Category Archives: Odds & Sods

Saturday Odds & Sods: Don’t Look Now

Dresden Street by Ernst Ludwig Kirchner

I don’t usually go in for cross-cultural generalizations about the state of the world but for every rule, there’s an exception. And 2018 has been an exceptionally bad year. Hell meet hand basket.

The US, UK, and France have gone to political hell and back in 2018. Our main problem is obvious: a corrupt and deeply stupid president*. In Britain, they’re still paying the price for the Brexit referendum catastrophe, which has resulted in bad leadership in both of the “big parties” and political paralysis. In France, Emmanuel Macron compared himself to Charles DeGaulle once too often, now there are riots in the streets just like in DeGaulle’s day. In 1968, they waved red flags. In 2018, they wear yellow vests. There’s a good chance that Macron will be France’s third consecutive one-term president. Burning it down is not all it’s cracked up to be.

I wish I had solutions for these problems but I’m a pundit, not a prophet. I don’t even have a prophet and loss statement. I can hear them groaning all the way to Bunkie, so it’s time to move on.

This week’s theme song was written in 1969 by John Fogerty for CCR’s Willy and the Poor Boys album. The title has been shortened over time from Don’t Look Now (It Ain’t You or Me) by dropping the parenthetical aside. You may have noticed that I live for parenthetical asides but I can live with the deletion of this one. In fact, it’s a delightful deletion.

We have two versions for your listening pleasure: the Creedence original and a 2005 cover by my main man Dave Alvin.

Don’t Look Now is also the title of a fine film by director Nicolas Roeg who died last month. And don’t look now is excellent advice when one jumps to the break: every time I peek, I get dizzier than Tommy Fucking Roe.

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Saturday Odds & Sods: Tangled Up In Blue

The Large Blue Horses by Franz Marc.

The weather has been wild and wacky in New Orleans. It was 80 degrees last weekend, then it plummeted to a day time high of 50 a mere two days later. It’s like being an extra in The Pit and The Pendulum. I have no idea what that means but it sounds good.

We had some car trouble this week. We convinced ourselves we might have major electrical issues. It turned out the car needed a new battery. Whew. Dr. A has named the new used car Hildy, after Rosalind Russell’s character in His Girl Friday. Neither Cary Grant nor Ralph Bellamy were consulted.

Am I allowed to brag? I promise not to go all Insult Comedian on your asses. The response to my Neelyisms: Translating Louisiana’s Junior Senator piece has been very favorable indeed. Thanks, y’all. I hope it will further one of my quirkier causes: getting people to stop calling him by his real name instead of my nickname for him. Repeat after me:  In politics, there’s only one John Kennedy, and his middle initial was F, not N. Just call him Neely.

This week’s theme song was written by Bob Dylan for his great 1975 album Blood on the Tracks. Tangled Up In Blue is one of my favorite Dylan tunes. It’s an almost foolproof song, which is why it has been covered so many times.

We have three versions for your listening pleasure: Dylan’s original, a 2017 cover by Joan Osborne, and a live version by the Jerry Garcia Band.

Now that we’re all tangled up, let’s jump to the break. I hope I can find my blue ripcord.

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Saturday Odds & Sods: Deportee (Plane Crash At Los Gatos)

Roots by Frida Kahlo

I’ve been following the horrific events at the US-Mexico border. After a few weeks of relative quiet on the caravan front, the Insult Comedian has ramped up the war of words in this fake crisis. He added a new weapon to his usual arsenal of hot air and bullshit: tear gas. Trump claimed that it was “very safe tear gas” but there’s no such thing, especially since they tear gassed babies. Exposure to tear gas has detrimental effects on childhood development. It’s some nasty shit. I was exposed to tear gas in the Paris Metro many years ago. I don’t recall what the protest was about, but I recall feeling woozy, raspy, and weepy for hours after being tear gassed. I guess it wasn’t the “very safe” kind that Trump is so proud of. #sarcasm

Trump’s ridiculous claim that tear gas is “very safe” reminds me of an encounter with one of my Greek Greek relatives. I called him Theo (Uncle) Panos but he was married to my father’s  cousin. He was a proud and boisterous man who had a small business making and selling taverna-type chairs in the Monastiriki district in old Athens. He believed that everything Greek was the best. It was one reason he and Lou got on so well. I’ll never forget dining al fresco one evening with Panos and his family. There were flies swarming and  I kept shooing them away. Panos laughed and said, “Don’t worry. In Greece, the flies are clean and very safe.”

