Jandek Does Jazz – Dallas Thursday (CD Review)

Authored by Dale Nickey:

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Jandek – Dallas Thursday (CD)

Corwood Industries – 0824

Recorded Live at The Texas Theater, Dallas Texas – May 19, 2016

Jandek activity has picked up in the last few months; most recently, Jandek aka The Representative of Corwood Industries has released Dallas Thursday. A fairly recent performance from May 2016, which testifies to the robust health of Jandek’s muse.

I have not been reviewing and writing very much since the world changed a few months back, nor have I had any desire to. For me, music has lost its ability to foment revolution in a meaningful way. Without that ace card up its sleeve, its hard to justify its importance in the culture. Then you realize, it’s the only game in town. Despite the trivialization of music by celebrity culture, it still retains its healing powers even as its social relevance recedes into the background hum.

Which brings us to Jandek. Into this swirling vortex of confusion and existential trauma, The Representative of Corwood Industries has dropped a thing of unassailable honesty and beauty; a work that sustains my faith in the artistic spirit. This is Jandek’s ‘Jazz’ album. The Zen Master of cacophonic synchronicity has now given us a hidden place to lay back, gather ourselves and refresh the soul.     http://corwoodindustries.com/

Ostensibly a live album, Dallas Thursday is so transporting in mood and tone, it renders audience response incongruous and spell shattering. Muted trumpet (or cornet?) is the featured instrument. It hovers and moans like a fifties”cool jazz” ghost over the starry night keyboards , dark chocolate bass and the spacy, beat musings of Sheila Smith.

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As with any Jandek album, musician credits are non-existent – as are writing credits. One imagines the horn parts a product of Jandek ‘the facilitator’ rather than Jandek the composer. Certainly the Good Humor Man-on-Angel Dust keyboards carry the Jandek stamp. As far as the spoken word, it would seem that The Representative and Sheila Smith are of one mind now; it happens in musical collaborations that stray into the area of telepathy. Smith has dialed back the agression and displays a deadpan, dusky, beat poet delivery that is hypnotic and engaging, yet retains its edge.

Jandek is now a bigger thing than The Representative of Corwood Industries alone. Jandek is a collective, a brand, an archetype and a way of doing things. I’m just glad that Jandek – the man and artist – has retained his ability to surprise. Dylan always had the ability to throw down a personal masterpiece when his audience needed one. With Dallas Thursday, Jandek demonstrates that same ability.

 

 

 

 

 

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John Wetton- Progressive Rock Giant – Dead at 67

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Authored by Dale Nickey:

As if 2016 wasn’t enough….

Time marches on and the parade to heaven has turned into a stampede. Progressive Rock giant John Wetton has passed at the age of 67 from cancer.

I saw John Wetton live before I even knew who he was. The year was 1973. A buddy had a spare ticket to a King Crimson show supporting their (then) new album “Lark’s Tongues in Aspic”. I was familiar with Progressive units like ELP, Yes and Genisis. All I knew of King Crimson was that ex-yesser Bill Bruford was now in the band and that Greg Lake used to front the outfit.

The venue was the Long Beach Auditorium. Now long since demolished, even at the time it had an ancient, musty ambiance not unlike a manure werehouse. However, in this case, the smell was decidedly herbal in nature and enveloped the entire audience in a dense fog. Even a non-smoker (at the time) like me couldn’t ignore the psychotropic effect of breathing common air fouled by two thousand androgynous, longhaired stoners.

Guitarist Robert Fripp was the featured player, but it was Wetton and Bruford who stole the show. Bruford played around, under and over the pulse of the music while Wetton matched him step for step. The  snap, crackle and thunder of Wetton’s bass underpining his smooth, masculine lead vocals. The crowd was out of its mind and hung on every note played.  It was a true testament to Wetton’s talent that he could step in for the likes of Greg Lake and take the band to new levels of popularity in his place.

Wetton then joined the ranks of Roxy Music and (with new recruit Eddie Jobson) helped catapult the band into the elite league as a live act. Listen to the band’s live album “Viva’ Roxy Music”. Three bass players are featured on the album. However, Wetton’s tracks slam with an epic energy that the band has yet to recapture.

