Grab bag: Alex Chilton RIP

Alex Chilton RIP

I was startled and saddened last night to read about the passing of Alex Chilton, lead singer for Big Star (and the Box Tops). I came to the music of Big Star late, but became a full convert after arriving at the band via a Chris Bell recording. Big Star was really the band of the 2000-2009 decade for me in a way; I spent weeks with “#1 Record/Radio City” on repeat, put songs by the band on no fewer than 14 mix CDs, and posted a gushing love letter to the band on Blogcritics (where I was rightly remanded for my callowness).

It’s hard to believe he’s gone. I know he was a completely different artist after the first two albums–hell, even their third album is a completely different experience–but listening to “Give Me Another Chance” he seems like he should be immortal.

Other posts: Joe Gross on Alex Chilton’s passing; another link to an article about the recording of the classic Radio City album.

New mix: Happy time

The aftermath of a big flood feels like the right time to publish my first mix in about six months. Happy time is one part of a two part mix. This time, I might not ever get around to part two, because it’s the downside of this mix, and I’m enjoying the happy side too much.

Track list:

  1. Finest Worksong (Mutual Drum Horn Mix) – R.E.M. (Eponymous)
  2. Reena – Sonic Youth (Rather Ripped)
  3. Moby Octopad – Yo La Tengo (I Can Hear The Heart Beating As One)
  4. Scared Straight – The Long Winters (When I Pretend To Fall)
  5. Hot Pants Road – The J.B.’s (Pass the Peas: The Best of the J.B.’s)
  6. I’ll Take You There – The Staple Singers (Best of the Staple Singers)
  7. Helicopter – M. Ward (Transfiguration Of Vincent)
  8. Beautiful – Paul Simon (Surprise)
  9. Cello Song – Nick Drake (Five Leaves Left)
  10. It’s Not the Only Way to Feel Happy – Field Music (Field Music)
  11. Thirteen – Big Star (#1 Record – Radio City)
  12. Hopefully – My Morning Jacket (At Dawn)
  13. Fistful Of Love – Antony and the Johnsons (I Am A Bird Now)
  14. No Man in the World – Tindersticks (Can Our Love…)
  15. Happy Time – Tim Buckley (Morning Glory: The Tim Buckley Anthology)
  16. People Got a Lotta Nerve – Neko Case (Middle Cyclone (Bonus Track Version))
  17. Sweet Thing – Van Morrison (Astral Weeks)
  18. Number Two – Pernice Brothers (Yours, Mine and Ours)

Commentary: Did R.E.M. record “Finest Worksong” with the horns in mind, or was it a cynical touch by some producer when it was time to release the single? It reads as a brilliant move, though, 22 years later. I’m of two minds about “Reena”–such a simple song for Sonic Youth–but the fact that I can’t get it out of my head two years on settles it for me. Ditto “Moby Octopad”, which is less a song than an extended riff, but no less brilliant for that.

“Scared Straight,” on the other hand, is a song, and a flipping brilliant one. And the horns alone are worth the price of admission. The horns also provide a great segue into “Hot Pants Road,” which makes a very nice segue into “I’ll Take You There.” A nice little singer songwriter set–“Helicopter,” Paul Simon’s “Beautiful,” “Cello Song”–follows, before we get into the psychosexual set of “Thirteen,” “It’s Not the Only Way To Feel Happy,” “Hopefully,” and “Fistful of Love” (and only Lou Reed could set up that song).

And then the last set. I won’t say anything about it, except that “Sweet Thing” may be the greatest single song ever. How was it that I missed out on Astral Weeks for all this time?

(Update: now on Art of the Mix.)

A visit from the Virginia Glee Club

I was going to write up Monday night’s Virginia Glee Club concert yesterday, but a couple busy days at work and a rehearsal last night ensured that I would get beaten to it (see the Tin Man’s writeup of the New York concert here). So I’ll just give a few thoughts about my experience at Monday night’s concert at Wellesley College.

First: I had not been back to visit Wellesley since our spring trip with Club in the spring of 1991. I saw an old friend (now the editor in chief at Rosetta Stone–time flies) there, but don’t remember much else except the beauty of the campus and of Houghton Chapel. On Monday night, it was a different story, largely because I arrived after dusk and had to scramble to get to the concert on time. Parking in the dark, I found my way back to the chapel via a brisk walk and got there in time to catch a little pre-concert warmup by the Boston Saengerfest singers. As I oriented myself, I saw a tall goateed man in a tux with a Virginia bow tie coming my way, and was delighted to finally meet Frank Albinder after various conference calls and emails. As we were chatting, up came another familiar face–Alex Cohn (Club ’97), now writer and photographer at the Concord (NH) Monitor. It was starting to feel a little like old home week.

Then the concert started. The Wellesley College Choir were lovely (vocally), performing many numbers from memory, and their conductor Lisa Graham was energetic and brilliant. Their performance was followed by a four-number set by the Boston Saengerfest Men’s Chorus. It was observed near me that the average age of the men in the chorus must have been about 70, but their energy through their numbers was unmistakable, and the tenor soloist in the third number had a brilliant voice. And then there was their performance of “Lydia, the Tattooed Lady,” which had the entire Wellesley Choir in giggles.

