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Today is the Harvest Moon for 2017. It is often in September that the Full Moon is closest to the autumnal (fall) equinox, but this year that is the October Full Moon and not the previous one on September 6. It will be full at 2:40 pm for those of us on the east coast of the U.S.

Any actual harvesting in your area might already be done but traditionally it was because farmers could work later into the evening by the light of this moon. Corn, pumpkins, squash, beans and wild rice — the chief staples of Native Americans — were ready for gathering.

Usually, the moon rises an average of 50 minutes later each night, but for the few nights around the Harvest Moon, the moon seems to rise at nearly the same time each night – just 25 to 30 minutes later across the U.S., and only 10 to 20 minutes later for much of Canada and Europe.

We notice the moon more when it stays out all night long, and that would be around the time of  the Full Moon. This is when the Moon is 180 degrees from the sun, or opposite the sun in our sky.

A Full Moon rises around sunset and sets around sunrise. But after that, it is in a waning gibbous phase and rises later each night and sets in the west later each day after sunrise.

Harvest Moon reminds me of an old song that my parents would have sung and danced to in their youth – perhaps at a Harvest Moon Dance.  “Shine On, Harvest Moon” was a popular early-1900s song credited to the married vaudeville team Nora Bayes and Jack Norworth in the era of Tin Pan Alley songs. It became a pop standard, and is still performed today.

It is the tale of a guy who hasn’t had any loving for months and tonight he was ready to make his move on his girlfriend but the Moon wasn’t shining, so she was afraid to be out. He calls to the Moon to please shine.

The night was mighty dark so you could hardly see,
For the moon refused to shine.
Couple sitting underneath a willow tree,
For love they did pine.
Little maid was kinda ‘fraid of darkness
So she said, “I guess I’ll go.”
Boy began to sigh, looked up at the sky,
And told the moon his little tale of woe

Oh, Shine on, shine on, harvest moon
Up in the sky;
I ain’t had no lovin’
Since April, January, June or July.
Snow time, ain’t no time to stay
Outdoors and spoon;
So shine on, shine on, harvest moon,
For me and my gal.

I hope you have a nice Harvest Moon tonight that looks orange in color because that is the stereotypical way the October Full Moon is often portrayed. It looks very harvesty and Halloweenish. But this effect is not seasonal but is caused by the atmosphere of the earth. The reason for the orange color is due to the scattering of light by the atmosphere. When the moon is near the horizon, the moonlight must pass through much more atmosphere than when the moon is directly overhead.

Well, it’s a marvelous night for a moondance
With the stars up above in your eyes
A fantabulous night to make romance
‘Neath the cover of October skies
And all the leaves on the trees are falling
To the sound of the breezes that blow
And I’m trying to please to the calling
Of your heart-strings that play soft and low
And all the night’s magic seems to whisper and hush
And all the soft moonlight seems to shine in your blush

 

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There is no such season as “Indian Summer” but if you live in the U.S. you have probably heard the expression used around this time of the year.  The U.S. National Weather Service defines this as weather conditions that are sunny and clear with above normal temperatures, occurring late-September to mid-November.

Indian summer has become the way to describe a period of unseasonably warm, dry weather in autumn that feels like summer. It is especially used when we have a warm period after a killing frost when we assumed autumn was giving us a taste of winter.

But why call it Indian summer?

In the late 1800s, an American lexicographer named Albert Matthews tried to find out who coined the expression. The earliest reference he found in print was a letter from 1778, but from the context it was clear that the expression was already in widespread use.

It is supposed that the origin came from areas inhabited by Native Americans (“Indians”) and that Indians first described this weather oddity to Europeans as something that occurred most years.

The expression has traveled beyond American borders. In British English, the term is used in the same way as in North America. Originally, it referred to America but it gained wider currency in Great Britain in the 1950s. In the U.K,. this period is also associated with the autumn feast days of St. Martin and Saint Luke.

You can view Indian summer as a cruel weather tease that reminds you of the summer days that are gone, or as a happy respite from the cooler “normal”  weather of that time and the days to come. I prefer the latter, though when Indian summer ends, I tend to go with the former.