After a brief fling with Uriah Heap, Wetton pilfered Jobson from Roxy and formed U.K.; a band that not only introduced the world to guitarist Alan Holdsworth, but set the template for what would eventually become Prog-Pop super group Asia.

After U.K. folded, Wetton took in Yes refugees Steve Howe and keyboardist Geoff Downes and formed the archetypal super group  Asia. Drummer Carl Palmer rounded out the line-up. Surprisingly, they pivoted away from lengthy, segmented compositions and turned in a Pop-Rock masterpiece with their debut (1982) album “Alpha”. Wetton was the main writer (with Downes) and his vocals were resplendent. “Alpha” shot   to number one in America and multiplatinum status. Predictably, egos clashed and the group disintigrated at the speed of light. No matter, Wetton could finally boast his first worldwide chart topper.

After that, Wetton kept productive with solo albums, side projects and session work. You’ll find his name on a slew of legendary albums with Phil Manzanera, Brian Eno, Peter Banks and Steve Hackett. He would leave Asia to be replaced temporarily by Greg Lake (oh the irony), only to return in the early part of the century and tour the world again with the original Asia lineup.

I would see him again some 30 years after the King Crimson gig. It was at a club called The Canyon Club in Agoura. They played their first album in it’s entirety. They seemed far too big for the room. Wetton (of course) shook the room to its foundation. The staff at the club said they had never seen a crowed that large at the venue. We were packed like sardines, but I feel lucky and honored that was my last view of the man; commanding, virtuosic and playing his own music to an adoring throng.

Somehow Wetton has remained in the dark unvisited corner of the Rock pantheon when it comes to celebrity. Many lesser talents clog the celebrity pages and magazine covers. Wetton was a musician first and a star second and third. However, he was indeed a star. His legacy will only accrue more depth and  resonance as the years pass. RIP John Wetton.

Another touchstone of my youth taken far too soon.

Leonard Cohen (1934-2016)

Authored by Dale Nickey:

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Closing time…

My first Leonard Cohen moment was at the beloved Bla Bla Café in Studio City in the early 70’s. Dreary, dark, late winter afternoon. Sunday showcase. You would get a nice fifteen minute slot to show your stuff. An artist named Van Karlsson was playing. Good artist who had an aloof, European vibe. He said his next tune was a Leonard Cohen song that was written about Janis Joplin. Nice enough descending chord progression, then came the epic line, “…giving me head on the unmade bed, while the limousines wait in the street.”

Never heard a lyric that strong and unflinching, even from Dylan. No funny business, just pure uncut narrative. That line slapped the room to full attention. Shit, I want that song in my set. I would buy the album ASAP. “Chelsea Hotel # 2” remains one of three songs I can still play cold some forty years later.

The 1974 album, “New Skin for The Old Ceremony” had something about it from first glance. The inner sleeve photo was Cohen shot in gritty black and white from the chest up and he wasn’t happy about it. His mouth wore a default frown informed his by Euro- Jewish heritage, while his eyes shot daggers at the offending camera lens. The music was reflective of that image. Dark, gritty and spare. Any musical event beyond Cohen’s guitar and voice was magnified by ten.

I came for “Chelsea Hotel # 2” but stayed for more superior offerings like, “So Long Marianne”, “Take This Longing”, and “Who by Fire”. This guy was in the elite league obviously. Come to find out all the intellectuals I knew worshiped him. He was in his thirties whereas most of the music stars of 1974 were still kids in their 20’s. Women loved Leonard Cohen it seemed. My best friend’s wife was Jewish and we found discreet communion with his music playing in the background as we all drank and smoked; all the while, this woman’s husband bitched and compared Cohen’s vocal delivery to a guy trying to sing whilst fighting seasickness. Hilarious because it was true. But, it was also part of the fascination. And if you listen to Leonard now, his voice doesn’t sound that odd. He helped change the way we hear music.

