Posts Tagged ‘jaunty

31
Oct
19

Skeeter Davis “My Heart’s in the Country”

This record has the best cover of all the Skeeter Davis records I own (which is a lot, but not nearly enough of them). It’s a full cover color photograph of Skeeter sitting in a barnyard wearing a red and white gingham dress, holding a baby pig. As cute as she is, the pig’s even cuter. The photo is weirdly cropped, as in it doesn’t look cropped—I’m guessing they took a few, but there weren’t a lot to chose from that had sufficient focus when blown up that large, because, I’m no expert, but I believe those little pigs are kind of squirmy. It’s a great cover. There’s also substantial liner notes on the back, by Skeeter Davis, which I’ll read in a bit. I was going to say this isn’t my favorite of her records, which it isn’t, but now that I’m listing to it a few times, while writing this, it’s growing on me. Skeeter Davis records will do that. The title song (by Larry Kingston and Felton Jarvis) is about a singer who has big city success, but nevertheless, she sings, “My heart’s in the country, on a farm in O-hi-o.” Which, of course, strikes a chord with me, as an Ohioan. She is from Kentucky, so this song is a character, but also her, and southern Ohio and Kentucky do have a border, but it’s not necessarily the one drawn up by The Man. Now that I think about it, maybe it’s the Ohioan in her (as well as the Kentuckian in me) that draws me to her so intensely. This song also has one of those spoken parts, which I’m sure some people find corny, but I love that, especially when Skeeter Davis does it.

One thing that’s interesting about Skeeter Davis is that she had success with both pop and country audiences, which is something she talks about in the liner notes, maintaining that her roots are in the country (and this country music). I’m personally not partial to either the pop music or the country music she’s recorded—I must say, I like both equally—and sometimes you can’t really hear a line between them (but sometimes you can). As I’ve said before, above all, I’m song oriented, so it matters little, the genre or style—I’ll like a song, or not so much. The biggest generalization I make when I’m categorizing music I like or don’t like is the degree of jauntiness—and I’m sure people are tired of me using that word, but it best expresses the thing that often turns me off. (Of course, I’m sure there’s a jaunty song out there that I do like, but I can’t think of one right now.) Naturally, both country and pop songs can be jaunty. On this record, which is all hardcore country songs, we have the jaunty and the not jaunty. The not jaunty ones tend to be sad and melancholy—those are my favorites. A few of my favorites here are “Put It Off Until Tomorrow” (by Dolly Parton and Bill Owens), “I’m Living in Two Worlds” (J. Crutchfield) (not about the two worlds of pop and country—it’s a relationship song—and a sad one). And “Before I’m Over You” by Betty Sue Perry, another in the tradition of losing one’s mind (going crazy, insane, etc.) over a love gone wrong. Of course, there are songs that are kind of in between sad and jaunty, the clever country songs—one here I like a lot is “Guess My Eyes Were Bigger Than My Heart,” by Liz Anderson (I always liked that expression, about eating, and there’s nothing I like better than the tradition of inserting “heart” in every expression imaginable).

These liner notes are Skeeter answering the question, “What’s the country like?” She goes on and on with nostalgic descriptions of the things she remembers and loves about country life—sure, it’s sugary and sweet, but really kind of touching, too—at least to me. My favorite part of it is where she’s talking about mothers and fathers, now gone, their particular smells, and she says, “And they were smells you’d like to smell again, but can’t.” I guess that reminds me of what I like about Skeeter Davis—there is this simplicity, clarity, a kind of innocence, but never without an underlying melancholy and world weariness. It also reminds me that I have this autobiography she wrote, called Bus Fare to Kentucky, which I still haven’t read—I’ve got to read it sometime.

13
Feb
19

Jimmie Rodgers “Because You’re Young / I’m Never Gonna Tell”

Just to get things straight, Mr. Rogers is Fred Rogers, without a “d.” Aaron Rodgers (with a “d”) is the quarterback for the Green Bay Packers. The “Father of Country Music” was Jimmie Rodgers, famous for his yodeling. He died in 1933. Born a little later that year, another famous country and popular singer, also named Jimmie Rodgers, is the artist who made this record. As of this research, he is still alive. I don’t know if he was named after the earlier Jimmie Rodgers, but if he was, why not. This record was released in 1958 on the Roulette label—“Because You’re Young” on one side, and “I’m Never Gonna Tell” on the other. The first is a nice, dramatic pop song with an orchestra—only 2:16 in length. After listening to all these hippie records where the songs go over seven minutes, it’s kind of nice to hear a short one, that does everything it’s supposed to do in a couple of minutes. Though I think people must have had a lot more tolerance back then for getting up and changing the records. The second side, though, is much more upbeat, and in fact I’d have to call it “jaunty.” I mean really jaunty. And it’s about half a minute shorter, because with all that jauntiness it doesn’t take long to do what it intends to do. Fans of jauntiness will love it, but for me, it’s just under two minutes too long.

30
Jan
18

They Might Be Giants “Flood”

I grabbed this They Might Be Giants record off the shelf because I feel like I might know this band, but then maybe I don’t. I did, but I might have forgotten—I don’t know. Another band that started years ago (and this record is from that oppressive year, 1990) and I’m guessing they’re still a band, because what are you going to do, get a job at Tower Records—there is no longer Tower Records. Though I could imagine one of these guys being a grade school teacher, or a music teacher, etc. The album credits list two names, guys, plus a lot of guest musicians. There’s a lot of accordion, and then a lot of oddball sounds, most of them non-electronic. The approach is very jaunty. Most of the singing is this one guy—or is it both, who kind of sound alike?—slightly nasal, and articulated—jaunty. You can understand the lyrics, plus they are printed inside. (I just thought of this—has anyone ever included a lyric sheet where the lyrics are just totally different than what’s being sung? That might be good idea for someone!) This album cover opens up to reveal a kind of ghost image inside, over which are printed all the lyrics. They are really asking you to pay attention to the lyrics, and they might be very good, but I don’t have the energy—it’s very word heavy music. Okay, this one I’m listening to now, it’s pretty good, it has the line: “She wants to see you again/see you twisting in the wind.” That’s funny, but it makes me think about that expression, “twisting in the wind”—it’s metaphorical, but refers literally to lynching, right? A body hanging there, dead, by the neck—I think they’d leave them hanging—as a warning, right?

A lot of cleverness here—I think this is a band who gets a lot of NPR attention. Probably everything I know about them came via NPR. If you were describing something as very “NPR”—which is a pretty descriptive tag, as everyone gets what that means—this is the band, the sound, the songs—that come to mind. The album cover is another of those that really gets on my nerves. It has a nice photo on the front of a guy in a raft made of wash tubs—but then on the back, another photo of two guys in a raft. We get it. Oh, wait, it’s the same photo, which you see when you open it up—but it’s taller than wide, so the only way to do that is have them both sideways when the record is sitting upright. I just get endlessly annoyed with album covers that you don’t know which way is up. Is that clear? If it’s not, that’s the point of my annoyance. Then inside, there is all this space, but the print is microscopic (something which would be standard in the CD era. I know I complain a lot about album cover design, but the worst of them is better than all CDs). Wow. A lot of songs here—19! That’s too many—though probably not if you’re a TMBG fan. Based on this record, I’m not—but I’ll love a song, then hate a song, love a song, hate a song—back and forth—so who knows what I’d think if I went and listened to all their records—which would be quite an investment—more than I’m willing to spend at this time.




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