This week’s theme song was written in 1948 by Woody Guthrie and Martin Hoffman in protest of the racist treatment of Mexican nationals who perished in a plane crash in Los Gatos, California. 32 people died: 4 Americans and 28 Mexican migrant workers who were being deported to Mexico. The media of the day listed the names of the dead Yanquis but referred to the Mexicans solely as deportees.

Sometimes the “crash” in the title is replaced with “wreck” but the song remains the same. Deportee (Plane Crash at Los Gatos) is one of the great protest songs and has been recorded many times over the last 70 years.

We have three versions for your listening pleasure: Woody Guthrie, Dave Alvin & Jimmie Gilmore, and Nancy Griffith.

Now that we’ve been deported, it’s time to jump to the break. We’ll try not to crash-land but I make no guarantees. Now where the hell did I put my parachute?

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Saturday Odds & Sods: Holiday

The Stillness Of Time by Salvador Dali

I originally thought I’d be able to write a full-blown Odds & Sods post this week. I was wrong. We spent Turkey Day pinballing from New Orleans to Baton Rouge and back again. Unlike Tommy, I’m not a deaf, dumb, and blind Pinball Wizard but I *am* stiff and sore from sitting in the car in heavy traffic and our pre and post Saints game hikes.

The Saintsgiving game was a bigger rout than the 31-17 final score indicates. The Saints-Falcons rivalry is intense but this isn’t the Dirty Birds’ year. It belongs to the New Orleans Saints. This is a special team: they’re fun to watch and have fun playing. The players are as likely to break out in random acts of dancing as the fans. This Saints team seems determined to put the fun back in the No Fun League.

The fans do their bit to support the team by getting LOUD. Check out the decibel level when the Falcons had the ball:

That’s Who concert loud, y’all. I kept waiting for them to play Long Live Rock There was the obligatory We Will Rock You sighting (sounding?) as well.

This week’s Saturday post may be truncated but we do have a theme song as well as a follow-up by the same artist. Ray Davies wrote Holiday for the klassic Kinks album Muswell Hillbillies. The follow-up comes from the Kinks underrated concept album, Soap Opera. Every time I hear Holiday Romance, I visualize Astaire and Rogers gliding across the dance floor.

That’s it for this abbreviated edition of Saturday Odds & Sods. I opened the post with a Salvador Dali painting. Let’s close things out with a picture of Dali and Alfred Hitchcock who are presumably discussing the dream sequence conceived by the artist for Spellbound.

Saturday Odds & Sods: Afterglow

San Giorgio Maggiore At Dusk by Claude Monet

The weird weather continues in New Orleans. We seem to have skipped fall and gone straight to winter. One day we ran the AC, the next the heater. As you saw yesterday, the cats are happy. They love blankets and space heaters. I could do without either. I hate the cold; a stance befitting someone who has lived most of their life in California and Louisiana.

The other down side of cold weather NOLA-style is that public places crank up the heat. I strolled to the grocery store the other day dressed for the great outdoors, I returned a sweaty mess since I had to walk fast to avoid the Valence Street rooster. I’m not a fan of chickens and this one is on the aggressive side.  I’d rather eat them than dodge them.

This week’s theme song was written by Tony Banks in 1976 for Genesis’ last pure prog album, Wind & Wuthering. Afterglow is a drop dead gorgeous song that closes the album as well as an era. It’s the last Genesis album featuring lead guitar player Steve Hackett who was missed almost as much by the band’s fans as Peter Gabriel.

We have two versions for your listening pleasure: the Genesis original followed by the Classic Rock String Quartet.

Now that we’re afterglowing, let’s jump to the break. I promise a soft landing.

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Saturday Odds & Sods: Too Close For Comfort

Think Flag by William N. Copley

I’m keeping this week’s outing snappy because the time change has messed me up. My sleep patterns have been disrupted, as a result I’ve been groggier than hell. Additionally, Della and Paul do not respect day light savings time and demand to be fed at odd hours. Oddly enough, such oddity will inevitably impact Odds & Sods.

