reading recap: february 2018

I’m pretty sure I’m out of that slump and funk now, by the end of February. I had a great month of reading, much better than January. Almost all of these were audiobooks. Since I knew the end of my membership to my library back home in Kansas City was ending in February, I wanted to capitalize on using it as much as possible. I was pretty pleased to get some highly anticipated new releases, as well as discovering some new gems I hadn’t heard of before.

My favorites were easily Dark MoneyOtis Redding, and Broad Strokes, with Shark Drunk close behind. I’m happy I stuck with writing up posts after finishing books here throughout the month too!

Other bookish stuff… I started The Left Hand of Darkness for my Best Friends International Book Club and quickly DNF’d. It’s just not for me. I have trouble getting into high sci-fi fantasy in general, and I could barely follow the story. I didn’t know who was who or what was happening most of the time. Anthony, my book club buddy, DNF’d too, saying, “So many words I don’t know how to say, let alone keep track of. And the narrative voice doesn’t resonate with me; I can’t understand where I am in almost any given sentence.” Some people have the right kind of mind for elaborate, made-up words and worlds, some don’t. Our first-ever BFIBCDNF! I also bought two new Singaporean small-press books, SQ21: Singapore Queers in the 21st Century and The Infinite Library.

Right now I’m reading Homegoing (for BFIBC and the TBR Pile Challenge), The Summer That Melted Everything (TBR Pile Challenge), and SQ21.

Otherwise, I’ve been spending time drawing and trying to get out of the apartment more. I went to see the Museé d’Orsay impressionism exhibit at the National Gallery of Singapore last week, which was fantastic, saw the amazing  Black Panther movie, and also bought a new bass!! It’s a Fender American Elite Jazz Bass. I’m in love.

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otis redding: an unfinished life

I first heard about Otis Redding: An Unfinished Life by Jonathan Gould when it first came out, close to the 50th anniversary of the 1967 Monterey Pop Festival, at which Redding gave an electrifying, career-high performance. I have it on vinyl and it’s stunning. As a music lover, as a soul music lover, as a Madisonian, I knew I had to read this book. From the book jacket:

Otis Redding remains an immortal presence in the canon of American music on the strength of such classic hits as “(Sittin’ on) The Dock of the Bay,” “I’ve Been Loving You Too Long,” “Try a Little Tenderness,” and “Respect,” a song he wrote and recorded before Aretha Franklin made it her own. As the architect of the distinctly southern, gospel-inflected style of rhythm and blues associated with Stax Records in Memphis, Redding made music that has long served as the gold standard of 1960s soul. Yet an aura of myth and mystery has always surrounded his life, which was tragically cut short at the height of his career by a plane crash in December 1967.

There’s no time in my life when I didn’t know Otis Redding and his music. I don’t remember the first time I heard his voice or his records. My dad is an avid music appreciator and soul music was a ubiquitous presence during my childhood. In fact, “(Sittin’ on) The Dock of the Bay” is a part of the soundtrack of our family history. Funny story: my dad copied down the lyrics and handed it in for a poetry assignment in high school (late 1960s); his old teacher didn’t know the song and my dad got an A! He still “complains” he hasn’t “seen any royalties” once in a while. I love lots of musical genres, but I consistently return to and never tire of soul. I’ve been really loving this recent resurgence, “new” soul, like Sharon Jones, Charles Bradley (RIP both), and all the Daptone Records artists, etc.

Of course, my fascination with Redding goes deeper than simply enjoying his music. The plane he was in crashed into Lake Monona, in my hometown, Madison, Wisconsin. (Here’s an article in The Isthmus noting the 50th anniversary of the crash.) My folks were still teenagers when Redding died, so they hadn’t moved to in Madison yet and weren’t planning on attending his Factory gig of course, but as long as I can remember, my dad has had (a reproduction of) the gig poster hanging in our living room. I eventually got a small copy of my own. I remember when a plaque was erected at the Monona Terrace Convention Center in 1997 in Redding’s memory. I know his connection to Madison is negligible, but it’s nevertheless tragic and real.

