I got the impression this year that retailers could barely wait for Halowe'en to be over so they could flip to Christmas merchandise. I understand that - with the recession being over and all - we are gearing up to go spend money for the holidays but starting holiday promotions in October? True, the situation is a bit desperate this year, since, even though the recession is absolutely, positively over, America's megastores are hungry for shoppers with deep pockets, as well as being worried that they won't get their share of the alleged loot, so who can blame them for ruining yet another holiday by starting the frenzy early?
Along with the tacky, overblown decorations comes my most despised sign of the season- Christmas music. True- with the recession being definitively, without-a-doubt, take my word for it, over - we have a lot to celebrate, so I shouldn't be surprised if some radio stations cranked up the carols right after playing "Monster Mash" for the 300th time. But, after you relive those comforting memories evoked by Bing Crosby, Johnny Mathis, Nat King Cole, Gene Autry. etc., what's left? Programming the "hottest" carols in rapid Top 40 rotation, backed by "recurrent" carols (The term is supposed to mean songs that are so monumental the audience always likes to hear them again) or "solid gold" carols? I can just envision the Billboard Christmas music charts - "O Little Town of Bethlehem" Number 7 with a bullet. I don't mind listening to carols on Christmas morning from, say, 10:00 to 11:00 AM, but not around the clock , 24/7, commercial free.
Probably, my aversion to Christmas music just means I'm cranky and nasty and out of step with the fact that - now that the recession has been officially declared over by leading economic experts - we have a lot to be happy about. Music aside, I really think the only who'll be jovial this season is Santa, assuming his mortgage compsany doesn't foreclose on the North Pole and he's not forced into early retirement. In all honesty - even though the recession is sort of, kind of, almost, maybe over?- despite the happy tunes and mindless markdowns, Santa's sleigh will probably be a little less full this year. Just remember, the recession IS over, right?
Thursday, November 11, 2010
Saturday, October 23, 2010
As Seen On TV
I remember the late night television music commercials, the ones you would catch in the wee hours of Sunday morning, the double album-slash-CD collections of Boxcar Willie or Roger Whittaker for example, all of their greatest hits now together in one awesome disc. Except for one thing - who is Boxcar Willie? I never recognized him from the picture in the ad, have never seen any Boxcar Willie hits on the charts or as a jukebox selection or on the radio. Roger Whittaker's name is a bit more familiar perhaps because of the cheesy Christmas songs that play in the background as the announcer promises you'll get all his hits in two great CDs for just $9.99.
Your first reaction is to chuckle sarcastically and mutter to yourself something like - who would be stupid enough to buy this?
The answer is that both of these alleged artists are truly laughng all the way to the bank. Whether it's Boxcar, Roger, Monster Metal Hits, or the latest assemblage of Number One blasts from the 70s,80s or 90s, the late night pitches represent the flip side of Billboard, the music which turns a huge profit without ever making it to the "Top Ten."
No matter how cheesy infomercials may seem, they have a function that sets them apart from regular commercials - instant results! Major advertisers spend millions each year pushing fast food, soda, cars and other consumer products with no indication whether the commercials have any measurable results, except the assumption that, if they don't advertise, their share of the marketplace will quickly dissipate. Infomercials generate immediate income via the oft repeated phrase - "operators are standing by." Consumers call as soon as the pitch ends, put the purchase on a selected credit card and the advertiser - hopefully- laughs all the way to the bank.
Your first reaction is to chuckle sarcastically and mutter to yourself something like - who would be stupid enough to buy this?
The answer is that both of these alleged artists are truly laughng all the way to the bank. Whether it's Boxcar, Roger, Monster Metal Hits, or the latest assemblage of Number One blasts from the 70s,80s or 90s, the late night pitches represent the flip side of Billboard, the music which turns a huge profit without ever making it to the "Top Ten."
