Category: Episodes

226. John Cage

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(August 2019) Episode 226 is JOHN CAGE. You’ll never see his compositions on standard repertoires or hear them at the dentist office. But after this episode I am convinced he is the most important composer of the 20th century, and arguably of all time, for forcing us to question whether there is a difference between music and sound, between directed sound and undirected sound. Why should we value the vibrations of a violin strong over those made by water sloshing through a conch shell? The emphasis of chance in certain work (perhaps his most controversial aspect) ensures that certain pieces can never be played the same twice. Technically, this episode is not complete, as one of his pieces is currently being played on an organ in Germany and not scheduled to end until the year 2640.

Favorite piece: Seventy Four

Favorite period: “numbers” period (last 5 years of his life)

Favorite prepared piano piece: Three Dances

Favorite string piece: Quartets I-VIII

Favorite piece with woodwinds: Eight

Favorite percussive piece: First Construction (in metal)

Favorite use of household items: Water Walk

Compared to expectations: same

CAGE, John - portrait in 1991, Los Angeles

225. King Missile

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(August 2019) Episode 225  is KING MISSILE.  In its various incarnations, KM is the musical vehicle for poet John S. Hall’s abstract, warped, observational musings. You may recall the novelty song “Detachable Penis,” emblematic of frequent sexual content which comes off as humorously candid rather than perverse. Sure, it’s a joke band, but that sells the music short, which is actually a good listen, while you giggle.

Favorite album: The Psychopathology of Everyday Life

Favorite song: Sex With You

Compared to expectations: same

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223. The Black Keys

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(July 2019) Episode 223 of my “opus project” is the BLACK KEYS. I find their initial southern-fried (although they’re from Ohio), bluesy garage rock better in concept than execution due to Dan Auerbach’s reliance on monotonous, laconic vocals. But for me, they pick it up starting with Attack & Release (thanks, Danger Mouse) with a diversified approach and instrumentation. Black Keys satisfies.

Favorite album: El Camino

Favorite song: Gold on the Ceiling

Compared to expectations: same

The_Black_Keys_El_Camino_Album_Cover

222. Joni Mitchell

~ ernopepper ~ 1 Comment

(July 2019) Episode 222 of my “opus project” is JONI MITCHELL. Who doesn’t love Joni Mitchell? I love Joni Mitchell. She’s a legend, an inspiration to countless artists (especially women). And yet … when I started this episode I realized I had not put on a Joni album in 25+ years. I guess the confessional singer-songwriter thing isn’t my thing. Her strongest songwriting, of course, is the early-70s folky/hippy stuff. Mitchell’s later journeys into light jazz, synth, EZ listening and re-arrangements of old hits are really not my thing.

Favorite album: Ladies of the Canyon

Favorite song: For the Roses

Worst album: Dog Eat Dog

Compared to expectations: ↓

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221. The Standells

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(July 2019) Episode 221 of my “opus project” is THE STANDELLS. You may know this mid-1960s garage band from the song “Dirty Water” (you might think they’re from Boston, but they’re not; they’re from LA). Sometimes called the “punk band of the 1960s” (for a clue, listen to “Riot on the Sunset Strip”) due to influences claimed by the Ramones and Sex Pistols. Good stuff.

Favorite album: Dirty Water

Favorite song: Riot on the Sunset Strip

Compared to expectations: same

DirtyWater

220. John Cale

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(July 2019) Episode 220 of my “opus project” is JOHN CALE. For being the most avant-garde member of the Velvet Underground, his solo recordings are surprisingly conventional in the pop/rock vein. His early stuff sounds like a blend of Brian Eno, Lou Reed and Roxy Music, but his style and mood varies over five decades (not to mention his output as a producer and soundtrack composer). I find his collaborations (with Terry Riley, Eno, Reed, Bob Neuwirth) among his strongest recordings.

Favorite album: Paris 1919

Favorite song: Paris 1919

Favorite collaboration: Wrong Way Up (with Brian Eno)

Compared to expectations: ↓

JohnCaleParis1919

219. Patsy Cline

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(June 2019) Episode 219 of my “opus project” is PATSY CLINE. I dislike country music in most of its forms, but I am fond of some of the early-era artists when the genre was closer to its roots. Cline has such a lovely, clear voice, and the songs are earnest, melodic and unavoidably enjoyable.

Favorite album: Showcase

Favorite song: Crazy

Compared to expectations: same

patsy cline

218. James Brown

~ ernopepper ~ 1 Comment

(May 2019) Episode 218 of my “opus project” is JAMES BROWN. The Godfather of Soul, the Father of Funk, the Supreme Showman — all this is true. But if you groove out to James Brown — and I recommend that you do — find a greatest hits album and avoid the regular releases. There is a LOT of filler among and within albums: recycled, regurgitated, rerecorded material, even whole albums without any discernible JB content other than his name on the cover. This was another looooong one (63 albums). As with anything, best when funky.

Favorite album: There It Is

Favorite song: Get Up (I Feel Like Being a) Sex Machine

Worst album (tie): The Original Disco Man, The Merry Christmas Album

Favorite period: 1969-73 (most funky)

Special sauce: Bootsy and Catfish Collins

Compared to expectations: same

james brown

217. Lou Reed

~ ernopepper ~ 2 Comments

(May 2019) Episode 217 of my “opus project” is LOU REED. The frontman (born 1942) of an influential and innovative 1960s band leaves the group to pursue a solo career. He records many albums over the decades; most are pop/rock oriented, a few are collaborations, and he dabbles in experimentalism. However, the solo output never reaches the magic he made with that 1960s group. Am I taking about Paul and the Beatles or Lou and the Velvet Underground? Even among the weak releases, it’s interesting to track his recordings with the windings of his personal and artistic life. At his best when it’s just his deadpan voice over a spare piano or guitar (nothing tops “Pale Blue Eyes” with the VU).

Favorite album: Transformer

Favorite song: Perfect Day

Best experimental work: Metal Machine Music (most will hate it but I love beautiful noise)

Best collaboration: Songs for Drella (with John Cale, a tribute to Andy Warhol)

Compared to expectations: ↓

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