An assortment of selections from Doom and Gloom from the Tomb that I’ve been meaning to check out for a while. In reverse chronological order (of posting, not of recording).
Sonic Youth, Cat’s Cradle, Carrboro, North Carolina, August 5, 2000 – falling neatly in between the first show I saw of theirs and the next two, squarely in the middle of their NYC Ghosts and Flowers period. Be ready for beat poetry.
Pharoah Sanders – Festival de Jazz de Nice, Nice, France, July 18, 1971 – Live Pharoah? Yes please.
Bill Evans Trio – Pescara Festival, Italy, July 18, 1969 / Vara Studio, Hilversum, Holland; March 26, 1969 – two live Bill Evans dates that sound worth checking out.
Yo La Tengo Does Dylan – of course they do. Curious about the cover of “I’ll Keep It With Mine,” which is on the short list of Dylan songs that I’d consider singing in public.
Leonard Cohen – The Paris Theatre, London, March 20, 1968 – OMG.
Somehow in the past fifteen years I’ve been blogging (!), I missed writing about “Blind Willie McTell.” Ever. This despite the fact that the song made the playlist of one of the first mixtapes I ever made back in 1991. And I don’t know that I ever connected the dots on the song’s meaning, in all that time, beyond the vague sense of prophetic dread conveyed by the slowly more intense vocal and piano performance.
It’s twenty-five years since I put that mix tape together, and I’ve spent the last few years feeling as though “this land is condemned.” If the response to the Obama presidency has taught me anything, it’s that slavery was the original sin of this land, and that its repercussions still play out today. So on the heels of writing about the Underground Railroad in my town, about misattribution of black collegiate spirituals by white a cappella performers, about the bureaucracy of slavery, of carefree use of the symbols of the Confederacy a hundred (or 150) years after the end of the Civil War, and of minstrelsy, listening closely to the song again bears dividends.
And I am left feeling that amid revival tents, amid the attempts to dress up the past betrayed by cheap hooch, and despite the otherwise redemptive charge of the blues, we are left with this: an arrow in the doorpost, the ghosts of slavery ships, and the promise of our life in these United States undercut by power, greed, and the inevitable corruption and decay of our descendants.