No matter how cheesy infomercials may seem, they have a function that sets them apart from regular commercials - instant results! Major advertisers spend millions each year pushing fast food, soda, cars and other consumer products with no indication whether the commercials have any measurable results, except the assumption that, if they don't advertise, their share of the marketplace will quickly dissipate. Infomercials generate immediate income via the oft repeated phrase - "operators are standing by." Consumers call as soon as the pitch ends, put the purchase on a selected credit card and the advertiser - hopefully- laughs all the way to the bank.
Monday, September 27, 2010
All Talk
The insertion of popular music riffs into radio talk shows seems to be increasing beyond the few examples I mentioned a year ago in relation to Michael Savage, Sean Hannity and the rest. After all, those music bites were relatively predictable heavy metal chords, destined to straighten the listener's spine just in time for the host's next diatribe, but the repertoire has widened considerably. For example:
Rush Limbaugh seems to be hung up on one Pretenders' riff - the opening to "My City Was Gone" - since it plays ad nauseum throughout his show, making me wonder what Chrissie Hynde would think. He also likes to throw in the baby boomer anthem - Mick Jagger pointing out that "I Can't Get No Satisfaction" - which in Rush's case, probably applies to his view of the Obama administration.
Tom Petty's "Learning to Fly" has cropped up repeatedly apparently in relation to ongoing political campaigns, while "Rock the Boat (Vote)" by the Hues Corporation is the prevalent theme on one prominent Boston station relative to those pesky mid terms.
A Providence based talkfest routinely resurrects Ronnie James Dio and Triumph while occasionally kicking back and surrendering to Foghat's "Slow Ride", a ditty guaranteed to make yours truly scream at the top of his lungs: "TAKE IT EEEEE -ZZZEEE!" even in a traffic jam.
During a sports talk show last week, I heard the opening to Led Zep's "Travelling Riverside Blues", several cleverly inserted James Brown grunts, and more Tom Petty riffs. A promo for another station has a brief snatch of a Chuck Berry ditty.
Not to be outdone - I've noticed - is the inclusion of rock and blues on TV programming. The History Channel is promoting IRT: Deadliest Roads with Aerosmith's "Living On The Edge", while another one of it's programs - Pawn Stars - has a soundtrack that is a steady stream of blues and rock instrumentals. I was surprised the other night to hear Howlin Wolf's "Smokestack Lightnihg" all over a car commercial - innovative, but it didn't give me the same chill down my spine as the use of Jimi Hendrix' "Voodoo Child" a couple of years back in a Nissan Xterra spot.
I predict the next musical invasion of the media will crop up during newscasts. For example, lead ins to homicide stories might use Pat Benatar's "Hit Me With Your Best Shot", arson stories with the Talking Heads' "Burning Down The House" or "Ring of Fire" by Johnny Cash, business news could be dramatized with "Money" by the O'Jays, and there would be numerous choices for the weather - "Rain" and "Good Day Sunshine" by the Beatles, "Blowing in the Wind" from Bob Dylan, "Starry Starry Night" by Don Mclean,not to mention dozens of lesser known blues/soul/rock n roll tunes - Muddy Waters' "40 Days and 40 Nights" and "Flood Down in Texas" by Fenton Robinson just to name two of them.
Luckily, I've concluded that, as far as "music with a message" is concerned, that there's only one viable lead in to the nightly news - "Ball of Confusion" by the Temptations because their lyrics are succinct: "Ball of confusion -that's what the world is today!".
Rush Limbaugh seems to be hung up on one Pretenders' riff - the opening to "My City Was Gone" - since it plays ad nauseum throughout his show, making me wonder what Chrissie Hynde would think. He also likes to throw in the baby boomer anthem - Mick Jagger pointing out that "I Can't Get No Satisfaction" - which in Rush's case, probably applies to his view of the Obama administration.
Tom Petty's "Learning to Fly" has cropped up repeatedly apparently in relation to ongoing political campaigns, while "Rock the Boat (Vote)" by the Hues Corporation is the prevalent theme on one prominent Boston station relative to those pesky mid terms.
