Have a peaceful and quiet evening with Akira Sakata.
In the aftermath of the Homestead Strike of 1892, the New York songwriter William W. Delaney composed a song by the name of “Father Was Killed by the Pinkerton Men.” It became fairly popular across the nation that year. Here are the lyrics.
‘Twas in Pennsylvania town not very long ago
Men struck against reduction of their pay
Their millionaire employer with philanthropic show
Had closed the work till starved they would obey
They fought for home and right to live where they had toiled so long
But ere the sun had set some were laid low
There’re hearts now sadly grieving by that sad and bitter wrong
God help them for it was a cruel blow.
God help them tonight in their hour of affliction
Praying for him whom they’ll ne’er see again
Hear the orphans tell their sad story
“Father was killed by the Pinkerton men.”
Ye prating politicians, who boast protection creed,
Go to Homestead and stop the orphans’ cry.
Protection for the rich man ye pander to his greed,
His workmen they are cattle and may die.
The freedom of the city in Scotland far away
‘Tis presented to the millionaire suave,
But here in Free America with protection in full sway
His workmen get the freedom of the grave.
This is taken from Paul Krause, The Battle for Homestead, 1880-1892: Politics, Culture, and Steel, p. 4.
On this Friday evening it’s worth remembering how amazing Doc Watson was.
I was going to try and write a proper review of Greil Marcus’ new book The History of Rock N’ Roll in Ten Songs for the blog. But I found myself having not a lot to say about it. Mostly, I thought Marcus’ over the top writing style and tendency to mythologize rock pioneers took over too much here. Imagining what happens if Robert Johnson lives and basically connecting him to every major musical event of the 20th century, going all the way to Obama’s inauguration seems a bit, um, far-fetched, while some of the chapters hardly make sense. There’s a lot of sections where clarity really struggles to be achieved. Plus he really likes The Doors. There were some interesting things here, such as comparing versions of “Money Changes Everything” over time from Cyndi Lauper and Tom Gray. And his discussion of Christian Marclay’s experimentation is quite interesting. But most of the chapters don’t work well.
So I guess that is some sort of review. It’s rare that I don’t like a book about music. But I didn’t like this book. He needs a stronger editor. It’s hard for a big star to deal with editors. But if you consider how Daniel Lanois forced Dylan into actually making a good album for once with Time Out of Mind and how that transformed the great songwriter’s career (once again), sometimes the genius has to suck up the ego and deal with it.
Pitchfork: When it was originally misreported that Vulnicura was produced by Arca, instead of co-produced by you and Arca, it reminded me of the Joni Mitchell quote from the height of her fame about how whichever man was in the room with her got credit for her genius.
B: Yeah, I didn’t want to talk about that kind of thing for 10 years, but then I thought, “You’re a coward if you don’t stand up. Not for you, but for women. Say something.” So around 2006, I put something on my website where I cleared something up, because it’d been online so many times that it was becoming a fact. It wasn’t just one journalist getting it wrong, everybody was getting it wrong. I’ve done music for, what, 30 years? I’ve been in the studio since I was 11; Alejandro had never done an album when I worked with him. He wanted to putting something on his own Twitter, just to say it’s co-produced. I said, “No, we’re never going to win this battle. Let’s just leave it.” But he insisted. I’ve sometimes thought about releasing a map of all my albums and just making it clear who did what. But it always comes across as so defensive that, like, it’s pathetic. I could obviously talk about this for a long time. [laughs]
Pitchfork: The world has a difficult time with the female auteur.
B: I have nothing against Kanye West. Help me with this—I’m not dissing him—this is about how people talk about him. With the last album he did, he got all the best beatmakers on the planet at the time to make beats for him. A lot of the time, he wasn’t even there. Yet no one would question his authorship for a second. If whatever I’m saying to you now helps women, I’m up for saying it. For example, I did 80% of the beats on Vespertine and it took me three years to work on that album, because it was all microbeats—it was like doing a huge embroidery piece. Matmos came in the last two weeks and added percussion on top of the songs, but they didn’t do any of the main parts, and they are credited everywhere as having done the whole album. [Matmos’] Drew [Daniel] is a close friend of mine, and in every single interview he did, he corrected it. And they don’t even listen to him. It really is strange.
It’s hardly surprising but it’s terrible. And these things aren’t just restricted to music journalists, but I think are pretty ingrained in the popular imagination, albeit the popular imagination of people who care this deeply about albums, which is not all that many people.
I’m not going to make any claims to a “Best of” list for 2014 because there are too many albums out there and my budget is too small to buy very many of them. But here are some 2014 albums I liked, in the order I thought of them. I’m not providing much commentary because I suck at writing about music.
St. Vincent, St. Vincent
My album of the year.
Drive-by Truckers, English Oceans
Not one of their greatest albums, but that still leaves it as quite good.
Tom Ze, Vira Lata na Via Lactea
This ancient Brazilian weirdo is still covering new ground.
A little indie pop band out of Seattle that I heard on KEXP and just thought were a lot of fun.
Angaleena Presley, American Middle Class
A country album actually about class. Huh. My only criticism is that the linked song below, in its recorded version, opens with Presley’s father talking about working in the coal mines. That’s not middle class. That’s working class. Even in an album about class, it always has to be about the middle class. If coal mining isn’t working class, what is? Well, it’s black people on welfare, which is the subtext of this song and it’s frustrating. This country sometimes. Good album though.
The New Pornographers, Brill Bruisers
Always fun. Also, Neko Case’s pants.
The War on Drugs, Lost in the Dream
Good rock album
Lydia Loveless, Someone Else
Awful lot of potential here.
Sturgill Simpson, Metamodern Sounds in Country Music
Just heard this for the first time. Maybe the best country album of the year. Very Waylon.
Jerry Lee Lewis, The Knox Phillips Sessions
Archival release of the year. Jerry Lee recorded this in the late 70s with Sam Phillips’ son. “Bad Leroy Brown” is a really stupid song. Unless The Killer makes it about himself. Then it’s insane.
It’s a bit hard to believe that Wussy was featured on CBS. But so they were, including an interview about how an acclaimed rock band can be acclaimed but make absolutely no money, meaning everyone has to work day jobs. Here’s the interview:
And here’s one of the songs they performed on CBS:
A good tale of a successful band that tours well, sells out shows, and comes up $11,000 in the hole for the tour. The whole “we don’t need to buy our albums because the artists will make the money on tour” is nothing more than justification for not buying albums. The artists aren’t making money on the tour.