Category Archives: Tuesday Musics

Carl’s Tuesday Musics: “Song to the Siren,” This Mortal Coil, for David Patrick Roscoe (1966-2013)

Now my foolish boat is leaning,
Broken lovelorn on your rocks,
For you sing, ‘Touch me not, touch me not, come back tomorrow ….’
O my heart, my heart shies from the sorrow.

http://thechronicleherald.ca/classifieds/announcements/obituaries/roscoe-david-patrick-of-toronto-formerly-of-halifax-died-on

To one who will sing no more.

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Carl’s Tuesday Musics: Matana Roberts, live in 2011… for the Bow River

by Carl Wilson

The Chicago-rooted, New York-resident, Montreal-affiliated, beautiful-music-making Matana Roberts was in Toronto at the Music Gallery last weekend, playing solo alto saxophone. She chatted with the crowd about a lot of things (“I’m a talker,” she warned early on), but at one point spoke of how her heart was with the people of Calgary, especially after experiencing how devastating a flood can be after last year’s hurricane in NY. Later in the show she repeated, “Sound heals. Sound heals. Sound heals.” So with that in mind, listen to the torrents of incredible tones she generates in this video made in Kensington Gardens in London a couple of years ago, and think about inundation, immersion, and recovery.

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Carl’s Tuesday Musics: Nina Simone, “Feelings”

by Carl Wilson

After a superb show by Joshua Abrams’ Natural Information Society last night, preceded by a fantastic time-traversing folk-song one-man-machine performance by Martin Arnold, someone in conversation mentioned this Nina Simone performance at the 1976 Montreux Jazz Festival of the Morris Albert song that was at that point a completely ubiquitous, world-shrouding hit. The original ironic punk cover version? Perhaps, but so much more. Over the course of playing it, Simone attacks the song satirically and aggressively, tries to get the audience to sing along, and yet also turns schmaltz to bouillabaisse. There’s nothing like it.

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Carl’s Tuesday Musics: Carly Simon, “Why” (Paradise Garage Remix)

by Carl Wilson

Back story: This recent piece on The National (which marked my debut as the new Slate music critic) sparked some conversation with friends about the liberating feeling of saying “yes, I suppose it’s good, but I have no use for it.” Which then led to the flipside sentiment: “Yes, I suppose it’s shitty, but I DON’T CARE I LOVE IT.” One conversationalist in tones of great shame brought up Carly Simon (who?). When I hear Carly Simon, I can think only of You’re So Vain” (great!), “Anticipation” (meh) and “Nobody Does It Better” (horrifying crap), so I asked for further evidence to bring to trial. Someone immediately brought up this Chic-era Nile Rodgers (he’s on the new Daft Punk album, guys) production. Then I found the Paradise Garage remix by disco deity Larry Levan, and … if for no other reason, Carly Simon, we think you can stay.

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Carl’s (Late) Tuesday Musics: #entertainment feat. Peaches, “Bored of Rob Ford”

For non-Toronto readers: Context.

I’m not always a huge Peaches fan, but in a week like this, we all pull together.

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Carl’s Tuesday Musics: “Money (Dollar Bill Y’All)”, Jimmy Spicer

I discovered this old-school jam via Douglas Wolk’s genealogy-of-the-Gatsby-soundtrack post on MTV today, and my ears can’t quite stop gobbling it up. Plus, I am in work-related negotiations this week, so it’s a useful mnemonic. $avour it!

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Carl’s Tuesday Musics: “King Kong” by Daniel Johnston (and cover by Tom Waits)

Hollywood special-effects magician Ray Harryhausen died this week at 93, recalling an era of cinematic creatures that were not just built out of zeroes and ones and were at once cheesier and more captivating because of it. Harryhausen in his turn was inspired by the original King Kong movie, with its stop-motion animation by Willis H. O’Brien.

In the song above, Daniel Johnston retells the tale of Kong, O’Brien and Harryhausen in an a capella recitation vaguely smelling of the blues. In the version below, Tom Waits pays tribute to Johnston but also fulfills the song’s potential by bringing the full blues ape-stank, just as R.H. built upon W.H.O’B.

When I was a kid I thought King Kong was pretty much the saddest movie ever, so I preferred the later Mighty Joe Young, which O’Brien also designed, but which gives the ape a happy ending.

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