I am not often left speechless, especially when it comes to me having an opinion about a piece of music. But it has happened, just now. Well, it has been two days of putting the music on endless repeat till my brain cells formed around every nuance, every shimmer and every guitar note.
I am referring to the EP ‘In Waves’ by Franz Kirmann & Roberto Grosso on the label ‘Days Of Being Wild’. The EP doesn’t arrive till April 9 of this year, but the single ‘Saudade” came out on February 12, and I can’t get enough of it.
Franz Kirmann is a seasoned musician and producer with an impressive resume. A rich and diverse background has seen him produce numerous compositions for a variety of high-profile projects, including the score for the BBC/AMC series McMafia and BBC4 Storyville documentary Locked In. Franz Kirmann has been releasing music since 2006, both as a solo artist and with composer/multi-instrumentalist Tom Hodge with their electronic/post-classical crossover project Piano Interrupted. Between 2012 and 2016, Franz released three solo albums and three Piano Interrupted albums (primarily on German label Denovali) and touring around Europe. In 2009, he founded the electronic music label Days Of Being Wild. French producer Franz Kirmann has now teamed up with Italian artist Roberto Grosso to deliver their new single ‘Saudade’, lifted from their forthcoming collaborative EP ‘In Waves’ through Kirmann’s Days Of Being Wild imprint.
The music they have created is the perfect chill recipe. I have put this on repeat and indulged in surfing the internet, working on my hobby of building dioramas and even reading a book. The music ebbs and flows, and there are moments when I have to hit pause on whatever I am doing and focus on the music. Back it up and play that section again. Good, now hit play and repeat. And my day passes with ‘In Waves” moving in and out, around and about. It has been a good listen. Indulge yourself and give this ‘Saudade’ a spin, put April 9 in your calendar and listen to the whole EP ‘In Waves’. You’ll see what I mean once you get their groove going in your headspace.
I accepted the challenge. I was asked by James, from Silent Kid Records, if I would be interested in doing a review of the new EP from Tony Njoku. I gave it a quick listen with a glance at the artist bio and decided I would give it a go.
I listened to the songs front to back about a dozen times. I read and reread the lyrics. I studied Tony’s song notes like I was cramming for a final exam. And I am still not sure what my take is on this EP. Let’s break it down.
Song 1. Killtony.
Tony Njoku tells us that this track is a favourite because he worked on it with his younger brother, New World Ray, and borrowed some words from a song of New World Ray’s. Killtony is supposed to be a catharsis song as he confesses that he has made bad choices in the past but is ready for a change.
“Imma change don’t desert me imma change.
I’m moving forward ‘fore the demons come in range.”
The song also mentions Yvonne Rainer for the first time; she turns up again in track #3. I have to confess that I didn’t know who Yvonne Rainer was so I spent a good chunk of my life finding out who she is, what she has done, why she is culturally relevant and why New World Ray and Tony Njoku mention her in their lyrics.
“I you try to run it again, then imam leave him for dead
I feel like Yvonne Rainer, dancing on his grave.”
It turns out that Yvonne Rainer has had a lengthy career in the field of interpretive dance, free form dance, performance art and choreography. Not my thing, but I respect these lads for knowing who she is and what she does. The song closes with Yvonne Rainer dancing on Tony’s grave.
Song 2. Zoro
I’ll let Tony explain this one himself as there isn’t much that I could elucidate that he hasn’t done already.
“ZORO too is a fun ride through some interesting and at time poignant themes. The track features a new UK rapper that I hope to hear more from in the future. I sort of just gave him the beat to do whatever he felt lyrically. A lot of the lyrics are quite self facing and unashamedly boastful, which is typical for this kind of work and some are quite thought provoking as well as sentimental; and the delivery is explosive in parts. I also think this is the only rap song I’ve heard that mentions the Anthropocene. Which is funny to me.”
Song 3. The Strange Dance Of Reality
Tony’s words again: “The Strange Dance Of Reality is an experimental waltz. It’s a song that makes reference to the avant-garde dancer and artist Yvonne Rainer’s style of dance and uses it as a metaphor to describe how I see/experience our lives playing out from moment to moment. Ebbing and flowing, rising and falling, decaying and growing; we’re all part of this nearly formless dance that’s perhaps aimless and definitely awkward but either way, in an endless scene, helps us create this strange reality. We’re all co-creators of this madness.”
I dived into this song and juxtaposed it as a dance with Yvonne Rainer.