A Providence based talkfest routinely resurrects Ronnie James Dio and Triumph while occasionally kicking back and surrendering to Foghat's "Slow Ride", a ditty guaranteed to make yours truly scream at the top of his lungs: "TAKE IT EEEEE -ZZZEEE!" even in a traffic jam.
During a sports talk show last week, I heard the opening to Led Zep's "Travelling Riverside Blues", several cleverly inserted James Brown grunts, and more Tom Petty riffs. A promo for another station has a brief snatch of a Chuck Berry ditty.
Not to be outdone - I've noticed - is the inclusion of rock and blues on TV programming. The History Channel is promoting IRT: Deadliest Roads with Aerosmith's "Living On The Edge", while another one of it's programs - Pawn Stars - has a soundtrack that is a steady stream of blues and rock instrumentals. I was surprised the other night to hear Howlin Wolf's "Smokestack Lightnihg" all over a car commercial - innovative, but it didn't give me the same chill down my spine as the use of Jimi Hendrix' "Voodoo Child" a couple of years back in a Nissan Xterra spot.
I predict the next musical invasion of the media will crop up during newscasts. For example, lead ins to homicide stories might use Pat Benatar's "Hit Me With Your Best Shot", arson stories with the Talking Heads' "Burning Down The House" or "Ring of Fire" by Johnny Cash, business news could be dramatized with "Money" by the O'Jays, and there would be numerous choices for the weather - "Rain" and "Good Day Sunshine" by the Beatles, "Blowing in the Wind" from Bob Dylan, "Starry Starry Night" by Don Mclean,not to mention dozens of lesser known blues/soul/rock n roll tunes - Muddy Waters' "40 Days and 40 Nights" and "Flood Down in Texas" by Fenton Robinson just to name two of them.
Luckily, I've concluded that, as far as "music with a message" is concerned, that there's only one viable lead in to the nightly news - "Ball of Confusion" by the Temptations because their lyrics are succinct: "Ball of confusion -that's what the world is today!".
Sunday, September 19, 2010
Sleeping With One Eye Open - The Blood Brothers' "Have Blues Will Travel"
Chances are that, somewhere in America, Smokin' Joe Kubek and Bnois King are getting ready for a show, living up to the title of their latest from Alligator: "Have Blues Will Travel". Bnois King's melodic voice combined with Smokin' Joe's stinging solos identifies the duo's dependable blend of straight ahead Texas style blues combined with solid rock and delivered with a sly twist.
The title tune tells the story - the best way to escape the blues is to get back on the road again, the ironic lyrics underscored by hard driving guitar licks. "RU4 Real?" is a sardonic look at the effects of Botox, collagen and silicone,the story of a pick up in a dim bar that goes sour when the singer finds out he's got a woman with a rebuilt body. "My Guitar" is underscored with Smokin' Joe's virtuoso turns on slide guitar combined with fluid picking, ample evidence that the guitar is always your best friend.
My favorite is "Sleeping With One Eye Open", a cautionary tale about cheating and being unlucky in love, the title implying that the singer is afraid to take his eyes off his woman, punctuated by more cutting edge riffs. The Blood Brothers' wry sense of humor shines along with Smokin' Joe's slide on "Payday in America", their tribute to Johnny Paycheck's "Take This Job and Shove It".
"Have Blues Will Travel" is another example of why Snmokin' Joe Kubek and Bnois King are two of the hardest-working bluesmen on the circuit today. They combine muscular guitar, traditional blues riffs and a little bit of sarcasm to come up with their own blues brand. Go see them the next chance you get.