Indian Summer is a romantic notion that has inspired a number of songs. Some of the better known examples:

  • In 1969, Brewer & Shipley recorded ″Indian Summer″ for their ″Weeds″ album.
  • In 1970 The Doors recorded ″Indian Summer.″
  • In 1975, Joe Dassin recorded “Indian Summer” in French, English and Spanish and  “L’Été indien” went on to become his biggest hit, selling almost 2 million copies worldwide – but the lyrics are about a summer in India, so…
  • In 1977 Poco released the album, Indian Summer, which also contained the title track.
  • In 1978 Joe Walsh recorded “Indian Summer” for the album But Seriously, Folks… 
  • U2 included “Indian Summer Sky” on their The Unforgettable Fire album.
  • The Dream Academy recorded the song “Indian Summer” for the album Remembrance Days in 1987
  • Tori Amos released “Indian Summer” on her 2004 EP, Scarlet’s Hidden Treasures.

Brian Wilson behind the mixing board of Brother Studios, circa 1976.

I was a Beach Boys fan from the start when they and I both loved surf culture more than we loved surfing. (Dennis Wilson was the only real surfer in the band.)  I loved the harmonies. But it was all about Brian.

Brian had lots of issues – drugs, bogus psychiatry, bad management and fears about touring. 1964 – 1977 is a sad but fascinating period in Brian and the band’s history. I wrote earlier about my own brush against Brian’s problems, but the music has always helped me, and I think it saved Brian.

Brian had a panic attack on a flight from L.A. to Houston in late 1964 and stopped performing live with the group. Like The Beatles in later years, he wanted to concentrate on songwriting  and studio production.

The band continued touring with Glen Campbell and then Bruce Johnston as Brian’s substitute for live performances. Back in L.A., Brian was introduced to marijuana by a friend who thought it would de-stress him and aid his creativity. It worked, and in a month he completed the Beach Boys’ Today! album and started on the next one, Summer Days.

The next spring, Brian tried LSD for the first time and that acid trip also inspired him. You might think it would inspire some “acid-rock” but what came from that experience was the music for “California Girls.” That Top-10 pop single was great for the band, but the acid trip also led to auditory hallucinations which have plagued him throughout his life.

In late 1965, he started working on material for what would become Pet Sounds. It ended up being pretty much a Brian Wilson solo album.

Brian wrote, produced, and sang on it and the album’s instrumentation was done by the studio musicians known as the Wrecking Crew. Brian used them throughout the mid-1960s, on “Help Me, Rhonda”, “California Girls”, “Good Vibrations” as well as Pet Sounds and the original sessions for Smile.

When the band returned from a tour in Japan, all that was left to do was record their vocal overdubs. That didn’t go over well with the band, especially Mike Love. Despite their feelings that this was not a Beach Boys album in its creation and sound, it was released in May 1966. It had modest sales figures at the time, but since then it has become critically acclaimed, even arguably (no argument from me) being cited among the all-time greatest albums.

“Good Vibrations” hit number one and Brian started on Smile, which he once described as a “teenage symphony to God.” Like “Good Vibrations,” the album would be recorded in separately written modular sections that would be divided into tracks and spliced together. The standard live-to-tape linear performances that The Beach Boys and most bands were using fell away. Brian wrote with Van Dyke Parks.

The album was scheduled to be released in January 1967 but that was bumped so many times that by May the whole project was cancelled.

Beach Boys recording relocated to a studio situated in Brian’s mansion living room where he had installed his grand piano in a giant sandbox and built a tent. Things were strange.

The rest of the year they produced a few heavily orchestrated tracks (“Can’t Wait Too Long” and “Time to Get Alone”). Brian asked his brother Carl to take on the recording sessions. It was all too much.

After the collapse of Smile, financial issues and more drug use (cocaine, amphetamines, marijuana, and psychedelics) and the birth of his first child (Carnie  in 1968), Brian ended up in psychiatric hospital. he received a whirlwind of treatments (talk therapy, Lithium and electroconvulsive therapy).