The Cohen/Dylan debate will always be part of any discussion about Cohen’s art. However, where Dylan wouldn’t think twice about hanging an epic lyric on a pedestrian 12 Bar or a hastily assembled three chord trope, Cohen’s music was as meticulously chiseled as his lyric-poems. Not a note out of place unless it was meant to be. Often overlooked is the fact he wrote great melodies. Harmonically sensible. Memorable, but still off-kilter. I gave up trying to find a point of reference when I realized he was his own point of reference.

His downbeat, depressed world view shielded the public from a different Cohen. He was serious and reflective to be sure. He suffered from bouts of depression much of his adult life (he finally vanquished that demon in old age). Plowing through the troves of film footage available, (Cohen was a zealous self-documentarian) you saw an elegant and inspired artistic temperament that could also accommodate humor and joy. Cohen was a knowing realist navigating a world slowly going mad. He grabbed his fistfuls of ecstasy with a pinch of guilt – and would be on to the next song.

Cohen came at the music business from an entirely different angle than Dylan or the other Folkarazzi. He was a revered poet and novelist in Canada during the 50’s early 60’s until he decided that compressing his musings into song might actually generate more income. Enter Judy Collins and her immortal rendering of “Suzanne”. It was a folkie sensation and Leonard was on his way – via a prestigious deal with Columbia producer (and Dylan mentor) John Hammond.

In later years, Cohen pulled some Zen time in a monastery on Mt. Baldy. He got robbed blind by the biz like everyone else, but always looked sharp and well heeled. All who have met him in person describe an ‘old world’ elegance and grace in his bearing. He started doing the best work of his life in the last act of his life and was no longer a boomer cult hero. He became multi-generational. The quality of his art was such that it bled into the mainstream despite itself. “Hallelujah” is now a standard. “I’m Your Man” is a money spinner. From Michael Buble’ to contestants on The Voice, Cohen is the guy to cover when you want to upgrade your street cred.

Such was the rich pageant of Leonard Cohen’s life. If I don’t cut it short here, I’ll  end up writing a book about him. Just listen to his songs…as often as you can. Especially now. Foretold in the tea leaves of his lyrics is the current mess we’re in today. He knew The Future, and it was murder.

Exquisite timing Leonard…Adieu

Lost Treasures – Viv Albertine’s “The Vermillion Border” (Revisited)

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Viv Albertine – “The Vermillion Border”

Cadiz Music (2012)

Authored by Dale Nickey:

Viv Albertine should be anointed patron saint of the domestically dispossessed. After leaving her band The Slits and the music business some three decades ago, she reestablished dominion over her own life after a lengthy submission to the mundane identity of Hastings housewife and mother. When Albertine finally decided to cast off the invisible shackles of marriage, Albertine had no golden parachute of prior chart hits to help zip line her escape from a financially responsible but existentially impoverished husband; a man who possessed no appreciation for the musical visionary he lived with for 17 years.

After releasing an excellent 4 song EP “Flesh” in 2010, Albertine’s formal declaration of independence took the form of her 2012 debut solo album “The Vermillion Border” and it’s a revelation. Albertine is present and in charge throughout the 11 tracks that comprise the album. Each song features her feathery, labyrinthine guitar style and her honey-sweet monotone vocals. And, of further interest is the guest line-up, that features a different bass player on each track – those include; Jack Bruce, Tina Weymouth, Glen Matlock, Danny Thompson and a host of others. If suffering is the compost of good art, “The Vermillion Border” is an art piece 25 years in the making. Stylistically, the album is clearly informed by the artist’s eclectic and inclusive listening habits as well as her life experiences with sexism, cancer, marriage, motherhood and divorce. You would not expect such a catholic variance in style, tone and color from an ex-punker. However, when you factor in that her favorite guitar player is Progressive Guitar icon, Steve Howe from Yes, it all starts to make sense. As a guitarist she conjures an impressive range of sounds and rhythms using muted strings, drone strings, note clusters, capos and chord embellishments.

Naked Guitar HI Res

“The Vermillion Border” is a rich banquet of mood and tone. As a songwriter, Viv keeps it simple and sticks to verse/chorus song structure with the odd bridge or transition.  Her voice is an unpretentious instrument of persuasion that – when layered and doubled – can add up to significantly more than its component parts.

