Friday, September 21, 2012

The Hungarian King of the Road




My Grandpa Roger died two weeks ago.

I've only had two jobs in my life: the one I currently hold and working on Grandpa's "farm." In the summers I would weed, mow, plant, re-weed (I'm not a detail-oriented guy), and in my last two summers at home I helped him with beekeeping. Grandpa sat with my dad at nearly every football game I ever played in. If I looked up in the stands, he and my dad stood in the back row next to the other blue-collar guys who favored the high vantage point, and honestly couldn't be trusted to behave themselves closer to the field. Grandpa once showed up by himself to watch me play baseball in the snow. I struck out to end the game (my teammates thanked me as we were being crushed mercilessly and freezing) and he patted me on the back and probably grunted.

To say he was rough around the edges is an understatement. He was the first adult I ever heard use the "F-word" (notably, about how I directed his truck into the planter we had just built: "Well, that was a **** up"). He once told me I had a good career ahead of me as a fireman (who, in Cleveland, work 24 hours then have 48 off): "You work for 10 minutes and then take a 20 minute break." He was a boxer when he was younger, and until he had hip surgery in his late 60s I wouldn't have wanted to face off with him in a fight (after the surgery I figured I had a chance to knock him off balance). When he hammered a nail he hit it once.

But I feel the following list of words are also understatements when describing him: Tough; I used to sting his back with bees a couple times a week because the arthritis in his hips was so bad. At first it was once a week, eventually more, and up to 4 or 5 bees at a time.The guy didn't flinch, even the time I accidentally dropped one down his pants. Smart; he invented a bunch of stuff. Some of his ideas and products were stolen by a shady business partner, some he used just around his house. A solar powered wax-melter was the one I remember the most clearly. Creative; he made Chief Wahoo windmills, taught himself small engine repair, and made beeswax candles. Mischievous; if he opened his mouth to talk he was probably messing with you. The last time I saw him was in the hospital, pretty hopped up on pain meds. When the nurse came in to take his vitals, Grandpa confused the hell out of him for five minutes because his humor is so dry. I'm not sure my wife ever had a conversation with him where she was sure if he was kidding or serious.

In some ways it felt that I was the least close to him of all my grandparents. He was not a very talkative guy. I can't imagine the onomatopoeia required to relate much of his language- grunting really is the best description, but different sounds meant different things. In truth, he was my closest relative outside of my nuclear family. I spent countless hours at his house; as a kid I would spend at least one weekend a year sleeping over, watching a movie or the Indians, working the land (an exaggeration in many ways, but that's how it felt) and making a cool 20 bucks. In high school I think I got $120 a week in the summer for three 8-hour days. When the church bells rang at noon lunch was provided. We would sit in the majesty of his air-conditioned house, first sitting together at the breakfast bar and eating ham salad sandwiches and pickles, then moving to the living room, he in his recliner, me on the couch. We'd watch the local 12 o'clock newscast silently, and when the hour was up, he'd get up wordlessly and I would follow.

If it rained I would "Rain-X" his car, or vacuum the garage... I honestly can't remember much else about rainy days, except that he would sit in the other recliner, in the garage, and I would do busy work and listen to his radio. WTAM 1100 was playing all day in the garage, first Paul Harvey, rolling into Rush Limbaugh, finishing with Mike Trivisonno talking sports. He never played music during the day while we worked. The most musical moment I can recall is that when I rode with him in the Caddy in the evening he might have played some country.

At the wake, my aunt made a slide show. I must have watched parts of it 20 times as it played throughout the day and at least 5 times all the way through. The pictures from before my birth were fascinating to me, and there were plenty from my childhood that brought back amazing memories. Roger Miller's "King of the Road" was the first song featured as background music. About the 15th time I was catching part of the video someone asked my aunt if he liked that song. I was surprised to hear her say it was one of his favorites. I had no idea that he had favorites. The last two times I saw him I planned on asking what music he liked and then chickened out: it just seemed like such an awkward question. I cornered my aunt and started asking about Grandpa's musical tastes. "Oh yeah," she said, "he would put on his little Bose real loud and sit in his chair." I had seen the Bose, but I'm not sure I ever saw it turned on. What did he listen to? "Frank Sinatra, Roger Miller, Glenn Miller... he was into that big band stuff and the Rat Pack. A lot of times he would play classical in the evenings. Oh yeah, he was really into his music."