The Wilson boys’ father had been managing the band since the start but had many issues with Brian over music and contracts. Murry Wilson sold their Sea of Tunes publishing company to A&M Records’ publishing division for only $700,000. Brian lost most of his music and this renewed the feuding between him and his father.

But Brian gained some stability and even toured briefly in 1970 when Mike Love was ill. e went back to writing and recording with the Beach Boys. He wrote or co-wrote 7 of the 12 tracks on Sunflower. A decent album, it was a commercial flop. The Beach Boys were viewed as a nostalgia act.

It was a period when their albums had terrible titles (15 Big Ones, an album of covers) and weak sales. Brain managed to write most of Wild Honey (1967) and Friends (1968) but his studio participation was far less than in the past.

Carl and the band cobbled together tracks for an album called 20/20. I bought that in 1969 and had no idea that it was Smile outtakes (“Cabinessence” and “Our Prayer”) along with older songs like “Time to Get Alone.” Those tracks sit a bit oddly next to the more surf-sounding single “Do It Again.” But that classic single-sound made it a hit on the US charts in 1968 (plus number 1 in the UK and Australia). “Break Away” became the band’s final single for Capitol Records.

In 1971, Surf’s Up became their 17th studio album and got good reviews and reached number 29 on US record charts and #15 in the UK. It was their best performing album in years. The title echoes the band’s past, but the music was not surf rock at all. The title track was from the Wilson/Van Dyke Parks sessions for Smile. Like Pet Sounds, the album had legs and was voted to several “Best Of” album lists later.

Carl and the Passions  (the name of the Wilson boys high school band) “So Tough” was the next album (1972), a moderate commercial success upon release, but one in which Brian had minimal involvement. reaching number 25 in the UK and number 50 in the US.

The band was still releasing an album each year and in 1973 it was Holland. It was produced by the band and mostly recorded in Baambrugge, Netherlands. Two Brian Wilson tracks were recorded in Los Angeles and added to the album at the last minute. The two singles were “Sail On, Sailor” and “California Saga.”

The end, or turning point, of this troubled period is the album Love You  in 1977.

This 21st studio album, Love You, is not a great album, but  it marked the return of Brian Wilson at the helm of Beach Boys ship.

He gets credited with writing and arranging all the songs. He also plays every instrument. But there are some Beach Boys vocals.

Brian says he was more concerned with lyrics on this project.Some of the song topics are odd –  Johnny Carson’s Tonight Show – and stories about his writing at this time have him sitting down and improvising a new song in 20 minutes.

Some tracks, like “The Night Was So Young” and “I’ll Bet He’s Nice,” have the old construction and harmonies, but the album heavily uses synthesizers. “Good Time” was a 7-year-old Sunflower outtake.

Brian had planned this as a solo record and the working title was Brian Loves You. It peaked at number 53 on US record charts and was received very mixed reviews from both fans and critics. There was one single – “Honkin’ Down the Highway”/”Solar System.”

Carl Wilson remixed the “finished” album in January 1977 and added guitar and percussion tracks and is credited as the album’s mixdown producer.

The album was done while Brian was in mental and drug rehabilitation. It was the last album written and produced by Wilson for the next 11 years. The week after he finished, he began Adult/Child, but it was never released.

Brother Dennis Wilson died in 1983. Brian’s first true solo album, the eponymous Brian Wilson in 1988, was his return to recording and performing. Carl Wilson died in 1998.

Brian would finally get to release Smile in 2004.

There are 385 versions of albums by The Beach Boys currently on Amazon.

In December 1970 I was in my senior year of high school. I was thinking about college. I was thinking about the Vietnam War and that the following year while at college I would be part of the draft lottery. Someone would pull a ball with my birthday (October 20) on it and then another ball with a number (from 1-365) that would decide if I was going to be drafted into the Army.

On Thanksgiving break, I had bought Laura Nyro’s new album,  Christmas and the Beads of Sweat. I knew of her two earlier albums but I didn’t own them.

I bought it because of the title and because her sad eyes were staring at me.