“I followed Yvonne’s lead, her awkward movements
A formless dance that interprets life oh so well.”
If you are still reading this, here is a lyric sample that you should be aware of: “I know that I’m not perfect at all
I’m OK with it we’re all full of shit.”
I’m OK with it.
The Strange Dance of Reality song has some of the best lyrics that I have encountered recently, listen carefully for the waltz. It’s in there, but you have to pay attention. It doesn’t jump out at you like “Waltz, No. 2 (XO)” by Elliott Smith, a favourite of mine. You can “Take This Waltz” with Leonard Cohen, or do the “Pansy Waltz” with Shakey Graves. It might even make Tony Njoku as rich and famous as Queen who did “The Millionaire Waltz”.
I jumped in this far, I might as well go one step further, a dance step further that is, from a waltz to a minuet, the “Subway Minuet” by Manraygun. Enough already!!!
Song 4. Death By Dimitri
“This is a song about our existence; a lazy stampede and it’s marching towards
Death, like left right left, like left right left”
My quibble: I have been to lots of stampede’s, I have even ridden in a rodeo, which is a small stampede, and I have never, ever, known a stampede to be lazy. Hell no! Those horse’s come out or those chutes as 680 kg of pure adrenaline. They don’t march worth a damn either, it’s more like a rocking motion for the horse, and the cowboy does rhythm with both feet forward and in time with the horse, nope, not lazy, and no marching either.
Disclaimer: I participated in a rodeo, that should not be confused with being good at it, I wasn’t.
Tony’s take on Death By Dimitri: “Dimitri sort of follows on from that thought, but takes a more fearful approach I guess. There’s less hope here, instead of moving towards growth it’s “marching towards death”. And though that’s not a bad thing, I mean it’s inevitable…. however the tone here is fearful and perhaps angry. But in all that existential angst there’s still hope…here it’s presented as the guise of abstraction, psychedelia, the dive into the inner realm, spiritual relief etcetera etcetera. Production wise, it has the liquid feel to it. Like a lot of my production there’s that psychedelic quality in there as well. Essentially it’s a slow cruising trap influenced track about the enlightening qualities of intense psychedelic experiences.”
This EP challenged me in a good way. I had to listen attentively, I had to read carefully, and I had to be open to new and often awkward moments. I would recommend this as a good listen. The high falsetto voice is a bit of an acquired taste, but hey, I learned to like the Bee Gees in their disco days, so a little extra falsetto never hurt.
What album do you think of when a person asks you ‘what is your favourite Jeff Beck album?’? I quite imagine most people answering that question would say, ‘Blow By Blow’, or ‘Wired’. A few brave souls might include ‘Roger the Engineer’, the only Yardbirds album that featured guitarist Jeff Beck on all tracks. Jeff Beck was very prolific with something in the area of 17 solo albums to his credit. He also collaborated on dozens of albums, way too many to list here, go to Discogs to see them. He also has nine live albums to his credit with one album from that list that I have to say is my favourite Jeff Beck recording.
That album is ‘Jeff Beck with the Jan Hammer Group Live’. I doubt very much is this recording makes to many other lists, favourites or otherwise. So what is there about this recording that makes it my choice as favourite Jeff Beck album?
Jeff Beck is a guitar wizard and likes to play live, showcasing his licks. He also enjoys collaborating with other musicians in live venues. He also jams with other musicians and bands and feeds off that creativity and spontaneity. This album, ‘Jeff Beck with the Jan Hammer Group Live.’ checks all of the boxes and comes across as an excellent live recording.
Beck’s guitar skips around the beats laid down by Tony “Thunder” Smith on percussion and Fernando Saunders on bass. Steve Kindler and Jan Hammer on all manner of keyboards and synthesizers flow throughout the album supporting Beck on his trusty weapon, his signature Stratocaster. There are times when they bounce off each other in a magical jam session that builds and showcases their immense talents.
Something to be aware of when listening is this bit of trivia that I found on Wikipedia, the stereo spectrum of this album duplicates the stage set-up with guitar positioned centre-right, keyboards centre left, violin right and drums and bass centre stage. I like the instruments’ interplay and how they seem to move across the room between my speakers. I found it best to sit as close to centre stage as possible and avoid distractions so I could fully appreciate the soundscape coming at me. I would give this recording a solid 4.2 out of 5 stars. Definitely worth the time spent listening to it.
