 50 shows in London. These shows were recently postponed, despite claims by his publicist that everything was going well. Several reports of various health issues continued to surface, but were somehow muted by a few earlier false incidents. It was to be, in his own words, "the final curtain call". Instead the final curtain call was at his rented mansion in Westwood.
On June 25th at 2:26 pm in Los Angeles, Michael died. The toxicology results of the autopsy are expected very soon, but there is much speculation that Michael's overall health had deteriorated significantly. There are also rumors of Michael abusing prescription drugs. Not many people would be surprised. I think it is interesting that Michael's doctor was at the residence and that someone had placed Christmas wreaths on the iron gates outside the home. However bizarre his life, I think I would like to remember Michael Jackson for his talent rather than his behaviors. It is not my place to judge another human being, so I will leave that up to God. I just hope that Michael is at peace.
Friday, June 26, 2009
Monday, June 22, 2009
Koko Taylor, The End of an Era
I was deeply saddened to hear that Koko Taylor passed away on June 5th in Chicago. Despite the inevitability of death, survivors feel the loss of those who pass before us.
In Koko's case, we also see the passing of an era. Koko was perhaps the last of a generation of notable women in this culture we call the blues. I do feel fortunate to have seen Koko perform live in the early 90's. She was an aging woman at that time, but she delivered in a way that would be exhausting for the youngest performer. This particular show was at the Variety Playhouse in Atlanta, a converted theater in Little Five Points. I attended with my friend, Joe. There were several other notable acts on the bill, but I do not recall anything about the others. I only remember Koko.
She came out dressed to the nines with a blond wig and she looked fantastic. Her band was tight, but she was in full command. She sang quite a few blues standards, but gave each one her signature voice. That voice! Powerful, gritty, raspy tones with spot on delivery. The sound of her voice was raw yet an integral part of the band, an instrument unto itself. She moved around on stage, engaged the audience, and put on a great show that left us all screaming for more. In short, she
pitched a Wang Dang Doodle that night.
There are only a few survivors from this era. For each one that passes, we lose part of the rich heritage that transformed music forever. There are a few who try to preserve the memory and the culture of the blues, but this music is not only a
particular sound or a rhythm, it is life itself. This music could only be authentically produced as part of an experience. A way that is no longer possible. It is now a part of history.
It is not that anyone really wants to live in such deplorable conditions. Most people do not. However, it is a way in which we remember what this generation endured. We honor them by preserving this authentic art form.
Like many others, I have attempted to play many of the great blues songs from these artists. But, I cannot truly understand the essence of this music and it will always be, at the very best, a form of tribute. Besides, today's blues is more likely to sound like jazz or rock at times, with amazing guitar licks and digital effects. Yes, there are some who do a good job of reproducing the original sounds, but a part of the culture is lost with the younger generations. It is the experience.
Unfortunately, almost all attempts to reproduce this music is still only a tribute and not to be mistaken for authentic blues from authentic blues artists. I think it is ok to be played as a tribute, but I think it is respectful to understand it as a tribute rather than the real deal. In the meantime, some blues purists need to lighten up a little bit, take a deep breath and enjoy the evolution of music rather than attempt to apply unrealistic standards on those who may give an occasional nod to the past.
While this era will soon be gone forever, some blues organizations help to preserve the culture of the blues. Some groups are also doing a great job of capturing at least a part of the blues, but with more refined sounds to please a different
audience. For example, The North Mississippi All Stars help to capture some elements of this passing era, but it remains influenced by rock and success. I like their music very much, but it is also a tribute.
At least from my perspective, we should honor this music by recognizing the impact that it had on our own culture. At the same time, I think it is ok to recognize and embrace the inevitable influence of later music styles that helped define our own lives. That is, I think that music culture is evolving and not a circle that can or will return to pure roots music as a means of coping with unimaginable conditions. Let's honor Koko by preserving her history while integrating her style into our own. In the meantime, we can also have some fun while singing and playing from our own experience.
In Koko's case, we also see the passing of an era. Koko was perhaps the last of a generation of notable women in this culture we call the blues. I do feel fortunate to have seen Koko perform live in the early 90's. She was an aging woman at that time, but she delivered in a way that would be exhausting for the youngest performer. This particular show was at the Variety Playhouse in Atlanta, a converted theater in Little Five Points. I attended with my friend, Joe. There were several other notable acts on the bill, but I do not recall anything about the others. I only remember Koko.
She came out dressed to the nines with a blond wig and she looked fantastic. Her band was tight, but she was in full command. She sang quite a few blues standards, but gave each one her signature voice. That voice! Powerful, gritty, raspy tones with spot on delivery. The sound of her voice was raw yet an integral part of the band, an instrument unto itself. She moved around on stage, engaged the audience, and put on a great show that left us all screaming for more. In short, she
pitched a Wang Dang Doodle that night.