People knew her music because there were pop covers of her songs on the radio by other artists. (The 5th Dimension with “Blowing Away”, “Wedding Bell Blues”, “Stoned Soul Picnic”, “Sweet Blindness”, “Save the Country”, and “Black Patch”; Blood, Sweat & Tears and Peter, Paul & Mary with “And When I Die”; Three Dog Night and Maynard Ferguson with “Eli’s Comin'”; and Barbra Streisand with “Stoney End”, “Time and Love” and “Hands off the Man (Flim Flam Man).” )

Laura didn’t have hits, but I heard her on WNEW-FM regularly. Ironically, Laura’s own rare cover version of a song, the Carole King-Gerry Goffin oldie “Up on the Roof,” was probably her only Billboard “hit.” I saw that Laura Nyro was playing at the Fillmore East in New York City on the 22nd.

Though we celebrated Christmas in my family, the holiday has lost all its childhood magic seven years before when my father got really sick. When he died, after five years of crippling illness, Christmas had become a depressing time of year.

For some reason, during this period of my life, when I was depressed, I would do things to drag myself deeper into that depression. Smoke, drink, stay away from people, take long walks alone and listen to depressing music.

In three days, it would be Christmas. Laura Nyro’s seemed to me to be a tortured artist who fit right in with my mood.

Also on the bill was Jackson Browne, a songwriter whose songs were recorded by others. He wouldn’t release the eponymous Jackson Browne until 1972, but he played songs from that album that would launch his career: “Doctor My Eyes”, “Rock Me on the Water”,”Jamaica Say You Will” and “Song for Adam” which he wrote about the death of a friend. He often was paired on bills with artists like Nyro, Linda Ronstadt and Joni Mitchell.

I went to the concert. Alone.

Poco had been at the Fillmore a few night before on one of those oddball multi-artist bills along with Savoy Brown, Gypsy and Jo Mama. The day after Christmas, Mountain would roll into the Fillmore and “Mississippi Queen” their way on a hard rock “Nantucket Sleighride.”

But at the Fillmore East on December 22, 1970, it was a much quiter night with a woman and her piano and a man with his guitar. My Christmas gift to myself.

I stumbled on an audio recording of Laura Nyro on that night on YouTube. I don’t know the copyright/wrong-ness of the posting, but I hope it stays there so that other people can listen.

 

Did Laura’s music make me more depressed? She programmed her set nicely for me. It started out soft and sad. “And When I Die” sounds like a downer and it can be, but it can also be seen as a positive outlook about death. “And when I die/and when I’m gone/there’ll be one child born and a world/to carry on/to carry on.”

“Christmas in My Soul” (which is actually more political than you might expect) was done as a poem.

But there was no way to stay depressed through her closer of “Time and Love” and “Save the Country.”

Nyro was inspired to write “Save the Country” after the 1968 assassination of Robert Kennedy. That doesn’t sound very upbeat, but again the outlook is positive. Listening to it this week, I couldn’t help but think of the state of our country right now.

Come on, people come on, children
Come on down to the glory river
Gonna wash you up and wash you down
Gonna lay the devil down, gonna lay that devil down

Come on people! Sons and mothers
Keep the dream of the two young brothers
Gonna take that dream and ride that dove
We could build the dream with love, I know…

Everyone around me was singing, gospel style, that last line “We could build the dream with love” over and over. It felt like we could.

 

 

In late 1996, Laura Nyro, like her mother, was diagnosed with ovarian cancer. She died the following year. I had to look up some things this morning to write this post and saw that she died on this day April 8, in 1997. Synchronicity. She was only 49, the same age at which the disease had taken her mother.

After her illness was diagnosed, Columbia Records prepared a double-disc retrospective of her music which was Laura’s final musical project. She lived to see the release of Stoned Soul Picnic: The Best of Laura Nyro. She was reportedly pleased with the outcome.

Joe and Brianna

JOE’S VIOLIN is a documentary short I saw screened at the 2016 Montclair Film Festival. It was produced and directed by two Montclair women, Raphaela Neihausen and Kahane Corn Cooperman, and began with a Kickstarter campaign.

