Month: May 2018

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Things I Will Keep #3: BOBBY MARCHAN, “There’s Something on Your Mind”

Bobby Marchan
“There’s Something on Your Mind”
1960, Fire Records

Among the records that I intend to keep until my fateful final day on the dragstrip of life, many are 45s. I’ve even had half a mind in recent years to collect music on 45s ONLY, but have yet to commit. That’s further down the Path of Enlightenment than I am willing to go right now. It’s too much sacrifice (and it’s not necessarily cheaper, either). I’m just not gangsta enough.

There’s nothing wrong with digital formats (I use ’em, I abuse ’em), but I do think that physical records and CDs encourage more active engagement with music. And IF this is true, the 45 is the ultimate in active engagement. Because you can’t just put it on and then let it go for an hour to play in the background while you entertain house guests or masturbate on your kitchen floor (or both). Nope, a 45 is gonna be all over in a few minutes after which time you either play that sucker again, take a chance on the B-side or put on something else. You have to move and make a decision. You’ve given the act of playing that song your full attention.

You are devoted to the song.

And I can’t think of many songs that deserve devotion more than Bobby Marchan’s desperate, devastated and dangerous cover of Big Jay McNeely’s “There’s Something on Your Mind”. It’s one of the best things I’ve ever heard.

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Robert Pollard-Mania! #7: THE GRAND HOUR

No, the gold-print-on-red-sleeve cover art isn’t much more clear in person than it is in this photo.

Guided by Voices
The Grand Hour
1993, Scat Records

In the Season One finale of The Guided by Voices Story, the band had just recorded Propeller, their masterpiece. And then they broke up because they were getting old and Robert Pollard’s family was giving him the stink-eye over this stupid rock band that he had going.

It was all just a hobby anyway. A goof-off. Something to pass the time. Pollard is now over this music stuff and he won’t even miss it. Right? Cut to credits.

Season Two begins with a phone call to Pollard’s house.

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Things I Will Keep #2: GOD BLESS TINY TIM

Tiny Tim
God Bless Tiny Tim
1968, Reprise

As the years go by, as my metabolism slows, as thoughts about mortality hit me like a bird shitting on my head everyday, as I figure out what I really care about in life, and as I enthusiastically prune my 4-5,000-piece record collection down to a modest stash of essentials, more and more do I realize that I love happy music most of all.

I guess that there’s great angry music and depressing music out there. Cool. Somebody else can listen to it.

Your humble reporter though, as he falls apart like an old Chevy Nova and spends his evenings at home tending to his two cats and his sciatic nerves, is all about the good times and sunny vibes. The occasional arty outsider thing can catch his weathered ear from time to time (watch this space for some of that in future installments, if you dare), but for the most part, he loves pretty tones that make luscious melodies that build up to timeless songs. This sordid specimen of whom we speak is your regular pop nerd and your basic freak for a hook. A real headcase. His younger music snob self would be ashamed. He’s a disgrace, this old short bald guy who never exercises. He wants to put on music and sway and sing along. He wants to play the same songs over and over. He wants to rock out and be flown around on angel wings. He wants to get out of this paragraph in which he’s stuck referring to himself in the third person.

That doesn’t mean that I only love songs about rainbows and candy (though I do love plenty of songs about rainbows and candy). Rather, I’d define “happy” music as music that exhibits a sincere love for life (sad songs can be awfully sweet on the ears when they’re beautifully written). There are many different ways do that.

And this genius first album from Tiny Tim hits a whole bunch of them. It’s a masterpiece of dreamy aural world-building and soul-soothing. I could never get rid of it. My mood lifts the moment that I put it on. I always want to be around it.

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Robert Pollard-Mania! #6: PROPELLER

Guided by Voices
Propeller
1992, Rockathon Records
Reissue (via the vinyl version of the Box set): 1995, Scat Records

The final Guided by Voices album. The closing chapter. The grand exit. One last blast before Robert Pollard retires his mic, packs up his guitar, throws his songwriting notebooks in a drawer, never makes Bee Thousand,  never makes From a Compound Eye, never makes Space Gun, and kisses his dreams goodbye.

That was true for about five minutes in 1992, at least, when Pollard caved to pressure from his family who didn’t think that a 34-year-old man with a wife and kids should be wasting his time and money making records that nobody except Byron Coley hears.