There are only a few survivors from this era. For each one that passes, we lose part of the rich heritage that transformed music forever. There are a few who try to preserve the memory and the culture of the blues, but this music is not only a
particular sound or a rhythm, it is life itself. This music could only be authentically produced as part of an experience. A way that is no longer possible. It is now a part of history.
It is not that anyone really wants to live in such deplorable conditions. Most people do not. However, it is a way in which we remember what this generation endured. We honor them by preserving this authentic art form.
Like many others, I have attempted to play many of the great blues songs from these artists. But, I cannot truly understand the essence of this music and it will always be, at the very best, a form of tribute. Besides, today's blues is more likely to sound like jazz or rock at times, with amazing guitar licks and digital effects. Yes, there are some who do a good job of reproducing the original sounds, but a part of the culture is lost with the younger generations. It is the experience.
Unfortunately, almost all attempts to reproduce this music is still only a tribute and not to be mistaken for authentic blues from authentic blues artists. I think it is ok to be played as a tribute, but I think it is respectful to understand it as a tribute rather than the real deal. In the meantime, some blues purists need to lighten up a little bit, take a deep breath and enjoy the evolution of music rather than attempt to apply unrealistic standards on those who may give an occasional nod to the past.
While this era will soon be gone forever, some blues organizations help to preserve the culture of the blues. Some groups are also doing a great job of capturing at least a part of the blues, but with more refined sounds to please a different
audience. For example, The North Mississippi All Stars help to capture some elements of this passing era, but it remains influenced by rock and success. I like their music very much, but it is also a tribute.
At least from my perspective, we should honor this music by recognizing the impact that it had on our own culture. At the same time, I think it is ok to recognize and embrace the inevitable influence of later music styles that helped define our own lives. That is, I think that music culture is evolving and not a circle that can or will return to pure roots music as a means of coping with unimaginable conditions. Let's honor Koko by preserving her history while integrating her style into our own. In the meantime, we can also have some fun while singing and playing from our own experience.
Tuesday, June 9, 2009
Spotlight on Emerging Indie Artists, Vol 3
Welcome to a special edition of Spotlight on Emerging Indie Artists on Blue Muse Views and Reviews and on my podcast called Blue Muse Independent Voice. I would like to provide a review of select songs from the cd "Living Gifts" by the group, GraceFlock out of Peachtree City, Georgia. Of course, as always, I play the songs for you on the podcast which should post on the 10th.
I hope you will forgive me for my bias as I was once a part of this particular group. GraceFlock performs every Sunday at Christ Our Shepherd Lutheran Church. They have two excellent cd's, "Living Gifts" and "Alive In The Lamb". I happen to be a little bit partial to "Living Gifts". Maybe it is because I played the bass on many of the songs and added a few guitar parts. I also wrote one of the songs. However, I will not say which song. I hope you will check it out and perhaps devote a few minutes of your valuable time listening to the much more talented, remaining members of GraceFlock who continue to inspire folks on a weekly basis.
GraceFlock is Lans Rothfusz, Kathy Rothfusz, Brandon Rothfusz, Preston Rothfusz, Gary Pederson, Christie Pederson, Karla Dietmeyer, James Callison, Penny Kahley, Mark Summers, Sue Summers, Frank Trembley, Robin Merriman, and Karen Ladman. Lans and Gary write all of the original songs (with the one previously cited exception) while Kathy, Karla, and Christie assist with arrangements. They also provide workshops on developing successful contemporary services and they have a songbook coming out very soon to accompany their two cd's.
The first song I would like to review is one of my favorites. It is called "Eyes of Hope". This song was written by Gary Pederson after he witnessed the aftermath of Hurricane Katrina in Biloxi Mississippi in 2005. Gary was so moved by the expressions on the faces of the victims that he wrote this song. This song jumps out and grabs me right away as it has a beautiful melody with great lead vocals and harmonies. The instrumental,performed by Kathy Rothfusz on recorder, sends chills up and down my spine. Of course, the lyrics are wonderful, but the building counter vocals in the end are beautiful and may symbolize the growing number of voices of those who respond in difficult times.
"Think About These" with a haunting melody sung by Gary is again very well done with counter vocals by Christie Pederson. Kathy's flute instrumental is very appropriate in this setting. The bridge section is a wonderful addition to the song leading into added percussion and back to the prechorus and chorus.
The song "Sacrifice" is another one of my favorites from Living Gifts. This song starts with an interesting reggae style keyboard leading into wonderful melodies in the verse and chorus. I love the violin fills provided by Karla Dietmeyer when she was only in 9th grade, I think. Karla's violin solo is very appropriate for the style of this song. The counter vocals are wonderful, as well as the return to the keyboard in the ending.