A quick note on the featured image. I cheated on Jasper Johns with a 1961 flag painting by William N. Copley aka CPLY. I think the think flag fits this moment eerily well. The country needs more thinking and fewer hot takes right now. Why are people bleating over Tucker Carlson when there are babies in cages?

This week’s theme song was written in 1956 for the musical Mr. Wonderful by Larry Bock, George David Weiss, and Larry Holofcener. I selected Too Close For Comfort because of all the votes that are still being counted, especially in Florida, Arizona, and California.

We have two versions for your listening pleasure: Frank Sinatra with the Billy May Orchestra, and a fabulous Ella Fitzgerald-Joe Williams duet with the Count Basie Orchestra. You know that I love me some Bill Basie.

Now we’ve gotten way too close for comfort, it’s time to jump to the break but first a reminder that Too Close For Comfort was also the title of a long-running Ted Knight sitcom that I watched only once.

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Saturday Odds & Sods: Running On Empty

Carnival Tryptich by Max Beckmann

It’s been an uneasy week in the Big Easy. There’s much outrage at the local utility company, Entergy, for hiring actors to attend City Council meetings. The company has made it worse by continuing to lie about it. It’s called Astroturfing, it’s not illegal it’s just sleazy. The more Entergy lies, the longer the story persists. Lying seems to be contagious in the age of Trump. Knock it off, y’all.

In other Gret Stet news, we’re voting on a constitutional amendment to end non-unanimous jury verdicts. Louisiana and Oregon are the only two states that have this system and we’re in a race for repeal. The odds are good that voters will end the practice next Tuesday: there’s broad bi-partisan support for the change. It’s good when the Gret Stet good guys win one. In fact, it’s great. Hopefully, that Tony the Tiger-ish sentiment will help LSU when they play Alabama tonight. Geaux Tigers.

This week’s theme song, Running On Empty, was written and recorded by Jackson Browne in 1977. It’s been used in two movies: Forrest Gump and gave Sidney Lumet’s great 1988 movie its title. We’ll have more about *that* Running On Empty after the jump.

We have two versions for your listening pleasure. Both feature brilliant lap steel playing by the great David Lindley of whom I’ll have more to say at the end of the post. Holy previews, Batman.

We may be low on gas but there’s enough in the tank to jump to the break.

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Saturday Odds & Sods: Season Of The Witch

The Witch of Endor by William Blake

We’ve finally had some cool weather in New Orleans. I considered devising some sort of ceremony for turning off the AC, but I kept it simple. Besides, I didn’t want to scare the cats.

It’s been a difficult week, which is why I plan to keep this post on the short and sweet side. Make that short and snarky. I don’t want to ruin my well-deserved reputation as a curmudgeon.

This week’s theme song, Season of the Witch, was written in 1966 by Donovan Leitch and Shawn Phillips. It has been covered a bazillion times, which gave me many versions to choose from. I like choice, it’s cherce as Spencer Tracy said in Pat and Mike.

We have three versions for your listening pleasure: the Donovan original followed by a Richard Thompson cover that was recorded for the NBC show, Crossing Jordan. I recall watching the episode it appeared in and nearly falling off the couch in surprise at hearing RT on a network show. Finally, Lou Rawls brings some soul to the proceedings.

Now that we’ve gotten seasonal, it’s time to make like a witch, jump on a broomstick and fly to the break. I may not have magical powers but I have a broom.

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Saturday Odds & Sods: To Keep My Love Alive

The Doubtful Guest by Edward Gorey

The weird weather continues apace in New Orleans. Our fall tease lasted three whole days, followed by a warm-up and a mini-monsoon last Monday, Moday. No wonder John Phillips found that day untrustworthy. Dr. A drove us home  from a krewe meeting during the deluge and engaged in some nifty puddle avoidance. It’s not supposed to rain that much or that hard in October. Climate change? What climate change?

This week’s theme song was written by Richard Rodgers and Lorenz Hart in 1943 for a revival of their 1927 musical, A Connecticut Yankee In King Arthur’s CourtTo Keep My Love Alive is best described as a chipper murder ballad. Hart’s lyrics detail the manifold ways in which the protagonist bumped off her 15 husbands in order not to cheat on them. It was the last song Larry Hart wrote before his death later that year at the age of 48.

We have two versions for your listening pleasure: Ella Fitzgerald from the Rodgers and Hart Songbook and the preternaturally perky Blossom Dearie.