The title tune tells the story - the best way to escape the blues is to get back on the road again, the ironic lyrics underscored by hard driving guitar licks. "RU4 Real?" is a sardonic look at the effects of Botox, collagen and silicone,the story of a pick up in a dim bar that goes sour when the singer finds out he's got a woman with a rebuilt body. "My Guitar" is underscored with Smokin' Joe's virtuoso turns on slide guitar combined with fluid picking, ample evidence that the guitar is always your best friend.
My favorite is "Sleeping With One Eye Open", a cautionary tale about cheating and being unlucky in love, the title implying that the singer is afraid to take his eyes off his woman, punctuated by more cutting edge riffs. The Blood Brothers' wry sense of humor shines along with Smokin' Joe's slide on "Payday in America", their tribute to Johnny Paycheck's "Take This Job and Shove It".
"Have Blues Will Travel" is another example of why Snmokin' Joe Kubek and Bnois King are two of the hardest-working bluesmen on the circuit today. They combine muscular guitar, traditional blues riffs and a little bit of sarcasm to come up with their own blues brand. Go see them the next chance you get.
Saturday, August 28, 2010
Turning 100
The anniversary snuck up on me - I've just passed the 100th (?) blog post mark and I didn't even know it. So before I blow out the candles on the cake, I just wanted to share a few thoughts on passing the century mark.
I started doing BSRR because James Brown died. It's too bad that JB will be remembered by some as a prime contender for Worst Mugshot Contest, as well as an alleged wife beater, as opposed to "The Godfather of Soul " or "Soul Brother Number One" or "The Man With The Crown" or any one of the other hip titles the Famous Flames would run through just before JB took the stage. I am not condoning his behavior toward women, but time has taught me to judge a musician by their output-their art - a rationale that was applied to Michael Jackson repeatedly. Artists are not necessarily pleasant people; Picasso in particular was supposedly a real sob in relationships, and Hemingway - whom I admired as a teen - a nasty macho drunk. I forgive the Godfather for ignoring public relations. Hopefully, his musical career will be remembered as opposed to the domestic violence charges.
James Brown is indicative of the kind of artist I respect - performers who are true originals, faithful to their "roots". I rank George Jones right up there with Peter Tosh, Chuck Berry and Tony Bennett - they are all "originals" with a definitive style and an unmistakable sound. Music to me has to have integrity and - hopefully - originality. The only tunes I really detest are the orchestral versions you hear on the supermarket loudspeakers or in an elevator or wafting through an office, the bland, innocuous blend of strings and horns that reduces all musical forms to easily digestible pap.
The most original blogs so far have involved friends like Bruce Burnside, Joe Auger, "Shade" Melton, the Cutlass Three, Led Balloon Jug Band and L'Esperance. It's always a privilege to give friends a boost as well as educate the audience. The blogs causing the most response were about Robert Johnson and Craig Roche. I've learned that it is a big mistake to write about Robert Johnson because the only thing people agree on is that nobody really knows where he was born, or exactly how he died or exactly where he is buried. Craig Roche was a lifelong friend who died suddenly - way too soon. He was a versatile musician with an infectious sense of humor and a big heart to boot. I'm glad I could pay him homage.
I've gotten a lot of comments - most of which seem to be promoting something else online - but the most significant and surprising entry appeared after I wrote a review of the film "Crazy" , about the life of guitarist Hank Garland. The movie was perfect - the soundtrack is authentic, the character portrayals are flawless, the plot is straight out of Billboard and Garland's story takes so many twists and turns that it holds your attention. A few days after I wrote the blog, a comment appeared which turned out to be a thank you from the Garland family. I always think I'm writing in obscurity, a tiny speck in the big celebrity/business/government blogosphere, so to have this validation arrive out of nowhere was a bit of a shock. The bottom line is that Hank Garland is a true original, the movie is excellent and you should go see it.
I've questioned whether or not to continue this blog many times, but somehow I always come back to it. I guess that means it's time to start the second 100 posts because apparently I'm not finished just yet.
