Re-Listening « Kenny Smith | A remarkable thing happens …

Re-Listening

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27
Mar 25

Music and a book

We have plenty to catch up on, and we must do it before I forget all about it. It’s easy to do that when there’s constantly so much to add. Constantly so much. You can’t even imagine how many things have accumulated since I began typing this.

From time-to-time I have to remind myself to read things for fun. And there’s just … so much. The work material, which is interesting. Daily news, when it isn’t doomscrolling. And some of that turns into work stuff, in a variety of ways. Every day, it seems, there’s a new thing that will be an example in one class or another. And then there are the, no kidding, 200+ books sitting here waiting for me. (I just counted. I should be reading.)

So, let us make the smallest of dents. A few days ago, as we traveled to and from Chicago, I read The Great Rescue. It’s about the USS Leviathan, seized from its German master when the U.S. joined World War I, the liner turned into a transport shipping, moving doughboys back and forth from New York to the U.K. The book was released to coincide with the American centennial anniversary of the war. I bought a digital copy of it in 2020, and finally opened the thing.

This vessel was a luxury liner sailing under the Germany flag, christened as SS Vaterland. She was opulent, massive and fast. She first sailed in 1914, a three-funnel beauty built as the largest passenger ship in the world, meant to move 4,050 passengers, and some of them in the grandest style. The Vaterland had only made a few trips before her fate was forever changed. It was docked on the Hudson when the United States declared war. After a time, it was taken over and repurposed. As the Leviathan, the vessel made 10 round trips, carrying over 119,000 people over there, before the armistice in 1918. Nine westward crossings in the year after the war ended brought the survivors home.

Is there video of this legendary boat? Of course! It’s only 100 years old.

It was also crowded as a troop ship. And the passengers needed to eat.

As for the book itself, it’s a popular history read, and it moves well. Reading about World War I from this distance is interesting distance because, on one hand, we have things like those videos, but not a lot of the popular histories always want to go too deep on the human subjects. The Great War was so broad in scope that the best histories are observed at the division level. This one, despite the distance and the large sample size, we get a little bit of time with the captains, men named Joseph W. Oman, Henry F. Bryan, who commanded seven of the voyages, and William W. Phelps, who was in command when the armistice was signed. (She was in Liverpool at the time.) But not Edward H. Durrell. He was the last military captain of the Leviathan. He shows up in the index, but not in the text. John Pershing and his staff went over on an early voyage.

You can’t tell the American story of World War I without mentioning him, so the book veers away from the vessel now and again to talk about him, his war, and meeting the woman who would eventually become his wife. Douglas MacArthur came home on the Leviathan after the war ended, American readers know that name, so some of his combat exploits are included.

We meet Royal Johnson, who was a young congressman and briefly a soldier before he was wounded and knocked out of the war. You meet Freddie Stowers. He gets a nice treatment, but there’s apparently a fair amount we don’t know about his early life. Only in the epilogue do you learn that he was posthumously awarded the Medal of Honor. You meet the writer Irvin Cobb, who covered the war and probably had his exploits downplayed. And you also met Elizabeth Weaver, a nurse that went over to Europe and returned on the Leviathan. She plays a minimal role in the book, but it’s a second woman, one supposes.

Reading about World War I from this distance is also interesting distance because, on the other hand, it is so often short on those individual tales. And this is the case here, too. The book moves swiftly, and it probably does well to have the cutaways from the voyages to the short vignettes of these people’s stories. What’s the alternative? Writing about yet another day at sea? More smelly, cramped holds? A possible periscope sighting, again?

The other big character in the book was the influenza outbreak, and it comes up, but it feels like maybe it was tacked on as an afterthought, or cut down for some reason or another.

