We began the show with some Primus. I find it interesting when a band chooses to do an album of covers. They display their influences, while at the same time giving us what can be interesting interpretations of the material in question. Such is the case with this Primus covers album, Miscellaneous Debris, from 1992. While we usually hear their great bassist Les Claypool playing with a four string bass, here we hear Claypool playing on a six-string fretless bass, with allows for a excellent, full, and chunky bass sound. We heard their cover of Pink Floyd’s Have a Cigar, XTC’s Making Plans for Nigel, and Peter Gabriel‘s Intruder.
Arnold Schoenberg wrote Verklärte Nacht (trans: Transfigured Night), Op. 4, in 1899, at the age of 25. He was inspired by a poem by Richard Dehmel, which tells the story of a distraught young woman who confesses to her lover that she carries another man’s child. The man’s response is that the child will be transformed by their love into his. The emotions are expressed in the form of a tone poem, written for a string sextet. His abandonment of classical tonality was still a thing of the future when this was written, but this is far from a standard Romantic-era piece – even if his 12-tone method did not yet exist, he was even then quite the harmonic adventurer, at one point calling for an inverted ninth chord (which caused the piece to be rejected by the Vienna Music Society). The piece, with its frank treatment of sexual themes, was controversial when it was published in 1902Schoenberg wrote an arrangement for string orchestra, which is performed and recorded frequently. Tonight’s recording is of the original version for string sextet, a 2000 recording by the Concertante Players.
We next heard some classic James Brown, music that helped define what we would come to call “funk”, music that would set the stage for 30 years of funk, soul, r&b and rap, and which brought a social consciousness into play. Much of this influence was due to Brown’s business and musical acumen. His attention to detail in the musical arrangements were a major part of his success. We have this testimonial from long-time Brown saxophonist Maceo Parker:
You gotta be on time. You gotta have your uniform. Your stuff’s got to be intact. You gotta have the bow tie. You got to have it. You can’t come up without the bow tie. You cannot come up without a cummerbund … [The] patent leather shoes we were wearing at the time gotta be greased. You just gotta have this stuff. This is what [Brown expected] … [Brown] bought the costumes. He bought the shoes. And if for some reason [the band member decided] to leave the group, [Brown told the person to] please leave my uniforms ….
We heard Papa’s Got a Brand New Bag, from 1965, Cold Sweat (Parts 1 and 2), and I Don’t Want Nobody To Give Me Nothing (Open Up The Door I’ll Get It Myself).
One of the more musically interesting bands of the mid to late 1980s was Camper Van Beethoven. The band was one of the key parts of the indie rock movement, and their songs blended aspects of country, ska and punk, often injecting humor into the lyrics. While they broke up in 1990, they reformed in the early 2000’s, and have since then put out two albums (which I have regrettably been unable to acquire). Inconvenient, but not a bother, as there are plenty of classics for us to enjoy. We heard Where the Hell is Bill and Mao Reminisces About His Days in Southern China, both from their 1985 album, Telephone Free Landslide Victory. We then heard Sad Lovers Waltz and I Love Her All The Time, from their second album, II & III. We also heard a selection, One Of These Days, from their 1988 album, Our Beloved Revolutionary Sweetheart, before finishing with Take The Skinheads Bowling, also from Telephone Free Landslide Victory.
We finished the show with some classic Metallica: Creeping Death, from Ride The Lightning; The Thing That Should Not Be, from Master of Puppets; and Harvester of Sorrow and …And Justice for All, both from 1988’s …And Justice for All