It was nominated for an Oscar this morning for Documentary Short Subject.

At the screening, we met Joseph Feingold, a 91-year-old Polish Holocaust survivor who donated his violin of 70 years to a local instrument drive, and we met student Brianna Perez who was the recipient of Joe’s violin.

The Mr. Holland’s Opus Foundation (MHOF) selected The Bronx Global Learning Institute for Girls (BGLIG) for the violin donation. The screening in Montclair featured a musical performance and extended Q&A with the filmmakers and subjects.

Hurrah for independent films, local artists and the Montclair Film Festival.

For more information on the film, go to http://www.joesviolin.com/

You can also watch the film online at http://www.joesviolin.com/watch-now

I was never comfortable with the expression “passed away” to mean that someone had died.

I know that many people consider “passed away” as gentler and less cold than “died.” It feels too politically correct, and more of the general problem many people have with facing up to hard facts and difficult situations and delaying as long as possible.

This was a week of upheaval in the United States with the Presidential election finally occurring and the selection of Donald Trump.

And Leonard Cohen died.

leonard_cohen_2103

I was reading articles about him last night and it most said he passed away quietly at home. He was 82 and had suffered from cancer and knew he was close to death. His son said that he was writing until the end.

I knew Leonard Cohen first as a poet back in the late 1960s. I have a very strong memory of him coming up in a discussion in a English class at Rutgers College. One of my fellow English majors in an honors literature class said that Cohen was his favorite poet. The professor said that Cohen was a songwriter, not a poet. Most of the class did not agree with the professor.

That kind of divide came up recently again when Bob Dylan was given the Nobel Prize in Literature. Is he a poet, or a songwriter? Can you be both? Does it matter?

Leonard Cohen was a poet, a songwriter, a performer and a novelist. At the time of his death,he was certainly best known for his music.  Whether it was his “Hallelujah,” ”Suzanne” or “Bird on a Wire,” his songs really have attached themselves to people.

Like a bird on a wire,
like a drunk in a midnight choir,
I have tried in my way to be free.

I discovered that he was an aspiring Zen monk, though he downplayed his own success on that path.

He was painfully shy and did not like being on stage. I read that he quit halfway through his first public performance, and that fear continued until the end. He self-medicated with drugs and alcohol unsuccessfully. Perhaps, Zen was an alternative.

Listening to a special edition of The New Yorker Radio podcast that is the last interview with him, they speak of him as “a poet in the vein of Allen Ginsberg or Frank O’Hara,” especially before he released his first album in 1967. In this last gentle interview with David Remnick from this past summer at his home in Los Angeles, Cohen said “I’m ready to die.”

It connected with me that Cohen said “I like to tie up the strings. It’s a cliché, but it’s underestimated as an analgesic on all levels. Putting your house in order is, if you can do it, is one of the most comforting activities and the benefits of it are incalculable.”

If you read some of Stranger Music, his selected poems and songs, I would be curious to know if you saw a real difference between the poems and the songs there.

I liked his earliest songs best. They are mostly sad, simple, acoustic songs. I confess that in college I listened to that first album as both a way to deal with depression and as a way to go deeper into depression. Like drinking booze, it didn’t help with depression and, in some way that I still don’t understand, I sometimes wanted to go deeper. Maybe as an English major who wanted to be a writer, I saw depression, booze and drugs as some kind of Romantic, artistic path. It was part of the biographies of many of my favorite writers and artists. In Cohen’s words, “You want to go darker.”

Listening to that podcast, I’m still not sure that Cohen would tell me that attitude was right or wrong.

His words about setting your house in order and being ready to die make me think that in his case he did pass away. Perhaps that is the correct usage of that phrase. When someone dies a violent death, no one says that she “passed away.” I suppose that some people are “deceased,” “expired,” “have departed this life,” or just plain dead. I hope that you and I have the chance to put our house in order before we pass away.

One of the “haiku” from his old poetry collection The Spice-Box of Earth is:

Silence
and a deeper silence
when the crickets
hesitate

Leonard Cohen has passed away.

 

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