“The curtain was coming down on the wartime career of the Leviathan. It happened quietly, with none of the fanfare and news flashes that had accompanied the seizure of the ship in April 1917. The last entries in the log were made on October 29 as the vessel was tied to her moorings at Pier 4. Totally ignoring or missing the quiet end to her naval career, the New York papers devoted their front pages that day to the ongoing Senate fight over the peace treaty, a looming national coal strike, and how the prohibition amendment would be enforced when it went into effect in January. There was no mention of the Leviathan.”

The ship was decommissioned that day, a day the ship’s final log noted was “clear, slightly hazy, light SW airs.” It sat in New Jersey for a few years. By then, there were more ships than anyone needed. It was overhauled and refurbished and in 1923 United States Lines landed a deal to take five trans-Atlantic voyages a year, but it was expensive and it was Prohibition. In a decade as a post-war cruise liner it never turned a profit. And then came the Depression. The Leviathan was retired in 1936, sold, and scrapped in the 1940s.

Since we’re catching up, let us return to the Re-Listening project, where I’m probably 17 albums behind. I’m playing all of my old CDs in more or less the order in which I acquired them all. I say more or less because this book is out of order. I had hit the 21st century, but right now I’m back in the 1990s. It doesn’t matter.

Anyway, I figured that since I was listening to all of these again I could write about them here. “What a great regular feature,” and I’ve only come to regret that it has taken forever, because I have a lot of music, and I don’t do this regularly. The idea was that I could pad this space, pull up an old memory or two, and then play some good music.

So it’s … let’s say 1997, maybe 1998, because I got the CD books out of order. And, today, we’re in a bit of a greatest hits phase. First up, “Words & Music: John Mellencamp’s Greatest Hits,” a two-disc retrospective featuring at least one song from each of his studio albums released between 1978 and 2003, some 17 records.

These aren’t music reviews. They certainly aren’t music reviews of 21-year-old greatest hits, so this will be brief because I don’t have any good recollections attached to this. Besides, everyone has the same John Mellencamp memories, anyway, and that’s not a bad thing.

So, quickly. This is the first track on the first disc. It was an unreleased song, and it immediately tells you your favorite pop artist has entered a comfortable phase. It’s the strings, and the rhythm.

There was another new song on the second disc. And it reinforces the notion you got from the first one.

That’s probably a little cynical. I’m sympathetic to a problem had later in the 1980s Mellencamp. Everyone wanted him to make Jack and Diane over and over. No one wanted to see the guy grow or change as an artist or musician. I’m neither of those things, but I understood his complaint.

So let me share my favorite song from Johnny Cougar, from 1987.

Mellencamp had a bit of a reputation in Bloomington. And I almost met him once, just before we left. He was donating his papers to the university, and they had a big ceremony in our building. It was all very locked down for someone selling a man-of-the-people gimmick. Hilariously, while all the old university people were thrilled, none of the students even knew who he was.

Entertainment is a tough business like that.

Anyway, here’s your new favorite John Mellencamp song. Someone there played it for me, probably one of the family members or handlers was within earshot at the time.

He doesn’t have any tour dates on his site for this year, just now, but Mellencamp did more than two dozen shows last year. He still paints. He does VO work. Not bad for a guy in his early 70s.

If you like Mellencamp, and you can find it, there’s a good documentary-concert that was released about 15 years ago titled “John Mellencamp: Plain Spoken Live from The Chicago Theatre.” It’s worth checking out.

The next disc up was another greatest hits effort, and it’s not even their first compilation, but it was a good one for me. Def Leppard’s “Vault” covers the 1980-1995 range, and somewhere there in the 1980s was when I started finding my own music. MTV, don’t you know. They were there, I was there, it was bound to happen.

“Vault” was eventually certified five-times platinum in the U.S. It went platinum in four other countries and gold in four more. And that’s why you release greatest hits. Sometimes you make easy money on music already produced.

Which is not exactly fair. There was one new track.

It was a post-grunge era power ballad. There was a lot of that in 1995.

