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Archive for the ‘Folk / Blues / Country’ Category

Day 153. Some folk / blues collections and some Mozart.

Thursday, September 30th, 2010

Tonight was some folk / blues and Mozart. Mostly a few collections (including some old Tower Records samplers and the ‘O Brother Where Art Thou’ soundtrack) and the Muddy Waters Chess compilation, and the Mozart discs were made up of the Piano Quartets and his six quartets for Haydn. The folk and blues compilation ripping though was inspired by an assembly held for the student’s at Celia’s school. Every month, a few students from each K-2 grade classes are chosen to be honored students. All the other students in the class get to put together a list of why the honored students are people they like, the teacher adds something, and then the principal of the school gives each kid a little certificate with the list. During the assembly, the list is read, and parents are invited to attend. It is really very sweet, and Celia was in the first group of honored students for this school year. Tamiko and I made it to the assembly and were just so impressed with how this school teaches kids about what recognition is and how this sort of thing really makes them feel welcome in these first few years of school. And there was lots of positive reenforcement for good behavior with the kids (which is pretty impressive considering that there were 150 or so kids under the age of 8 in one room… they were all great, and they were told so).

Seeing Celia get her certificate was great. She stood with her classmates, waved at friends and blew kisses. She waved at me, Tamiko and Mira, and didn’t hide her head when the principal read about her. It’s amazing to see my little girl adapting to this new environment so quickly and so well. There are, of course, tons of challenges ahead but so far, she seems to be enjoying herself and learning so much.

My next favorite part of all this though we the fact that the music teacher was an important part of the assembly. Once things officially started, all the students stood up, turned towards the parents and sang a song together. This wasn’t a concert, no one was dressed up or told what was going to be performed ahead of time. The principal mentioned a song, and the kids sang it. What made it so special for me was the sense that it wasn’t special – it was just part of their day.

Even more amazing to me though was what happened before anything officially began. The music teacher started to play a relaxed waltz, then suddenly half the kids began to sing ‘Goodnight Irene’. Some very sweet music (recorded by Alan Lomax in the 40s with Leadbelly singing) makes its way to into my kid’s assembly. There was no verbal announcement, but at the same time, the music teacher playing this waltz was recognized by most of the students and they just started to sing. It blew me away… what lucky kids to have this be such an important part of their school.

So – I had to find my Alan Lomax discs with Leadbelly which led to a few other discs and a couple blues discs. I get so caught up in the centuries of music history from western Europe that when I realize the rich musical heritage my own country has created I find myself surprised over and over again. Part of me is a little ashamed of this, that this music isn’t just more of a part of my life (especially since I enjoy it so much), but I am also realizing that is part of what having kids is about. Celia and Mira have reminded me so much already about things that I have forgotten about, and part the excitement for me of Celia heading off to school is that I get to learn so many things again. What surprised me the other day is that for some reason I didn’t think music was going to part of that reminding. I’m excited now that it is.

Day 140. Old And In The Way and Schütz.

Tuesday, August 24th, 2010

Just a couple discs tonight but quite a bit of fun. The first is a live Old And In The Way recording called ‘Breakdown’ (which seems a little odd to me now, since I think all the Old And In The Way albums were live), and the other a disc of Schütz’s Italian Madrigals.

Old And In The Way was actually mostly some younger guys in the early 70s (including Jerry Garcia, David Grisman and Peter Rowan) and finally Vassar Clements who was a bit of a seasoned bluegrass veteran. The playing is great, and it is nice to hear Jerry Garcia playing banjo. Jerry Garcia playing banjo is kind of like Steve Martin playing banjo. You don’t hear it too often, but when you do you realize how good they are in their ‘second gigs’. The other surprising thing to me is how much I tend to like banjo once I start hearing some banjo playing. So listening to this disc today was lots of fun, and made me miss playing bluegrass. I wasn’t ever great at it, but I learned more about guitar playing while trying to play bluegrass then probably any other style.

The Schütz provided a different surprise to me tonight. I put it on while I was getting a little work done while Celia was playing in her room, and when she heard it she completely stopped what she was doing. I think it was the first time I have ever seen Celia completely distracted by music, and the moment made me very happy. She asked if I could make a disc of it for her to listen to tomorrow. I can’t wait.