What follows is a track by track overview of “The Vermillion Border”

1. “I Want More” If any song serves as a manifesto to Albertine’s third act heroics it’s this track. It’s snarly, provocative and cacophonic in equal and proper measure. Lyrically, it works on many levels; as an existential plea to the cosmic referee to put up a few more minutes on the clock, or as an ultimatum to an underachieving partner to raise their game a notch. “I Want More” charges out of the gate hard.

2.“Confessions of a MILF” – The catchiest track on the album is probably the deepest. The artist has alluded to that fact that nursery rhymes are probably the closest thing young girls have to a collective folk music tradition. The song starts off dead simple with a hooky little Telecaster riff as the bedrock to Albertine’s screed against domestic mundanity. As the music builds and gets angrier, so do the lyrics. The volume and dissonance increases unabated as Albertine chants her repetitive mantras of domestic servitude. It all builds to a raucous crescendo with Albertine howling, “SHOES OFF!” before she crumples to the floor breathless while still gasping her desperate incantations through to the end of the track. A fascinating record by any measure. However, the involvement of Albertine’s ex-paramour Mick Jones (The Clash) turns “..Milf” into an epic.

3. “In Vitro” – Here, Albertine alludes to the travails of In Vitro fertilization, in addition to her regime of chemotherapy; the woman has suffered. The In Vitro regime included daily self-administered stomach injections. But, one wonders if the needles she coos so benignly about could also belong to absent friends who ultimately succumbed to the ravages of Heroin. Arguably the most sophisticated and detailed composition on the album.

4. When it was Nice – One imagines this song was written during that transitional period where  rose tinted denial gradually gives way to the realization that that you’ve grown to dislike the person you’re in love with.

5. Hook-up Girl – On this tune Albertine mixes a sappy girl-pop verse with a bouncy malt-shop refrain: all describing the dark melancholy that accompanies a dour, loveless relationship based only on sexual convenience. Clearly, the narrator is not happy with the proffered arrangement, which she describes as… “Blowjobs no kisses”.

6. The False Heart – A druggy mood piece that shuffles sleepily into the twilight zone of despondency. On this piece more than any other, Albertine’s guitar work conveys more than words. Albertine’s voice sounds fragile and emotionally spent, beyond caring. The refrain is a faint schoolyard taunt, wearily repeating the word….liar, liar, liar…

7. Don’t Believe – In her book, Albertine professed her admiration and obsession with John Lennon and his art. “Don’t Believe” is the female riposte to Lennon’s neo-nihilist purge “God”. His influence (lyrically) is clearly present on this track. Written the day her father died, “Don’t Believe” stands as one of the greatest atheist anthems in the Rock pantheon, a slow boil screed where Albertine sneeringly declares belief only in things that she can see, touch and feel. The harmonic structure is a deceptively nuanced, circular guitar riff that brings to mind early XTC.

8. Becalmed (I Should Have Known) – Gorgeous, atmospheric track. Imagine a sober, transgendered Syd Barrett baring his soul after jumping into the existential void without a safety line. Indeed, Albertine’s slithery slide work sounds like it could have been sampled directly from Pink Floyd’s “Relics”.

9. Little Girl In A Box – Having read Albertine’s amazing book “Boys.., Clothes.., Music..”, the lyrics on “The Vermillion Border” scan like a ‘cliff notes’ version of that work. Albertine whispers the lyrics in the manner of a mother reading her daughter to sleep. However, instead of a benign fairy tale, this is a cautionary one for a girl taking her first tentative steps into womanhood. Probably meant for the ears of Albertine’s own daughter. However, the standard mommy speech is clearly extrapolated from personal experience and (possibly) from similar advice given by Albertine’s own mother.

10. Madness of Clouds – Floating, meandering mood piece. The only track on “The Vermillion Border” that courts dispensability.