This blog is another throwback album observation. Ambrosia is a rock band from southern California. The band started in 1970 with David Pack on guitars and vocals, Joe Puerta playing bass, Christopher North tickling the ivories and Burleigh Drummond on percussion. An early influence on their prog-rock style of music was King Crimson and other progressive rock bands of the early 1970s. Their vocal harmonies came from a love of the music of Crosby, Stills, Nash & Young. It’s no small wonder that I like Ambrosia since King Crimson and CSN&Y are two of my favourite bands. I don’t remember when I bought my first Ambrosia album, but I am leaning heavily towards 1975, the year their self-titled debut album came out and a single from that album, “Nice, Nice, Very Nice” was getting airplay. I still play this platter frequently. The “Nice, Nice, Very Nice” song is firmly entrenched in my earworm library of hits. A note of interest about that song is that the lyrics of this song were written by Kurt Vonnegut and appear in his 1963 novel “Cat’s Cradle”. In conclusion, this album has aged very well and is still a darn good go-to album.
From the opening bars of this album, Hawaii, an intro called “The Poet, Pt.1”, you know that you are in for a prog listening experience. There is no mistaking the prog sound, and I intend that statement as a compliment to Aisles, they nail it in a good way.
Aisles are a six-piece progressive rock band originally from Santiago in Chile, started by Germán Vergara(guitar) and Luis Vergara (keyboards) in 2001. The brothers were joined their childhood friend Rodrigo Sepúlveda on guitar. Eventually, lead singer Sebastián Vergara, Alejandro Meléndez (keyboards), drummer Felipe Candia and bassist Daniel Baird-Kerr rounded out the band.
This is a bit of an odd review, this album was released in July of 2015 and Aisles are currently working on a new release. Nevertheless, I will soldier on and give this music a review because it was new to me when I was recently given a copy by the band.
I don’t know which grabbed my attention first, the sound or the lyrical content. The sound is pure prog with Aisles adding their own twists and turns that keep it fresh. The lyrics tell a science-fiction tale of resettling a new world after Earth is destroyed, a classic theme that appealed to the sci-fi fan in me.
There is, in my opinion, a masterful mix on this album. The sound ping pongs between speakers, and there are some fascinating new sounds such as those heard on the track “Ch-7”. The lyrics dance in between the notes and weave the tale of “The Poet”. The band tells us, “all the music was written with our hearts and minds, set on the idea of these human colonies – a small group of people who are able to preserve some of the heritage of mankind after Earth is destroyed”. I highly recommend following the storyline with the lyrics in front of you.
This double CD concept album arrived in a sweet three-panel case with a lyric sheet in a pocket in the middle panel. The artwork is nicely done and the lyrics, as per all CDs, are small and difficult for old eyes in dark rooms to read. I cheated and used iTunes to follow the songs lyrical motif.
In summary, I liked this musical adventure. It required about a dozen listens because there is so much going on both lyrically and sonically. Due to the album’s strength, it was still as enjoyable on the last listen as on the first, maybe even more so. The twelve songs on Hawaii span 1 hour and 22 minutes so, settle into a comfortable listening repose and prepare for the launch of a musical odyssey.
I look forward to their new album, which will introduce us to a new lead singer, Israel Jil. This album is due in 2021, and if “Hawaii” is a measuring stick, this new album should be a stellar success.
Here we are, it’s 2021, and new music is coming out in defiance of the remnants of 2020. Some of that music is for quiet moments of reflection. Music that sets aside time to take stock of where we are, and where we are going. Still Corners are one such musical entity; they make music for the times we find ourselves living and their new album Last Exit is coming soon.
Still Corners. That is a decent name for a band. It is easy to read, it is easy to remember, and they use a sensible font. Still Corners, yeah, that’s an alright name. I wonder what is means!
When I do a review of an album, I will usually listen to it a few times to get its feel. Then I read through the lyrics while listening to the music again—then researching begins, reading about the artists and visiting their body of work up to their most recent release. In this case, that album is Last Exit by Still Corners. I got lost in this album, and for two days I listened to it over and over.
I eventually reached this moment, and I am still listening to it while I write. Still Corners got me hooked for several reasons. One is because they sound a bit like another favourite band of mine, Cowboy Junkies, another excellent band name, right! Do yourself a favour and listen to The Last Exit and then check out The Trinity Sessions by the Junkies. The voices of Margo Timmins and Tessa Murray sound similar through my old ears. Still Corners also channel Sergio Leone and the spaghetti western vibe. Rome by Danger Mouse and Daniele Luppie also get a nod for being into that vibe.
