I heard this song for the first time literally 5 minutes ago and fell in love instantly. It’s a beautiful song married to an equally beautiful video (the gorgeous official one with superior sound quality can be found here*). TV on the Radio should get some additional coverage around these parts soon.
*This is the highly recommended version – treat yourself.
Bob Dylan could teach a master class in dropping the mic. He has a longstanding tradition of concluding albums with songs that rank among his finest and be they funny, sweet, or epic, they serve as punctuation marks in the man’s career and life.
The final cut from every album was not always a monster (that mid-career fallow period was brutal at times), but the tradition was established early with his self-titled first album. “See That My Grave Is Kept Clean” was written and recorded by Blind Lemon in 1928 and was recorded by many blues artists before Dylan covered it. His take is noticeably darker than Blind Lemon’s in melody and vocal tone, which is weird because the lyrics are incredibly dark (the apparent mismatch could be blamed on the dominant style of the time; you can hear a church influence in Lemon’s singing and playing.).
If ever there was a criticism to be levied against Dylan as a musician, it was that voice. It’s certainly not good on “See That My Grave Is Kept Clean,” but it stands out as one of his more evocative performances. He’s desperate and he pleads and reaches into the gut to pull off some of these lines. Dylan sings with a commitment that would abandon him in a few short years (he does stifle a laugh at the 2:20 mark though). It’s a treat to hear him sing before cigarettes destroyed his voice.
He was only 20 when the song was released and he’s still got some of that baby fat on the album cover. The fun thing is that this is the last moment before there were any of the personas that he created for himself or and none yet to rebel against. This era is the most pure folkie Dylan. Next up: the protest era.
When rappers who can’t be told nothing are caught in the wild, they are tagged and released so that we may better study their migratory patterns and measure their defiance levels. These are our findings:
Kanye West. Obviously.
Defiance Level: 8
Dizzee Rascal. Slightly less obviously, but equally defiantly.
Defiance Level: 8
GOAT rapper Tim McGraw gets in on the action, breaks scale.
Defiance Level: 12
I will always be the first to confess that I know next to nothing about Fleetwood Mac. If an armed gunman were to burst into a room and say, “I will shoot the first guy who confesses to know next to nothing about Fleetwood Mac,” my hand would dart up into the air and I would proudly volunteer, “I am that guy.”
The things that I know or think I know about Fleetwood Mac are as follows:
- They loved drugs
- Everyone had sex with everyone
- They were manufactured for an episode of VH1’s Behind the Music
- Music critics adore them although no actual human beings do
Perhaps I’m being unfair. I know of at least one human being who cares about them a great deal. Someone who finds their music to be majestic.
Angie was one of eight Pitt students on a month long field course held at Yellowstone National Park and its surrounding areas. She was wise (or at least old) beyond her years for she enjoyed the music of Fleetwood Mac and recommended that it be played during our lengthy car rides. “Everywhere” was Angie’s jam, so to speak.
And how could it not be? Listen to that intro. It is magical! Pixies are comin’, y’all.
We started each day at the K Bar Z Ranch (the website is almost unchanged since 2002), close to Cody, WY and the Montana border. We loaded up two vans with instructors and students and drove to some hardcore hiking in the Beartooths, the Abserokas, and in Yellowstone itself. We went to Cody to see the rodeo and Fleetwood Mac followed us. “Everywhere” was everywhere.
The trip was split into three portions, the first focusing on geology, followed by biology, and then a historical and political review of the development of the West.
The hiking was hardest in the geological segment, but also the most giving in its beauty. The Yellowstone region is essentially a laboratory where you witness almost every significant geological process at work. Old Faithful is merely a fraction of what is fascinating about the region. I saw gorgeous blue pools that could melt your skin off, young kettle lakes, stones transported by glaciers that were large enough to crush houses, and the collapsed remnants of an ancient volcano. The whole place could still blow up soon.
I was impressed beyond the geology because the wildlife was also incredible. We drove to the park long before the sun rose to search for wolves and we encountered a baby bear on the side of the road eating flowers, so unlike the ruthless killer it would eventually become. The mysterious watermelon snow could be found at the tops of the highest mountains in June. We walked through a field of hundreds of bison and came within 30 yards of the massive creatures. We wore boots for the hiking and also for protection from rattlesnakes. There were midnight raids from curious black bears.
I’ve done a good deal of international travel since 2002, but I regard the Yellowstone trip as the most important of my life. It gave me a sense for how large, weird, and wonderful our world is and how you don’t have to go that far to see it. Perhaps it is a naive memory on my part, but I feel that even the politics were different out there. I recall that Red State/Blue State flag-planting was muted by a strain of libertarianism that existed before high school philosophers thought it was cool.