11. Still England –Clearly, Albertine’s work is informed by that particular love/hate relationship with Britain that other British artists (Kinks, XTC, The Beatles) have mined to great artistic effect. On this tune she gives us a laundry list of the most British of British institutions and celebrities. She somehow combines cultural pride with a healthy distain for bullshit iconography. The song marches along – ticking off such disparate people and entities as The Royal Mail, Kate Bush, David Bowie, Tea, The Roxy, etc…. The final word uttered is ‘cunt’; the most inflammatory, gender specific epithet in the English language. The word is both bracing and startling, while at the same time, it’s uttered casually and unapologetically. Albertine (a stealthy anti-hero in the feminist movement) somehow denudes the word’s power to hurt or shock. “Still England” is the perfect end to a near perfect album.

This writer stubbornly maintains that Rock and Roll as a living, breathing art is dead. However, once in a while a maverick bolt of lightning strikes the corpse and animates the monster to life (however briefly) and thus, forces us to question our pronouncement. “The Vermillion Border” is just such an album.

 

The Purgatory of The Open Mike – “The Girl From The Basement Church”

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The purgatory of the open mic.

by Dale Nickey

The ad in the Recycler read, “Wanted: Singer/Songwriters, Poets and Artists for Open Mic at the Basement Church. Sign Ups at 07:00 p.m. Sunday Night”

I decided to go and perform at The Basement Church in Echo Park. My twenties were gone. My rock star dreams were gone. I now played music because it was an obsession; like sex, like alcohol or drugs. So I started going out and playing open mics as one would go out for casual sex. It was about satisfying an urge.

I showed up a little early as was my custom. The Basement Church was indeed in a basement, but looked very little like a church. As soon as I walked in the door; a smiling, puffy faced gent wearing a puke colored cardigan sweater walked up to me. He was holding a steaming mug of black coffee. He introduced himself as Deacon Jim and invited me to sit at his table. I accepted his invitation. It was a welcoming environment.

I asked him what slots were available and he said he could fit me in third. I could play fifteen minutes. That suited me fine. If I curtailed my stage banter, I could squeeze in five songs.

I looked around the room and it had a nice dark vibe. There was a small bandstand and two mics. The bandstand was a nice bonus. It added gravitas and drama to a performance. I was disappointed to see they had no stool. The height a stool provides gives you a psychological advantage over the audience. If you sit in chair, you are closer to eye level and the performer/audience dynamic is compromised. I didn’t like playing acoustic gigs standing up, so I would use my old trick of swinging my leg over the back of a chair and play standing up on one leg with one foot resting on the seat of the chair; show them you mean business.

There were four or five performers scattered throughout the room. All were concentrating intently on tuning their acoustic guitars and running through chord changes. Most looked fidgety and nervous, as though their futures depended on what would happen during their fifteen minutes onstage. I sat quietly and chatted with Deacon Jim. He seemed interested in talking to me for some reason. It was then I noticed The Girl. She was sitting at the back of the club with her nylon string guitar; the right side of her face obscured by a curtain of clean, straight, brown hair.

Her side view revealed a straight strong back and a beautiful curvature down to her buttocks. Her hands were thin, long and had a musculature that suggested a life of work. Perfect for guitar. Her arms were slender and toned. She was playing a rudimentary classical piece. It sounded nice. She seemed to have a grace about her that none of the other neophytes in the club possessed. I suddenly wished I had a sketchpad and a talent for drawing.

My meditation was shattered by a blustering, but harmless buffoon who entered from a kitchenette in the back. His name was Roy. He was stocky with thick black hair. Deacon Jim seemed well acquainted with Roy as he sat at our table without invitation. I gathered that Roy was a church elder of some sort. He was one of those people who stared at you a little too hard and a little too long. Deacon Jim cut him off gently and stood up to start the proceedings.

First up was a serious, bearded, long haired kid. He was far more handsome than he was talented and seemed to know it. He sang a James Taylor tune and a Leonard Cohen tune. He also sang a couple of tunes I assumed were original. He stumbled on chords a couple of times and wore a ‘deer in the headlights’ look on his face the entire set.

Next up was a balding, forty-something blues devotee. He had a poorly camouflaged beer gut and played a cheap nylon string guitar. His repertoire was exclusively blues standards; all of which he strummed unimaginatively in first position chords like a folk singer. Midnight Special, Stormy Monday etc…. He had a harmonica strapped around his neck which he played often and badly. I spent his entire set staring into my cup of coffee in solemn prayer that someone would shove that damn harmonica up his ass. The Basement Church.