Day 134… 135… 136 … (or Day 133 continued)

Thursday, August 12th, 2010

After about four days of work, I have finally finished transferring all the music that is on my main computer and NOT represented on disc over to the server. It was a huge task… almost four thousand items, thirteen and a half days worth of music that is represented by only 35 GB of data. Since these are mostly MP3s (even though they are high quality MP3s), it is amazing how little space these tracks take up compared to the lossless files. However, I still think the decision to rip the CDs as lossless was the right way to go (as the project so far is getting close to 400 GB with only about 1/3 of the CDs ripped).

The biggest annoyance (and it really is a silly one) is that I had let this much material accumulate without properly getting it organized properly. When I’m ripping a few CDs in a night, it takes maybe an hour and I am able to organize things as they are ripped. But over the past few days I think I had close to 400 albums to organize, and it really became quite tedious. I would say ‘this won’t happen again’, but I’m going to wait a few months to really see if that is the case.

Looking forward to getting back to actual discs tomorrow…

Day 133. Tons ‘o Stuff…

Sunday, August 8th, 2010

Tonight I am taking a break from CD ripping. Instead, I am preparing to do something that I haven’t done in a couple of years now… wipe out the iTunes library on my main computer.

I used to wipe the library out every six months or so. It was a way to keep new music coming on and rotating off anything that I had gotten a little stuck on. But this slowed down a couple years ago when I joined eMusic. Before eMusic, everything on my computer was represented with an actual physical disc in my house. I never got into the torrent / file sharing thing, so I was never in a situation where there were gigabytes of music on my computer that I didn’t actually have. So a couple times a year, I would just erase everything and have a good time going through the CD shelf and finding music I hadn’t heard for some time. But with months and months of purchases on the computer that I hadn’t burned to disc, a simple ‘select-all – delete’ wasn’t really possible. So I have spent a good chunk of time tonight going through my main computer’s iTunes library, and copying files over to DAC. 10 gigs down, about another 30 to go.

One thing I noticed quite quickly while doing this is how much classical I have purchased over the past two years. Especially early music from the ars nova and renaissance. Luckily eMusic sells pretty high quality VBR mp3s, but as I look at what I have been purchasing, I really wish they had a lossless option. At the same time, this is also music that has been very difficult to find otherwise. Even online, getting outside the late baroque / classical / romantic repertoire is tricky to find. Especially at a reasonable price. I think it is great that Harmonia Mundi and a number of other specialty labels have found their way to online distribution. My guess is the amount of physical inventory that they press now is starting to dwindle, but hopefully they find life in what is looking like this next arena of distribution.

The other category that is well represented is folk and blues. So lots of Peter, Paul and Mary tonight, some Richie Havens and some discs from Aarhoolie are finding there way onto the server finally.

The biggest downside is categorizing. This is a massive amount of music that I am suddenly throwing on in one night. It really locks the computer down during the initial import (on the one hand), then afterwards I have to go through and trick iTunes into putting this music into the right place on the server. I discovered that using the ‘Album Artist’ field in the tracks info boxes, that this will control what folder something shows up in. Since Subsonic sorts according to directories, this has been my main way of organizing things (while also making sensible playlists within iTunes for home streaming). The way tracks are labelled is not standardized at all, especially with classical music. Sometimes the composers name won’t appear anywhere relevant. If I had my way, I would ask the organizing powers that be to give me the job of controlling ‘cddb’, correcting the decades worth of poor organization and wrong information. If someone knows how this job can be given to me, please drop me a line.

Day 129. The Animals, David Grisman and Jerry Garcia.

Wednesday, July 28th, 2010

After listening to Eric Burdon and War earlier in the day, Celia pointed to a two disc compilation by The Animals for tonight’s rips. And I grabbed my Jerry Garcia and David Grisman discs.