Enough of that rabbit trail lets talk about The Last Exit. It is good music. Full stop. Tessa Murray and Greg Hughes are consummate musicians whose music has the power to send me to pleasant places. Amid our current world, this type of music is…well, music to my ears. On top of their musicianship, Still Corners also write some right smart lyrics. Tessa explains, “There’s always something at the end of the road, and for us, it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel. We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” It was in this context that songs like “Crying”, “Static”, “Till We Meet Again” were written, reflecting on the impact of isolation and the need for social contact and intimacy.
Last Exit, new music for a new year, check it out at these internet addresses:
I have gotten into the habit of documenting my listening habits over the spaces of time to seeing if I could glean anything meaningful from those statistics. With over 500 unique albums listened to over the course of 2020 I had some sifting and sorting to do.
Did I find anything worth writing about? I think there are some insights that can be gleaned from these lists. For instance, which albums did I listen to the most based on the year they were originally released?
The top spot in that category was taken by the year 2020 with 96 unique albums listened to. This statistic did not surprise me in the least because I like listening to new music. Second place was 2019 with a significant drop to a mere 19 albums, not as many as 2020 but these were still relatively fresh and deserving of another spin around the turntable.
For third place I took a big jump back to 1971 and 1978 with 18 albums released in each of those years that I listened to. The next three most listened to years are all in the 1970s, which came as no surprise to me. In 1970 I turned 16, got a summer job and bought some records with the money from my first foray into the working world. In 1973 I graduated from high school and two days later got a full-time job with a decent salary that helped feed my appetite for music. After the 1970’s my listening jumped all over the place from 1958 to the present.
The next stat is for how I listened to all that music. Thanks to Covid-19 and isolating at home I decided to go through our vinyl collection, starting at A and going through the alphabet. I didn’t listen to every album but I did listen to 210 slabs of vinyl. iTunes came in second with 146 albums that I listened to. I only listened to three cassette tapes in 2020 and no 8-track or reel to reel tapes. I should mention that these statistics are all for full albums, I do not keep statistics for single releases or album samples.
The next category is for the most listened to artist in 2020, and the winner is Pink Floyd, with eight albums in 2020 that I listened to. ‘A Momentary Lapse of Reason’ was the only album with two listens, which is interesting to me because I am a huge DSotM fan, 1973 right!
Second place was Daniel Amos with eight albums and two listens to their album ‘Mr. Buechner’s Dream’. These two come as no surprise to myself or anyone who knows me, the two artists are longstanding favourites for me.
The most listened to album goes to ‘Greatest Hits’ by Various Artists. This happens every year, for some reason I like listening to compilation albums such as this one from K-Tel, which I bought in 1973 from the Hudson’t Bay store in Grande Cache shortly after I graduated from high school, if my memory serves me well there were only about a dozen of us in the grad class.
After that there was a log jam for the most listened to albums of 2020 with these all tying for the top spot:
‘Hermit of Mink Hollow’ by Todd Rundgren
‘Lateralus’ by Tool
‘Shades of Deep Purple’ by Deep Purple
‘Western Swing & Waltzes and Other Punchy Songs’ by Colter Wall
‘The Beatles’ by The Beatles, aka ’The White Album’.
The final observation is for the 2020 album of the year award.
Wait, I don’t do album of the year awards.
What we do have are some of my favourite listens from 2020, with a heavy emphasis on the word some.
Bob Dylan: ‘Rough And Rowdy Ways’. I saw him live in concert in 2017 and that was not a pleasant experience, this album restored Dylan to my good books.
Gwenifer Raymond: ‘Strange Lights Over Garth Mountain’. I had never heard of her before this album came out, and now I can’t stop listening her. An achingly beautiful album.
Colter Wall – ‘Western Swing & Waltzes and Other Punchy Songs’
Colter Wall came roaring out of Saskatchewan playing honest country and western music and with this, his third release, he builds on what the first two laid down and then upped the ante.
Speaking of good C&W music, Sturgill Simpson – ‘Cuttin’ Grass ‘, entertained me for hours.
Sturgill Simpson is like Colter Wall in that I have been listening to his music since he released his first album back in 2013. His newest, ‘Cuttin’ Grass’ is both a departure and a return. It is different from his last release and similar to his first. I have played this on vinyl, and it sounds incredible.