I was up next. Even though there was nothing on the line I still got that nervous buzz in anticipation of performance. It was a good feeling. Deacon Jim fiddled with my mics while I checked my tuning. I noticed The Girl at the back of the club. She seemed to be looking at me attentively.

I was at the peak of my musical powers. I saw no reason to hold back and played my most challenging and risky songs. Deacon Jim would interject questions and comments between songs. I didn’t mind. He would say, “Good tune, yours?” Once or twice, buffoon Roy would start to blather during a song and Deacon Jim would shush him quietly and efficiently. The Girl’s dark silhouette sat ramrod straight during my whole set and never seemed to move a muscle.

I closed my set to polite, scattered applause. I sat down back at the table with Deacon Jim and Buffoon Roy. Another gent followed me and did an extremely serious set of originals. He strummed way too fast and hard, and sang way too loud. He grimaced, sweated profusely, and his face turned beet red. I guess he thought perspiration might mitigate a surfeit of inspiration. I looked in the direction of The Girl to find she and her guitar had vanished.

I should have left at this point, but something was keeping me there. Buffoon Roy pontificated and swigged coffee. He obviously fancied himself an armchair Socialist. As Roy continued his cartoon tirade I watched The Girl quietly and gracefully take the stage behind him and fuss with her hair and guitar while Deacon Jim attended to her microphones.

She was nervous, but game. She played that simple classical piece she was working on earlier. She was obviously taking lessons and practicing. She froze a couple of times, but took the piece to completion. The poorly lit stage added allure to her looks. The curtain of straight, brown, clean hair effectively cut her face in half. The half I could see was lightly made up with strong and pretty features. She surprised us by terminating her performance after one song. Deacon Jim gallantly asked her to sit at our table and play another. She said, “The only other tune I know is ‘Ten Thousand Miles’ and I barely know it.” Deacon Jim helpfully said, “I’m sure Dale could wing it on guitar”.

She sat down. She was sitting between Buffoon Roy and Deacon. She had a flinching posture when sitting at the table. I watched her hands on guitar while she ran through Ten Thousand Miles. It was a typical minimalist folk song. I picked up the chords and she sang the song in a sweet, pleasant – if slightly amateurish – falsetto. I caught her shooting a couple of glances at me. She was pretty, in her late twenties and had a smoking hot hippy body and brains. However, the curtain of hair over the right half of her face seemed to have a purpose. She was covering a scar. A made a point of not staring. She seemed shy and pensive enough.

Buffoon Roy was blathering about art and the disappearance of the friendly neighborhood bar. He complained how you couldn’t walk into a bar anymore for conversation and fellowship. He said every bar in town was either a strip bar or a gay bar. I silently wondered how he would know. At the first appropriate pause, I bent over to put away my guitar and made my excuses to go. The Girl immediately mentioned to Deacon Jim that it was getting late and she had to go to school in the morning. Deacon Jim said something unintelligible. Then, Buffoon Roy blustered, “well…I could take you home, it’s on the way!” Deacon Jim ignored Roy and turned to me and said, “You’re going back to The Valley right?” I said that I was.

“Fine, I’m sure Dale wouldn’t mind taking you home Gail”. I looked at Gail and told her I was fine with giving her a ride home. At that point she smiled and started putting her guitar away to leave. Buffoon Roy looked defeated. Deacon Jim took a self-satisfied slurp from his coffee mug, happy with his handiwork.

I offered to carry her guitar if she would negotiate the door. She walked on my right side as we approached the car. She stood well back when I opened the car door for her. All her movements seemed choreographed to shield her scar from my view. Fate even conspired to only show me her unblemished left side as she sat beside me in the passenger’s seat on the ride home.

We talked. She told me of her love for classical guitar. She also asked me what I was doing playing at the Basement Church. She told me I should be famous.