When the Grisman / Garcia discs came out, it seemed like they were released just for me. At the end of high school and the beginning of college, after growing up with the Grateful Dead and finally getting into David Grisman after getting over my fear of the cover of ‘Hot Dawg’, the collaboration of these two (and really, the whole group on these recordings) opened my eyes up in many ways to what making music can be. These are recordings made by two guys that were getting together just for the love of getting together to play, and they had the means to record it as well. These were put out by Grisman’s label ‘Acoustic Disc’ and were a great combination of styles and influences. Bluegrass, country, jazz and Dawg and Dead all seeped in together. A great example is the song ‘Grateful Dawg’ on the first Grisman / Garcia disc, in which both musicians seem to trade solos in the other musician’s styles.  Part of the joke seemed to be that they were really making fun of each others cliches while also building up a set of trading choruses in good old jazz fashion. Each seems to out do the other with each chorus, and while you can’t hear any chuckles in the recording I can only imagine how much they were laughing at each other during playbacks. If you ever get a chance to hear ‘The Pizza Tapes’ (also featuring Tony Rice) you actually get to hear some of this joking around and playful ribbing between everyone. To me, this confirms that these projects were lots of fun for all involved, and the music on these recordings really seems to capture that spirit. Some of the music also comes from old folk traditions, some from when the two played together in different projects in the early ‘70s, but it all reflects a great love of music and being musicians.

After Jerry Garcia died, David Grisman went through the tapes he had and put together a number of discs that reflected the days the two spent together recordings. In one set of liner notes, Grisman noted how special these sessions were, and how much he would miss having them. Luckily, they captured quite a bit. And one thing that I learned from these discs is how much better music is when the players are having a good time.

Day 112. Johnny Cash.

Thursday, June 17th, 2010


After Johnny Cash died (a mere few months after his wife June did), Tamiko and I were caught by Sarah Vowell on ‘This American Life’ telling ‘The Greatest Love Story of the 20th Century’. You can hear it here as Act III (about 45 minutes in… but you really should listen to the whole episode… it’s ‘This American Life’! what a great way to spend an hour). About halfway through the story (which we heard sitting in our car, waiting for the story to end before we got out) we were leaning on each other’s shoulders. By the end I think we were both getting teary. Sarah Vowell’s story is beautifully done, and I still get choked up hearing it. And of course, June and Johnny Cash’s story and the music and influence they had on country music (and rock, and punk, and folk music… etc. etc.) is not just a great love story, but a story of life, joy, grief and music. My friend Colin sent me and Tamiko a postcard some time later. June and Roseanne are on a big front porch, June holding her autoharp, Roseanne holding her guitar. Both are listening to each other, and a younger boy stands to one side. On the other is an older Johnny Cash, watching and listening to his girls. It’s a beautiful picture that I would like to believe was a chance snapshot of their life. I know that can’t be the truth, but I would like to think it is.

But what probably impresses me most about Johnny Cash and his musical life is what he did over his last decade. In 1994, he sat down in his living room with nothing more then his Martin guitar and recorded an album with rap / metal producer Rick Rubin. The sound is stripped down, yet produced with a bit of a harshness. As his age progressed and health deteriorated, he continued to make recordings for Rubin and American Recordings. The thing about these discs that amaze me is how as Johhny Cash’s voice starts to break and weaken, the music seems to zoom in closer and closer on what it means to be human, and how music is an integral part of our lives. To hear someone taking that music with them as their body begins to fail them, as they move closer and closer to death, takes bravery. A little after June died, Johnny mentioned that she urged him to keep recording as long as he could. Johnny said it was June coming down from heaven to give him the courage to keep singing. It’s hard to explain, but hearing the physical limits of Johnny Cash in his last recordings seems to me to reveal that he isn’t afraid of where he is or where he is going. There is not shame of a warbly and cracking voice in these songs, I can only imagine that there is acceptance that this is what happens to a body that has lived the life that he has. Johnny died about four months after June did, and I’d be surprised if there was any fear at that moment for Johnny, but a sincere and strong belief that he was about to see the love of his life again.

20 years ago on June 15th, Tamiko and I started dating. Unlike June and Johnny, we were lucky to find each other early in our lives. I was explaining to a friend that as far as my memory goes, I can probably think back to about when I was 5 or so. At 35 now, I have about 30 years of memories, and over 20 of those (2/3 of my life so far!) include me and Tamiko as friends, lovers, exes (briefly), husband and wife and parents. I love the story of June and Johnny Cash, and I know that Tamiko and I had the same thought go through our minds when we heard Sarah Vowell’s story… it sure is amazing to find love.