Now for the book! I can’t exactly say I was hooked from the start—it took me maybe around 100 pages before something clicked and I couldn’t put it down. This could have been my problem, not the book. I was in a slump when I started reading this at the end of January. But I was absolutely enthralled for the rest of it. I was so excited by everything I was learning, relating facts to my husband at the end of the day. I didn’t realize how badly I’ve been craving to read about music, and of course this particular subject matter is near and dear to me.

Gould’s book is so much more than a biography of Otis Redding. In fact, if you are just looking to learn about the man, you’ll probably be disappointed. What Gould does here is place Redding’s life and career in context of the time, place, and people. Presenting a rich social history of the politics and culture of the South in the 1960s (and prior) gives the reader a deeper understanding and appreciation of where Redding and his music came from, and why his legacy endures and his music resonates fifty years later. You learn about how racial tensions, boundaries, and politics impacted the music business, bands, and artists. You learn a little bit about other notable musicians and their music, like Ray Charles, Sam Cooke, and Aretha Franklin; how Redding’s brand of soul evolved from gospel and blues; about the formation and operation of Stax Records; and how beloved soul artists and famous record companies of the 1960s are all connected. My synapses were firing with each page!

If I have one quibble, I think I would have liked more photos. A few appear at the start of selected chapters. There are descriptions of album cover art, etc., but no accompanying image. BUT—as soon as I thought to myself, oh I wish there were more pics, I realized DUH I can look online and DUH AGAIN should definitely be “listening along” while I read this. There are sooo many great songs and albums mentioned page after page. I spent a lot of my reading time in front of my laptop, concurrently playing videos of Redding’s (and others’) performances and recordings. It became a fantastic, immersive reading experience.

I have no doubt this will be the definitive biography of Otis Redding for the foreseeable future, and is a must-read for anyone interested in 1960s soul music and how popular music and race in America are and have historically been indelibly entwined. I stayed up all night finishing the last few chapters and even though I knew the ending, I still cried reading through the crash. This book gave bold, technicolor life to Redding, as musician and man, for me.

Read in February 2018.

favorite albums of 2017

2017 was not a great year. Even though I had some good times, overall it was tough, for myriad reasons that this post is not about. Music, however, is always there for us, something we can always count on to soothe, evoke, and inspire in good and bad times. I was nervous about being in Singapore without my turntable and losing my interest in seeking out new music but luckily that didn’t happen. I know a few of these albums were released in late 2016, but I listened to them a lot this year and it’s my list! It was hard selecting favorite tracks, which can and do change all the time, but I liked challenging myself to choose for the purpose of this list. Here are my favorite albums released (mostly) in 2017, in order by release date:

***Links on album titles take you to the full album stream on Youtube, Bandcamp, or Soundcloud. All these links go to videos or posts uploaded by the artist or their record label. If you like it, buy it! 🙂

Soul Jazz Fridays … Chris Hazelton’s Boogaloo 7
Funky as shit, son. Reminiscent of old-school 1960s–70s soul; it really transports you to that musical era thanks to Hazelton’s phenomenal jazz organ playing and his stellar crew. Bonus: Kansas City! Listening to this makes me feel like I’m at the Green Lady. I really wish I had this on vinyl. Favorite track: “Theme for Theo

• Darkness and Light … John Legend
Smooth and groovy as usual. Legend’s not necessarily the most adventuresome artist, but I’ve been hooked since Get Lifted and his music almost never lets me down. Favorite tracks: “Love Me Now, “Surefire

Run the Jewels 3 … Run the Jewels
RTJ’s third album straddles a line between rage and humor, with commentary on politics, somewhat archaic pop references, and sex jokes. That seems like it wouldn’t work, but Killer Mike and El-P play off each other lyrically so well and the hooks are so memorable that it weirdly does. Great guest spots by Zack de la Rocha and Kamasi Washington. Favorite track: “Down

Fin … Syd
A simultaneously cool and hot, sensual neosoul debut dripping with pleasure and confidence. Syd’s songs here convey the affections of one woman for another, and it’s awesome. Favorite track: “Smile More,” “Got Her Own

