A chance remark from a fellow tourist while we were surveying the magnificent ruins of Ephesus a couple of weeks back had me reaching out for ‘Diesel and Dust’, one of my favourite albums by the Aussie band Midnight Oil. It was the early ‘90s when MTV had just reached our shores – in the opinion of some, seeping in like a corroding effluent. But I loved the channel because unlike its unrecognisable form now, MTV did play music back then. The earliest image of Midnight Oil embedded in my memory is of a bald, incredibly tall Peter Garrett and his band belting out ‘Dream World’ with manic energy. The careening music and simple yet chilling chorus (End…Fall…) eloquently capture the theme of a ‘dream world just about to end’. It was then it struck me why I love ‘Diesel and Dust’, which bears this song, so much. When I first heard it on its release in 1988, it was an album ahead of its time – the sound and energy was unlike anything I was hearing in the ‘80s. Years later when I saw videos of some of those songs, they fitted in perfectly with the music scene of the ‘90s.

Through its long – about 30 years, first as Farm and then as Midnight Oil – history, the band had espoused the cause of the downtrodden and the dispossessed and taken on what they strongly believed to be irresponsible exploiters as evident on the haunting ‘Arctic World’ (anyone remember their set in front of the Exxon HQ in the aftermath of the Exxon Valdez oil spill?). ‘Diesel and Dust’ carries the recurrent theme of the exploitation of the aborigines and their point of view as on the stunning ‘The Dead Heart’. And nowhere is the cause of reparation more explicitly stated than on ‘Beds Are Burning’:

The time has come, To say fair’s fair
To pay the rent, To pay our share
The time has come, A fact’s a fact
It belongs to them, Let’s give it back

Carrying such strong conviction and willingness to take on the powerful requires a lot of inspiration. I wonder if ‘Sometimes’ was a song written and performed to give themselves a boost whenever their spirits flagged.

Sometimes you’re beaten to the call
Sometimes you’re taken to the wall
But you don’t give in

It’s not surprising the distinct voice of Garrett went on to strike a note in the halls of politics, though not as stridently perhaps. As MP and minister, he has continued to court controversy, accused by some of having sold out. I don’t follow Australian politics but I do care about what Midnight Oil did on this superb album. Over the years before and after this album Midnight Oil created many strong albums and songs, but to me, ‘Diesel and Dust’ remains their finest. Somehow the others don’t quite measure up.

Burning Some Midnight Oil

Burning Some Midnight Oil.mp3

With both her own compositions and take on traditionals like ‘Dowie Dens Of Yarrow’, Shelagh McDonald seemed a perfect fit to fill the void for a great solo folk artiste created when Sandy Denny left her solo career to form Fotheringay. But after two stunning albums, McDonald disappeared abruptly, not to be recognizably seen or heard for 35 years.

More tragic was the the fate of Nick Drake whose magical voice was carried on such songs as ‘Road’. Over time he has been an inspiration to scores of musicians but his efforts in his own lifetime yielded little success. Frustrated, his life ended in suicide. He was only 26.

Drake’s good friend, John Martyn (his song ‘Solid Air’ was written for Drake), outlasted him to the surprise of many, given his lifestyle. A brilliant musician, he was one of, if not the most experimental of the ‘folkies’. His superb guitaring technique as can be heard on ‘Seven Black Roses’ and unpredictable selection of music ranging from folk to jazz, rock to electronic experiments bestowed upon him cult status.

Folk has been a strong influence on other forms of music, be it country or the folk-laced rock of some of the works of acts like Jethro Tull and Led Zeppelin. And that’s not surprising, considering the quality of playing without going on fiery solos, the beauty and clarity of the voices and the high level of songwriting that are characteristic of this genre of music.

Some Fine Folk.mp3

Some Fine Folk.mp3

As I’ve stated before elsewhere, I grew up listening to a lot of Indian classical music as a legacy of my mother’s side of the family before opening my ears to music from a wide array of genres. Fortunately, the years have not put a plug on them and I’m grateful for the continued opportunity to hear guitarists, vocalists, percussionists, styles from different parts of the world.

Blair Douglas’s love for the Gaelic music of his roots can be seen in its definite touch in the range of music that he has explored, be it Latin jazz or music from Africa. The first time I heard him on was the Scots stomp ‘The Landlord’s Walk’ and I still associate him with that piece of unbridled joy.

The genius of the late great Ali Farka Toure gave the guitar a different texture and context in his captivating use of the instrument to present to the world the folk music of Mali that was so dear to him as can be heard on ‘Tulumba’.

The large and hugely gifted gang at Afro Celt Sound System seamlessly meld the music of the Celts and the African continent. What has pleasantly surprised me is the consistency that they maintained over the years when it could’ve all faded the way of a novelty act. ‘Dark Moon, High Tide’ is but one example of the high musical calibre of this band.