I think the blood probably ran from my face right there, because when my wife told me to call him and ask, that I would regret it if I didn't, I really, truly, honestly did not think there was a chance in hell that I would regret it. He didn't listen to music, so what I would regret would be an awkward last conversation where I blabbed at him about music. I regret it. Maybe it would have been awkward: so many of my interactions with him were (always messing with people) but maybe I missed a golden opportunity to talk with a man, a provider of a quarter of my genetic code, who was as connected to music as I am. My mom has since confirmed that "Yes, he listened to music a lot." In the grand scheme of regrets, I can think of worse; I saw him many times in his last year even though I live out of town, spent so many of my formative years watching his example. I can't get too hung up on one missed opportunity. But I'm skipping around in the book now, and I'm branching well outside the list to hear the music my Grandpa considered his favorites.

Out of all the artists listed below I could have named one song at most from each (I recognize many after further listening, though). I'm glad that I at least am able to hear these songs and honor him in that way. He was a hell of a guy and I feel blessed to have had so much time with him.


1000 Recordings Entries
Frank Sinatra - Songs for Swingin' Lovers
Frank Sinatra - Sings Only for the Lonely
Frank Sinatra and Antonio Carlos Jobim - S/T
Sammy Davis, Jr. - I Gotta Right to Swing
Nat King Cole and His Trio - The Complete After Midnight Sessions


Just Grandpa's List
Roger Miller
Dean Martin
Lou Rawls
Kenny Rogers
Vic Dana
Glenn Miller and His Orchestra
Tom Jones
Englebert Humperdinck

Friday, June 1, 2012

1000 Recordings Sampler Episode 3



If the third installment of the 1000 Recordings to Hear Before You Die sampler has a theme, it might be "rainy day," with jazz pianist Brad Mehldau's "When it Rains," the introspective stylings of Malasian artist Toumani Diabate, Chopin's Nocturnes, and the weepy, epic guitar solo of Funkadelic's Eddie Hazel (according to legend, George Clinton told Hazel to "play like your mother just died"). As before, though, I have tried to highlight a wide swath of genres while picking out tracks I enjoy and hope that you'll enjoy as well!

Play here on Spotify

1. Brad Mehldau - "When it Rains" (Jazz/Rock)
2. Sigur Ros - "Hjartao Hamast" (Indie Rock)
3. Rory Gallagher - "As the Crow Flies" (Blues/Rock)
4. Patsy Cline - "Lovesick Blues" (Country)
5. Toumani Diabate with Ballake Sissoko - "Bi Lambam" (Mali/Strings)
6. Frederic Chopin - "Nocturne No. 1 in B flat minor, Op.9 No.1" [Maria Joao Pires] (Classical/Piano)
7. Funkadelic - "Maggot Brain" (Funk/Epic guitar solo)

If you like the music, buy the tracks on Amazon: Mehldau, Sigur Ros, Gallagher, Cline, Diabate, Chopin, Funkadelic

Related posts:

Thursday, February 2, 2012

REVIEW: The Louvin Brothers - Satan Is Real


There's a lot of stress in my life right now. I am waiting to hear where I am headed for my next work assignment, and there are a lot of unknowns and fear involved-- no matter what, it's pretty much no good. I love where I am right now, but all good things must end. So I have been trying to do a lot of things lately. One is to just enjoy my life right now, even the parts that seem to suck (spending an hour to put my son to sleep every night, when my friends just place their kids in the crib and walk away) because I try to remind myself that I will never experience this time of my life again. Owen will never fall asleep in my arms as I walk him around singing softly, or yell "Dada!" as he hears the key in the lock when I come home from a (short) day of work.

The other thing I am trying to do is keep my faith that everything happens for a reason. Now I know that I can come up with lots of examples of things that seem to have no reason, and, ok, yeah, there are things that seem to make no sense in this world. But I try to have faith that things are supposed to happen, whether we understand them or not. I just heard The Roots "Dear God 2.0" last night (if you haven't heard it, you need to check it out) and it's all about having faith, and admitting how hard that is. Sometimes it's nice to listen to folks who clearly have some and aren't afraid to share it.

Artist: The Louvin Brothers
Album: Satan is Real
Recording #508


Stream the recording here

I used to think I hated country. Coming of age in the '90s, fully into grunge and alternative, with a dad who was into classic rock, country just sounded like twangy dudes, each playing the same song about their pickups and how their wife just left. Moon's book and the alt-country movement did a lot to remove that stigma (at least for the classic recordings he picked. I can't say I approve of most of what comes out of Nashville these days). I am still not a fan of too much twang, or slide guitars, or fiddles, or Toby Keith, or anyone who sounds too much like Toby Keith, but I no longer say "I don't like country."

The Louvin Brothers are about as country as you can get. Twang? Check. Slide guitar? Check. Simple chord progressions and steady beats? Check. But its got that old-timey style harmony and such wonderful melodies that it draws me in. And if nothing else, this album, from its title to its campy cover to the fervently sung lyrics, projects belief.