I started doing BSRR because James Brown died. It's too bad that JB will be remembered by some as a prime contender for Worst Mugshot Contest, as well as an alleged wife beater, as opposed to "The Godfather of Soul " or "Soul Brother Number One" or "The Man With The Crown" or any one of the other hip titles the Famous Flames would run through just before JB took the stage. I am not condoning his behavior toward women, but time has taught me to judge a musician by their output-their art - a rationale that was applied to Michael Jackson repeatedly. Artists are not necessarily pleasant people; Picasso in particular was supposedly a real sob in relationships, and Hemingway - whom I admired as a teen - a nasty macho drunk. I forgive the Godfather for ignoring public relations. Hopefully, his musical career will be remembered as opposed to the domestic violence charges.
James Brown is indicative of the kind of artist I respect - performers who are true originals, faithful to their "roots". I rank George Jones right up there with Peter Tosh, Chuck Berry and Tony Bennett - they are all "originals" with a definitive style and an unmistakable sound. Music to me has to have integrity and - hopefully - originality. The only tunes I really detest are the orchestral versions you hear on the supermarket loudspeakers or in an elevator or wafting through an office, the bland, innocuous blend of strings and horns that reduces all musical forms to easily digestible pap.
The most original blogs so far have involved friends like Bruce Burnside, Joe Auger, "Shade" Melton, the Cutlass Three, Led Balloon Jug Band and L'Esperance. It's always a privilege to give friends a boost as well as educate the audience. The blogs causing the most response were about Robert Johnson and Craig Roche. I've learned that it is a big mistake to write about Robert Johnson because the only thing people agree on is that nobody really knows where he was born, or exactly how he died or exactly where he is buried. Craig Roche was a lifelong friend who died suddenly - way too soon. He was a versatile musician with an infectious sense of humor and a big heart to boot. I'm glad I could pay him homage.
I've gotten a lot of comments - most of which seem to be promoting something else online - but the most significant and surprising entry appeared after I wrote a review of the film "Crazy" , about the life of guitarist Hank Garland. The movie was perfect - the soundtrack is authentic, the character portrayals are flawless, the plot is straight out of Billboard and Garland's story takes so many twists and turns that it holds your attention. A few days after I wrote the blog, a comment appeared which turned out to be a thank you from the Garland family. I always think I'm writing in obscurity, a tiny speck in the big celebrity/business/government blogosphere, so to have this validation arrive out of nowhere was a bit of a shock. The bottom line is that Hank Garland is a true original, the movie is excellent and you should go see it.
I've questioned whether or not to continue this blog many times, but somehow I always come back to it. I guess that means it's time to start the second 100 posts because apparently I'm not finished just yet.
Wednesday, August 11, 2010
Music With A Message: A Tale of Two Commercials
You know the credit card couple. Their smug, self-centered expressions dominate TV these days, strangely disconnected from the job creation figures, foreclosure rates, and steadily rising bankruptcies. Back in the nostalgic 90s, they would have been super yuppies, revered for an urban lifestyle encompassing exotic restaurants, excessive gadgetry, cutting edge fashion and serious if-you've-got-it-flaunt-it attitude. In 2010, it just seems frayed around the edges, irritating and unrealistic, but this portrait of excess - like a lot of the commercials forced down our collective throats - is also dependent on the choice of music.
Frank Sinatra's talent and persona were the first cultural contraband grafted on the opening chapter in the contrived lives of the credit card couple, Sinatra crooning "The Way You Look Tonight" as the Dragon Lady (The woman) tells Shallow Man (The man) that she's just screwed him out of his bonus points by picking up a new dress. Apparently, 21st century relationships in commercials are based on exploitation, one partner constantly trumping the other by seeing how much money they can spend on pointless luxury. Sinatra conveys the right "feel" - the lush music accenting his tribute to beautiful women, evoking that Rat Pack sensibility which - in contrast to rap content - celebrated the "ladies". There must be people just like the cc's - a lot of them, or the company wouldn't have made the commercial. I'm probably reading too much into it , but it does illustrate what Jean Paul Sartre meant when he said: "Hell is other people." The other portrait of excess celebrates the great American tradition of giving money to newlyweds, using John Sebastian's "Do You Believe In Magic?" as background while the new husband and wife spend their first night depositing checks and adding up the loot. Is this the best American culture has to offer - excess and greed?
