Lil Green/Dionne Warwick
Seventy years ago, and also fifty--do the math
Lil Green: Why Don't You Do Right? 1940-1942 (Historic '96)
Dionne Warwick: The Dionne Warwick Collection: Her All-Time Greatest Hits (Rhino '89)
Still in print, as is the label's shorter and proportionately cheaper 2000 Very Best of, which among lesser sins omits three classics: "You'll Never Get to Heaven if You Break My Heart" (7/64), "I Just Don't Know What to Do With Myself" (9/66), and "(There's) Always Something There to Remind Me" (8/68), the dates of which establish the limitations of the Alfie- and Valley of the Dolls-fueled theory that she got schlockier as she got older, which she certainly did after she moved on from Bacharach-David to Clive Davis in the '70s. Warwick had a voice that you admire like many or love like me‑-pop velvet with a gospel nap, the epitome of walk-on-by reserve except when amped by commitment to craft, romantic disputation, existential indignation, or her hurting heart. In the first great heyday of rock guitar, her feel for Brill Building baion enabled another kind of beat music: traditional pop with a Latin difference. Her breakup with her two mentors crippled all three for life. A
Differences between 1986's Dionne Warwick Anthology 1962-1969 (listed in Christgau's 80s Record Guide "Core Collection" & recommended for good sound by Steve Hoffman but only has 16 cuts) and 1989's The Dionne Warwick Collection: Her All-Time Greatest Hits (reviewed here by Robert Christgau and has 24 cuts):
Thread about definitive CD pressings which contains Steve Hoffman's list that included Anthology 1962-1969:
"I know it's too much to expect he would take along say Janelle Monae or Fcuked Up or TV on the Radio but jeez."
I know the flesh is being weak here, since I'm trying to cut down, but there seems a ready answer to this that doesn't get noted often enough in older, already-very-successful performers on tour.
Where's the percentage for Dylan to have somebody wildly edgy open for him?
Gets him whooping cred in some less-than-powerful circles, but goofs up the steady fans who don't want to be shaken up (in Dylan's case by now, hordes who think they want shakeups but don't, really) and makes future tours more of a painus in the Uranus.
The obvious thing is to go for close to the safest common denominator, which is what he has done.
The more labor-intensive route is to figure out what touring pals might give the bill sparkle and edge without upsetting the faithful.
I can't think of a time from day one when Boob Dylan has wanted to put that much effort into it. First Thought, Best Thought.
Now, his own performances are a different matter.
Just read Jon Pareles review in the NY Times of Fridays' Americanarama Festival
show in NJ. If this review doesn''t want to make
you see it for yourself I figure you're dead in the water.
My Morning Jacket
-with guest appearances by Warren Haines,Peter Wolf ,Brian Jackson(Gil Scott Heron)
and Ian Hunter.
Six hours btw-and more than reasonably priced.
Went to a Colombian street party Saturday night. Actually, it was a birthday BBQ for a 52-year old American guy organized for him by his Colombian wife and including mostly her Colombian friends in attendance. Towards the end of the party as we all got more drunk, the birthday boy leaned over to me and confided that he wished the (Colombian) DJ would give the salsa a rest and play some rock. I agreed but for different reasons. I can't dance salsa (well) - although I was out on the dancefloor (patio) for every bachata and merengue number (which are easy to dance to) with my own Colombian sweetheart. So I consulted with the DJ who agreed to let me plug my iPhone in and choose a few tracks. I opened with "Rip This Joint" off Exile and whether due to hearing the song outside in the relative dark on an excellent mobile sound system or just the fun atmosphere, it never sounded better. Keef's opening guitar chords shocked the crowd and when Charlie blasted off, the entire crowd erupted and started jumping up and down on the patio. It really was a sight to see. The girls started shaking their heads and hair, along with their bootys, and the guys started drumming along. I followed with "Brown Sugar" which most everyone knew enough to sing along: "I said yeah, yeah, yeah, wooooo!", throwing their arms in the air when they said "woooo!". Reminded me of the Xgau quote which I just looked up: "Only rock and roll? The Stones are the proof of the form. When the guitars and the drums and the voice come together in those elementary patterns that no one else has ever quite managed to simulate, the most undeniable excitement is a virtually automatic result." Next on my mini-playlist was "I Wanna Hold Your Hand" - another obvious choice that everyone knew and loved. Who doesn't know and love the Beatles? I finished with a few Who tracks since I knew those were the b-boy's favorite: "So Sad About Us", "I Can't Explain", and "Anyway, Anyhow, Anywhere". He was pretty lit by then and entertained us all by doing spot-on air guitar to every one of those tracks. At the end of the night, he put his arm around me and told me that playing those rock songs "made" his birthday, and believe me when I say I was glad to oblige.
At least one of the compilations he mentions, Smithsonian's old Black Caribs of Honduras, is thrilling, edging out everything else on my shelf for repeat listening when I came across it on LP last year. Appears to have been given a 2012 digital release (Allmusic).
Granddad folk alert: Rhett also covered "Charlie and the MTA" at the same show. And wondered, sensibly, why Charlie's wife doesn't just hand some change to him instead of the sandwich.
My daughter's favorite moment? When Rhett dedicated a song to some young women from Mount Holyoke, there to celebrate one of their birthdays and said "Wooo! Mount Holyoke! I love Mount Holyoke. I *know* that gender is a social construct!"
However, I find that I cannot play Ted Nugent any more. As early as the late '70s I knew he was a reactionary (staring with when he went out of his way to emphasize he did a minimal amount of drugs in the '60s), and I'd spin his ferocious stuff and shake my head at the terror of ninnies, as Bob would say. But as the Nuge's career has gone downhill, so has his rhetoric until it's so loud in my head whenever I think of him it drowns out the music. I'm not gonna throw out my vinyl and boxed set, but I suspect they're gonna be sittin' there in my estate, unplayed since the earliest 21st century.
Speaking of throwing out, a friend who sells used records says that after thinking about it for quite a while, she decided to destroy any Nazi-punk singles that anybody sold her, both because they were hateful in themselves and she didn't want to encourage the types who would buy them, anyway.
Obviously I couldn't be further out of the
loop regarding Clapton-I mean I never heard any of these stories-but doesn't playing with a zillion black artists
over the years count for something?
about the blogger
Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.
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