Drunk … Thundercat
The whole thing is a genre-defying, idiosyncratic masterpiece. I’m pretty convinced Thundercat is from another planet—this technicolor music seems to exist on another plane and follow zero rules, and I love it. DYING to see him perform live. Favorite tracks: “Uh Oh, “A Fan’s Mail (Tron Song Suite II)

The Mood … Maurice Brown
I found this album randomly on Youtube and kept coming back to it for weeks, finally bought it, and discovered my friend Solomon is the bassist! Brown’s album is a seamless fusion of jazz, blues, and hip hop with impeccable melodic phrasing throughout memorable, soulful tunes. I love the guest appearance by Talib Kweli. Favorite track: “On My Way Home

• DAMN.Kendrick Lamar
Despite declaring “I’m not a politician, I’m not ’bout religion” (“Yah”), this is deeply political, theological, and intimate. It’s scathing critique of conservative news media and racism in America; philosophical and personal; contradictory, conflicted, and complex. The double-play concept is genius. Favorite tracks: “FEEL.,” “LUST.,” “LOVE.,” “FEAR.”

Made in America … Bobby Watson
This makes me feel like I’m home in Kansas City. I love the theme of paying tribute to notable black Americans from history, some well known and some obscure. You know it’ll be good, too, when he collaborates with Curtis Lundy, Lewis Nash, and Stephen Scott. Bobby’s such a gifted composer, and every time I listen to his solos I hear something new. I feel privileged to count Bobby as a friend! Favorite tracks: “The G.O.A.T. (for Sammy Davis, Jr.),” “The Entrepreneur (for Madam C.J. Walker),” “The Real Lone Ranger (for Bass Reeves)”

Voyager … Moonchild
Dreamy, laid-back neosoul in the vein of Sade and even Stevie Wonder. Maybe not the most original music out there or here on my list, but I still played this album a lot when I needed to chill out. Favorite track: “Cure

Live at High Noon … Phat Phunktion
Another great live album on my list! I love all these classic Phat tunes. Live albums can be tricky, but this one manages to make you feel like you were there at the show. It brings up great memories from back home in Madison when I listen to it. Seeing them play live again last month during my visit home was a major highlight of the trip. Favorite tracks: “Untitled (Weekend Special), “Miss Madison

• Binary … Ani DiFranco
Ani’s music is always wise, inspiring, and on point. I’ve enjoyed her more mellow approach to sharing her political and humanitarian messaging in her music the last several years, and this album is no exception. Her signature funk-soul-folk style is here serving as foundation for topics like reproductive rights, nonviolence, and empathy. Maceo Parker and Justin Vernon have welcome supporting cameos. Favorite track: “Play God

Ctrl … SZA
SEXY AF, holy shit. Love and sex and relationships are amazing and messy and complicated. So is feeling like an adult (or not) and sexual freedom and dating in the modern age. Expectations vs. perceptions. Damn. This is a stunning album. Favorite tracks: “Love Galore, “The Weekend,” “Broken Clocks

The Nashville Sound … Jason Isbell and the 400 Unit
Thanks to Isbell’s deft songwriting on relatable subjects that are both introspective and turn a critical eye on society, this is just the kind of Americana/country rock that hits me right in the feels. I need a whiskey and a good cry after a couple of these songs. Favorite tracks: “Tupelo,” “If We Were Vampires

• 4:44 … Jay-Z
Jay-Z’s response to Beyoncé’s Lemonade (my #1 favorite album from 2016) is perfection and perfectly complementary. His humility and maturity here are revelations, not to mention his sharp commentary on our current sociopolitical and cultural realities. Favorite tracks: “Kill Jay Z,” “The Story of O.J.,” “Family Feud

Royal Mint … The Cash Box Kings
What can I say, I’m a sucker for my hometown bands. The original tunes here are especially good and timely, even cheeky at times. Oscar Wilson (vocals) and Joe Nosek (harp and vocals) are a dynamic pair, backed by several excellent local musicians from Madison and Chicago, including Joel Paterson, Al Falaschi, Alex Hall, Mark Haines, and Mel Ford, among others. Favorite tracks: “Build That Wall,” “Blues for Chi-Raq