At the other end of the spectrum , light years away from urban smugness, is the peaceful, comfortable, Baby Boomer - friendly portrait of sunshine, beautiful mountains by pristine lakes,kids and nature, underscored by Harry McClintock's wistful description of "The Big Rock Candy Mountain". The song sounds at first like a Depression era lament for those imaginary places where suffering and hunger don't exist, but it is closer to a friendly tribute - glorifying the hobo life, always wandering off on another adventure, whistling down the railroad tracks. The familiar imagery in the commercial evokes tradition, security and comfort enhanced by the bouncy, optimistic tune that encompasses the magic of childhood. Some days when the Dow is plunging, the jobless claims are rising and the creditors are calling, it seems we could all use a trip to the Big Rock Candy Mountain.
The most obvious rationale for the choices of music in both ads is the most familiar - age. The cc couple are the new faces of the 21st century - supposedly - while the content of the Baby Boomer friendly commercial is a reminder that childhood endures.
By the way, I was surprised to find out that this is my 101st post - a milestone I guess, especially when I always think my next one will be my last. Thanks for your support.
Frank Sinatra's talent and persona were the first cultural contraband grafted on the opening chapter in the contrived lives of the credit card couple, Sinatra crooning "The Way You Look Tonight" as the Dragon Lady (The woman) tells Shallow Man (The man) that she's just screwed him out of his bonus points by picking up a new dress. Apparently, 21st century relationships in commercials are based on exploitation, one partner constantly trumping the other by seeing how much money they can spend on pointless luxury. Sinatra conveys the right "feel" - the lush music accenting his tribute to beautiful women, evoking that Rat Pack sensibility which - in contrast to rap content - celebrated the "ladies". There must be people just like the cc's - a lot of them, or the company wouldn't have made the commercial. I'm probably reading too much into it , but it does illustrate what Jean Paul Sartre meant when he said: "Hell is other people." The other portrait of excess celebrates the great American tradition of giving money to newlyweds, using John Sebastian's "Do You Believe In Magic?" as background while the new husband and wife spend their first night depositing checks and adding up the loot. Is this the best American culture has to offer - excess and greed?
At the other end of the spectrum , light years away from urban smugness, is the peaceful, comfortable, Baby Boomer - friendly portrait of sunshine, beautiful mountains by pristine lakes,kids and nature, underscored by Harry McClintock's wistful description of "The Big Rock Candy Mountain". The song sounds at first like a Depression era lament for those imaginary places where suffering and hunger don't exist, but it is closer to a friendly tribute - glorifying the hobo life, always wandering off on another adventure, whistling down the railroad tracks. The familiar imagery in the commercial evokes tradition, security and comfort enhanced by the bouncy, optimistic tune that encompasses the magic of childhood. Some days when the Dow is plunging, the jobless claims are rising and the creditors are calling, it seems we could all use a trip to the Big Rock Candy Mountain.
The most obvious rationale for the choices of music in both ads is the most familiar - age. The cc couple are the new faces of the 21st century - supposedly - while the content of the Baby Boomer friendly commercial is a reminder that childhood endures.
By the way, I was surprised to find out that this is my 101st post - a milestone I guess, especially when I always think my next one will be my last. Thanks for your support.
