WEDNESDAY SHUFFLE

Dedicated to the memory of John Lennon, who left us 30 years ago today.

1. "Like Humans Do" / David Byrne
From Look Into The Eyeball (2001)

Funny, I was just talking about the Talking Heads this morning with my dog-walking friend Dan. I so loved them once, but then David Byrne jumped the shark for me. I have no idea where this song came from -- I actually think it's an iTunes sample track -- but I have to admit, it's an utter groove.  Makes me feel guilty that maybe I dropped David B too hastily...

2. "Senses Working Overtime" / XTC
From English Settlement (1982)
"And I've got one two three four five! / Senses working overtime" -- I'm rarely sure what XTC songs are about, but who cares, so long as they're larded with koan-like statements ("tryin' to taste the difference 'tween a lemon and lime / Pain and the pleasure and the church bells softly chime ") and surreal images ("And all the world is football-shaped" -- well I guess that makes more sense if you're from the land of round footballs...) 

3. "Long Road Ahead" / Jim Ford
From Sounds of Our Time (2007 compilation)
The album tells me this track is from 1969, but considering how little of Jim Ford's music ever hit the mainstream, I'll have to take it on faith.  Nick Lowe vouches for this guy -- the epitome of country soul, with a trailer-park stoner groove -- and that's good enough for me.

4. "Nothing To Say" / The Kinks
From Arthur, Or The Decline and Fall of the British Empire (1969)
A generation gap face-off from Ray Davies, intoned in a stagey old-man voice (at least the father's half is).  So many great songs from this criminally neglected album. This is the first rock song I ever heard that mentioned chilbains -- and come to think of it, it's still the only one. 

5. "Bring the Old You Back" / Jon Lindsay
From Escape from Plaza-Midwood (2010)
Lindsay again? He must have rigged my iTunes. But it's so snarky and melodic, I won't complain.

6. "Young Conservatives" / The Kinks
From State of Confusion (1983)
Another blast of Kinksian satire, from later in their career when Ray Davies worked a little harder to churn out topical numbers.  Hate to tell you, Ray, but they're still with us, only older -- and now they're running Congress.

7. "Ashgrove" / Dave Alvin
From Ashgrove (2004)
The album's title track is a tasty bit of blues from the ex-Blasters brother Dave, a tribute to a seminal music club where he first fell in love with music.  Heard this once live, and it was killer.

8. "Frida" / Sanseverino
From Le Tango des Gens (2001)
A toe-tapping treat from Paris, a sassy track of modern swing-jazz (go figure!), sent to me years ago by a fellow Kinks fan. Wickedly addictive.

9. "Take Me In Your Arms and Love Me" / Alan Price
From Songs from Top of the Pops (bootleg compilation)
No link, sorry, as this is a fan recording, capturing Price's many appearances on the late beloved British weekly music show.  It's true that Gladys Knight and the Pips did this song better, but those of us who have a weak spot for Alan Price -- and I'm one -- enjoy his rendition just fine.

10. "George Jones Talkin' Cell Phone Blues" / Drive-By Truckers
From The Fine Print (2009 rarities compilation)
Please listen to this one -- it couldn't be more fun.  An oddball scenario (aging country music star wrecks his car while chatting on his cell), with a refrain that cracks me up every time: "If you don't change your ways, my friend / You'll be singing duets with Tammy again." 

Alas, not a single Lennon track, or even a Beatle song, but such an eclectic sequence, even John might have gotten a kick out of it.  I'd like to think so!

WEDNESDAY SHUFFLE

Getting this in by the skin of my teeth -- 11:59 E.D.T. -- but so long as I'm starting it on Wednesday....

1. "Muswell Hillbilly" / Tim O'Brien
From This Is Where I Belong: The Songs of Ray Davies (2002)
This is what I get for buying every single Kinks tribute album that's ever been releasaed. But I do love O'Brien's totally country rendition of this title track to my all-time favorite Kinks album -- tons of fiddle and banjo, just like Ray imagined it in the first place. It's a totally credible country track: "They're gonna make me study elocution / Because they say my accent isn't right / Well, they may try to change my way of living / But they're never gonna kill my Cockney pride" -- you tell 'em, Brother Ray!

2. "More Than Sorry" / Ben Harper
From Both Sides of the Gun (2006)
I've seen this guy live a couple of times, and he always brings down the house. His sound is a little too chameleon-like -- the downside of being such a versatile talent -- I'm always surprised when it comes up and I check to see that it's Ben Harper singing. He's not rocking out so much on this one -- it's more acoustic and folky, which suits Harper's Cat Stevens-like voice. Tryin' SO hard to get that girl to accept his apology...

3. "Don't Disappear Now" / Marshall Crenshaw
From Life's Too Short (1991)
"We didn't stop making love for thirty-one days" -- that deeply sexy line always ambushes me in this superb MC track, tucked away on yet another neglected album. Crunchy guitars, smackin' drums, and Marshall's pleading vocals -- pure rock and roll, in its finest distilled form.

