This thing is systemic, it absorbs and reuses all it sees with disregard for its host, and its only goal is unchecked growth.
I’ve just described cancer.
I’ve also just described capitalism.
In addition, becoming a successful capitalist almost always seems to involve a total disregard for others, particularly those you cannot see. This would possibly explain the woman texting while going through an intersection in her pearl-white Mercedes SUV as an ambulance on its way to save someone’s life stopped and waited for her to drift through.
The Faces, “Bad n’ Ruin”, live at the Paris Theatre, 13 May 1971. (I wanted to post the LP version, but it’s not up, and this live performance is surprisingly tight and great).
This song epitomizes the controlled slop of the Faces, and it’s departure from traditional verse-chorus structure allows it to roll out like a car down a freeway—untrammeled, it threatens to derail, but never does. You wish the pulse could go forever. I almost wish they didn’t even solo, but just rolled on for like five minutes and died.
2:58—they almost lift into the air.
It’s too bad the rest of Long Player is pedestrian.
Otis Redding and Carla Thomas: “Tramp”, (1967) (written by Lowell Fulson and Jimmy McCracklin). From King and Queen.
Some observations: 1) at 0:10, I love how Otis says “It makes me feel good to know one thing” in time with the beat. I think he may have accidentally invented hip-hop in those three seconds;
2) the Stax band is in 100% rock-solid form here. They prove on this track over and over that the most important thing for any ensemble is coming in EXACTLY together on entrances. Volume is 20% loudness and 80% timing, my old band teacher always said, and he’s exactly right;
Dylan and The Band, “Yazoo Street Scandal”, from The Basement Tapes.
This is 1967. As someone points out in the comments on the youtube video, for 67, these were almost unprecedented approaches for rock musicians to take on each of their instruments. Danko’s bass is incredibly elastic, for one thing. Garth Hudson was always insane, so that works.
But god, Levon. His voice, still fresh, still pristine, so fucking STRONG—this is a vocal performance par excellence, even by his lofty standards.
“Farewell Transmission”, by Songs Ohia, from Electric Magnolia Company.
Prompted the following gchat today:
11:14 AM me: THE WHOLE PLACE IS DARK11:15 AM EVERY LIGHT ON THIS SIDE OF THE TOWNNNNSUDDENLY IT ALL WENT DOWNNNNOW WE’LL BE BROTHERS OFTHE FOSSIL FIRE OF THE SUNNNNNOW WE WILL ALL BE SISTERS OFFFTHE FOSSIL BLOOD OF THE MOONNNSOMEONE MUST’VE SET EM UPNOW THEY’LL BE WORKIN IN THE COLD GREY ROCKEric: NOW THEY’LL BE WORKING IN THE COLD GRAY ROCKGREYme: NOW THEY’LL BE WORKIN GIN THE HOT MILL STEAMEric: :)NOW THEY’LL BE WORKING IN THE CONCRETE11:16 AM me: NOW THEY’LL BE WORKIN IN THE CON, CRETEgod dammitlolfuck.11:17 AM Eric: I WILL BE GONEBUTNOT FOREVERI WILL TRYme: I WILL TRYYYYYYEric: REAL TRUTH ABOUT IT ISNO ONE GETS IT RIGHTme: NOONE GETS IT RIGHTEric: REAL TRUTH ABOUT IT ISme: REAL TRUTH ABOUT IT ISW’ER ALL SUPPOSED TO RYYYY11:18 AM Eric: WE’RE ALL SUPPOSED TO TRYYYyyYYYyyYYme: THERE AIN’T NO END TO THE SANDS I BEEN TRYIN TO CROSSREAL TRUTH ABOUT IT ISSSSMY KIND OF LIFE’S NO BETTER OFFIT’S GOT THE MAPOR IF IT’S LOSTWE WILL TRYYYYYYYY11:20 AM Eric: FAREWELL TRANSMISSIONslide guitarme: LONG DARKKKKKKBLUEEESSSSSLISTEN