Lucinda Williams – ‘Good Souls Better Angels’ I am a latecomer to Lucinda Williams’s music but having found it I only want to hear more and this release sounds might fine.
Neil Young – ‘Homegrown’ I have been listening to Neil Young’s music since the day before forever. This is reminiscent of some of his early stuff, more acoustic and folky.
Steve Earle and the Dukes – ‘Ghosts of West Virginia’ All I knew about Steve Earle was his big hits, Guitar Town and Copperhead Road. Until last year, when I started streaming some of his music, and then this album came out and now I have my ear glued to his music.
The Avett Brothers – ‘The Third Gleam’ I keep ‘Emotionalism’ and ‘The Carpenter’ in fairly steady rotation, at least once a year and now this recording will start that round dance with them.
Colter Wall, Sturgill Simpson, Lucinda Williams, Neil Young, Steve Earle and The Avett Brothers are all to the Country and Western music of today in same way that Willie and Waylon and the boys were to the Nashville establishment back in the ”70s. Outlaw country isn’t dead; it’s alive and well in the hands of folks such as these.
Kronos Quartet & Friends – ‘Long Time Passing: Kronos Quartet & Friends Celebrate Pete Seeger’ The Kronos Quartet hasn’t laid down a lousy album, ever. This record is story telling at its finest.
Shabaka and the Ancestors: ‘We Are Sent Here By History’ This album is jazz, new jazz, attention-getting jazz. Smooth and raw and emotional. It is good music, nothing more and nothing less. I also nominate this for album artwork of the year. It is stark but it conveys a message by forcing us to focus on what is shown.
This brought to mind the album cover of ‘Unknown Pleasures’ by Joy Division, stark but striking in the same way. I also listen to ‘Unknown Pleasures’ frequently.
I hope you have enjoyed your 2020 musical experience, if nothing else it provided a soundtrack to the year through the gift of music. Some of these albums created a distraction away from the shit show that 2020 was. Demi Lovato created the best commentary on 2020 with her song‘Commander In Chief.’ Music also provided more than a few moments of pure pleasure. For each of the artists in this list and to all of the artists that I listened to but who didn’t make the final cut, thank you.
I have been reading a few blogs about the adventures of record bin diving and just finished a blog of my own about a Kijiji box of musical memories. Today, December 1, 2020, I stopped in a local thrift store and flipped through the record bins with a few little gems as my listening reward.
First up was “The Rascals Greatest Hits“, I admit that I was never their biggest fan, but I will give credit where credit is due, after all, they have enough traction to put out a greatest hits album, and I haven’t even recorded my first 45 rpm. This album has a few pop numbers that I could tap my foot along with, not a goto album but a pleasant listen just the same.
My second find was a Various Artists release called 24 Original Happening Hits By Original Artists. This record has way too many great songs to list item by item.
“In The Midnight Hour” by Wilson Pickett and “Light My Fire” by The Doors, this was a bit of a left-field selection. One does not see The Doors on these budget labels very often. By the way, this is on the Syndicate Product label which eventually became K-Tel.
The third album is a fascinating find. It is an LP by a fellow named Chan Romero.
Chan Romero etched his name forever in the history of music for his recording of the well know hit, “Hippy Hippy Shake“. That was in July of 1959 and the song snowballed and gained some attention that included The Beatles amongst its admirers. Over the years the song has been re-recorded by numerous artists and has been showcased in movies. Chan Romero then stepped out of the limelight of Rock and Roll music and settled with his wife LaVerne Romero. They presently live in Cathedral City, California and are the proud parents of 11 children and 30 grandchildren.
Someplace along Chan Romero’s life journey, he became a Christian, and this album is a gospel recording. I could find no information on the internet of things about the recording, so I assume it was a low budget production that did not get released commercially. I entered the Discogs listing for this album which is an indication of how little it has circulated. The music and singing are quite good, and I enjoyed listening to it.
The other thing that made this record so interesting is the cover. It has an 8X10 glossy that can be removed and framed, I have had thousands upon thousands of records pass through my hands over the years, but I have never seen a frame-able glossy on the front cover. Fortunately, no one tried to remove this one and other than a few nicks and minor tears it is by and large intact. Chan Romero has been inducted into the Rockabilly Hall of Fame.
As a footnote at the bottom of this blog, I also bought a CD from the same thrift store. My Head Is An Animal by Of Monsters and Men. I already had a copy of this on CD, but this one has an alternate cover, so I shilled out two bucks for it, it is an enjoyable listen as well, so I count it money well spent.
