The Number One Champion Sound

The proceeds from the success of Amy Winehouse along with those of Dreamgirls have financed a way back machine that has been used for more evil than good. Fake jazzy torch songs, big band swing, and Supremes like girl group pop. You know, as far as musical trends go, it's not that bad really. But like any trend, when you get down to the C, D, E level practitioners you get some heavy duty suck.

 

Let me draw your attention to two A levelers who, in quite different ways, take the way back machine for a spin. First is Grammy nominee (I think?) Estelle. The album, Shine, features some Jazz-ish vocals and some throw back 60's soul singing but it is backed by killer song writing and by Estelle who has the voice to pull it off without sounding like a desperate  wanna be (I'm looking at you Duffy). She mixes it up,quite nicely, as well with a good dose of hip-hop, with Kanye, and dance hall, with Kardinal Offshall. The album also contains too excellent duets, one with John Legend (whose golden voice combines with her golden voice to produce what I call super-double-gold) and one with Cee Lo (of Gnarls Barkely fame). If you need to add some solid r&b to your collection; here it is.

The next is Raphael Saadiq. You of course know him from Tony Toni Tone and, the excellent but underrated, Lucy Pearl. When I first heard about his newest album, The Way I See It, I must admit I winced a little. How many people praise Motown, talk about how they grew up listening to Marvin Gaye, list all the greats, only to unleash on the world the most viscous, chunky, deep brown shit? Well, why is this not some of that? First, Saadiq has hands down the best voice in r&b. At his best, when he sings a little high, he sounds a lot like my other favorite, Clarence Burke Jr. (Five Stairsteps). Second, Saadiq has the song writing chops to write a throw back song that doesn't simply ape, and pale next to, the original hits, as well as the musical chops, and sense, to pull it off in just the right way. It never sounds like someone reaching just a little too far, beyond what he can grasp. Third, it sounds friggin' great! I heard him say in an interview that he found an old Ludwig drum set that he thought sounded perfect for this kind of album. He bought it and then built a studio around it. Then he wrote and recorded the songs around what he had. And THAT my friend is how you make a record! When you listen, you can hear how everything is built around the fabulous drum sound and every instrument is tweaked right to the perfect sound without ever sounding fussed over. Production perfection. If you love music, buy this.

Fight!

Never considered myself to be much of a Juan Manuel Marquez fan. Never had anything against him. I cheered for Pacquiao when they fought. He just never fired my imagination. The "he coulda shoulda won" story line on him kind of rubbed me the wrong way too. If Pacquiao hadn't knocked him down four times... If Morales had given him a fight...If he hadn't fought John in Indonesia...Tough luck!

What he's done since moving up to lightweight, however, has been spectacular. While some boxers become weight division leapers, looking for the fame and the money, damning the significance, and ruling out the most intriguing match ups in favour of the obvious names and getting famous off of some one else's fame, Marquez has stepped up to a weight class many thought was a step beyond his comfort zone and knocked out the linear champ and the guy most considered the second best in the division. Wow. Yes and he knocked them out! Handing them both their first career stoppages. He should move up and knock out Nate Campbell while waiting to see what happens after the dust settles between the Pacman and the Hitman.

A Bit of Bitch - Funeka, Martinez, and John. All non-Americans fighting Americans in America and all three got the shaft. Let me never hear the US boxing press say an American boxer shouldn't go to Germany, Japan, Montreal,where ever because he'll get robbed. They act like somehow America is neutral ground for all fighters and the only place where an unbiased decision could ever be made. PFFTTTTTT! Wake up! Or Shut up!

De-bandwagoning - I am still seated on the Pavlik bandwagon but both feet are on the ground and with a mere straightening of  the knees and I will be off. It was not all his fault, but his last fight stank. They are talking about fighting Duddy who was arguably beaten by Walid Smichet. Not impressed. I heard a rumour about Trinidad. Ugh.And people have the nerve to criticize Abraham's opponents!  Actually, anything short of fighting Abraham before the year's end and I'm off. "But why should he fight in Berlin when he can sell 7000 tickets in Youngstown?" you ask. Well my friend last time I checked Youngstown wasn't exactly a world center and Abraham is selling 20,000 tickets in the heart of the European boxing market, where, by the way, people seem to give a shit about boxing. It's Kelly's call. Arthur can be king of the middleweights and he can be king of Ohio.

Bandwagoning - Tomasz Adamek boy! I've seen his last four or five fights and I love this guy! Since moving up to cruiser he's a one man gang. Knocking guys all over the ring. He's got a very sound and economical style. He throws punches to land them and he lands them hard. No wild bombs just well placed devastating punches. He gets hit back just enough to make it interesting, and at least once a fight he gets hit so hard it hurts your eyes. But he walks through shots that would bring down a stone age obelisk (too much History channel?). After knocking out a very large man last weekend he declared his desire to move up to heavyweight. Yes, please. He says he'll clean out the division. Yes, please. Can he? Right now I so want someone to, that I will put my faith in anyone who can box a bit (or a lot actually) and who looks like they spend more time in the gym than the tattoo parlor.

