My kid will be defacing books and desks in no time. Right?
(Warner Bros., 1971)
OK, this record smokes front to back. And I recommend ya smokes while spinning this heavy rock classic. It’s probably my favorite Deep Purple joint (there I go again), with Deep Purple In Rock coming in at a very close second. The majick common denominator is vocalist Ian Gillan, who is easily the best vocalist Purple ever employed (and I love the David Coverdale records). The title track and “No No No” will peel paint, and “Fools” is my favorite track, eight minutes of heavy propulsion with some added spaced exploration. Blackmore never disappoints, and drummer Ian Paice provides plenty of his own highlights. I listened to Fireball last night with a few pals–remotely over Google Hangouts, of course–and we all got down with this crackly, beater of a record. Do these even come without proper wear?
We’re more than two weeks into this thing…with, I’m guessing two months to go until we reach any semblance of normal life. If I think about it in those terms, my heart sinks and my brain turns mushy. But, if I stick with the cliches “take it day by day” and “live in the moment,” I tend to do all right. I sure hope you’re taking care of yourself in whatever ways work best.
As I mentioned in a previous post, one of the few positives to come out of this ordeal is people finding creative ways to pass the time. For me, I’ve been doing live DJ sets with my son…err, DJ Cool Carl, and I just did a loose, late-nite solo set this week that was a total blast (see the vid below to get a taste; I’ll probably do another next week). I’ve also found solace in this here website. I re-fired up The Days of Lore back in February with the intention of simply having an outlet for my writing that doesn’t involve hard deadlines, or any parameters for that matter, but it’s become a savior for me during this period of social distancing.
I have some interviews ready to run here in the coming weeks (gotta find a good transcription service, because transcribing an hour interview, for me, is a 12-hour endeavor that crushes my soul). I’m really excited, too, because while the conversation inevitably touches on the current situation, I’ve also engaged in some incredible conversation about art, life and being human.
I planned on running my interview with Old 97’s vocalist/guitarist Rhett Miller this week, but due to time constraints, it’ll go live next week. Also on the docket: A conversation with Prids bassist/vocalist Mistina La Fave that’s already in the can. Mistina is a riot, a killer bassist, speaks her damn mind, and she’s been navigating the male-dominated music world for more than two decades. I’ll also talk to Chico News & Review Editor Melissa Daugherty about the future of the paper, the importance of strong community journalism, and I’m sure a lot more. I had an interview set up with Deadspin founder and sports and entertainment writer Will Leitch that got derailed once he realized he was going to have to essentially homeschool his kids, but we’ll get that back on the schedule ASAP. Plus, more to come! I am fearless in my quest to request interviews.
So yeah…we’re all doing the best we can, eh? I hope this space provides a little diversion for you like it does for me. Stay tuned. It’ll be fun.
(Atlantic Records, 1974)
I have a ton of country records, but I’ve neglected them over the past couple years–even Willie, whom I love more than most things. But a live DJ set last night over at The Days of Lore Facebook page (which was an absolute drunken, fun and hilarious three and a half hours) prompted some requests for Kenny Rogers (rest in peace, gambler), Dolly Parton and, of course, Willie Nelson. Phases and Stages is, and always has been, my favorite Willie record, which came at his absolute creative peak in the early-’70s. It’s a concept album about a breakup, from the vantage-point of both the man and the woman. There are some pretty biting moments, like “Pretend I Never Happened” (“You will not want to remember any love as cold as mine”) and “It’s Not Supposed to Be That Way,” as well as a couple of fantastic bar-boogie shakers like “Sister’s Coming Home”/”Down At the Corner Beer Joint” and the day-drinking classic “Bloody Mary Morning.” Throughout are lovely instrumental refrains that serve as the connective tissue to the stories. It’s one of Willie’s best. And I’m glad I dusted it off, because it’s a beautiful record, by a beautiful man.