My favorite stanza is the final one:

Sir Atherton indulged in fratricide,
He killed his dad and that was patricide
One night I stabbed him by my mattress-side
To keep my love alive.
Larry Hart’s love of puns and word play is one reason why I prefer him to Rodgers’ other writing partner.  Hammerstein could never have written those lyrics. I do, however, love his first name: Oscar.
Now that we’ve compared and contrasted Hart and Hammerstein, it’s time to jump to the break. Be careful which mattress-side you land on.

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Saturday Odds & Sods: Late In The Evening

Father Mississippi by Walter Inglis Anderson.

It’s finally showing signs of cooling off in New Orleans even if it appears to be a cruel autumnal tease. The cool front helped keep Hurricane Michael away from us. It was a beast of a storm that battered the Florida panhandle and provoked PTSD flashbacks in the New Orleans area. Best wishes to everyone in the affected areas.

In more savory local news, Advocate food writer Ian McNulty wrote a piece about the surfeit of new restaurants in the city. Ian is worried that we’re losing the thread with so many eateries dependent on the tourist trade. New Orleans didn’t become a great food city with tourist traps but with restaurants serving locals. One Oceana Grill is enough. Just ask Gordon Ramsay:

You didn’t have to take that so personally, Chef Ramsay. Piss off out of my post.

This week’s theme song is appropriate because I usually post Saturday Odds & Sods at the stroke of midnight. Some of my regular readers look for it then. One would hope they’d have something better to do.

Paul Simon wrote Late In The Evening in 1980 for his One-Trick Pony album. Simon also wrote and acted in a movie of the same title, which sank without a trace. I always thought horses could swim…

We have two versions for your listening pleasure. The original hit single followed by a scorching hot live version from 1992’s Born At The Right Time tour.

I used a painting by New Orleans/Ocean Springs, MS artist Walter Anderson as the featured image because he famously tied himself to a tree during Hurricane Betsy. We grow them eccentric in these parts. If things had gone wrong, it would have given a whole new meaning to the term tie-dyed.  If that pun doesn’t make you want to jump to the break, nothing will.

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Saturday Odds & Sods: Volunteers

Two Flags by Jasper Johns

It’s still stupidly hot in New Orleans; summer hot. And we had the third warmest September in recorded history. There are rumors of a cool front next weekend but the relentless heat is putting a damp damper on the local festival season. It typically starts the first weekend of October because that’s when it cools off. Not this year, apparently. Climate change? What climate change? End of weather related rant.

The Kavanaugh Mess ate my week, so let’s move on to this week’s theme song. Volunteers was written by Marty Balin and Paul Kantner. It was the title track of Jefferson Airplane’s classic 1969 album; you know, the one with the pb&j sammich gatefold. Volunteers has an interesting origin story: Marty was awakened by a truck one morning with Volunteers of America painted on the side. A protest song was born. Marty Balin died last Saturday at the age of 76. There’s an extended tribute to Marty at the end of the post.

We have two versions of Volunteers for your listening pleasure. The original studio track and a live version from Woodstock.

“Look what’s happening out in the streets. Got a revolution.”

Now that we’ve revolted in a revolting way, let’s jump to the break.

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Saturday Odds & Sods: Got To Get You Into My Life

Landscape Lumber No. 3 by David Hockney

It has been a difficult week. I was so exhausted from writing about the Kavanaugh mess that I briefly considered pulling the plug on this week’s extravaganza. I decided it was best to muddle through and provide a modicum of comic relief to my readers. That choice was made easier by the Flake Gambit, which at the very least kicks the can down the road a week. Besides, I like beer and cannot recall if I’ve ever been black-out drunk. Have you? Holy crap, I sound like Judge Bro.

This week’s theme song is credited to Lennon-McCartney but is Pure-D Macca. Got To Get You Into My Life first appeared on my favorite Beatles album, Revolver. Yeah, yeah, yeah.

We have two versions for your listening pleasure: the Beatles and the equally fabulous cover by Earth Wind & Fire.

Now that we’ve had some Macca therapy, let’s meet on the other side of the jump.

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Saturday Odds & Sods: The Chain

At The First Clear Word by Max Ernst.