Thursday, July 15, 2010
The NEW Talking Blues - Guitar Shorty / Holmes Brothers
Listen to artists like Big Bill Broonzey or Bessie Smith or any one of the leading blues musicians from the 1930s and you'll hear political commentary as well as economic misery set to music - the so-called "talking" blues. Bessie Smith's lasting contribution to hard times -"Nobody Knows You When You're Down and Out"- never sounds dated, including Bessie's wry observation -"no man'll want you when you're down and out" - a harbinger of women's lib. Big Bill Broonzy's "Mule Riding Blues" is a sardonic look at poverty and class distinctions that characterized the Depression.
Fast forward from the 1930s to the 2010s. The "talking' blues are alive and well. The best example is Guitar Shorty's "Please Mr President" from his CD Bare Knuckle (Alligator) released a year before Occupy Wall Street, with the poignant refrain "Please Mr. President- lay some stimulus on on me!." Shorty's guitar solos make your eardrums bleed - his playing is supposed to have influenced both Jimi Hendrix and Buddy Guy - but singing is not his forte. It's the lyrics that get the point across: "Now I sure don't mind workin' - I'm not scared to break a sweat - I'm not lookin' for a bailout - but I gotta pay my debts!" (Guitar Shorty on Amazon). Shorty, whose real name is David Kearney, was "on message" months before the occupiers started pitching their tents, upholding the talking blues tradition of telling it like it IS!
The Holmes' Brothers have a somewhat similar lament on their CD Feed My Soul (Alligator), which was recorded in North Brookfield, Massachusetts. Instead of cutting right to the bone, they try to grin and bear it in "Edge of the Ledge" with the satirical refrain: "Standing on my head at the edge of the ledge/tryin' to figure out how to keep my family fed/I lost my job, they even repossessed my bed/standing on my head at the edge of the ledge" (Wendell Holmes, 2009). Wendell and Sherman Holmes' music ranges from blues to gospel,especially the title tune, but "Ledge" stands out as "black" humor, no pun intended.
The rebirth of the talking blues stems from the Sixties, when artists from Bob Dylan to Phil Ochs to Jim Kweskin began reviving the genre, but instead of mixing humor and irony in describing the human condition, they started a new tradition of getting right to the heart of the matter. I'm wondering if we should make "Please Mr. President" required listening for the House, the Senate and the White House the next time they decide to bail out the banks. Maybe they'll finally get the message!
Fast forward from the 1930s to the 2010s. The "talking' blues are alive and well. The best example is Guitar Shorty's "Please Mr President" from his CD Bare Knuckle (Alligator) released a year before Occupy Wall Street, with the poignant refrain "Please Mr. President- lay some stimulus on on me!." Shorty's guitar solos make your eardrums bleed - his playing is supposed to have influenced both Jimi Hendrix and Buddy Guy - but singing is not his forte. It's the lyrics that get the point across: "Now I sure don't mind workin' - I'm not scared to break a sweat - I'm not lookin' for a bailout - but I gotta pay my debts!" (Guitar Shorty on Amazon). Shorty, whose real name is David Kearney, was "on message" months before the occupiers started pitching their tents, upholding the talking blues tradition of telling it like it IS!
The Holmes' Brothers have a somewhat similar lament on their CD Feed My Soul (Alligator), which was recorded in North Brookfield, Massachusetts. Instead of cutting right to the bone, they try to grin and bear it in "Edge of the Ledge" with the satirical refrain: "Standing on my head at the edge of the ledge/tryin' to figure out how to keep my family fed/I lost my job, they even repossessed my bed/standing on my head at the edge of the ledge" (Wendell Holmes, 2009). Wendell and Sherman Holmes' music ranges from blues to gospel,especially the title tune, but "Ledge" stands out as "black" humor, no pun intended.
The rebirth of the talking blues stems from the Sixties, when artists from Bob Dylan to Phil Ochs to Jim Kweskin began reviving the genre, but instead of mixing humor and irony in describing the human condition, they started a new tradition of getting right to the heart of the matter. I'm wondering if we should make "Please Mr. President" required listening for the House, the Senate and the White House the next time they decide to bail out the banks. Maybe they'll finally get the message!
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