To promote the record, the band did shows on three continents in one day in Morocco, London and Vancouver. This put them in the Guinness Book of World Records, under the larger category of Things That Don’t Need To Be Records.

The rest of the tracks are off “Pyromania,” “Hysteria,” or “Adrenalize.” They all figure into the Re-Listening project, and this is already very long.

I’ve never seen Def Leppard live, and I’m surprisingly OK with that. They’re still touring, some 48 years into the band’s life now. I guess they’re the Stones, but with more intricate instrumentation. They’re playing all over North America this year.

Tomorrow, another book (I know!) and probably some more music.

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27
Feb 25

Go enjoy it again

I’ve got nothing much, and we’re woefully behind on the CDs, so guess what? If you don’t like this you should come over and do some grading for me so I can do something more fun, that’s what.

We are 13 albums behind in the Re-Listening project. This is the one where I’m listening to all of my CDs in the car, and in the order (more or less) in which I acquired them. More or less because all of them are in CD books. Remember those? And I recently discovered that I got two of the books out of order. None of this matters.

This is the second time I’ve written about Memory Dean in the Re-Listening project. The first time was in 2022, which was just at the beginning of this silly exercise. It hasn’t been a regular feature here, but it has been fun. Memory Dean, their independent album that they were selling out of the back of their trunk in 1993. The obscure “In My Father’s House There Are Many Mansions” album was half studio production and half live shows. And, in truth, was probably originally a cassette. I got it because a college buddy of mine knew the band, introduced me and gave me that one in the rare disc trade. Memory Dean is a group from Georgia, where my buddy was from, so he could get more copies. He liked a CD I had that really only had one good song on it, by a band that was local to me, a band who’s name I can’t even remember, so we swapped.

In 1997, “So Complicated” came out, their third release, their first as a full band, having added a rhythm section. And they were finally on a small, independent label, Capricorn Records, originally out of Macon, but by then a Warner Brothers imprint running in Nashville. Somewhere around that time I picked it up.

Here’s the title track, which, on the basis of this driving power, they released as a single.

That’s much different than what Memory Dean had sounded like for years in all the little venues across the Southland. It was too guys and two guitars and some good times and singalongs. And there’s some of that on “So Complicated,” too. The problem, for us, is that almost nothing from this album is online. Go figure.

But here’s a demo of track six, which probably should have been the lead off track for all that it signaled about this record.

Despite the new direction, there are some re-orchestrated versions of stuff that had been on their first two releases. “Ghost,” for instance, came out on their previous effort, and it’s in the classic format.

The only thing missing is the Bubba Riff.

Similarly, “Dying to Live” made it on here, too. And it’s a better title than anything else.

Their last release, according to Discogs, was 2001, which is about right. They still played, and then they played sporadically. From what I can tell it was probably special appearances or venues with historical or otherwise convenient ties. It looks like they haven’t played together since 2021. Shame, really. They had a good niche and a fanbase to go with it.

Then there’s this other, even better niche. I don’t recall when I got this, but it was probably in a bargain bin, and it was an absolute steal. When I got it, I probably thought something like “Everyone needs a little Otis.” My apologies for not clearly remembering my inner dialog from more than a quarter of a century ago. I’d like to distract you from that failing with Mr. Dock of the Bay himself.

That’s straight out of the Stax catalog, and there’s nothing wrong with that. This album comes to us from 1968, is still timeless and remains one of the best records ever pressed into any format. Otis Redding’s seventh studio album, and one of the many many posthumously released titles. The last stuff he laid down for this were recorded two days before the plane crash that killed him in December of 1967.

A lot of the tracks collected here some B-sides or things that, by now, are well known to us. “Glory of Love” was basically a standard, and it became a top 20 hit in 1968, four decades into its life here, but I did not know, until just this moment, that Redding had a video for this one, and it is almost 60 years old now. And, aside from a little problem of warbly tape degradation that was sneaking into this before it was digitized, I might prefer this version.