It still feels like summer in New Orleans. I’ve been so focused on the Kavanaugh mess that I’ve been a local news slacker with one exception: last Monday, our local utility company, Entergy, blamed a cat for a major power outage. Della Street and Paul Drake are in the clear: I’m their alibi. This is proof positive that my town is weirder than your town. Neener, neener, neener.

What is it with the news cycle in the Trump era? Every Friday it blows up after I tuck this post in bed and kiss it good night. I have a few quick thoughts on today’s two big stories. First, the Rod Rosenstein story is a set-up, the Failing New York Times got played by Trumpers. Second, Chuck Grassley’s ultimatum to Christine Blasey Ford is egregious extortionate excrement.

What do these fuckers have in store next? A 21st Century Reichstag fire? This is the face of American fascism.

It’s time to tune out the jackboots and return to our regularly scheduled programming.

This week’s theme song was written by  Stevie Nicks, Lindsey Buckingham, Christine McVie, Mick Fleetwood, and John McVie for an album that you may have heard of: Rumours. The Chain is the only tune on that record credited to all five members of Fleetwood Mac Mach 9. We have two versions for your listening pleasure: the original studio track and a recent live version featuring new members, Neil Finn and Mike Campbell.

I’m not sure if jumping to the break constitutes breaking the chain but we’re going to do it anyway. Now that I think of it, it’s closer to yanking your chain. What’s a little chain yanking among friends?

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Saturday Odds & Sods: Play It All Night Long

The Automat by Edward Hopper.

It’s been a crazy news week: the Woodward book, Hurricane Florence, exploding houses in  Massachusetts, the Kavanaugh letter, and the Manafort flip. How far Paulie flips remains to be seen but, given his connection to the Former Soviet Union, his plea deal is *potentially* the Kremlingate kill shot. I’ve long thought Manafort was either placed on Team Trump by Russian intelligence or encouraged to sign up by them. Stay tuned.

This week’s theme song, Play It All Night Long was written by Warren Zevon for his 1980 album, Bad Luck Streak in Dancing School. It has one of the greatest opening verses in rock history:

Grandpa pissed his pants again
He don’t give a damn
Brother Billy has both guns drawn
He ain’t been right since Vietnam

As well as a killer chorus:

“Sweet home Alabama”
Play that dead band’s song
Turn those speakers up full blast
Play it all night long

We have two versions for your listening pleasure. The original studio recording and a live solo version from Learning to Flinch with WZ on piano.

Now that we’ve played “that dead band’s song,” let’s jump to the break in lieu of turning the speakers up full blast.

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Saturday Odds & Sods: The Tears Of A Clown

Circus Sideshow by Georges Seurat.

The big local news of the week was a non-event that I alluded to yesterday: Tropical Storm Gordon. I was reasonably confident it wouldn’t pay us a visit. For whatever reason, storms in the Gulf tend to jog to the east as they approach New Orleans. I’m much more concerned when the early bullseye is to our west than on us.

The new Mayor’s team surprised me with a calm reaction to Gordon:

Mitch Landrieu was prone to overdramatize storm threats by dressing in combat-like gear and declaring unnecessary curfews. Team Cantrell played it cool. If they can transfer this mojo to other city issues, I might be less critical. I’m not holding my breath because I don’t feel like turning blue. It’s a bad look for me.

A depressing local story took place across Lake Pontchartrain in Mandeville. A synagogue was defaced with anti-Semitic and neo-Nazi graffiti. Anti-Semitism is fashionable on the alt-right and, in some quarters, the hard left. In the UK, Jeremy Corbyn has damaged Labour’s reputation as an anti-racist party with remarks such as the ones described by the Guardian’s Simon Hattenstone:

He mentions an impassioned speech made at a meeting in parliament about the history of Palestine that was “dutifully recorded by the thankfully silent Zionists who were in the audience” (audience members he presumably knew nothing about). So far so bad. But it gets worse. He goes on to say that these unnamed Zionists in the audience “clearly have two problems. One is they don’t want to study history, and secondly, having lived in this country for a very long time, probably all their lives, they don’t understand English irony either … So I think they needed two lessons, which we can perhaps help them with.”