If you are an Atheist working your way through the 1000 Recordings to Hear Before You Die, at this point you might be a bit sick of all the religiously themed entries, and I'll admit, there are quite a few. I found this one to be a real highlight among all the rest, though. You can hear that these guys are unshakable in their faith, and listening to it really raises my spirits. One of the best is "The Christian Life," made famous by the Byrds (who I assumed wrote it with ironic intentions) but honestly sung better by the Louvins (who wrote it in earnest). I could put that one on repeat, but I'm just as happy to put the whole album on repeat. I just want to listen to Ira and Charlie Louvin sing these songs all day. Think you hate country? Don't turn off your radio, just change the year. The further back I go in music history, the more I enjoy "country" music.

Buy this album here
Read Moon's entry here

Friday, August 13, 2010

Country Music Playing on the Radio

The title is a reference to a dirty lyric in NOFX's "Together on the Sand." I won't go into why it's inappropriate, but the next part is "...so I turned it off." This was generally my opinion about country music for a long time-- it belonged in pickup trucks and on the beaches of the gulf coast. But I've come around and realized there are very specific country music styles that I dislike; mostly anything considered "pop" or "Nashville." I slowly became a country fan through the alt.country genre, specifically through Ryan Adams' work, and then I finally came to enjoy what I consider "classic" country when I heard Johnny Cash. So I knew who Patsy Cline was, but never really heard her music.

*HIGHLY RECOMMENDED*
Artist: Patsy Cline
Album: The Patsy Cline Collection (4 discs)
Recording #254
Stream all 103 songs here
So at first listen, I thought "well this is nice, but I don't think I need 4 CDs worth of Patsy Cline." FALSE! The more I listened, the more I craved. My favorite track, "Lovesick Blues," I had never heard until this book and the Hank Williams version. It's one of those standards that everyone has done, but Patsy's version is really the only one that I can put up there with Williams' as just an awesome song (want to hear other versions, including Ryan Adams and LeAnne Rimes?) By the time I got to the more famous songs, like "Crazy," I had already fallen in love with the stripped down versions of her stuff she was doing on the radio before she became big. Her voice is so big, and I see the influence it had on some of my favorite female singers (Neko Case and Jenny Lewis at her most country-tinged) and she just knows how to sing a love song. So if you've heard Patsy before, and found her stuff not bad, then I think you might want to start this box set at "Walking the Dog" and just sit back and take in the breadth of her catalog. Worth the trip.

Buy the album here

Tuesday, August 3, 2010

One Week of Recordings Part II

A continuation of the post below:

Artist: The Clancy Brothers and the Dubliners
Album: Irish Drinking Songs
Recording #248
Stream the album here

Not a whole lot to say about this one-- good raucous drinking songs, just like the title says. Tom has a whole entry about why this album is historically important, but it just sounds like the soundtrack to the trivia night I am going to up the street at the Irish Pub. Actually, maybe I should buy this album for their stereo...

Artist: Clannad
Album: Macalla
Recording #249
Stream the album here

As soon as this one started, I thought "this is not your typical celtic music!" I was all excited, and really enjoyed the brooding, harmony heavy first track. After that this turns into a bit of a trainwreck, if the train was carrying marshmallows and pillows. There is so little substance here that I hardly noticed it playing. Enya is evidently the keyboardist, and although I'm not really familiar with her work, I'm pretty sure even her stuff has more going on than this. This sounded like The Corrs playing just the bridges of their songs-- no real striking melodies or hooks. I won't say I wouldn't recommend it, because I just tuned it out, so it must not be too terrible.
Artist: Guy Clark
Album: Old No. 1
Recording #250
Stream the album here

Nothing wrong with this country-- although I would actually put it more in the "Americana" genre, which I guess is why Nashville didn't really back this guy. As Tom points out, he has a "gravelly" voice that didn't really appeal to the standard country fan back in '75 (or probably today, even), but I love this kinda stuff. This is what country should be, great songwriting and major chords. "Rita Ballou" and "Like a Coat from the Cold" are my favorites, but all of these songs are decent.

Thursday, July 15, 2010

Letting the Recording Interfere with the Recordings

I'm not sure I am going to be able to keep up the pace once the job actually starts, plus grad school. I can listen to a lot of music in a day, but to write about it takes a bit longer, so I am going to have to start clustering my posts I think. So in this post I will cover the recordings I heard in the last few days:

Artist: Pablo Casals
Album: J.S. Bach, Suites for Cello
Recording #230
Stream the album here
Basically dinner music. Very nice dinner music, but pretty much just a guy playing the cello. What makes this interesting is to hear so much Bach all in a row, you start to recognize it a little bit. And it's also a very nice recording considering it was made in the '30's. I especially liked Suite 1, which was the most dinner suitable. Suite 2 was cool because it was a little more melancholic and actually had a few discordant moments that I didn't know was really even a part of baroque music.