The guy just looks so effortlessly cool there, that even back then in what have to some of the earliest days of what we think of now as a music video, there’s just two shots. I assume the cutaway in the middle is to cover a lip syncing flub.

The Huckle-Buck came to us from Tin Pan Alley (and so I really am curious about the song selection here now) and this is what a crossover hit sounded like after it had crossed back and forth a few times since the 1940s.

Here’s the original, which topped the R&B charts for 14 weeks, if you want to get really historical. And if you hear rock ‘n’ roll here, from 1949, you’re not the only one.

Proving once again that I need someone to create the living breathing flow chart of music, what a site to see that would be. (Music history of the 20th century would be, probably, my fourth interesting area to study, if I could keep all of it straight in my head, or if someone developed that chart. I imagine it like a family tree.)

Speaking of sites to see, this song and the dance craze that came with it mainstreamed enough to make it onto The Honeymooners.

The Tin Pan Alley aspect of the song comes in with the lyrics, of course. Roy Milton sang it first, and he drove the song to the number five spot on the R&B charts.

Frank Sinatra did it soon after and could only push it to 10.

But you wanted a blues standard, I heard you say? Otis Redding is your man. Here he’s got a post World War I vaudeville-style piece that has aged remarkably well, for now being more than a century old.

Remember, I said I got this because I figured everyone needed a little Otis Redding. But what you get out of this album is an education. There’s music from all over the country and spanning three or four decades of the best American art forms, 11 tracks in all, and 10 of them are spectacular. It closes with one of Redding’s own B-sides, a soul-infused blues track that probably is due a remaster, but only so you can study every integral part of the thing.

Wikipedia tells us that “Ole Man Trouble” helped Redding capture the growing white blues/soul market. No citation was needed. Every time this song, or anything on this album plays, I feel like there’s a new sense of discovery going on between my ears. It’s not an ole man trouble, but a young man’s appreciation.

It will never not surprise me to remember that he died before this record was released, and he was just 26 years old.

And that’s 1,200 words on music you weren’t expecting today, but if you made it this far I know you found something you enjoyed. Go enjoy it again.

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23
Jan 25

Re-Listening: Not sure if rhythm or all the vocalists

The front of our house faces to the northwest.

Excuse me, I have started typing and a cat has interrupted.

Thirty-four minutes later I am reminded why I sometimes struggle to get things done. And he only moved after I had a little coughing fit, because I am getting a sinus-head-cold-thing.

But after 20 minutes, he started snoring, which is always kind of cute.

Anyway, the front door faces to the northwest. If you’re standing on the porch, the driveway is to your right. We have something of an oversized driveway. It seems that, at least for a time, the previous owners had an RV. So there’s a spot for that. It’d be great for additional parking, if we knew that many people. We don’t. What it is, right now, is extra cement to shovel. Or slip and fall on. (I’m fine.) Or ignore. And that’s what we’ve learned to do. After the first snow here I paid attention to the tire tracks and saw the part that isn’t important for getting into or out of the driveway and garage. And I’m not shoveling that part.

It’s on the northeast side, almost east-northeast. And this is how it looks four days after the snow and in constant subfreezing temperatures.

Which is also the answer I found earlier today when I asked myself, Why haven’t I been outside in a while?

It’s stupidly cold. And I have a temperature rule. That’s why.

We’ll hit the low 40s to start next week, though.

We haven’t visiting the Re-Listening project lately, which means I’m behind again, which means we’ll rush through some more records. The purpose of the Re-Listening project is that I am playing all of my old CDs in the car, in the order in which I acquired them. It’s a lot of fun and a lot of nostalgia. And a lot of good music. I figured I could pad the site out and write about it here, and so that’s what I’ve been irregularly doing. And boy, has it been irregular. I don’t think we’ve done a CD since November. Then, I was listening to music I picked up in 2006 or 2007.