This is classic anti-Semitism as it treats British Jews as the unassimilated OTHER. It was too much for Jewish Labourite Josh Glancy who stated categorically in the New York Times that he wouldn’t vote Labour again until Corbyn is ousted as leader. He describes Corbyn’s views as follows:

I’d always thought that if Mr. Corbyn was ever nailed down on this issue, he’d be spouting the anti-Semitism of the international left: Shadowy Zionist lobbyists. Omnipotent Rothschilds. Benjamin Netanyahu glorying in the slaughter of innocent children.

Instead we got something much closer to home. This was the anti-Semitism of Virginia Woolf and Agatha Christie. It was T.S. Eliot’s “lustreless” Bleistein puffing on his cigar and Roald Dahl insisting that “there is a trait in the Jewish character that does provoke animosity.” The comments were more redolent of the genteel Shropshire manor house where Mr. Corbyn was raised than the anticapitalist resistance movements where he forged his reputation.

Ouch. Labour’s anti-Semitism controversy has derailed efforts to oust the inept and incoherent Tory government of Theresa May. It’s a vivid illustration of how the far left and far right can converge. It’s happened before: the dread Oswald Mosley was a Labour MP before forming the British Union of Fascists.

A final note before moving on. I am staunchly anti-Netanyahu: his government’s moves against Israeli-Arabs are repugnant and amount to imposing an Apartheid regime in Israel. Having said that, anti-Netanyahu-ism shouldn’t morph into anti-Semitism. Many Jews in both the UK and the US are opposed to the current Israeli government. But even those who support it, should not be othered in their own country. Genteel bigotry is just as bad as synagogue desecrating bigotry. Now that I think of it, it’s worse: the genteel bigots should know better.

It’s time for me to dismount my sopabox and move on to this week’s theme song. The Tears Of A Clown is one of my all-time favorite records. It was written by Smokey Robinson, Stevie Wonder, and Hank Cosby for the Miracles in 1970.  It’s one of the songs that made me into the music geek that I am today. It’s on Smokey with Pagliacci as an unindicted co-conspirator.

We have two versions for your listening pleasure. The original Miracles single and Smokey with Daryl Hall on the latter’s teevee show.

Now that we’ve wept the tears of a clown, it’s time to dry off, then jump to the break.

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Saturday Odds & Sods: Too Late To Turn Back Now

Parade by Jacob Lawrence

It was Katrinaversary week along the Gulf Coast. I wrote about that on the day itself. Nuff said. In related news, former Nagin henchman Greg Meffert aka Muppet crawled out from whatever stone he’s been hiding under since testifying against C Ray. He has a new book out, which I will be reviewing for the Bayou Brief next week. It’s bound to be unintentional comedy gold.

This week’s theme song, Too Late To Turn Back Now, was written by Eddie Cornelius. It was a monster hit in 1972 hitting #2 on the Billboard charts. It’s featured in the new Spike Lee joint; more about that later.

We have 2 versions for your listening pleasure. The original hit song by the Cornelius Brothers & Sister Rose and a reggae-fied cover by the Chi-Lites.

It’s too late to turn back now, which is why we’re jumping to the break. Make that falling…

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Saturday Odds & Sods: Icy Blue Heart

The Mediterranean Coast by Henri-Edmond Cross.

It’s hot as hell in New Orleans. Anyone surprised? I’m certainly not.

The big local story remains the mess at the Sewerage & Water Board.  The temporary head of the agency tried to give two employees raises but they were all forced out instead. Score one for Mayor Cantrell. She finally put some points on the board amidst an early rebellion by the City Council.

The SWB billing melodrama continues. One of the people caught up in that clusterfuck is my old friend Karen Gadbois who wrote about it in the online publication she co-founded, The Lens. Check it out. You may need to check your blood pressure after reading it.

The SWB saga poses the eternal question: where have you gone Ed Norton?

That concludes this impromptu edition of Album Cover Art Saturday. Time to go down the sewer with Norton:

This week’s theme song was written by John Hiatt for his classic 1988 album Slow Turning. Icy Blue Heart is one of the best “tears in your beer” weepers of all-time. We have John’s original followed by a cover by the sublime Emmylou Harris with Bonnie Raitt on backing vocals. The Bonster is pretty awesome too.

The opening lines of that song get me every time:

She came on to him like a slow moving cold front.

His beer was warmer than the look in her eyes.

Now that we’ve wept bitter tears, it’s time to dry off and jump to the break.

