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 Court. To 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.
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.
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.
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.
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?
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.
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.
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.
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…
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.
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.
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.
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 Empireis 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.
I vowed not to complain about the heat this week. It’s always hot in New Orleans in July, after all. Besides, much of the world is having a heat wave so we’re not alone. Suffice it to say that even people who like warm weather are complaining about it. I’m trying my best to be stoical in the face of it all. I’m not sure if I’ll succeed in this but who the hell wants to hear a grown man whine about the humidity?
A big local story was the anointment of Zach Strief as the new play-by-play announcer of the New Orleans Saints. He has huge shoes to fill: Jim Henderson was to the Saints and their fans what Vin Scully was to the Dodgers. I’m skeptical that the inexperienced Strief is up to the job: he’s a recently retired Saints offensive lineman, and while he’s a bright, articulate guy, he’s unqualified to be a play-by-announcer. Of course, this is the age of the unqualified.
Our theme songs this week are variations on a dreamy themey. Patsy Cline’s Sweet Dreams was written by Don Gibson who recorded it 8 years before Patsy. Her version is the one we remember. Sweet Dreams was also the title of the fabulous Jessica Lange starring 1985 bio-pic.
Yes’ Sweet Dreams comes from their second album, Time and a Word. They were still finding their way in the musical world at that point.
Sweet Dreams (Are Made Of This) was a monster hit for the Eurythmics in 1983. There was an epidemic of teenage girls who cut their hair very short because they wanted to be Annie Lennox. Who could blame them?
That concludes this foray to Disambiguation City. It’s time to awaken from your dreams, sweet or otherwise, and jump to the break.
It’s been a long and difficult week for Americans who haven’t imbibed the MAGA Kool-Aid. I already wrote about it on Thursday and Monday so we’re going to keep this introduction snappy and mercifully brief. I wonder if the Insult Comedian would call that a double positive?
This week’s theme song is upbeat and positive in response to all the gloomy shit going on in the world. The Best Is Yet To Come was written for Tony Bennett in 1959 by Cy Coleman and Carolyn Leigh.
We have three versions for your listening pleasure: Tony Bennett, Frank Sinatra and Count Basie, and Chaka Khan. That’s right, Chaka Khan. She can sing anything, y’all.
This is the second time I’ve used The Best Is Yet To Come as a post title. The first was after President Obama’s re-election in 2012. It’s time for him to eschew the non-political Jimmy Carter post-presidential model, make like Harry Truman and hit the stump this fall. His party and country need him. Give ’em hell, Barack.
I’m not sure where the tree of life is right now, but I long to “pick me a plum.” I’ll figure out how to do so after the break.
Happy Bastille Day. I’m not planning on storming anything, it’s too damn hot for that. I *am* spending some time in the heat by attending San Fermin New Orleans. It’s our zany version of the running of the bulls in which the bulls are rollergirls with plastic bats. I’m not running, I’m drinking mimosas, eating donuts, and hanging out with Dr. A, our friend Cait, the child army, and whoever else shows up. It’s a sweaty, fun, and deeply silly time.
I predicted that the president* would make an ass of himself in the UK and he has done so. He gave an inflammatory interview to the Murdoch owned Sun wherein he praised Boris Johnson, criticized Theresa May, bashed immigrants, and wished people would call the country England again. He apparently re-annexed Ireland while he was at it. The next day, he denied attacking May and called The Sun “fake news” even though it’s owned by his pal Rupert. It was just another day in Trump World.
The featured image is one of my favorite photographs from the New Orleans Museum of Art’s Lee Friedlander in Louisiana exhibit. The New York based photographer has a passion for New Orleans, which is on display at NOMA until August 12th.
This week’s theme song was written by Richard Thompson for Pour Down Like Silver the third album he and then wife Linda recorded together. We have three versions for your listening pleasure. The original version followed by covers by the Neville Brothers and Bonnie Raitt. RT plays on the latter recording.
Now that we’re feeling a bit on the dim side, let’s brighten things up by jumping to the break.
To say that New Orleans is a football town is a grotesque understatement. Between the Saints and LSU Tigers, gridiron love runs deep in the Crescent City. But last Monday, local sports fans were talking about the NBA Pelicans. Our local hoopsters lost 2 players to free agency: Rajon Rondo and DeMarcus (Boogie) Cousins. The latter Boogied to the Warriors and the surly Rondo signed with the Lakers. I was one of the few local hoops fans to take this in stride. Rondo was a team leader last year after 12 years as a locker room cancer and occasional gay basher. Boogie Cousins had a torn ACL, which is an injury that usually diminishes big men when they return. I had a torn ACL myself. It ended my unpromising career as a little leaguer. So it goes.
In other local news, new Mayor LaToya Cantrell continues her incomprehensible PR campaign:
#CityOfYes is more than a hashtag. It’s a culture I ask you to help me build in New Orleans from our residents to our business community. It’s about saying Yes to being intentional everyday about how we treat our neighbors, where we spend our money and cleaning up our city. pic.twitter.com/aGeIvQHnnb
— Mayor LaToya Cantrell (@mayorcantrell) July 2, 2018
I still haven’t the foggiest notion as to what “being intentional” means. Of course, I may just be unintentionally dim. I had an intentionally amusing twitter exchange inspired by the Mayor’s tweet. Two of my twitter friends evoked the image of Matt Foley, Chris Farley’s failed motivational speaker, culminating in this tweet from my old pal Liprap:
This week’s theme song is a bona fide hippie anthem. Get Together was written by Dino Valenti who is best known as lead singer for Quicksilver Messenger Service. Valenti was a man of many names: he was born Chester Powers and also wrote songs as Jesse Orris Farrow.