I’ve started a new CD book now, however. And I think I’ve done this out of order. It doesn’t matter. But it matters to me. Which means it matters not at all.

The year, then, is 2001 or so. Or maybe 1998. Anyway, it doesn’t matter. I guess I have to re-frame the whole project. I’m re-listening to the CDs mostly in the order in which I acquired them, more or less.

I’m sure I had this on a cassette, originally, since it came out in 1992 and the first time I heard this song on the radio, or MTV or wherever it was, I knew this was something I had to hear more of.

Which was pretty odd for a kid being steeped in everything Seattle exported.

But these guys from Chicago put out a big sound full of rock, soul, and rhythm and blues. And it was fantastic. It still is.

So imagine my surprise the first time the tape got to the third song. My utter delight, looking at the faux wood grained stereo, those big hip high speakers with the black foam covers, when these sounds came out of it. Every sound is perfect.

But the real treat in the record, then as now, is the sheer variety. The styles, the singers, the vibes, all of it. Every tack is a story all it’s own.

Also, the vocals. All these people have these hugely powerful voices. It’s also been a great singalong. And I do always wonder, when it does float to the top this way or that, how it disappears for big chunks of time.

A song I was just singing while washing the dishes.

Sonia Dada toured at least a few continents, released four more studio albums and a live album before they broke up in 2005. Not bad for a bunch of guys that started singing in the subway. Sadly, I don’t have any of their other records, but they’ve been added to the list.

The next time we get back to the Re-Listening project, which won’t take two months, we’ll hear from a pair of north Georgia boys.

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7
Nov 24

I’m grading, so you get the simple version of the day

I made a Christmas present today. Can’t be talked about. You never know who reads this stuff. And another present arrived. Ssssh, don’t tell anyone.

Christmas? I am in no way prepared for the Christmas season. I never really am. But it doesn’t seem like that time of the year should be sneaking up on us. It never really should. But all of this happens every year.

If I wrote about that today, what would I do in the next six weeks? I should get back to grading, anyway.

I started the week with 148 items to grade, and I’ll finish those up tonight. It’ll be a fury. Or a flurry. It’ll probably be fuzzy.

Let’s return to the Re-Listening project. In the car, I am playing all of my old CDs in the order of their acquisition. And I’m writing about them here, occasionally, to pad out days like today. These aren’t music reviews, because who needs that. But they are sometimes a good excuse to dredge up a memory or two. They’re always an excuse to put some good music here.

And this good music is from Will Hoge. He’s from Nashville, and he fits the overlapping areas of Americana and country these days, but his debut was pure blue bar rock ‘n’ roll. He had a band that almost made it, then toured the South as a solo act with a supporting band. Dan Baird stood there and played guitar next to him, so it was basically a coronation. Carousel came out in 2001, and this song broke speakers all over alt rock stations.

I loved it immediately, it was the frenetic pace, the driving rhythm section, the desperate way he was screaming out the lyrics. Hey, it was 2001, but it was five or six years before I picked up this record.

It’s a debut album, which is great, but also limited. He was still growing into his craft. And I’ve yet to see him live, but it looks like a good time.

Here’s the title track.

Somehow, this was one of those CD mixes, one with a provenance I’ve forgotten. But whoever made this did me a real solid, or maybe I knew what I was doing, because there are five live Will Hoge tracks tacked onto the back, including this phenomenal Bill Withers cover.

He’s got a peppy little version of “Mess Around” that apparently no one has ever uploaded to the web. I’m not saying this version of the song being online would solve the web’s problems, but we can’t disprove it, either.

And there’s a sweaty bar version of one of the other key songs from this record, one I didn’t share earlier because I wanted to put it right here, in a live version worth hearing, in all of its clangy, brassy, Telecaster glory.

Since then Will Hoge has put out 13 more records, and I’m going to introduce his music to a relative soon, because some things just need to be passed down.