You Cannot Petition the Lord with Prayer

The Doors have dropped off the map. Maybe Roadhouse Blues gets the occasional play on classic rock radio, I wouldn't know. Just seems to me that you don't here so much about them these days. They aren't influencing anyone and don't seem to be dropped by the coolsters dropping names.

I've had a fascination with The Soft Parade for years. My fascination grows the longer other's fascination fails to materialize. It's a spectacular album. Yet no one cares. Actually less than that, most people seem to consider it a flop and an embarrassing slip up in The Doors discography. I disagree and I'll tell you why.

The Doors were always overblown to the point of being a bit ridiculous. Corny psychedelia and sub-adolescent poetry, plodding blues riffs and indulgent keyboard wank-a-thons. The seemingly cheesey Vegas style string arrangements and horn section put a lighthearted twist on the usually over dramatic tendencies of Morrison and Manzarek. I say seemingly because on closer inspection the arrangements are deft, subtle, and in parts very unexpected. The guitar and keyboard interplay keep some of the bluesier songs such as Shaman's Blues and Do It from getting too tedious. The jazzy sax solo in the middle of Runnin' Blue is unexpected and oddly great. The keyboards often take a back seat to either the excellent guitar of Robbie Krieger or the luxurious string/horn arrangements. That's a very good thing.

I've read descriptions of Morrison's vocals on The Soft Parade as disengaged (suggesting he wasn't really into the material, one is left to assume because it was faggy and Jim's no fag) but I prefer to think of them as restrained. Whatever it was, he should've done more of that. There is barely a patented Morrison yell to be found. Instead of his usual bombast up front coming across with a similar effect as someone talking way too loudly at a small gathering. His vocals are nestled within the band making them more melodic and just another element in the song. With the focus off the vocals the focus is also off the lyrics which become a side note as good rock lyrics should be. If I want intelligent words I'll read a book. Good lyrics are a bonus but not a must. A good melody can make almost any sequence of words into good lyrics.

My interest in The Soft Parade was initially sparked by Touch Me which is the one song from this album that consistently gets included on greatest hits compilations. At first (age 14) it was the joke song with the goofy and uncool horns. As The Doors were pushed aside in my musical explorations, Touch Me became the one song my mind often went back to. In my late teens I went back to the album but, as I was about absolutely everything at the time, I was conflicted. Is this great, or a good joke? Should I like this? I picked up my own vinyl copy of The Soft Parade in my late twenties and I immediately regretted the lost years. This is clearly a great album.

Now to the album highlights. The above mentioned Touch Me has a Vegas riff that would make Steve and Eydie green with envy. Morrison's voice is so suited to this huge production. The syncopated drumming, the subtle but complex keyboard riff,the big band, the crazy saxophone solo, and ba-ba-ba-ba ending. Perfection.

Why Tell All the People is not considered an all time classic, let alone a Door's classic, is something I will never understand. It's just an excellent performance of an excellent song. I would put it up against any song of that era with utmost confidence.

Wishful Sinful is a Robbie Krieger song that is easily overlooked. It's rather simple. The strings however are mind blowing. One string line flows under another, melodies complement melodies with the horns providing just enough drive. My only wish is that the band had toned it down a little bit more as they try to rock it up a bit, spoiling the mood. Take it easy. "Water covers you". It's cool.

The Doors have a few obscenely long epics like The End, When the Music's Over, and to a lesser extent L.A. Woman and Riders on the Storm. By far the best of these is The Soft Parade. From the unforgettable opening rant to the abrupt transitions between rhythms and styles this song is odd. Less than two minutes after Jim is screaming about seminary school we are in the midst of a lounge groove, only to find ourselves jumping to a jaunty Broadway ditty, a great blues groove, and beyond. The eight and a half minutes fly by. This is one of the few occasions where I think Morrison's lyrics are really great. Lines like " carrying babies to the river" and " cobra on my left, leopard on my right". This song almost makes you think that he may have had a sense of humour.

Am I crazy? Is this a Linus from The Peanuts scenario where I feel sorry for the pathetic Xmas tree that is The Soft Parade? Could very well be. Check it out for yourself.

Also their best album cover.

Rip It Up and Start Again

For an opinionated jerk with a big mouth, I can be surprisingly hesitant when it comes to self expression.(I blame the fear of success.) I'm always waiting for the perfect moment to write, the perfect topic, the cleverest sentiments to pop into my head. As can be observed by the number and frequency of my blog entries, perfection and cleverness are not knocking down my door. So, my new approach is to throw it all out there. Nobody reads this anyway (I know you are reading it now, but I meant nobody important reads this). I'm going to tap out whatever crosses my mind as often as possible and who knows, this blog may take on a definite shape or purpose eventually.

I am determined however not to make this blog about my struggles with writing a blog. Being self referential is so 90's. It's an impulse that can best be assuaged through frequent masturbation and doesn't need to be dealt with here. First and last time, right here. New blog, let's go!!!!