Day 96. Tim Buckley, Steve Reich, Schubert, Brahms, Billy Bragg and Wilco.

Monday, May 24th, 2010

Been a busy night working on some recordings for school, but I also managed to rip quite a bit. In the stack was a Schubert symphony box-set (Mira’s pick) with Harnoncourt conducting, some Brahms chamber music, early Steve Reich works, the first Billy Bragg and Wilco album and Tim Buckley’s ‘Happy  Sad’.

So – very little here that is not noteworthy, but the Tim Buckley album is particularily special. It is one of the albums I remember from growing up (and definitely mellower music), but it is also an album I kept listening to as my musical tastes started to drift more and more from my parents’ musical tastes (and I probably kept listening to it as their drifted from mine!). In high school, it was a quiet favorite of mine, and tracks from it wound up on many mix tapes. During my freshman year, as Tamiko and I (still friends) were coming back from a band trip to San Luis Obisopo (with a long bus ride), she and her boyfriend Matt were breaking up, and my girlfriend and I weren’t in the best of places either. As we were passing north on 101 up towards San Jose (through the area I grew up in), we were getting a sunset, and I remember telling Tamiko a few things about what I missed about living there (mostly, the fog rolling in over the hills). After a bit of time, I gave her my headphones to listen to and on the tape at the time was ‘Buzzin’ Fly’ by Tim Buckley. She cuddled up with me on my lap and listened to it. It was probably one of the most intimate moments I had ever had with anyone up to this point in my life, and it was with my best friend.

I love this song, and Tamiko and I now associate it with this moment. We were both breaking / about to be breaking up with people, and within a few weeks we ourselves would start dating. It wasn’t a great time for either of us… teenage break-ups just suck. But at this moment, we were really good friends, and we were the two that we went to for comfort. And when it comes down to it, it is that comfort and security in each other that is one of the strongest part of our relationship. The music on ‘Happy Sad’ is happy, and sad, but also lush, warm, comforting and sometimes tense. It is probably one of my favorite albums (and is also one of the more ‘out there’ Tim Buckley discs… complete with vibraphones and double bass in a quasi-jazz like setting). Pretty complex emotionally in many ways. Perhaps this is the disc all adolescents should have while they go through that confusing period of life where everything feels like so many emotions can be happening at the same time.

Day 91. A plethora of music.

Sunday, May 16th, 2010

Some pretty random selections tonight… a couple of Dufay discs, Zero 7, Kodaly, a Bobby Darin collection, Carmaig De Forrest’s ‘Death Groove Love Party’, the Rushmore soundtrack, Patsy Cline with the Jordanaires and Public Enemy. I’m glad to know that if anyone does a good search for Patsy Cline and Public Enemy from this day forward, my blog will be found.

These were all stacked together in a ‘to be filed’ stack that, well, has never been filed. Being a good white liberal, I of course have a Public Enemy CD. But how many good white liberals have Public Enemy sitting next to Dufay?

Day 59. J.S. Bach and Robert Johnson.

Wednesday, March 24th, 2010

Two more box-sets tonight. Mira pointed to my complete Bach (the Brilliant Classics 155 disc set) and I figured why not… I need to start it at some point, and I figure I’ll get a few discs of that done a night for the next few weeks. Of course – there are some usual mid-level expectations that come along with a set of 155 discs… they can’t all be amazing. And with Bach in particular I can be very picky. I got the set though because (when I bought it at $99) I was able to find what would be at least a hundred dollars worth of performances that I would want. Andrew Manze and La Stravaganza performing the Orchestral Suites for instance, and Jaap Ter Linden’s cello suites. Once I found these, I thought ‘hey – and I’ll have all the cantatas finally’ and this for some reason appealed to me so I picked it up. What surprised me was that I haven’t come across a disappointing disc yet (though I have only listened to maybe 30 of them). And there are some really nice touches in the set… a number of the harpsichord concertos have been reconstructed into violin concertos (there is ample evidence that these pieces existed in this way). Overall they aren’t top-notch performances (though a few have been), but none are mediocre so far. Now that I am ripping them, I look forward to going through more of them. I am a Bach fanatic after all… so I think this will be fun. I’m going to see if I get through the Orchestral / Chamber Music part of the set tonight, but that may be a tall order.