One day I’ll even get to see him play. He is doing some touring right now, just not close by. (Update: Turns out he was here about three weeks ago, and I had no idea. Come back, Will!)

The next time we return to the Re-Listening Project, we’ll go all the way back to 1992. This was a CD I picked up to finally replace an old cassette and I guarantee you that every time I’ve listened to it, I’ve wondered why I waited so long to do that. It’s going to be a great listen.

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1
Oct 24

Welcome to Catober!

Welcome to Catober, where we daily highlight the kitties, because once a week isn’t enough. They also get their own posts in October, because they slipped that into their contract when we weren’t looking. So, I’ll take turns highlighting each cat. Tomorrow we’ll have some amazing Phoebe cuteness. You can see the full collection of lovely cat poses right here.

I’m mid-thigh in grading things. Fortunately not hip deep, and only that deep because I stayed up far too late — even for me — grading stuff. And so today I graded stuff. Tonight, I will grade other things.

At this rate I’ll be grading things all day and night tomorrow. I believe I have it paced out so I can finish grading on Thursday. Just in time for this weekend’s stuff to start rolling in for grading next week …

Whoever set this schedule up deserves a talking to. Me, it was me. I deserve a talking to.

Here’s a video I shot on yesterday’s bike ride. There are a lot of fields turning a beautiful, bright yellow just now. I might have caught these just a few minutes too late in the evening for the color to really pop. Still lovely in their own way.

Since it is the beginning of the month, we should check in on the mileage. September was a good month, my best September ever, and it turned into the fourth most miles in any one month, be they ever so humble. And we can see the progression through the first nine months of the year on this neat little chart.

The blue line is this year, the red one is last year, and the steady green one is a simple what if projection of doing 10 miles per day. I’ve been trailing behind that, sadly, since mid July. Now I’m making progress and I’ll be back over the green line before you read this.

And there are some humble, yet cool-to-me milestones coming up on the bike. You’ll be underwhelmed.

I’ll be whelmed.

That’ll be the extent of it.

Let’s get back to the Re-Listening project for a brief update. This is the one where I’m listening to all of my old CDs in the car, in the order in which I acquired them. At some point, I figured I could write about it to pad out the site with a bit of content — share some videos and the like, but these aren’t reviews, because no one cares. So let’s get to it, so I can get caught up. (I’m only behind by three albums, I think.)

We’ll return to 2006 or so, when I picked up a copy of Live’s 1999 record, “The Distance to Here.” It was the band’s fifth studio album, it went platinum in a month, debuted at number four on the Billboard 200 chart, topped the charts in three other countries, and settled into the top 10 in a half dozen more. They promoted three singles from the record, all which became at least moderately successful on the Alternative Airplay chart. But it never really worked for me. This is the last Live album I bought, and by the time Ed Kowalczyk left the band a decade later, I had no idea.

But I have two things here. This works a whole lot better now, for me, than it did back then. It could be a small doses record at the very least. And one or two of these tunes could be sticky — which is sometimes good and sometimes “get out of my head.”

The other thought was centered around this show at a concert. I saw the band at a festival when they were touring on this record. They closed their set with this song, and they were working out the instrumentation so that, one-by-one, the band slipped away off the darkened stage. Then there was only Kowalczyk, and the whole sweaty crowd was singing along and he stopped strumming his guitar, they kept singing, and he waved and walked off. It was better than this version, which came about some years later, but similar.

Kowalczyk rejoined the band after a few years away. And then he fired the band. They were all, as I recall, southeastern Pennsylvania high school classmates who got their break soon after, and became a 10-years-later overnight success. And now, they’re taking turns suing each other or some such. Kowalczyk is touring with the name, but all new band mates. They just came off the road from a midwestern swing last week.

In the next installation of the Re-Listening project, we’ll try out a pretty decent tribute album I’d entirely forgotten about — which is entirely the point.

And now, back to grading. And next for you, more Catober!