Etta James, 73, and Johnny Otis, 90, both passed away this week – Johnny on Tuesday and Etta today – capping off what was a sad week in historical R&B. But while other sources of music news are eulogizing the Matriarch of R&B today – just like they did with the Godfather of the same genre on Tuesday – I want to talk about a time when both musicians were rocking and rolling back in the 1950s. The interconnected histories of each musician make any attempt at commendation unnecessary. Let’s let their talent, influence, and music, shine through music instead.
Etta James didn’t only know Johnny Otis because they were two musicians in the business. She may not have been in the business if it wasn’t for Otis’ keen ear for incredible talent. She also may have never been Etta James. At 14 years old, James formed a doo-wop band called the Creolettes with some friends. Somehow – and stories conflict on how – James met Otis and Otis liked what he heard from James. He changed the name of the band to the Peaches and he changed the name of the lead singer from Jamesetta Hawkins to Etta James. In 1955 she released a song called “Roll With Me, Henry” (“Dance with Me, Henry” was the changed name in fear of censorship). The song was released under the name of “The Wallflower” and it became a huge hit.
In a way it is weird that two musicians with such a close connection died within days of each other, but life is capricious. Enjoy the music and RIP Etta and Johnny
Hey everyone. I have a quick little post about a strange little Flying Lotus EP named Pattern + Grid World. First and foremost, this EP has probably one of the best album covers out there and needs some words about it.
The picture above is the said cover art. Is it a man hiding in bushes or a strange space monster? The level of detail is astounding up close, but as you move further away the pictures seems to change. The leaves fade away like an illusion and only the eyes are left staring at you from a blur. Pretty trippy is you ask me.
Released in 2010, Pattern + Grid World is considerably different from his previous release, Cosmogramma. Whereas Cosmogramma was out there and focused more around inflections of jazz, Pattern + Grid World is simply out there. Take the first song for example:
“Clay” is only the spacey introduction to some cosmic drama. Once Flylo’s signature tribal sounding beat drops in it becomes a completely revolutionary experience. It hovers right there on the edge of being completely out there and bizarre, but just relaxing enough to listen to in any situation. The different melodies are interchanged frequently and partially drowned out by random sounds that really it just is an airy blur, sort of like the front cover art. It all makes sense!
The next song is the single. I put down below because musically it is much different from the rest, but it has a really cool and music video. Don’t forget to watch it, but now listen to this:
As aside from its completely cool name “Time Vampires” is in every way similar the first song yet bizarrely different. It begins with strange voices and again a nice beat. But this whistle begins to play that makes you begin to question your current situation. Like telephone hold music from hell, it mocks you by being pretty yet infuriating. Only a man like Flylo can pull something like this off.
“Jurassic Notion/M Theory” is definitely the weirdest song on the album. This song is the quintessential modern tribal experience. Rollercoaster noises, strange people cheering, and a bass line which gives up way too easily. Nothing more can really be said. You just have to let this one sink it on its own.
Flying Lotus is releasing his brand new album at Coachella this year. I won’t be there since I’m poor and in need of a job, but I’ll be watching the stream. Sort of like the album art.
“American Idol” is the song that never ends, yes it goes on and on my friends. And it keeps going and going like the Energizer bunny. And, heck, I can make many more pop culture references in regards to the granddaddy of American modern reality talent competitions, but I am going to stop there and conclude with this. “American Idol” has become a staple of American culture – it is the apple pie of talent competitions – if not for it we would not currently be experiencing shows like “America’s Got Talent”, “The Voice”, “The X Factor,” “Dancing With The Stars,” – need I go on? (Okay, I’m sure another show would have come around and sparked this new millennium talent competition craze – but let’s focus on the show that just keeps on breathing.)
Season 11 of “American Idol” begins tonight and it has become a habit of mine to ponder on the day of the season premiere whether or not I am really going to watch the show again. Like many, I have been watching this show since season one and have come back like a bug attracted to light every season even with the knowledge that despite the change of judges, contestants, songs (not always), and rules; the show will remain ostensibly the same.
So why do you keep watching it Matt? Great question, myself. It is that fateful day again when I perpend my viewership. I come to a similar conclusion prior to episode one each year. I may be watching this out of pure habit – man is a creature of habit – but I believe I watch it because the formula works. “American Idol” has mastered inward rock star “dreams.” If you watch any episode of the show (especially during the auditions) you are bound to hear the word “dream” said by somebody – good or bad singer. Any music lover has at one time in their lives dreamed of being a “rock star.” Think about it. Do you ever sing in the shower and make sure you are in key? Have you ever picked up an instrument (the guitar for example), taught yourself the basics, and started strumming out basic chord progressions and painful vocals? Admit it. We all have a little “rock star” in us and while the dream of being a musician may have died after listening back to the recording of your best James Taylor impression, that doesn’t mean that we cannot live vicariously through those who are exceptionally talented and relatable to us.
