Random Notes (May 2017)

The days fly by & this month the UK has endured an election campaign instigated, ostensibly, by a government wanting to mask its bluff & bluster in negotiations with our former EU partners, more likely hoping to exploit the disarray of any opposition in England & Wales. The Tory party will remain in power (I’ve been wrong before) but the flakiness of their “strong & stable” mantra in the face of a half-baked “Dementia Tax” on the sick & the dead & a Labour manifesto which, at least & at last, promoted an alternative to austerity will prevent the landslide victory anticipated & hoped for by the government & most of our media puppets (“Crush the Saboteurs!” Oh fuck off!)

 

Image result for manchester tony wilson we do things

 

This week’s horrific massacre in Manchester, a great city which has shown the empathy & community that is the best of Britain, will inevitably highlight the issue of national security. Already Mr Corbyn is being attacked for pointing out that the disastrous intervention in Libya contributed to chaos, anger, frustration & the rise of a new focus for militant Islam. The murder of innocent people enjoying a concert by their favourite Pop star is inexcusable & heartbreaking but atrocities are occurring across the Middle East in the name of the West’s War On Terror, in the cause of strength & stability. Robert Fisk is a journalist who I trust & respect…

“As long as we bomb the Middle East instead of seeking justice there, we too will be attacked. But what we must concentrate upon, according to the monstrous Trump, is terror, terror, terror, terror, terror. And fear. And security. Which we will not have while we are promoting death in the Muslim world and selling weapons to its dictators. Believe in “terror” and Isis wins. Believe in justice and Isis is defeated.”

OK, here’s some music…

 

 

Almost the best of the month, stick around that comes later, any new song by Bunny Wailer raises my spirits. As the last of the Wailing Wailers Jah Bunny is the keeper of the flame & he represents the great & influential group with integrity & style. “Baddest” is a Rub-a-Dub rework of Peter Tosh’ anthem, first recorded in 1967, “I’m the Toughest” in alliance with Dancehall queen Ruffi-Ann. Like everything Bunny releases on his Solomonic label it has a freshness & a vitality. He is a musical great who knows the spirit of Reggae &, at coming up 70 this year, is still able to capture it. “Baddest” may not be up there with the best music he has made but it could be the Feelgood Hit of the Summer. ♫Any Dub that you can play I & I can play it better♫ Yes Sir!

 

 

Image result for daniel romano modern pressureA new Daniel Romano record is always a big deal round our yard & even though “Modern Pressure” has not been here for long toes are tapping & choruses becoming familiar. Mr Romano is prolific, an album a year in the last 3 & a couple more from Altered Shapes, his Punk offshoot band. He’s become a bit of a shape-shifter too, the traditional Country, three chords & the truth about heartbreak, of his early records has all but disappeared. The lovely “Roya” would easily fit on those records while an expanded musical palette, Dylanesque organ swirls, treated guitars, everything louder makes “Modern Pressure” a Country Rock album. “The Pride of Queens” sounds like an epic to me, the closing, urgent “What’s To Become of the Meaning of Love” instantly appeals & the poppy “When I Learned Your Name” sounds like Nick Lowe/Brinsley Schwarz & that’s a good thing.

 

Like the best records last year’s “Mosey” took its own good time to reveal all its delights. At first it seemed to be quite a switch by Romano but it has become the album of choice for journeys of any distance, a collection of good songs which come together as an atmospheric whole. “Mosey” will still get played round here. Daniel Romano is a very talented songwriter & musician, his restless streak is matched by his inventiveness. Wherever he wants to take his music my interest is piqued enough to want to follow. I have high hopes that “Modern Pressure” will become a new favourite.

 

 

I’ve had my fancy-schmancy Internet powered TV for some time now. It’s an idiot box of electrickeries most of which I neither grasp nor have need of. The 7 (that’s 7!) channels of 24/7 sport are enough to sustain a sense of wonder about the Modern World. So it was more luck than judgement that the appropriate buttons were pressed to record the full series (8 episodes) of the 2005 BBC production of “Bleak House”. Fortuitous perhaps but it provided a televisual experience to rival this year’s superb “Taboo”, another of the Beeb’s finest.