That Fleetwood Mac would be my most dominant memory from the Yellowstone trip seems appropriate. The band seems like it would be a hit with the “turquoise and silver” crowd, the kind of guys that wear cowboy boots, bolo ties, and t-shirts with wolves on them. There’s a lot of that in one of America’s last sanctuaries of nature. I never seek out “Everywhere” for a listen, but the song is a time warp for me during our scarce encounters around the radio dial.
I nailed an interview yesterday. My suit was sharp, my walk confident and as I exited the building, “Bad to the Bone” started playing on the radio. It was surreal and made my day.
The most rewatchable and greatest action movie of all time.
The George Zimmerman verdict came and went with a minimum of violence and a surfeit of peaceful demonstration, but that did not stop the concern trolls at The Drudge Report, Breitbart.com, and InfoWars from predicting riots and providing hysterical coverage of marginal incidents.
(There was a tendency to refer to the courtroom proceedings as the “Trayvon Martin trial,” which I hated because he was the dead child in the scenario and very much not on trial. You could be forgiven for getting the impression that he was.)
Problem is, the riots never happened.
There is a psychology to riots about which I am not knowledgeable, so I can’t say that they are completely irrational responses, but I am confident that they are a symptom of an unhealthy society distrustful of its institutions. I’m also certain that if wildly racist media outlets are looking forward to your riot with glee, then you probably shouldn’t start one.
It did get me thinking about the last major riot in American history and how the moment was captured musically. Dr. Dre stepped up first with the “The Day the N***** Took Over” (I have future job ambitions, sue me) in 1992 and the boys of Sublime offered up “April 29, 1992 (Miami)” 4 years later. Dre and Nowell both frame themselves as participants in the aftermath of the Rodney King decision (there we go again), but the paths that they took musically diverge there.
Dr. Dre’s beat invokes paranoia infused with a sense of real rage when backed up by samples from Birth of a Nation 4x29x92, a documentary assembled after the riot. The quotes that he pulls from the doc make it clear that this song is more than just gangster posturing. The bass line communicates a low-boiling menace and the loop that constitutes the main beat feels like it could spin out of control any minute. On The Chronic, “The Day the N***** Took Over” transitions smoothly into “Nuthin’ But a ‘G’ Thang” because there was no other choice; the tension had to be relieved. If “Nuthin’ But a ‘G’ Thang” is the breezy soundtrack to a summer BBQ, “Day” is the same suffocating 97 degree weather experienced from a room without air conditioning. Dre isn’t known for deep lyrics or the ease of his flow, but he kills it on this track. This is personal. This is something that happened next door. It is is chaos is made audible.
It is evident that Dr. Dre’s effort informed Sublime’s because the group also begins “April 29” with a sample (this time of a police radio broadcast) and because screaming 187 on a m************* cop is not a typical Sublime lyric. “April 29, 1992 (Miami)” features a meandering baseline and a mellow delivery from Nowell, but he does engage a little with the riot from a socioeconomic perspective. Even though he narrates the song from the first-person, it’s clear that his relationship to the riot is that of an outsider. It’s not a bad effort and the song is enjoyable, but it feels insubstantial when placed next to Dre’s.
It’s a rainy Thursday morning in DC and so I turn to the sunniest song I know and the surest pick-me-up I have. The atmosphere surrounding Pavement’s “Gold Soundz” is incredible. I adore the melodic guitars stacked beneath the vaguely poignant lyrics that could mean everything or possibly nothing at all. It is a victory for music’s joyousness over the pitfalls of pretension and grandiosity, over anger and depression.I’ve loved this song for 9 years now, but I had no idea it had a video until I wrote this post.
“Gold Soundz” is the sweetest and most accessible song on Crooked Rain, Crooked Rain, the best album by a mostly slept on band. Pavement was popular for a very brief moment in the 90s and then never again and I think that the band’s members were happier with it that way. They specialized in pretending not to care in order to conceal the fact that they really, really did. Their production could be shoddy and their playing sloppy, but the band had a true talent for crafting guitar based pop music.
Pitchfork ranked “Gold Soundz” as the number one song of the 90s, but I didn’t regard it as a standout until the final verse jumped out at me one day and I was forever floored:
So drunk in the August sun
And you’re the kind of girl I like
Because you’re empty and I’m empty
And you can never quarantine the past
Did you remember in December
That I won’t eat you when I’m gone
And if I go there, I won’t stay there
Because I’m sitting here too long
I’ve been sitting here too long
And I’ve been wasted
Advocating that word for the last word
Last words come up all you’ve got to waste
“Gold Soundz” strikes me as deeply romantic because it is mostly devoid of romantic content. The final verse comes closest and even then it’s a bit weird and oblique. There is a notion that shared secrets are an element of sustained emotion.
I keep your address to myself ’cause we need secrets
We need secrets crets crets crets crets crets back right now