Artist: Neko Case
Album: Fox Confessor Brings the Flood
Recording #100ish
Stream album here
This is an album I got from my brother early on when I picked up the book. I already had Neko's album "Blacklisted" and all her work with the excellent band The New Pornographers. I had high hopes for this one because "Blacklisted" is one of my 100 favorite album (yes, there is a list), but I think Tom got it wrong on this one. Neko's voice is still a knockout on this album, but the songs are too homogeneous. On "Blacklisted" there are more tempo and style changes, with "Deep Red Bells" being the most surprising, but on "Fox Confessor" each song kind of rolls into the next. I would suggest if you want to hear who is carrying the torch from Patsy Cline and Loretta Lynn, start with "Blacklisted," and check this one out after that.

Artist: Johnny Cash
Album: At Folsom Prison
Recording #50something
Stream album here
One of the earlier recordings I heard, well before I bought the book. I had already been introduced to Cash through a "Super Hits" album and "American IV," so I was a fan of his classic style. He was the first true country artist that I enjoyed after I branched out from Alt-Country. "At Folsom Prison" is pretty awesome, just in the fact that his "Man in Black" persona really comes through. The sad songs are nice, but where he really makes his money is singing the outlaw songs, "Folsom Prison Blues," "25 Minutes to Go," etc. If you haven't heard him before, this is a great place to start!

Artist: Johnny Cash
Album: American Recordings
Recording #150something
Stream album here
I loved Johnny Cash's "American IV," which really brought him back into the spotlight with covers of "Hurt" and "Personal Jesus" (both better than the originals), but it all started with Rick Rubin producing the original "American Recordings" in 1994. This one has less recognizable covers, but highlight's Cash's voice and ability to bring a simple song to life. I would suggest "American III" (with covers of Tom Petty's "I Won't Back Down" and U2's "One") or "IV" first to really appreciate what Cash can do to a song, but this is one worth having, especially for songs like "Thirteen," a Danzig cover that really brings out the darkness in Cash's persona.

Wednesday, July 7, 2010

Keep on the Sunny Side

The 4th of July kicks ass. It seems like a holiday for kids, right? Sparklers, fireworks, ambiguous meats like hot dogs and whatever that stuff is in canned baked beans. But as a kid, it fell so far behind Christmas, New Years, Easter, my birthday, Memorial Day... it was barely better than any other day in the summer. This year I finally realized how much better this holiday is when you are an adult. I appreciate the day off (even if I hardly work right now, anyways) and I appreciate watching the neighborhood kids get a kick out of something as small as those little "snaps" you throw on the ground (or at your brother), and I appreciate all the deeper meanings of the holiday, too. I'm not going to get too sappy here, but our men and women are deployed across the globe, and it's an important time to remember them, and to remember our country's history, the good and the bad. Plus, I got to write my name with a sparkler, and my brother-in-law's camera was good enough to capture the whole thing. The recording I listened to this weekend ended up being the perfect soundtrack for the holiday. As Tom Moon says in his entry, "This should be required listening for anyone who wants to understand the American experience."



Artist: The Original Carter Family
Recording: The Carter Family: 1927-1934 (5 disc box set) (Book Entry)
Recording #226








(If this takes forever to load click here for the whole playlist)


I listened to 126 songs by the same artist, most of them barely distinguishable from each other, and somehow I wasn't really bored of the Carter Family by the time I got to the end. The quality of the recording is actually exceptional for how hold these are, which is nice, because recording hiss from songs of this era can really ruin my enjoyment of a good song. So although most of the songs really seem to have the same general simple premise of basic folk song with steady rhythmic acoustic guitar to accompany the voices, there were some songs that stood out to me. "Poor Orphan Boy" was surprisingly catchy, with a nice quick pace; "Chewing Gum" was much goofier than I would have thought recordings in the 20's would have been; and finally "Keep on the Sunny Side" really did brighten up my day, and I think the Carter's version is one of the best I have heard. Even though the chemical composition of each song was similar, what really makes the 5 discs worth listening to is the broad range of topics the Carter's covered-- ballads, hymns, murder tales-- it really is an amalgam of the Appalachian existance, with its varied "melting pot" background. So as I devoured my all-you-can-eat Maryland crabs and imagined future 4th's when my son will actually be able to focus his eyes far enough to appreciate fireworks, the Carters were reminding me that folks in America have been doing this for a long time, which was a comforting feeling.



Buy The Carter Family Box Set at Amazon