The next song, "The Lost One" comes straight from scripture. Many of the other songs on "Living Gifts" come directly from scripture or from Luther's writings. I love the violin intro and the soft acoustic guitar and congas in this song. Gary's vocals are very strong on this song. The melodies in the verse, prechorus and chorus are wonderful. Christie's voice lends a lot to this song. The cello and violin break in the middle fits very well. It is almost like the celloist and the violinist are sisters. Wait a minute, they are sisters!
The last song in my brief review is "Joyful Noise II", a remake of an instrumental (appropriately titled "Joyful Noise I) that was recorded by Lans Rothfusz with his group in Oklahoma. The baby in the intro is Lans' oldest son Brandon who is now a senior in high school. I love the rhythm in this song that reminds me a little of the song, Tequila. Kathy's flute is amazing. I think she must have gone to school or something. This song is really inspiring to me.
All of these songs have great lyrics and rich textures that come from excellent songwriting, arrangement, singing, and instrumentation. In addition, the production quality is extraordinary, particularly given that it was done in the Rothfusz home studio. Not bad for a meteorologist!
Finally, GraceFlock is kicking off their Midwest Tour on June 14th in Peachtree City, Georgia. They will play at Christ Our Shepherd in Peachtree City on June 14th, Resurrection Lutheran in Newnan, GA on June 18th, First Lutheran in Alexandria, MN on June 24th, St. Matthew Lutheran in Columbia Heights, MN on the 25th, Christ Lutheran in Glencoe, MN on June 26th, Jackson Lake Lutheran in Amboy, MN on June 27th, Dale Lutheran in Kenyon, MN on June 28th, Good Shepherd Lutheran in Rochester, MN on June 28th, Zion Lutheran in Shawano, WI on June 29th, Bethel Lutheran in Madison, WI on June 30th, Word of Life Lutheran in Naperville, IL on July 1st, and Faith Lutheran in Washington, IL on July 2nd. Each show is at 7:00 p.m. except Kenyon, MN which is part of the 10:30 a.m. Worship Service.
I hope you will forgive me for my bias as I was once a part of this particular group. GraceFlock performs every Sunday at Christ Our Shepherd Lutheran Church. They have two excellent cd's, "Living Gifts" and "Alive In The Lamb". I happen to be a little bit partial to "Living Gifts". Maybe it is because I played the bass on many of the songs and added a few guitar parts. I also wrote one of the songs. However, I will not say which song. I hope you will check it out and perhaps devote a few minutes of your valuable time listening to the much more talented, remaining members of GraceFlock who continue to inspire folks on a weekly basis.
GraceFlock is Lans Rothfusz, Kathy Rothfusz, Brandon Rothfusz, Preston Rothfusz, Gary Pederson, Christie Pederson, Karla Dietmeyer, James Callison, Penny Kahley, Mark Summers, Sue Summers, Frank Trembley, Robin Merriman, and Karen Ladman. Lans and Gary write all of the original songs (with the one previously cited exception) while Kathy, Karla, and Christie assist with arrangements. They also provide workshops on developing successful contemporary services and they have a songbook coming out very soon to accompany their two cd's.
The first song I would like to review is one of my favorites. It is called "Eyes of Hope". This song was written by Gary Pederson after he witnessed the aftermath of Hurricane Katrina in Biloxi Mississippi in 2005. Gary was so moved by the expressions on the faces of the victims that he wrote this song. This song jumps out and grabs me right away as it has a beautiful melody with great lead vocals and harmonies. The instrumental,performed by Kathy Rothfusz on recorder, sends chills up and down my spine. Of course, the lyrics are wonderful, but the building counter vocals in the end are beautiful and may symbolize the growing number of voices of those who respond in difficult times.
"Think About These" with a haunting melody sung by Gary is again very well done with counter vocals by Christie Pederson. Kathy's flute instrumental is very appropriate in this setting. The bridge section is a wonderful addition to the song leading into added percussion and back to the prechorus and chorus.
The song "Sacrifice" is another one of my favorites from Living Gifts. This song starts with an interesting reggae style keyboard leading into wonderful melodies in the verse and chorus. I love the violin fills provided by Karla Dietmeyer when she was only in 9th grade, I think. Karla's violin solo is very appropriate for the style of this song. The counter vocals are wonderful, as well as the return to the keyboard in the ending.
The next song, "The Lost One" comes straight from scripture. Many of the other songs on "Living Gifts" come directly from scripture or from Luther's writings. I love the violin intro and the soft acoustic guitar and congas in this song. Gary's vocals are very strong on this song. The melodies in the verse, prechorus and chorus are wonderful. Christie's voice lends a lot to this song. The cello and violin break in the middle fits very well. It is almost like the celloist and the violinist are sisters. Wait a minute, they are sisters!