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Saturday Odds & Sods: Chain Of Fools

Aube a Monserrat by Andre Masson.

I’m thinking globally, not locally this week so I’m kicking things off on a celebratory note. We all need verification that not everything sucks. Today’s good news is that the Insult Comedian’s damn fool military parade has been cancelled. The Pentagon initially delayed it until next year, then the president* got all pouty and cancelled it outright. It’s those mean old local politicians who thwarted his will. Poor baby. Give him his binky and he’ll be okay. Sad.

We’ve all had Aretha on our mind since her passing. I had to do some restructuring of this post as a result. How could I possibly NOT have another Aretha tune as this week’s theme song? Hence Chain Of Fools. The song was commissioned by Atlantic Records honcho Jerry Wexler for Otis Redding. Once he heard songwriter Don Covay’s demo, Wexler realized it was perfect for Aretha. Yeah you right, Jerry.

We have two versions of Chain Of Fools for your listening pleasure: Aretha’s original and a 2004 cover by the late Joe Cocker:

Grab on to the chain, chain, chain, chain of fools while we jump to the break.

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Saturday Odds & Sods: The Calling

Tales from Topographic Oceans by Roger Dean.

Summer colds are the worst. I’ve been laid low by one. Achoo. My nose looks as if it belongs to Rudolph and I sound like Froggy in The Little Rascals. Shorter Adrastos: I’m going to keep this introduction concise lest writing it winds me. Hopefully, the rest of the post will make sense: I’m blogging hurt. Make that wheezy. Jeez, that sounds like an episode of The Jeffersons.

This week’s theme song is the stirring album opener from 1994’s Talk by Yes. Like many other fans, I call the Trevor Rabin-era band, Yes West. They moved their base of operation to Southern California in the 1980’s, and had a different sound than classic Yes; pop-prog as opposed to pure prog. Hence Yes West. The Calling was written by Jon Anderson, Trevor Rabin, and Chris Squire and it rocks like crazy.

We have two versions for your entertainment. First, a video featuring a goofy cosmic introduction by Jon Anderson. Second, a live version from the Talk tour that commences with an instrumental Perpetual Change.

While we’re on the subject of Yes, the featured image is Roger Dean’s cover of Tales from Topographic Oceans without the lettering.

Now that I’ve gone all art rocky on your asses, let’s jump to the break.

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Saturday Odds & Sods: Riders On The Storm

Rain, Steam, and Speed by JMW Turner.

There will be no tin cup rattling today since we reached our goal Friday. I’d like to thank everyone who supported what we do here at First Draft. I suppose I should thank Al Capone for helping out but what does a dead wise guy care? Btw, I neglected to state that Stephen Graham in Boardwalk Empire is my favorite reel Capone.

The big story in New Orleans is the ongoing clusterfuck involving the Sewerage and Water Board. A year from tomorrow, there was major street flooding in Mid-City. I hate hearing about the August 5th flood since it’s my birthday but what can ya do? The people whose homes, businesses, and cars flooded hate it even more.

The latest mess involves billing. The lunkheads at SWB have computerized the way they bill customers. In theory, it’s a fine idea, but in practice they failed to adequately train the meter readers in the new system. The result has been crazy large bills that customers have refused to pay. The SWB vowed to crack down on what our new Mayor called “bad actors” by cutting off their water.  They backed down the other day when it became clear that some of the “bad actors” were poor people with $5,000 bills *and* that they could only disconnect 50 customers a day. TFC: This Fucking City. Stay tuned.

I selected this week’s theme song after it popped up in the last episode of Sharp Objects. That show seems to be a love/hate proposition for viewers. I’m on the love side for the music, atmospherics, and acting, especially the divine Amy Adams.

Riders On The Storm was written by the Doors for their last full-blown LP, L.A. Woman. Jim Morrison’s lyrics are moody and expressionistic even for him. We have two versions for your consideration: the original studio track and a live version by 21st Century Doors, a band featuring Doors keyboard player Ray Manzarek and guitarist Robbie Krieger. I wish they hadn’t hired a Morrison lookalike as their singer: it’s creepy.

A quick story about Jim Morrison. My sister-in-law’s mother-in-law went to high school with Morrison. She remembers him as a nice boy. I bet you’ve never heard that anywhere else.

It’s time to break on through to the other side and jump to the break.

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