Afterwards, the Glee Club joined Saengerfest for a joint performance of a few songs, then went through their own set—beginning with “Alle Psallite Cum Luja,” continuing through a set of more modern works (“Embraceable You,” an hysterical song about the real meaning of “Glee”), and then an alumni sing-along section. I had forgotten more than I remembered of Frederic Field Bullard’s “Winter Song,” but “Ten Thousand Voices” and the “Good Old Song” were permanently embedded in my brain. And the joint performance of the Biebl  “Ave Maria” with the Wellesley Choir was something else again too–not an SATB arrangement, but the two choirs traded verses before performing as a double chorus at the end.

If I had a tear near my eye by the end of “Ten Thousand Voices,” I had more from laughter after the show talking with Frank and the Club guys about past tours and their current endeavors (and seeing Frank and Lisa Graham exchange hats, above). I hope that all continues well for them on the road and that their crowds in DC and Virginia are full to overflowing.

Grab bag: Stones, Matasano

Glee Club tour underway and blogging

The 2010 Tour of the Northeast of the Virginia Glee Club is underway, and you can follow it on the first ever Club tour blog, Virginia Glee Club On Tour. So far it is bringing up memories of tours past: vain exhortations from group leadership to not strain the voice, movies on the bus (tip to current Club guys: at night, cars driving next to the bus can see what’s on the TVs through the tinted glass. Just sayin’), and the first performance of the tour. Looking forward to seeing everyone on Monday night at Wellesley.

Grab bag: Goodnight Forest Moon

Glee Club history: David Davis

Today’s Virginia Glee Club history update looks at a Glee Club director who was head of the U.Va. music department before he chucked it all for a career in Hollywood scoring films such as … H.O.T.S.?!

David Davis, to the extent that he is remembered today, is best known for his arrangements and compositions for the Glee Club (“Summer Songs,” “Broken Glass”), but he had a long career in music of both a more serious and lucrative kind … though not at the same time. Originally from New Orleans, he came to the University with degrees from Peabody College, Vanderbilt University and Harvard. He made his name as a serialist composer, and got the sort of reception that serialists usually got (a 1964 New York Times review of a concert of his works noted of his Sonata for Trumpet that the piece “showed more manipulative ability than imagination” and that his Three Canzone for violin, clarinet, saxophone, and piano “went on too long with too few strong ideas to maintain its flow”).

In Glee Club history he is noted as a co-conductor of the Glee Club alongside Donald MacInnis, but that may be simply due to unclear chronology and poor record keeping. Certainly he was the sole conductor of the group in 1961, as attested in Corks and Curls of that year. Whatever the case, as a University professor he rose through the ranks fairly quickly. By 1964 he had been promoted to Chairman of the Department, having made associate professor in 1962, four years after arriving at the university. (This might explain Donald Loach‘s transition to Club director in that year.)

Then in 1966, with one year left to go on his chairmanship, he resigned from the University “for personal reasons” and headed out West, to Hollywood. While subsequent student newspaper articles that discussed Davis (in the context of his compositions for Club) generally breathlessly reported that he was “now a Hollywood theme writer,” the extent of his career there is unknown. IMDB records only four credits for him, including one TV series (“Thrill Seekers”) and three films; the aforementioned H.O.T.S., a T&A film, was his last credit in 1979.

How does one follow a career in music and years in Hollywood? Why, by becoming director of a sanitary district in Oregon, of course! Davis retired there and was elected director of the Roads End Sanitary District in Lincoln County, Oregon, in 1994, a position he still held as of 2005.

Grab bag: Mitigation unmitigated

Gearing up for the Tour of the Northeast

As I prepared the wiki page for the 1994 Tour of the Northeast, I couldn’t help but think about the upcoming itinerary that this year’s Virginia Glee Club has set for their Songs of Virginia tour, the 2010 Tour of the Northeast. Both itineraries had their outliers–1994 began in Knoxville, Tennessee, before a hell-for-leather bus ride up to South Hadley, Massachusetts. The 2010 tour begins innocently enough–Philadelphia suburbs up to Northampton and Wellesley, Mass., then back down to New York, then back into Virginia. Then there’s that massive detour up to Michigan.

Yes, Michigan. There are a few legendary gigs in Glee Club history, and being invited up to celebrate the 150th anniversary of the second oldest still extant glee club (Michigan) in the US, along with the oldest (Harvard), will surely shape up to be one of them. Three of the seven oldest glee clubs in the country on one program should be news in and of itself. And the fact that the next president of UVA will be in the audience is just icing on the cake. The 440 Years of Song gig should be legendary. (As long as it doesn’t end with this year’s version of Jim Wiser going to “reason” with anyone, it should be a good afterparty too.)

I’m looking forward to seeing the group at the Wellesley gig on March 8. I hope to see a bunch of other UVA alums there too. After all, how many times do you get to hear Virginia fight songs among the Wellesley hills? Or do a brisk round of Alle psallite in the parking lot? (OK, maybe not the last one.)