 

Image result for phil davis smallweedI love Charles Dickens, what’s not to…, his satire, his social conscience his unmatched balance of sentiment & melodrama & his finely drawn parade of eccentric characters. It was all there on the screen. “Bleak House” was written as a serial & the series was originally shown in 15 30-minute parts, a pot-boiler yes but certainly not a soap opera. Writer Andrew Davies is the doyen of literary adaptors, it was beautifully filmed & the extensive cast is a delight. It’s a list, Anna Maxwell Martin (Esther), Gillian Anderson (Lady Dedlock) & young Carey Mulligan (Ada) led the way in Dickens’ only book with a female protagonist. Charles Dance was a dastardly Tulkinghorn, the contributions of Burn Gorman (Guppy of Kenge & Carboys), Phil Davies (Smallweed, “shake me up Judy”), Alun Armstrong (Inspector Bucket) & Johnny Vegas (Krook) were all perfectly pitched. I’m going to include Michael Smiley (Squod) here because I have recently enjoyed Ben Wheatley’s “Kill List” & “Free Fire” & he shines in both of them. Actor of the month.

 

I’m not the biggest fan of period drama but I do enjoy the grimy streets of London Town seen in “Bleak House” & “Taboo”. I appreciated too Whit Stillman’s film “Love & Friendship” (Kate Beckinsale “always watchable”). Either these things are getting more modern or I’m becoming more old-fashioned. Oh Christ, it’s the latter isn’t it ?

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More Broken Hearts And Prairie Soul (Daniel Romano)

OK. let’s get current. Today, May 27th, is the release date for “Mosey”, the 5th solo LP by Daniel Romano. Despite the antiquity (timelessness ?) of many of the tunes I feature here, I do listen to new music & not just as confirmation that the old music is better. The Underworld LP “Barbara Barbara We Face A Shining Future” will sit nicely on the shelf next to their 2 classic records of the mid-90s. Louie Vega’s Soulful House productions for Caron Wheeler & Cassio Ware are from the top rank. I would listen to that radio station playing Prince Rama’s contagious single “Bahia” on double heavy rotation. The only 2 tracks I had heard from “Mosey” got me handing over the hard-earned in the week before release. If there were other songs as good as “(Gone Is) All But A Quarry Of Stone” it was best that I had them around.

 

 

The last 3 LPs by Daniel Romano (I don’t know 2010’s “Workin’ For The Music Man”) have established his reputation as a consummate Country & Western stylist. His harder than a heartbreak lyrics, matched to recreations from Buck Owens’ Bakersfield honky tonk & the more countrypolitan Nashville of George Jones, are assured & affecting enough to ameliorate suspicions of mere revivalism. Elements of homage & pastiche, the sequinned country threads, are balanced by a respect for & an understanding of the structure & the sentiment of how these songs went.”Hard On You”, “There Are Lines On My Face” & others are retro-modern, distinct enough to have made an impression at any time since Hank done it his way. Romano called this music Mosey, a place he was “the King of…”. This new collection indicates that Mosey is a little further from Nashville than we thought.

 

The opener, “Valerie Leon”, is an uptempo theme to an imaginary Western, more Elmer Bernstein than Morricone, expansive orchestration, a touch of Tex-Mex but not the full mariachi. “I Had To Hide Your Poem In A Song” is a dramatic Blues. Romano is augmenting his Country music with other American roots influences, the result is looser, dramatic & surprising. The songs are still a catalogue of torment & tribulation, no longer limited by the strictures of his chosen genre they are heavy on atmosphere. The choruses are less obvious but still, when they come, captivating. Daniel Romano is a fine songwriter. I’m going to, like everyone else, check for Lee Hazlewood here. Romano’s baritone, Western fatalism with a dry humour & new palette does bring the master to mind. That’s some good company to keep.