‘Ragabop’ from the album ‘Be The Change’ – I could not help but slip this in, although this is in a way a misfit – for it is essentially jazz. But it comes with a generous dose of Indian classical music (how could I not feature this then?). When we were in college, he was always ‘Guitar’ Prasanna, the consummate player who was the showcase act in so many of the big college fests. Prasanna has since gone on to capture the imagination and garner the respect of a wider and international musical community.

I will force myself to close this set (for I could go on for a very long time) with one of my favorite artistes, Jesse Cook. This Canadian guitarist’s greatness lies not just in his playing but in the inclusiveness of his music, known as he’s for collaborating with musicians from across the globe. The foot-stomping ‘That’s Right!’ is a case in point, embellished as it is with the accordion work in the Cajun tradition by Stanley ‘Buckwheat’ Dural Jr.

Listen, enjoy!

A World Of Music.mp3

A World Of Music.mp3

The world of British folk music was looking for a solo act in place of Sandy Denny who had become a part of Fotheringay when McDonald landed up with that beautiful, clear, haunting voice of hers. Songs like ‘Rod’s Song’ showcased her folk sensibilities but she could add an edgy rock feel when she chose to, as on ‘Mirage’. And every time I hear ‘Waiting For The Wind To Rise’, I imagine someone like Flea taking the bass part. Ah! the possibilities. While Shelagh started out with playing traditional folk and country/blues tunes like ‘Street Walkin’ Blues’, both her albums – particularly ‘Stargazer’ – were distinguished by her own very strong compositional and songwriting skills. Take for example the musically ambitious title track of ‘Stargazer’ which goes way beyond standard folk tunes, and this piece of writing from ‘Canadian Man’:

He said that he’d left fortune, He said that he’d left fame
I left him on a busy street, And I wonder if we’ll ever meet again

With such a super-abundance of talent, why did she vanish, and vanish so abruptly and completely? The answer, when it came, was tragically commonplace. In 2005, after the re-release of her works, there was a slew of articles in the press. After seeing one such, Shelagh McDonald approached the newspaper that had published it and after decades she cleared everything up. An LSD trip gone haywire had left her voice ruined and she just walked away from it all, married a bookseller and went on to lead a nomadic existence.

I sometimes wish I had not known that final answer because it only further sharpens the sadness that her music evokes in me, the grief at the passing of what was once fair -  even if flawed. I wish it were not so, but it is.

The world burns, she was only 22.

Her Name Is Shelagh

Her Name Is Shelagh.mp3

Anyway, listening to Ms. Jones made me dig up some of the low and slow from my collection. And I couldn’t think of a better start than My Morning Jacket’s ‘Slow, Slow Tune’. I think this is a bittersweet ode to fatherhood, but with Jim James (a.k.a., sometimes, Yim Yames) one can never be quite certain. There’s a startling guitar solo which you don’t quite expect in a song such as this, but that’s not the only reason that I think this is the brightest in the stellar set of ‘Circuital’.

I do not know why it took Robbie Robertson 11 years to come up with his first solo album after the break-up of The Band (such a lovely, simple band name, isn’t it? But then those were still early days – that name was still available. But these days one has to make do with Supreme Dicks or something like that). It didn’t matter. Some 25 years after I first laid my hands on it and despite his obvious lack of vocal power, I still think this is a great album. Some people have this ability to conjure up images with their songs. The Band had that and not surprisingly, so does Robertson. On this album, ‘Somewhere Down The Crazy River’ is probably the best example of that. I know what I see and feel when I hear it, but you could have a very different vision. So I’m not going to spoil it for you.

The Counting Crows are back after a 4-year break, or what I thought was a permanent break-up, with an album of covers. Incidentally, one of their first (their very first???) hits was called ‘Mr. Jones’. Errmmm…just saying. I’m on the fence on this new release, but perhaps it’ll grow on me. Counting Crows are that kind of band. But this song, ‘Colorblind’ is not one of those slowly-creep-into-heart pieces. Adam Duritz’s impassioned voice and the beautiful piano work will seize your attention from the first note.

Bruce Springsteen is back with a new album. Back? Well, he just never seems to have gone away. Outspoken, highly energetic yet surprisingly tender at times, Springsteen has never sounded as sweet – in my opinion – as on ‘Secret Garden’. This is one of the finest songs I’ve ever heard. Period. For the music, the vocals, that beautiful sax solo from Clarence Clemons and the lyrics:

She’ll lead you down a path
There’ll be tenderness in the air
She’ll let you come just far enough
So you know she’s really there
She’ll look at you and smile
And her eyes will say
She’s got a secret garden
Where everything you want
Where everything you need 
Will always stay
A million miles away

Incidentally, Steve van Zandt of Springsteen’s E Street Band features on that Robbie Robertson track.