We have three versions of Get Together for your listening pleasure. First, the Youngbloods, a band so hippie dippy that their keyboard player was nicknamed Banana, followed by the pre-Grace Slick Jefferson Airplane, and a recent live version by Dave Alvin and Jimmie Dale Gilmore.
In case you’re wondering, the featured image is by Rick Griffin who was one of the legendary Sixties rock poster artists. The image itself was originally on a poster for a Youngbloods show at the Avalon Ballroom in San Francisco.
Now that we’ve discussed the Flying Eyeball, let’s make like Evel Knievel and jump to the break.
Summer in New Orleans is typically one long heat advisory but this week has been one of the hottest I can remember. It’s August hot. It’s so hot that new kitty Paul Drake isn’t trying to bolt out the front door whenever it opens. It’s so hot that the air smacks you in the face like a wet barber shop towel. I’m almost tempted to try frying eggs on the sidewalk but I don’t believe in wasting food. In short, it’s fucking hot.
I haven’t been as prolific as usual blogging-wise the last few weeks. I’ve made the mistake of taking the news too personally. It’s bad for both the psyche and satire. It’s been hard not to: the news has been so unrelentingly bleak of late. It makes it hard to be a glass half full person. It’s looking bone dry. That’s why I’m going to keep this post on the snappy side. In addition to my proverbial glass being bone dry, my funny bone is banged up. The good news is that it’s bruised, not broken. And writing Odds & Sods is always therapeutic.
This week’s theme song was written and recorded by Old 97’s for their 1999 album, Fight Songs. That was when this Dallas based alt-country power pop combo came on my radar screen. Lonely Holiday is a very sad song, which is appropriate given the events of the last few weeks. Only a sad song will do.
Get ready to rock with the original studio track as well as a lively live version:
Now that Rhett Miller has serenaded us with a sad song, it’s time to jump to the break.
Fantastic Landscape (Volcano Erupting) by David Alfaro Siquerios.
Our visit to Virginia was a quickie. One of the highlights came on the return trip when we met longtime First Draft readers Lex and Carroll Alexander for lunch. We rendezvoused at Stamey’s in Greensboro, NC and ate the food of their people: barbecue. The meal included perhaps the best peach cobbler I’ve ever had. A good time was had by all but I’m afraid Carroll and I did most of the talking. She has family roots in the Gret Stet of Louisiana and I was eager to untangle them. Nosy might be a better word, but it’s always fun to learn someone has Momus/Comus/Proteus old line krewe types in the family. You never know what happens when you give someone’s family tree a shake. All sorts of oddities are likely to fall out.
On a weird note, I got into a twitter slagging match last week with a Gret Stet legislator’s wife. My crime was criticizing her hubby’s voting record. She was not amused and he contacted me by DM. “Perfection” is a terrible burden and they don’t carry it well. #sarcasm. I wound up inviting them to a “block party” so the fight would end. I’m not sure why they think fighting with citizens is a good move but they do. I’m not the first person to have this experience and won’t be the last. Weird, weird, weird.
This week’s theme song wedged itself in my head on our trip home. The title is a minor misnomer as we got home last Sunday. The very Beatlesque The Day I Get Home was written by Difford and Tilbrook for 1991’s Play album. We have two versions for your listening pleasure: the original studio recording and a swell live performance.
Now that we’ve trekked home, it’s time to jump to the break without crash landing. Knock on wood or some such superstitious shit.
Dr. A and I are on the road today after a whirlwind trip to Virginia for our nephew Ryan’s high school graduation. His graduation ceremony was a bit *too* exciting as there was a threatening phone call that led to the hall being cleared. It turned out to be a crank call, but in 2018 one has to take these things seriously. So much for my plan to embarrass the nephew. So it goes.
This post is a place holder but I do have a theme song: Life On The Road from the 1977 Kinks album, Sleepwalker. It’s the opening track of that record and it rocks like crazy:
The closing track of the album has the word life in the title as well. It’s the story of a guy who tries to commit suicide on an impulse but decides to live instead. A subject that’s both timely and timeless.
How about one more Kinks tune for the road.
That’s it for this week’s weak edition of Saturday Odds & Sods. I wrote this before hitting the road so I’m using a two-year old picture of the nephews doing what they call the Twin Towers. Kids today.
It feels like August outside as I write this with the ceiling fan whirring up above my head. It’s time to dispense with the weather report lest I sound whinier than I am. And I’m pretty damn whiny even though, unlike Della and Paul, I don’t have a fur coat to contend with. Paul Drake deals with his by shedding copiously. Della Street rages against the elements in her own way. She is one mouthy cat, y’all.
I may have cats on my mind but the rest of the city is obsessed with rats in a French Quarter eatery. There’s a viral video and everything. Oh wait, there’s always a viral video in 2018. As someone who worked in the Quarter for many years, the thought of rats near the Big Muddy is not shocking. I’m not planning to go to that restaurant but even good places with clean kitchens have the odd rat. Repeat after me: to live in this town you must be tough, tough, tough, tough. She-doo-be.
The new Mayor is “being intentional” by launching a PR campaign dubbing New Orleans the City of Yes. In the immortal words of movie mogul Sam Goldwyn, include me out, unless it involves the veteran prog rock band. I’m still trying to figure out what the hell “being intentional” means. So it goes.
When I started this regular feature in 2015, I used songs about Saturday as theme songs for the first few weeks. Saturday Sun is one I somehow missed but I’ve had Neil Finn on my mind and in my ear of late. We have two versions for your listening pleasure: the promo video and a live performance on the BBC.
Now that we’ve basked in the Saturday Sun, it’s time to put on some sun screen and jump to the break.