 

 

For the album cover & the “(Gone Is)…” video Daniel has swapped sartorial dudeism for an Adidas shell suit & a Bob Dylan circa-66 ‘fro. The LP version replaces the strings with a churchy organ swirl & remains a bleak delight (I do like a lament). There has always been an element of performance art about his work. I found similarities in the early work of Lyle Lovett & Tom Waits. The sentimentality & archness of his chosen field was overridden by the quality of the records. The incongruous videos, gorilla suits & sci-fi animation, were more than winks that there was more to Mr Romano than his country gentleman affectations.This new character ? We will see if he hangs around. For myself the proof is in the hearing & I’m liking what I hear.

 

 

“Mosey” is a big change from Romano’s previous records. There was a tip off on “If I’ve Only One Time Askin” (2015) when “The One That Got Away (Came Back Today)” ended with an odd, almost psyche, guitar coda. There are more of these on “Mosey”. He may be ready to leave the Country but I’m not sure that all his fans will accept this shift towards a harder edge. Me, I’m an open-minded guy. If there are more songs as good as “Hunger Is A Dream You Die In”, with its backwards guitar, & the rocking closer “Dead Medium” to come then I’m happy to ride shotgun on the journey.

Are You Ready For The Country ? (Daniel Romano)

I was going to do one of these things about Daniel Romano some time last year when his 2013 LP “Come Cry With Me”, a classy collection of both country & western songs was causing a stir around here. Daniel & his music was new to me & I eventually settled for a tip of my stetson to the record in a piece about the much longer established Lyle Lovett. Anyhoo, there’s a new LP, “If I’ve Only One Time Askin” coming around on New West Records at the end of this month & the first single is a song good enough for George Jones though I doubt that “The Possum” would have included the odd endpiece on his version of “The One That Got Away”.

 

 

“Come Cry…” came wrapped in a sleeve showing dude Daniel in his finest Western wear. The Nudie Cohn inspired threads reference a bunch of guys named Hank though, everybody knows, Gram & the Burritos chose this embroidered, rhinestone cowboy rig  another time we were reminded of the heart & soul in old school Country music. Romano had started in Ontario with his group Attack in Black, a punky-pop guitar deal. His solo work reaches back to the music of 1950’s Nashville, before producers like Chet Atkins & Owen Bradley moved into the middle of the road & developed the smooth countrypolitan crossover “Nashville Sound”. I was initially expecting to find a little too much artifice in the art of this homage. I was wrong, there’s a lot more to Daniel Romano than hipster hillbilly. He knows how this music goes.

 

 

free-show-poster.jpgDaniel Romano writes tragic songs of life. Man, there’s a lot of lost love, empty bottles & broken hearts here. Musically he & his band, the Trilliums, work from a tried, tested, traditional, familiar palette & that sympathetic pedal steel works a treat. Lyrically he can get tears from a rock but he’s smart not saccharine & anyway I’ve heard a lot of sad songs, I like them. Lines like “There are lines in my face that don’t come from smiling” can seem a little arch but no more than Lovett’s “I married her because she looks like you”. They are both working with a heritage & with conventions that they respect, intelligent enough to produce work that is amusing but not taking the piss, modern & beyond mere revivalism.

 

The conventional structure of the songs is familiar . If it was good enough for Hank Williams…what is impressive is the knack Romano has for injecting originality & impetus into the formula. Repeated exposure to his tunes reveals his range too. “Chicken Bill” is one of those Tex Williams style talking blues, always a good thing. There’s a touch of gospel too but without the, y’know, Jesus stuff. The two videos here are both tracks from the “Sleep Beneath the Willow” LP (2011), another assembly of anguish which also includes “Hard On You” which sounds like a hit to me. The Darwinist promo for “Time Forgot (To Change My Heart)”, the best slab of Lee Hazlewood influenced doom I’ve heard for a while, is funny & strange, I like both of those things.

 

 

This week I discovered a new clip on the Y-tube of the band playing live at the Best Kept Secret festival last month over in Hilvarenbeek, the Netherlands. “Best Man” is not on the tracklist for the new LP, maybe it will be on the already announced next one “Mosey”. Offstage Daniel drops the cowpoke-in-a-cadillac couture, the song has a loose alt-country feel & is a fine example of a tune that keeps on keeping on to the end. So, a couple of indicators to future music from Daniel Romano. On the evidence of these & of the last two LPs whatever he releases will be interesting & I will be interested.