That is the purpose of “American Idol.” Some contestants go from everyday Joes or Janes to performing in front of live crowds and it is exciting to watch their rise to success – or cheer against those who annoy you terribly (and there are many). Plus, there are many audacious individuals who try out and are totally worse than you are and they tend to be humorously bad.
So with only a few hours left to go before American Idol Season 11 kicks off I submit this statement. I was in 7th grade when I started watching and I am now commuting into work every morning – I’m not stopping now!
For those who take the annual plight, I commend you. Enjoy Season 11.
Yesterday’s video from the “Tribute to George” got me thinking. What are among the best “supergroup” concert performances. A supergroup is the combination of a whole bunch of talented musicians. I have said this on many occasions, but the number one performance by a supergroup has got to be the one-night two-song performance by the Dirty Mac, a band put together by John Lennon for the The Rolling Stone TV special entitled “The Rolling Stones Rock N’ Roll Circus.”
Never heard of the show? The footage of the December 11 concert/show was not released until 1996. The Rolling Stones were upstaged by the Who and were never too happy about that.
The year was 1968. The crowd was adorned in yellow ponchos and colorful hats. John Lennon was there (without the Beatles – but with Yoko) and, for the first time without the Beatles – he performed. His accompanying musicians.
Eric Clapton, Keith Richards, Mitch Mitchell. They performed two songs. The first was a version of the Lennon penned blues hit off the White Album, “Yer Blues.” The second was a weird track called “Whole Lotta Yoko” which featured free-form improv and Yoko’s voice. Don’t worry, I’m not posting that video.
John Lennon. Eric Clapton. Keith Richards. Mitch Mitchell. Sigh. If they only would have recorded an album. The Dirty Mac (a play on Fleetwood Mac’s name) is often forgotten, but this one song is better than what most bands ever accomplish.
I just blew the dust off of the Music News category. It had developed a lot of dust, like an unread book on a mahogany bookshelf in an abandoned house. Okay. It wasn’t tangible dust, but, I really haven’t written a post about music news in a while. That stands to change on this Monday, where I do have some pieces of news to share with you all. Let’s jump right into it.
New McCartney Album:
There is so much talent in this image it's almost unhealthy. From left, Mark Knopfler, Eric Clapton, George Martin, Paul McCartney, and Phil Collins.
Only two men in the image above are needed for this post. But, goodness, that picture was too good not to post on the blog. Paul McCartney and Eric Clapton are the two men we are talking about though.
On Feb. 7, McCartney will release his first studio album since 2007. The album, Kisses on the Bottom, is his follow-up to Memory Almost Full (which was a great album in my opinion). The album features McCartney in a more intimate, jazzy setting. Unlike Memory Almost Full which was mostly a pop album. The track listing was released and there are some reinterpretations of well-known song. Here is the track list:
01. I’m Gonna Sit Right Down And Write Myself A Letter
02. Home (When Shadows Fall)
03. It’s Only A Paper Moon
04. More I Cannot Wish You
05. The Glory Of Love
06. We Three (My Echo, My Shadow And Me)
07. Ac-Cent-Tchu-Ate The Positive 08. My Valentine
09. Always
10. My Very Good Friend The Milkman
11. Bye Bye Blackbird
12. Get Yourself Another Fool
13. The Inch Worm
14. Only Our Hearts
15. Baby’s Request (Deluxe Edition)
16. My One And Only Love (Deluxe Edition)
Why is “My Valentine” bolded? Why was Eric Clapton even mentioned? Well on this new album Eric Clapton plays acoustic guitar on “My Valentine.” So what? Click on this – some footage from one of the best concerts of the 2000s.
When Eric Clapton and Paul McCartney get together good music is inevitably created. This is no different with “My Valentine” off of McCartney’s new album. Take a listen.
Eric Clapton has a style of acoustic guitar playing. It can be described as blues perfection, I guess. It is pretty near perfect. You just know it is him when you hear his flawless stylings. This song is, well, beautiful. Wow, what a surprise! Combine Eric Clapton and Paul McCartney, writers of some of the best rock love songs of the rock era, and you get something beautiful, jazzy, melodic, emotional but seemingly effortless. Clapton’s solo at the 2-minute mark is just wonderful. And McCartney’s voice is tremendous. Great release.
I hate reading news items like this. Black Sabbath’s guitarist Tony Iommi, 63, was diagnosed with the early stages of lymphoma, according to a statement on the band’s website. This comes on the heels of the announcement that the band’s original members will be writing and recording for the first time in 33 years. Just awful timing. The band is moving from Los Angeles to London in order to work with Iommi while he undergoes treatment.
We wish him all the best and hopefully he gets better soon. To sponsor a quick recovery, here is “Paranoid”
ws are eulogizing the Matriarch of R&B today – just like they did with the Godfather of the same genre on 
Tuesday – I want to talk about a time when both musicians were rocking and rolling back in the 1950s. The interconnected histories of each musician make any attempt at commendation unnecessary. Let’s let their talent, influence, and music, shine through music instead.
The Music Court 