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Dorothy Parker on Robert Benchley and Bookstores

My copy of The Portable Dorothy Parker never stays on the shelf. It travels from room to room in my home, picked up often and read and then moved again back and forth, mingling with anything else that I’m presently reading. I rarely look for it. I always just stumble upon it. One day, it’s on the bedside table. Maybe the next day, it’s on the floor by the living room couch.

Her theatre and book reviews for Vanity Fair, The New Yorker and Esquire that make up most of the last two hundred pages (pieces written from 1918 to 1962) are particularly good when I need a quick dose of wit. They’re the best reviews of anything that I’ve ever read and are a steady source of inspiration, including when I needed a name for this website. Her New Yorker book review column from 1927 to 1933 was called “The Constant Reader”, which I used about two brain cells to bend to my own purposes here. (Mrs. Parker would probably roll her eyes over it.)

Though I can be hard on my books, I don’t like to mark them with highlighters or pens, but I do like to remember and recognize great and/or interesting passages in what I’m presently reading, so why not do it here? What else have I got going on? Absolutely nothing.

So, haunting me at the moment is the opening paragraph of Parker’s May 1958 book column, in which she tells a brief anecdote about the dearest friend in her life Robert Benchley, before she celebrates a volume of Edmund Wilson’s Jazz Age essays, shrugs her shoulders at Jack Kerouac and smirks over Edna Ferber’s latest potboiler:

The late Robert Benchley, rest his soul, could scarcely bear to go into a bookshop. His was not a case of so widely shared an affliction as claustrophobia; his trouble came from a great and grueling compassion. It was no joy to him to see lines and tiers of shining volumes, for as he looked there would crash over him, like a mighty wave, a vision of every one of the authors of every one of those books saying to himself as he finished his opus, ‘There–I’ve done it! I have written THE book. Now it and I are famous forever.” Long after Mr. Benchley had rushed out of the shop, he would be racked with pity for poor human dreams. Eventually, he never went anywhere near a bookshop. If he wanted something to read, he either borrowed it or sent for it by mail.

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A Laurel and Hardy Party #4: “Perfect Day”

(1929; director: James Parrott)

To my knowledge, the famous Lou Reed song is NOT based on this 1929 comedy two-reeler in which Stan Laurel and Oliver Hardy completely fuck up a picnic. They don’t even get to the picnic, actually. Just packing up the sandwiches and getting their Model T out of the driveway brings disaster. The slapstick between Stan and Ollie as they get in each others’ way dealing with flat tires, an uncooperative engine and a neighbor whose window they accidentally break is good stuff, but the funniest parts are how everyone pretends that the great day that their wives planned is still possible after all of this (see the cheerful, and repetitious, goodbyes to the neighbors). Also, comedy stalwart Edgar Kennedy as the cranky old brother forced to tag along even with a gout-riddled foot in a cast (do you think it’s going to get stepped on and knocked around throughout the film?) is reliably despairing.

It’s a good one. Also, as a man who feels like he pretty much bumbles his way through most days, Laurel and Hardy continue to resonate. If you see me at the ice cream shop, ask me about my several Oliver Hardy moments last week when my cat got stuck in a tree for a few hours.

This is the fourth film on the massive Laurel and Hardy: The Essential Collection DVD box set and the first one to have a bonus feature, which is simply an alternate soundtrack. Like most films in 1929, the original release of “Perfect Day” has no music beyond the opening titles. When Hal Roach put it back into circulation in 1937, it came with a score of jaunty studio library music newly added for your pleasure. The DVD offers both versions. Party like it’s 1929. Or 1937. Your choice. They’re both good.

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Robert Pollard-Mania! #5: SAME PLACE THE FLY GOT SMASHED

Guided by Voices
Same Place the Fly Got Smashed
1990, Rocket #9
Reissue (via the Box set): 1995, Scat Records

Robert Pollard’s music is optimistic. He’s not going to tell you that life is all merry-go-rounds and back rubs, but if you put in some work that’s worth doing and aren’t an idiot, you might enjoy being a living, breathing person on our ruined planet of shit and misery.

There are sad songs and melancholy moments and horror stories in his music, but little that I would call depressing. Or angry. Pollard is so great at anthems because he likes to write about human triumph over things big and small. His way with melody belies an artist who wants to make the world a prettier place. The volume of his work reveals an artist who’s not tired of life and gonna fight the grave for as long as he can.

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