• Southern Blood … Gregg Allman
I cried the first time I heard “My Only True Friend,” a meditation on life on the road and mortality written from the perspective of Allman’s late brother, Duane. This isn’t all about death, however. There are several covers due to Gregg’s health, but they’re selected in a way that are meaningful and reflective of his life and experiences. What a poignant, soulful final album for his fans and the world. RIP to a true master. Favorite track: “My Only True Friend

• Masseduction … St. Vincent
Hot hot hot HOT. Her guitar work is not as prominent here as usual—more textural than lead—but the album is full of bold, forward, and personal lyrics on top of awesome, catchy beats. This was solidly on repeat for a long time right after I got it. Favorite tracks: “Hang On Me,” “Masseduction,” “Los Ageless

Soul of a Woman … Sharon Jones & the Dap-Kings
I was in love with Sharon Jones’s music the moment I first heard it. Vintage-sounding soul at its finest thanks to Sharon’s singular voice, which retains its strength and personality on Soul of a Woman despite her cancer treatments during recording. I feel so fortunate to have seen her perform in Kansas City in 2016. I still can’t believe this is her final album. Rest in power, Queen. Favorite tracks: “Matter of Time,” “Pass Me By,” “Call On God

If All I Was Was Black … Mavis Staples
Mavis Staples is angry about the political unrest and racial climate in our country right now, but her delivery of these songs (by Jeff Tweedy) is patient, compassionate, dignified, and even hopeful. Favorite tracks: “If All I Was Was Black,” “We Go High

Hi-Fi Christmas Guitar … Joel Paterson
I can’t believe I have a holiday album on here. Joel is magical and turns everything he’s involved with to gold. His meticulousness in overdubbing so many flawless guitar parts on each track is staggering to me. Super fresh take on old classics. Favorite tracks: “I Saw Mommy Kissing Santa Claus,” “Christmas Time is Here”

Honorable Mentions from 2017 (alpha by artist):
Pikes 244–273 … Buckethead
Vignettes … Damu the Fudgemunk
Big Fish Theory … Vince Staples
Far from Over … Vijay Iyer Sextet
Harmony of Difference … Kamasi Washington
One Room Blues … Oscar Wilson

Honorable Mention “Hangovers” from 2016 (alpha by artist):
Coloring Book … Chance the Rapper
“Awaken, My Love!” … Childish Gambino
Everybody Has a Plan Until They Get Punched in the Mouth … Charlie Hunter
Become Zero … Helen Money
The Olympians … The Olympians
Periphery III: Select Difficulty … Periphery

mini-reviews: kill ’em and leave and metallica: back to the front

As a musician I always have my eye out for great books on music and other musicians, and two books I read this year on the subject did not disappoint.

I’ve had James McBride’s Kill ‘Em and Leave on my radar ever since it came out last year, and finally decided to get to it this month. It wasn’t a typical biography, and I would have liked more about Brown’s experiences touring and more from/about some of his personal relationships, but this is a great book outlining James Brown as a real man. McBride doesn’t sugarcoat Brown’s flaws, but drives the point home how Brown was a powerful influence on generations of Black Americans and musicians. There was more of McBride present than I expected (he complains about his own divorce as the impetus to taking on this writing project, for example), but it bothered me less as I got further into the book. [Listened to audiobook in Sept. 2017.]

I read Metallica: Back to the Front by Matt Taylor to get myself amped for Metallica’s January concert here in Singapore, which was amazing and just what I needed at that time. I waited in line for eight hours and got a spot right up front close to the stage. I moshed for the first time in probably 20 years (still got it!) and was sore for three days afterwards. Anyway! This book is definitely a must for die-hard (and probably even cursory) Metallica fans. It reads like an oral history from all the important players (the band, managers, engineers, road crew, family, friends) about the making of and tour for its seminal 1986 album Master of Puppets. It also serves as a poignant tribute to founding bassist Cliff Burton, who tragically died during the tour in a bus accident. The book itself is beautiful, with tons of gorgeous professional and candid photos. I loved it. [Read in January 2017.]

hozier at liberty hall

On Monday night I headed back out to Lawrence, Kansas to see Hozier perform at Liberty Hall. I’ve been a fan ever since I first saw his Tiny Desk Concert on NPR last May. When I saw he had a concert coming up just a 40-minute drive away I had to get tickets!