Some of my favourite listens have been records that I have harvested from thrift stores as well as tons of good CD’s. Vinyl is tricky due to the nature of the beast, it is easily damaged, plus the fact that if it is in a thrift store it may not have been taken care of very well. Nevertheless, I have had some good finds, and I would like to share some of those gems with you along with some witty banter about the singers and the songs.
First up we have The Jim Reeves Collection, on Tee Vee Records. A double album best of that came out in 1974, ten years after his death. His music has some good staying power. While not technically a thrift store find, I found this on Kijiji. I purchased four boxes of about 200 records from a seller on Kijiji. The original 200 albums were culled down to about 75 LP’s and 35 or so 45’s. I will note a few from this collection first, as it is still fresh on my mind.
There are twenty-four tracks of memories on these slabs of vinyl, such as “He’ll Have To Go“, a staple of classic country music and kind of a creepy song. Like, who tells a woman to “pretend that we’re together, all alone”? And this question: “Should I hang up, or will you tell him he’ll have to go?” What happens if I don’t tell him? Never mind, I enjoyed the song.
“Have I Told You Lately That I Love You?“, this is one of the best love songs of all time. Written by Scotty Wiseman for the 1944 musical film, Sing, Neighbor, Sing and performed by Lulu Belle and Scott and recorded by a who’s who list of recording artists ranging from Gene Autry in 1945 to Ringo Starr in 1970. This song charted seven times from 1946 for Red Foley to 1968 for Red Foley again, this time with Kitty Wells. That is an incredible streak for Mr Foley, charting twice with the same song 42 years apart. Jim Reeves does a credible version of the song.
At his last recording session, in July of 1964, Jim Reeves recorded a version of a song called “Make The World Go Away“, which became the opening track to his 1965 album The Jim Reeves Way. He passed away on July 31, 1964, at the relatively young age of 40.
A song should be charting in 2020 is, “Make The World Go Away“, it would be a good theme song for a year that had Donald J. Trump telling everyone that the Covid-19 pandemic would go away. Then there was the reality television of the election in the USA. There were fires burning out of control all over the world. We had too many hurricanes to name them all, and the list goes on and on. Please, “Make The World Go Away“.
Next, we have a pair of gems, informally know as the Beatles Red and Blue albums, formally know as The Beatles – 1962-1966 & The Beatles – The Beatles / 1967-1970. I don’t buy music as a retirement hedge fund. The market is too volatile, and I don’t have deep enough pockets, however, if I did this would have been a good investment. These two go for about $25 each, so they take a fifty dollar bite out of the original investment of two hundred and fifty bucks, one-fifth of it. They were a good listening experience, as well. I still enjoy listening to the Beatles, even 50 years after I started listening to them. My first purchase of The Beatles was the White Album, on cassette, alas, I no longer have that purchase, but I do have these two nice finds.
Best Album From This collection: Holst, Sir Adrian Boult · New Philharmonia Orchestra, Ambrosian Singers – The Planets. We have six versions of “The Planets”, but this one riveted me to the chair while I immersed myself in the music. I don’t know what made this one so much better than any of the others? I don’t know. Three of these are even versions of the same recording, but this one set itself high above the others. It might have been the time of day. It could have been a better pressing. I don’t know why it sounded better, but it sure did.
The most painful listen from this batch was The Carpenters – The Singles 1974-1978. I started listening to this, but I had to lift the needle on the second song from this album, Jambalaya (On The Bayou).
What made it so unlistenable for me? Well, I think it is a low quality pressing for starters, and then there is the fact that I don’t appreciate the Carpenters music regardless of which album was playing. It could also be that I know the Hank Williams version by heart and have been listening to it since I was a baby listening to my Dad sing it. There is an emotional connection to the music, and The Carpenters fell short on this one.
To quote another great song “Are You Sure Hank Done It This Way”? No, he didn’t do it like The Carpenters, he did it this way:
Best Surprise from the Kijiji box? Various – The Monster Hits Collection. This was a nice clean copy of a record that gave me a nice trip down memory lane. It also had the best cover art of the bunch.
Fun on forty-fives:
Dwight* & Buck* – Streets Of Bakersfield, this is a toe-tapping tune with Dwight paying homage to his mentor, Buck and the two of them come together on a contemporary country song that keeps a finger on the pulse of its heritage.