Leonard Cohen’s back after about 7 years, but that gap’s not surprising from a man who’s produced just about a dozen studio albums over a 44-year career. I first heard him on the 1988 album ‘I’m Your Man’ and after I recovered from the blow of his baritone voice, my first impression was, “this man’s a poet”. I had little clue about him then and didn’t realize that I was only giving thought to what had been a known fact for years. It’s only apt that this master poet/songwriter should come up with something like ‘Tower Of Song’.

Well my friends are gone and my hair is gray
I ache in the places where I used to play
And I’m crazy for love but I’m not coming on
I’m just paying my rent every day in the tower of song

I said to Hank Williams, “How lonely does it get?”
Hank Williams hasn’t answered yet
But I hear him coughing all night long
Oh, a hundred floors above me in the tower of song

These are songs to be heard on an evening (preferably a sultry one with the fan switched on and crickets/cicadas providing an aural background) as you get busy doing nothing. Enjoy! At least, I hope you do

Take It Down A Notch.mp3

Take It Down A Notch.mp3

Pedro Soler is a 70+ year old master of the Flamenco guitar. His son, Gaspar Claus, trained to play the cello in its Western classical form, but went on to explore other venues of expressing musical ideas. I was introduced to their collaboration on 2011’s ‘Barlande’ by an NPR podcast. Mesmerised, I bought the CD from Amazon. And since the time I received it, I’ve played it and played it and played it – each time finding something new to savor. The measured and mellow tone of age and tradition melds beautifully with the freshness and experimental thrust of youth. In each of the eight pieces on the album, you can sense the mutual affection and respect of father and son. The samples in the audio file below from ‘Insomnio Mineral’ (0-80 sec.), ‘Barlande’ (81-150 sec.), ‘Caballitos De Mar’ (151-215 sec.) and ‘Encuentro En Brooklyn’ (featuring Sufjan Stevens on the harmonium and Bryce Dessner of The National – this album was recorded by Dessner at The National studio. 216 sec. to end) can only give you a brief sense of all that.

Every time I hear it, I pass through rare moments of wishing I had a child. Then the record ends, the magic fades, I look at the world around me and the moment passes.

Father and Son.mp3

His most famous and longest-lasting effort thus far has been with the now disbanded White Stripes, the duo that he formed with his drummer (now ex-) wife Meg White. His easily identifiable vocals (however Meg White did vocal duty on the superb ‘In The Cold, Cold Night’ on Elephant) and distinct guitaring style combined with Meg’s no-fuss, straight yet often explosive drumming took the band’s blend of blues, garage rock, punk and American folk to critical and commercial success. Even while he was busy with the White Stripes, The Raconteurs was formed with his friends Brendan Benson on vocals, guitar and keyboards, Jack Lawrence on bass and drummer Patrick Keeler resulting in 2 albums as of this writing. I find The Raconteurs musically more, ummm, fun than the darker sounds of the Stripes and of his third major band, the Dead Weather. White teamed up with Alison Mosshart, vocalist of The Kills which toured with The Raconteurs,  guitarist Dean Fertita of the Queens of the Stone Age and bassist Jack Lawrence while he himself took to the drums – with which he had started his musical trip as a child – to form the Dead Weather. A dense, much harder sound marks the music of the Dead Weather on their 2 excellent albums. Interspersed with these efforts were movie appearances, production of country legend Loretta Lynn’s much acclaimed comeback, Van Lear Rose, a highlight on a cover tribute to U2 (Ahk-toong Bay-bi, a cover of 12 songs from U2′s album, Achtung Baby by artists as diverse as Damian Rice, Patti Smith, Depeche Mode, Nine Inch Nails and White himself, among others), a Bond movie theme song with Alicia Keys.

And now finally, he will debut a solo album ‘Blunderbuss’ on April 24. A solo effort seems a little strange from White given how he’s always collaborated with other musicians and yet, it’s in keeping with his constant search for ways of expressing his music.

The accompanying audio file contains samples from ‘Seven Nation Army’ by the White Stripes, ‘These Stones Will Shout’ by The Raconteurs and the Dead Weather’s ‘Blue Blood Blues’.

Shades of White.mp3

Shades of White.mp3

But I drink deep (my friends will ‘Aye’ to that, loud and long) and I haven’t yet had my fill. I’d love to see the return of The Hold Steady whose last album ‘Heaven Is Whenever’ was, in my reckoning, one of the best releases of 2010. That might be only wishful thinking with Craig Finn going solo but I can still hope. The National have quietly evolved over five albums since their 2001 eponymous debut to their last, ‘High Violet’ of 2010. Matt Berninger’s baritone layered on top of the Devendorf and Dessner brothers’ pulsing instrumentation forms the sound of one of the most easily identifiable groups around. But the band that I’m probably looking forward the most to is Spoon who were last heard in 2010 on ‘Transference’. Spoon have been one of the most consistent producers of great music of the last about 15 years. So I was very excited with all the chatter online about a possible new album this year.