The other box-set is the complete Robert Johnson recordings. After hefting the Bach box the Robert Johnson set is nice and light. And though his complete recordings barely fills two discs, it is pretty amazing how influential the music on these two discs are. And they are amazing – mostly recorded on a portable field recording kit in a hotel room, there is something intense and sad about these recordings and the story behind the man making them. Any serious collector of music probably already has these discs or has at least heard them… and I guess all I can say is that if you haven’t then find them, take a couple hours out of your life and listen them. You’ll be amazed how much is familiar, yet so different and haunting at the same time.

Day 44. Sly and the Family Stone and Simon and Garfunkel.

Friday, March 5th, 2010

Tonight I ripped a few discs from Sly and the Family Stone (‘Fresh’, ‘There’s a Riot Going On’ and a greatest hits disc) as well as the five Simon and Garfunkel studio albums that was released as ‘Collected Works’ on Columbia in the early 90s.

I find it quite ironic that the Sly and the Family Stone Greatest Hits disc is missing some pretty major songs. I can’t seem to find a date on the disc, but I am going to have to assume that the reason ‘Family Affair’ and ‘If You Want Me To Stay’ is NOT on the Greatest Hits disc is because the Greatest Hits was released before ‘Fresh’ and ‘Riot’. Or, the compilation was put together simply based on sales. Not being alive in the early 70s, I really don’t know how much airplay those songs would have gotten (though they were both top 10 singles, so it couldn’t have been shabby)… and I’d be surprised if his excellent version of ‘Que Sera Sera’ was heard by anyone but people who bought ‘Fresh’. I imagine part of the problems was that with ‘Riot’ and ‘Fresh’ the Family Stone was already falling apart. ‘There’s a Riot Going On’ is a pretty dark album (certainly not ‘Dance To The Music’) and it is mostly Sly himself recording most of it (with a drum machine and multi-track recorder). But it has some of his best work at the same time. While ‘Everyday People’ may be his shiny happy people song that most people think of when they think of the Family Stone, ‘Family Affair’ and its tortured stories told in the verses is a masterful and powerful song, I think possibly his best.

I have all the Simon and Garfunkel albums on vinyl (which I found used over the years) but I still picked up the ‘Collected Works’ somewhere along the way, and I’m quite glad I did. I am not sure if Simon and Garfunkel sound better on vinyl in the same way that John Coltrane does, and while the pops and crackles on my jazz albums seem to lend an ambience (albeit a nostalgic one) to my jazz LPs, I like the CD recordings of Simon and Garfunkel better. The ‘Collected Works’ weren’t cleaned up much for the CD issues (mastering was done as an analog stage) but the harmonies and more gentle guitar work really works better in a clean recording.

I’m not the biggest fan of the song ‘Bridge Over Troubled Water’, but I love that Celia hears ‘Cecelia’ and dances to the music. ‘The Boxer’ and its orchestral hits, while over the top are brilliant. And I can’t help but think of the Andean pan-flute players that would be on Sproul Plaza at Berkeley on weekends when I hear ‘El Condor Pasa’. While their last album is great, I am amazed at how far removed it is from ‘Wednesday Morning, 3 AM’. The original version of ‘Sounds of Silence’ has got to be one of the best songs from a first album ever made which would then be remade by the same group for a second album and horribly ruined (sorry – the orchestral background for the second version is just an abomination). The sins of the second album are made up for on the third (with the closing track ‘7 O’Clock News / Silent Night’ rounding the album out in a beautiful and politically jarring way). Bookends was another great album (following the soundtrack work they did for ‘The Graduate’, a great movie made better by the amazing music used in it). Then after ‘Bridge Over Troubled Water’ that is pretty much it except for reunions in big parks and a great skit on an episode of Saturday Night Live.

I do like most of Paul Simon’s solo work though… but it is hard for me not to think ‘poor Garfunkel… kinda pulled the short end of the straw with the breakup’. Except, they had broken up once before. ‘Wednesday Morning, 3 AM’ took quite some time to catch on… The two had split up even before it was released. When it suddenly began to sell they got back together to support the album, which led to more. So – at least Garfunkel got 5 albums (and a number of reunions) out of the deal. I get the feeling Paul Simon would have figured out a way to make music either way though.