3 Mulligans

I remember buying To Each… at Full Moon Records in 1981, the year of its release. I also remember letting it slip from my collection and waiting several years before its reissue on CD. It wasn’t until 2005 at Wazoo Records in Ann Arbor that I’d find a copy. This band’s use of trumpet and percussion, not to mention that Martin Hannett production stamp, gave them such a unique sound. The bass is often the only instrument carrying any sort of melody while the vocals and trumpet are kept in the background to create an eerie feel.

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I’ve enjoyed several of Charles Lloyd’s releases on the ECM label but this live recording really stood out. With an interesting lineup of tabla player, drummer, and himself on reeds, its overall sound broke away from his usual quartet setting. There are some nice percussive workouts featured but throughout the CD both percussionists play melodically and they instinctively connect with each other’s style without cluttering up the sound. This song’s beautiful sax intro really struck me, but also how he slips in those fast runs, making their placement sound so natural. I also loved how the swing feel is established when the tablas come in and how closely they resemble the sound of an upright bass.

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This song marks another memorable night of live blues at Big Cities Lounge. Touring in support of his recent Little Walter tribute, Dennis Gruenling pushed and pulled such a variety of sounds from his harp that unless you were watching you’d swear at times he was playing a sax or guitar, not to mention a freight train and several other non-musical objects. It was incredible. This song comes from a rare single that was available at the show.

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This song sounds like it was tossed off in a matter of 20 minutes, which includes any time required to get the band set up and ready to record. One look at their equipment list will tell you how that’s possible; garage sale drum set, two guitars, one amp. But that’s the beauty of Hound Dog Taylor. His songs are ramshackle and raw, like each one was captured in its energetic first take. Any more time spent to improve the sonic quality, tuning included, would rob his music of what makes it so much fun.

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Back when television offered only what broadcast over UHF and VHF frequencies – usually about six channels total, but depending in which direction your antennae was pointed – I fondly remember staying up late to watch In The Heat Of The Night with Dad and Craig; Christopher wasn’t old enough to join us.

There’s a scene where a creepy café guy uses a knife to open the jukebox, and once the song starts playing he gives us a little dance. This scene was originally shot using a different song, the already popular “Li’l Red Riding Hood” by Sam the Sham & the Pharaohs, but a licensing problem prevented its use in the film. Quincy Jones co-wrote this substitute and it fit perfectly, just like how the rest of his score fits the entire film. It propels the action sequences, creates suspense, and helps remind us what the Deep South was like in the ‘60s.

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I certainly didn’t have an appreciation for Graham Parker when I saw him warm up for Journey in 1979. Those two artists seemed as likely a match as when Prince warmed up for The Rolling Stones. However, when Squeezing Out Sparks was finally reissued in 1996 it became the cornerstone of my growing interest in Graham Parker’s music. The release of Your Country slipped by me but I eventually found it one day by accident. After all these years his writing is strong as ever; snarling and biting in one song, sensitive and touching in the next. The influence of country music makes it a perfect home for this duet with Lucinda Williams.

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