The last song in my brief review is "Joyful Noise II", a remake of an instrumental (appropriately titled "Joyful Noise I) that was recorded by Lans Rothfusz with his group in Oklahoma. The baby in the intro is Lans' oldest son Brandon who is now a senior in high school. I love the rhythm in this song that reminds me a little of the song, Tequila. Kathy's flute is amazing. I think she must have gone to school or something. This song is really inspiring to me.
All of these songs have great lyrics and rich textures that come from excellent songwriting, arrangement, singing, and instrumentation. In addition, the production quality is extraordinary, particularly given that it was done in the Rothfusz home studio. Not bad for a meteorologist!
Finally, GraceFlock is kicking off their Midwest Tour on June 14th in Peachtree City, Georgia. They will play at Christ Our Shepherd in Peachtree City on June 14th, Resurrection Lutheran in Newnan, GA on June 18th, First Lutheran in Alexandria, MN on June 24th, St. Matthew Lutheran in Columbia Heights, MN on the 25th, Christ Lutheran in Glencoe, MN on June 26th, Jackson Lake Lutheran in Amboy, MN on June 27th, Dale Lutheran in Kenyon, MN on June 28th, Good Shepherd Lutheran in Rochester, MN on June 28th, Zion Lutheran in Shawano, WI on June 29th, Bethel Lutheran in Madison, WI on June 30th, Word of Life Lutheran in Naperville, IL on July 1st, and Faith Lutheran in Washington, IL on July 2nd. Each show is at 7:00 p.m. except Kenyon, MN which is part of the 10:30 a.m. Worship Service.
Monday, June 1, 2009
Spotlight on Emerging Indie Artists, Vol 2
We have a growing number of talented folk artists at BlueMusePublishing.com so Volume Two of Spotlight on Emerging Indie Artists will be devoted to folk music.
Folk artists are generally known for their wonderfully artful lyrics and simplicity. However, folk music can also be a lot of fun and infuse elements of style and rhythm. I hope to provide a nice spectrum of folk music and styles, but I know that I must create new volumes to recognize many artists who I am unable to include in a single blog/podcast. I hope those artists will accept my apologies and my pledge to return to this wonderful genre.
I should say that I had one foot firmly planted in rock music while growing up in East Central Georgia, but the other foot was planted in folk. I was, and will always be, a fan of Simon & Garfunkel, Bob Dylan, and John Prine. I suppose I should also add that I needed at least two more feet as I loved country and R&B growing up, as well. I cannot help it, I love a variety of music.
I also love to travel, but this will be a virtual trip of music from England, Holland, Colorado, California, Nebraska, and New York.
Confoundry is a duo in England that writes beautiful music and lyrics. The song Watching Swans has a very nice arrangement of vocals, guitar, flute, and harmonies that, I think, paints a very nice picture to go with the lyrics. Please make sure you check out the beautiful flute intro on She Moves Through The Fair.
Vast Countenance is a group out of Amsterdam, Holland playing a variety of styles. However, their song, Afterglow, is very much in the folk genre. This song has very nice guitar, piano, viola, vocals and harmonies.
Wes & Victoria are a husband and wife team from Colorado that have a solid repertoire of original music. These two share their life's experience through their music. There is great instrumentation, with guitar, organ, and harp fills throughout many of their songs, but the vocals are also very good. The song, Trail of Tears has a lot of emotion. It is well written and produced with great instrumentation and vocals. I want to acknowledge the wonderful talent that is on this CD, The Ballad of Billy Saigon. Aside from Wes Hamil on guitar, there is also Albert Lee and the late, great Stephen Bruton. In addition, Victoria Hamil lends her very distinctive harp style throughout. Victoria has also recorded with Roy Rogers, Johnny Cash, and was featured in a film by Robert Altman.
Gil Garcia, from California, is more like Neil Young than Neil Young. I am particularly impressed with Gil's song, Songs. This song has the signature palm muting and phrasing of Neil Young, but Gil's distinct voice gives it life. I am really amazed at Gil's ability to play harp while playing the guitar. This is an extraordinary skill that I wish I had. There are also some very nice harmonies in the chorus. Please check out Gil Garcia at BlueMusePublishing.com.
Artist Stephen Monroe from Nebraska also has a great range of styles with a lot of folk blues and some jazzier tunes. I include Stephen because he is a solo artist playing a style that is part folk, part blues, part jazz. I really love his song, Sorry I Lost Control. It reminds me very much of John Hammond, Jr. There is also a very nice 20's effect at various times during the song.
The last artist featured in Volume Two, is Dan-O from New York. Dan-O is short for Dan O'Connor and his music also ranges in styles. His song Crowd in the Palace is written in a folk style. I am not certain of the meaning behind Dan-O's lyrics, but I am among those who like lyrics that lend themselves to interpretation. It certainly provides a little something for us to think about while we enjoy a well crafted song.
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