While new albums from these artistes dwell in the realm of conjecture and hope, what’s certain is that there are releases in the next couple of months from The Counting Crows after a gap of 4 years, the oh-so-cool Norah Jones, Joan Osborne with her reworking of some classic blues and R&B material, the tireless Bonnie Raitt, and the very special Mr. Jack White.

By the time this year ends, I sure will be stoned drunk from that cup of endless pour. Cheers

The embedded audio file samples from ‘The Sweet Part Of The City’ by The Hold Steady, ‘Bloodbuzz Ohio’ by The National and Spoon’s ‘Me And The Bean’.

Of The Returning Troubadour

Of The Returning Troubadour.mp3

What struck me first was the gravelly, emotive voice of the singer. Reminded me a bit of Kim Carnes (don’t kill me) in the delivery and Bruce Springsteen. I’m not sure if Springsteen is an influence, but there seemed to be a nod to him – intentional or otherwise – on ‘Purgatory City’ when the lead sings ‘lt’s a freight train running through the muck between my ears’, reminiscent of a line in ‘I’m On Fire’. But the more you listen to their music, all comparisons thin to ephemera.

This album is the antithesis of the change-the-world idealism of wannabe heroes. It yanks you down with sickening force to the stark reality of a world of compromises, of formerly bright eyes dulled to defeat, of weary acceptance. This is an album of tales, of a young man ‘forced to react at 24; should have been an engineer but what do I know’, of the creep who revels in the knowledge of being hated by all and in the power he wields over them :

now my wife she hates me 
and I don’t blame her so 
she had to leave the man she loved 
for some privileged schmuck 
that her folks would approve of… 

…and I impose my will 
I’m ever so cruel but I try to be subtle 
‘cos I am her bossman… oh yeah 

now my daughter looks like the milkman 
and she hates me as well

But perhaps nothing captures the mood of this album quite as well as the scary reality expressed in ‘Little Man’:

and my first assignment was a fisherman’s daughter 
who took a lease on a small body of water 
she was orphaned at 15 with a family to feed 
was just a matter of time before she fell behind 
60 % yea that’s what the book says 
60 % or they’ll have your head 
they sent a bunch of thugs to get her 
but she was already dead so I’ll just tell myself 

that I can’t upset the order 
or question the chain of command 
I’m a replaceable cog that can’t afford to lose his job 
so the good lord will have to understand 

that I’m just a little man

If that isn’t a bucket of ice-cold water on somnolence , what is?

While the poets and Adam on the first two  albums were essentially by just one man, singer-songwriter Kishore Krishna recording all the songs at his home, they’re now a 4-man act getting ready for their third album. Me, I haven’t even got around to the first. I’m so stuck in a dead loop.

Both albums are available  as free downloads on Bandcamp in multiple formats (I love Bandcamp for that) at http://adamandthefisheyedpoets.bandcamp.com/

Of all of the prolific Jack White’s projects, I found The Raconteurs’ second album ‘Consolers Of The Lonely’ the most approachable, and I don’t mean that as a slur. In an album of mostly enjoyable tracks, the one you want to burn down your neighbours’ ears with is the title track (though there’s only a singular ‘Consoler’ in keeping with the quirkiness that riddles this album) with its shifting dual pace and raunchy guitars.

‘Holdin On To Black Metal’ by My Morning Jacket from last year’s superb ‘Circuital’ is an insanely brilliant meld of soul and rock, of school kid choir and Jim James falsetto. It’s a madness that extends to the lyrics too. Suits me just fine, thank you.

I’m no rap aficionado, but Jay-Z always gets my attention. ’99 Problems’ has one of the most striking starts to a song that I’ve heard. I can’t get that repetitive guitar riff out of my head nor lines like this:

Pray for him, cause some fools just love to perform
You know the type, loud as a motor bike
But wouldn’t bust a grape in a fruit fight

Porcupine Tree’s ‘Trains’ from the fantastic ‘In Absentia’ is an example of a song that does not go at breakneck pace or is smothered with snarling guitars, yet still makes you want to reach for that volume knob and twist it past break-point. And do pay attention to the lyrics – there’s so much going on there. This is one of my favourite songs from a band that I’m a huge fan of. I have my friend Vinay to thank for introducing me to their music.

I will close out with this stand-out track from Muse’s terrific ‘Black Holes & Revelations’. Whenever I hear the dramatic ‘Supermassive Black Hole’, I draw a picture in my head of a sports arena filled with 90,000 raving spectators, when out walks a hero, a gladiator, a giant among men to the blaring of this song. Ah, what a rush!

Out Loud.mp3