She lived in up in the foothills near The Church. I couldn’t tell if the neighborhood was ‘funky but chic’ or old and poor. Her apartment occupied the entire second floor of an older building. It probably started out life as a nice two story house that hard economics had morphed into a split level duplex.

Stand-up_comedy_-_Stage_-_cropShe invited me up for a cup of tea and I accepted without hesitation. I carried our guitars as she walked up the stairs ahead of me. This allowed me a discreet examination of her body from the rear and it was exquisite. Her slim, shapely body was housed in skin tight jeans and a leotard top. I doubt men stared at that scar on her face for long.

We entered the apartment and it immediately felt comfortable. I guessed it was built in the 40’s or early 50’s. The most noticeable feature was the hardwood floors that were common to the era. Gail had wisely decorated the apartment sparsely to maximize the esthetics of the wood. Clearly she was not rich and there was no money to waste on ephemera. However, this was the eighties, when it was still possible for those not rich to live in scruffy dignity.

She bounced around the apartment cheerfully and purposefully. I leaned in the kitchen door way while she prepared our tea. She kept her back to me while she performed her kitchen duties. She interrupted her task only to look at me over her left shoulder to reveal her pretty and alluring profile. The stove was a vintage 50’s model reminiscent of our old family stove that first educated me to the pain of fire.

She chatted about school and casually took my hand to show me the view from her apartment. The view was from an empty spare room at the back of the apartment. There were faux French double door windows that opened to a view of a thicket of trees and a small ravine. A very green, lush and (I assumed) dangerous piece of inner-city vegetation. We held hands. My arousal was immediate and sustained. She was proud of the humble but soulful niche she had carved for herself. Clearly she enjoyed my company. At the same time, she did not seem solicitous. She produced a joint and we smoked and chatted amiably and easily.

I finished my tea and it was time for me to go. She stood up and faced me square for the first time. I could see the scarring on the right side of her face was more severe than I thought. I moved closer and I could see through the curtain of hair that her cheekbone was missing; a sunken crater in its place. She was covering more than a scar. Her face was tragically disfigured. I did not hesitate. I put my hand gently on her shoulder and softly kissed her beautiful left cheek. Her body relaxed and her posture was welcoming. It was then I could see the sadness in her smile.

I thought about staying the night. I arrogantly assumed I could do so and her disfigurement did not repel me in the least. I know Gail would have been an amazing lover. However, I couldn’t love and leave her so cruelly. I was better than that. Or maybe I was just too shallow to shoulder the inevitable burden of stares and questions from family and friends. Maybe it was a little of both. Regardless, I made my excuses and left.

I knew I would never see or speak to her again. But, I thought about her every second of my drive back to the Valley. I solemnly prayed for the safety and happiness of The Girl from The Basement Church.

Morning Music Funnies # 7 – John Lydon on Roseanne

On October 7, 1999 John Lydon (aka Johnny Rotten) was scheduled to appear on The Roseanne Barr Show. The show agreed to allow Lydon and his crew to shoot film behind the scenes as part of the deal.

Upon arrival, Roseanne’s battalion of supercilious staffers sprung into action. One snarky comment from Lydon about a life size Roseanne cardboard cutout put her backstage posse on red alert. Suddenly, Lydon found himself in a swirling vortex of bitchy handlers bent on shutting down the cameras and bum-rushing the recalcitrant Punk icon out of the building. This is a wonderful document that illustrates  all that’s wrong with celebrity culture and all that’s right with Punk.

Dean Ford “Feel My Heartbeat” Album Review

 

Dean Ford Releases New Solo Album “Feel My Heartbeat”

By Dale Nickey

Los Angeles, CA (The Hollywood Times) 5/30/16 – In 1969 a Scottish group named The Marmalade hit the charts in a big way with their Top Three ballad, “Reflections of My Life”. It was a melancholic look back at life, sung by a young singer/songwriter who had not yet lived it. The singer was Dean Ford (Born Thomas McAleese). The Marmalade made their splash and suffered the fate of many entrants into the 60’s sweepstakes. They had a couple of hits and faded into history, only to return sporadically on oldies radio, the odd soundtrack or the occasional K-Tel compilation. Continue reading