The Galaxy Playlist

February 12, 2007

Just a few things I had laying about....

In the best of circumstances, I would have centered a theme around tonight's Grammy Awards. It becomes more and more difficult to do this in recent years, as the Grammys focus more and more on the mainstream, and less and less on high artistic achievement. Most of the performances we saw on the program tonight struck me as being more of the same. If this is reflective of the state of the music industry at the moment, then, to me at least, there is little wonder why music sales have been so notably recently sluggish (see the February issue of Spin Magazine). Maybe it isn't a question of incompatible song formats and DRM, but rather a lack of artistic drive.

At least tonight we saw some recognition of the Dixie Chicks, who we have championed on the Galaxy for a number of years now. This last album of theirs is more middle of the road, with none of the bluegrass that they did so well on "Home" back a few years ago. But it might be said that any music of theirs can be considered a statement about what is wrong with certain aspects of the music industry. When we break things down to the most basic of elements, music is music, whether it be bluegrass, country or rock, and they do their music consistently well. Sometimes we might place a little too much emphasis on what type of music a musician plays, and not enough on the fact that they play their music well, whatever it is that they play. So it was nice to see the Dixie Chicks rewarded for their efforts.

It was also nice to see the tribute, however brief, to the influence of Bob Wills. Although I have historically refused to play "New Country" material, and Bob Wills might be considered to be part of the lineage that resulted in "New Country", his music is substantially different. When I listen to Bob Wills, I hear a great deal of spirit in the work that they did (something that is a rarity in much of the "New Country" that I hear). This spirit freely translates into the musical excellence which inspired such greats as Merle Haggard, Patsy Cline and Willie Nelson, all of whom have recorded Wills' songs. I have to say that Carrie Underwood did a nice, respectful performance of New San Antonio Rose. It was also nice to see Johnny Gimble, one of many sidemen who played with Wills over the years, playing fiddle during the Grammy tribute, and the interaction between Gimble and Underwood, who appeared to enjoy the opportunity to work with such an esteemed sideman.

Unfortunately, I don't have much Grammy material this year - in fact, I don't have any, although I have had access to a few of the nominated albums over the course of the past year. But I thought it would be appropriate to start with the aforementioned Bob Wills.

Composer's name is listed where notable (i.e. Classical Performance, Jazz Performance).

For more information on any of the rock, pop and Jazz music featured on this program, I frequently utilize AllMusic , an excellent free database holding a huge plethora of information about music and the artists that make it.

Composer Performer Title Genre Label Notes
Bob Wills and his Texas Playboys
New San Antonio Rose
Country & Western, Classic, Texas Swing
OKeh, 1940
Fat Boy Rag
Tiffany, 1946
Stay A Little Longer
Columbia, 1945
Faded Love
MGM, 1950
My Confession
OKeh, 1942
John Taverner (c. 1490 - 1545)
The Choir of King's College, Cambridge, Sir David Willcocks, cond
Dum transisset sabbatum
Classical, Rennaisance, sacred, choral, motets
London/Decca, 1963
John Taverner, regarded as perhaps the most important English composer of his time, lived during a time of great religious turmoil in England. He was arrested for hiding various heretical materials under his floorboard, but was freed because he was "just a musician". All of his compositions come from between 1520 and 1530, although it is not known exactly what he did musically after 1530.
Charlie Parker
Groovin' High
Jazz, Bebop, '40s
Savoy, 1998
The Bird at the height of his powers, recorded live at the Royal Roost, NYC, 12/11/48. These recordings were originally issued in multiple volumes by Savoy circa 1950. These are from a remastered and recompiled version that includes all of the Royal Roost recordings (extending from 1948 to 1949), and also includes recordings from Chicago and Carnegie Hall).
Big Foot
Ornithology
Slow Boat to China
George Jones
Tender Years
Country, Classic, '60s
MCA, 1961
She Thinks I Still Care
Capitol, 1962
Santana
Batuka
Rock, Classic, '70s
Columbia/Sony, 1971
From a 2006 "Legacy" reissue that features a 2nd disc which provides a complete concert from July 4th, 1971. The last 3... umm... 4 songs are from that concert.
No One To Depend On
Incident at Neshabur
Sony, 2006
In a Silent Way
Savor
Para Los Rumberos
REM
Welcome to the Occupation
Rock, Indie, 80s
IRS, 1987
Disturbance at the Heron House
New Order
Love Less
Rock, New Wave, 80s
Factory/Qwest, 1989
Guilty Partner
Duran Duran
Rio
Rock, New Wave, '80s
Capitol, 1982

 

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Last Update: February 12, 2007

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