4. "Shout" / The Isley Brothers
From Instant Party Disc Regular Strength (compilation)
Every once in a while it's instructive to hear a vintage track like this -- 1959 fer crissakes! -- and realize that we have invented nothing in the past 50 years. Tempo changes, call and response, maniac whoops and hollers, and best of all, the "Little bit softer now part" where the whole thing dwindles down to a whisper, only to come whomping back full force -- "A little bit louder now!" Who can hear this without getting out on that dance floor?

5. "Santa Bring My Baby Back" / Marshall Crenshaw
From MC Rarities (compilation)
Okay, now you know what a Marshall Crenshaw geek I am. Some other Crenhead sent me this compilation of odds and sods, and the whole bit went straight onto my iTunes. But come on, you gotta love a track like this -- the sort of Christmas novelty tune that every band used to record way back when. Marshall's just having loads of fun, speeding through this peppy holiday tune -- and you can't help having fun with him.

6. "Solid Air" / John Martyn
From Solid Air (1973)
If I hadn't been reviewing records for my college newspaper, I'd never have discovered the amazing English folk-jazz virtuoso John Martyn. Hard to believe that I got this record for free, way back when. Talk about timeless music -- you can sink right into the plush environment of guitar + keyboards + sax and get lost in Martyn's vocal ramblings. Where is it going? Who cares?

7. "When I Was King" / Graham Parker
From Struck By Lightning (1991)
C'mon -- you just have to laugh, and then marvel over the songwriting abilities of Mr. Graham Parker. I can't even tell you how many amazing turns of phrase Graham stuffs into this sharp satiric number, along with a compelling guitar riff and infectious reggae rhythm. Exhibit X in the case for naming Graham Parker Neglected Genius of the Year.

8. "Give It Up" / Amos Lee
From Amos Lee (2005)
This is how you update Philly soul for the indie crowd. That funky organ and chunky guitar, topped off with Amos Lee's mellifluous vocals. "But I would give it all up for you / Yes I would give it up, settle down, stop fuckin' round." Sounds like a contract worth signing.

9. "She's About a Mover" / Sir Douglas Quintet
From The Complete Mercury Masters (compilation)
Well, hell -- it's 1965, and all the kids seem to be listening to these British Invasion Bands, so why not toss out a loveable little tune "in the style of"? Doug Sahm was really from Texas, not Liverpool -- but if that's the sound you want, the insanely versatile Sahm could turn it out, with a side note of grunge and psychedelia.

10. "Mixed Greens" / Jim Ford
From The Sounds of Our Time (compilation)
Okay, so I bought this record just because Nick Lowe said Jim Ford was one of his musical heroes. What really matters is how much I loved it once I owned it. Loungey 1970s country-soul with a particularly laidback, loose vibe -- nobody nailed this better than Jim Ford. Another neglected genius.

"She Turns My Radio On" / Jim Ford

Jim Ford? you're asking. Well, I don't suppose I would have known who Jim Ford was either, if it hadn't been for Nick Lowe. Nick and his Brinsley Schwarz buddies worshipped Ford and recorded a couple of his songs -- "Nikki Hoeky," Juju Man," "36 Inches High" -- which are about the only Jim Ford songs I really knew. That's if you don't count "Ode to Billie Joe," which Ford apparently wrote but let his then-girlfriend Bobbie Gentry take the credit for.

Thanks to Nick's recommendation, I did eventually buy The Sounds of Our Time, a Jim Ford compilation that includes his one studio album -- 1969's Harlan County, named after the Kentucky region where Jim was born -- plus a number of other tasty rarities. "She Turns My Radio On" is a demo Jim made in preparation for a second album that never was completed; someone much later happened to find the tape cassette in a box and saved it. That's the sort of thing Jim Ford's legend is made of. Moody, brilliant, careless, generous, unpredictable, a notorious hell-raiser -- by all accounts he was a law unto himself, and a world-class squanderer of his own enormous talent.

Swamp rock, country soul, roots funk -- there isn't really one phrase that could sum up the Jim Ford sound. Suffice it to say that this is what the Band and Creedence Clearwater were trying to sound like, if they could only have gotten grittier and more authentic. Jim Ford, though, he makes me want to set on my porch steps and drink something home-brewed out of a Mason jar.

A lazy, kicked-back guitar lick leads off this song; then comes Ford's croaky vocal, as he commences to sing: "Every morning 'bout dawn / Sun shines through my window and a new day's begun /Every evening, 'bout sundown / My whole world changes, Lord, when she comes around." That's mostly what this song is about, being satisfied by his woman -- and it's utterly convincing. The chorus puts it thusly: "She comes and turns my radio on / Gives me all day music, I got an all night song / I'm gonna sing till the cows come home / I'm really glad you turned my radio on."

Sexual metaphor? Well, shoot, what do you think? Of course it is, but he doesn't feel he has to get clever with it. "Turn the dial with a smile" he urges her at one point; he mumbles something else about writing a song with harmony, melody, rhapsody. But the guy sounds so contented, he can't be bothered to push it any further. And anyway, it IS also about how music makes him happy, and that's cool too.

Jim Ford died last Sunday, broke and obscure. Maybe that's how he wanted it. But I've got to think he'd be glad to know that people were still listening to his music, and grooving to it.