My friend Lee and I got to Lawrence around 5 p.m. After a quick bite we waited in line (which snaked around the corner and down the block) for about an hour. It was pretty cold, but not unseasonable for late February—some kids in line were snuggled up on the ground in sleeping bags! Not quite as cold as a Packer game, though 😉

hozier 2pic 1The opening band, Ásgeir, was okay. A band from Iceland, its sound and vibe was in the same vein as sigur rós and Bon Iver. It was a pleasant enough 25-minute set, but I wasn’t blown away. All the pieces pretty much sounded the same. Today I read more about this band and discovered its kind of a big deal in Iceland, so I’m a little surprised they didn’t have more of an impact.

Hozier and his six-piece band took the stage at about 9 p.m. “Angel of Small Death and the Codeine Scene” opened the set, followed by four more uptempo songs including Lee’s favorite (“From Eden,” surely Hozier’s next radio hit) and my two (current!) favorites, “Jackie and Wilson” and “Someone New.” Hozier’s stage presence at a live show is completely different than what I’ve seen on TV—he’s much more energized and engaging live, though still possessing a modest, earnest demeanor.


The pacing of the concert was just a little awkward in spots, especially placing a few solemn and solo tunes right in the middle (“In a Week,” “Like Real People Do”). “In a Week”—a voice duet plus acoustic guitar, Hozier performed this one with his cellist Alana Henderson—was stunning and held the crowd spellbound. “Illinois Blues,” a Delta blues legend Skip James song which Hozier explained was an inspiration to him when he first started learning music, unfortunately was a dud in the eyes of the crowd. I loved it, though! It really showed off Hozier’s fingerpicking skills and depth of musicianship. I think I might have been the only person in the room singing along to that one…

Saving the pièce de résistance for last, closing his set with his massive hit “Take Me to Church.” The crowd went bananas for it, as expected. Personally, I can take or leave this song by now—I’m over it, and judging by his slightly phoned-in performance it appears Hozier might be as well. It’s certainly not the best song on his debut album! Not even close.


After a short break, Hozier returned for a short encore set, which included “Cherry Wine,” “Run,” and the Amerie cover “1 Thing.” Is there anything this man can’t turn to gold?? His cover was better than the original by leaps and bounds. If Hozier doesn’t have time to come up with new material because of his ridiculously intense touring schedule this year he could release an album of covers next—I’d buy the hell out of that.

It had been a long time since I attended a rock concert like this, and I while I had a blast on Monday night and Hozier put on a great show, I remember now why I don’t go out of my way much for them anymore, especially for new, hot artists. Hozier is so much more than the pop machine through which he’s currently being fed. That voice—swoon! I think he has real, natural talent and depth that you just don’t really see much in pop anymore.


But, you have to play the game, and you “have to give the people what they want,” as the saying goes, so Hozier did just that. He played every track off his debut album, plus a couple of extras associated with the album, in exactly the way you hear them on the album. I just wanted a bit more performance-wise—he’s obviously got the guitar and vocal chops, why not rock a wailing guitar solo or two? Why not spice up a last chorus with some melodic variance? Of course, that said, I don’t know him and I don’t know whether he likes or wants to improvise at all, but I’d be surprised if not given his propensity for traditional blues, gospel, and old-school soul and R&B.

He was really fantastic in person, and I loved seeing more personality come out in his live show (and I LOVED that he totally ignored the ridiculous, desperate shouts of “I love you, Andrew!” “I love you more!” HAHAH shut down!) He was classy, charming, and an excellent showman. If you have a chance to catch Hozier on tour this year, don’t hesitate!!