Saturday, 5/19/12
Michael Burks (7/30/57-5/6/12), “Twenty-Four Hour Blues”
Live, Belgium (Zingem), 5/5/12
One day he makes these sounds, the next no sound at all—not the world I would have designed.
More? Here.
Michael Burks (7/30/57-5/6/12), “Twenty-Four Hour Blues”
Live, Belgium (Zingem), 5/5/12
One day he makes these sounds, the next no sound at all—not the world I would have designed.
More? Here.
James Brown, live, Boston, 4/5/68
“Cold Sweat”
Part 1
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Part 2
*****
“I Got the Feelin'”
*****
More?
Here’s the whole show.
*****
On the morning after the assassination of Dr. Martin Luther King, Jr., city officials in Boston, Massachusetts, were scrambling to prepare for an expected second straight night of violent unrest. Similar preparations were being made in cities across America, including in the nation’s capital, where armed units of the regular Army patrolled outside the White House and U.S. Capitol following President Johnson’s state-of-emergency declaration. But Boston would be nearly alone among America’s major cities in remaining quiet and calm that turbulent Friday night, thanks in large part to one of the least quiet and calm musical performers of all time. On the night of April 5, 1968, James Brown kept the peace in Boston by the sheer force of his music and his personal charisma.
Brown’s appearance that night at the Boston Garden had been scheduled for months, but it nearly didn’t happen. Following a long night of riots and fires in the predominantly black Roxbury and South End sections of the city, Boston’s young mayor, Kevin White, gave serious consideration to canceling an event that some feared would bring the same kind of violence into the city’s center. The racial component of those fears was very much on the surface of a city in which school integration and mandatory busing had played a major role in the recent mayoral election. Mayor White faced a politically impossible choice: anger black Bostonians by canceling Brown’s concert over transparently racial fears, or antagonize the law-and-order crowd by simply ignoring those fears. The idea that resolved the mayor’s dilemma came from a young, African American city councilman name Tom Atkins, who proposed going on with the concert, but finding a way to mount a free, live broadcast of the show in the hopes of keeping most Bostonians at home in front of their TV sets rather than on the streets.
Atkins and White convinced public television station WGBH to carry the concert on short notice, but convincing James Brown took some doing. Due to a non-compete agreement relating to an upcoming televised concert, Brown stood to lose roughly $60,000 if his Boston show were televised. Ever the savvy businessman, James Brown made his financial needs known to Mayor White, who made the very wise decision to meet them.
The broadcast of Brown’s concert had the exact effect it was intended to, as Boston saw less crime that night than would be expected on a perfectly normal Friday in April. There was a moment, however, when it appeared that the plan might backfire. As a handful of young, male fans—most, but not all of them black—began climbing on stage mid-concert, white Boston policemen began forcefully pushing them back. Sensing the volatility of the situation, Brown urged the cops to back away from the stage, then addressed the crowd. “Wait a minute, wait a minute now WAIT!” Brown said. “Step down, now, be a gentleman . . . Now I asked the police to step back, because I think I can get some respect from my own people.”
Brown successfully restored order while keeping the police away from the crowd, and continued the successful peacekeeping concert in honor of the slain Dr. King on this day in 1968.
what’s new
Black Dice, “Pigs”
Recording (Mr. Impossible, 4/12) & Video
I fell in love tonight. She left immediately when I played her this.
—YouTube comment
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Live (music starts at 1:40), New York, 2012
only rock ’n’ roll
This’ll wake you up.
The Men, “Open Your Heart,” live, SXSW (Austin, Tx.), 3/6/12
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More?
Here’s the whole show.
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lagniappe
musical thoughts
The pop music being made in the 1960s sounded nothing like that of the 1920s. But, today, the formula employed by The Men (and many other bands)—electric guitar + bass + drums + volume + energy—is the same one the MC5 was using when I first heard them in August of 1968, in Chicago’s Lincoln Park, during the Democratic Convention. What, if anything, does it mean that pop music—some of it, anyway—has changed so little in the last 40 years?
passings
Michael Burks, singer, guitar player, songwriter
July 30, 1957-May 6, 2012
Here’s what I wrote when I first posted this clip (2/28/11):
When something is this lyrical, this convincing, there’s only one thing I want to do when it ends—hear it again.
“Empty Promises”
Live, Falls Church, Virginia, 8/21/09
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Michael came to Alligator Records long after I left. But a few years ago I did some legal work for him and got to know him. Soft-spoken, gentle, warm: these are the words that come to mind. He collapsed at the Atlanta airport after returning from a European tour—heart attack.
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“Fire and Water”
Live, Denmark (Frederikshavn), 2010
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“Since I’ve Been Loving You”
Live, Jacksonville Beach, Florida, 2010
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“House of the Rising Sun”
Live, Legendary Rhythm & Blues Cruise, 2008
Muddy Waters with Mick Jagger, Keith Richards, Ronnie Wood, et al., “Mannish Boy,” live, Chicago (Checkerboard Lounge), 1981
Keith and Ronnie understand something many rockers don’t: the importance, in blues, of restraint. They also understand that when you’re a guest you don’t try to upstage the host. Mick, meanwhile, hasn’t got a clue.
back to church
The Canton Spirituals
Live, Memphis, 1993
“Heavenly Choir”
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“Fix It Jesus”
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Gospel groups are hard to beat when it comes to longevity. This one got started, in Canton, Mississippi, in 1943. One of the founding members, Harvey Watkins, Sr., is featured here. He passed away in 1994; his son, lead singer Harvey Watkins, Jr., carries on today.
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lagniappe
reading table
my child’s rice cakes
my child’s rice cakes . . .
all in a row—Kobayashi Issa, 1813 (translated from Japanese by David G. Lanoue)
Nothing hits the spot, sometimes, like a homicidal love song.
The Handsome Family, “My Beautiful Bride”
Live, Australia (Sydney), 2010
More? Here.
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lagniappe
art beat: Monday at the Art Institute of Chicago
Utagawe Hiroshige, Autumn Moon over Tama River (from the series Eight Views of the Environs of Edo), 1837-38
James Blood Ulmer, “Are You Glad to Be in America?”
Live, 2008
Imagine this with bass and drums. Can’t? Me, neither. That’s one sign of a great solo performance: accompaniment is unimaginable.
two takes
“Run Joe” (L. Jordan, et al.)
Chuck Brown and the Soul Searchers, live
Capital Centre, Landover, Md., 1987
*****
Louis Jordan and his Tympany Five, recording, 1948
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lagniappe
random thoughts
Last night, sitting at Wrigley Field with my brother Don (something we’ve been doing together for over 50 years), I thought of a line my younger son Luke, who turns 21 next month, wrote in elementary school in response to a prompt: “When I am 100 I will not be able to play baseball with my brother.” (P.S. Cubs 3, Cards 2—their second straight walk-off victory.)