Radio City With Jon Grayson & Rob Ross: Episode Fifty Seven
While this episode is later than usual, due to illness, our brave and fearless reporters still tackle an amazing array of issues. This week’s conversation includes the Austin bombings; how the school shooter in Maryland was taken down by the same kind of security officer who did nothing in Florida; Trump being unraveled, not by Russians but by strippers; driverless cars…; United Airlines’ pet woes; a discussion of Deanna Lehman’s “Kinderwhore”, plus a brilliant “In Our Heads”.
Even while incapacitated, these two intrepid gentlemen wish to deliver without fail. And yet again, they have succeeded with another interesting conversation that you’ll want to be part of, especially during the quiet of the holiday weekend. So come join this parade!
Radio City With Jon Grayson & Rob Ross:Episode Fifty Seven
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Antique-garde aficionados, take note: The Bipeds has arrived.
The Bipeds is a dance-theater company/rock and roll band under the artistic direction of choreographer/dancer Stacy Wolfson and Curtis Eller, the banjo-playing madman at the head of the American Circus. Wolfson and Eller combine the best of both disciplines, blending movement and song in an intoxicating hybrid for the senses.
The duo has been working on a suite of music/dance duets that it has showcased in a variety of theaters, festivals and music venues in North Carolina, Virginia and New York. That served as the foundation for the evening-length show called “54 Strange Words,” which premiered at The Fruit in Durham, N.C. this June.
In the year leading up to the show’s premiere, The Bipeds tracked an album of strange, psychedelic banjo music and several haunting companion videos. The videos, one of which we premiere here today, were shot and directed by award-winning filmmakers Jim Haverkamp and Alex Maness of Shadowbox Studio, and the album was recorded by acclaimed producer Joseph Dejarnette of Studio 808A.
Want to learn more? Crowd-fund here: https://fundraising.fracturedatlas.org/the-bipeds/campaigns/1861
And it came to pass one Thursday evening that Jesus invited his 12 Apostles to have supper with him.
But almost as soon as the meal was served, he proclaimed, “Verily I say unto you that one of you shall betray me.”
Many an eye was rolled. Was this not the same man who had said unto his disciples only hours earlier, “Guys, I know a great place on Mount Zion — private room, open bar, a table long enough for all of us to sit on the same side. You’re gonna love it.”
Jesus, by all appearances, had an agenda on this particular eventide. But yea, verily, so did Simon Peter.
St. Peter in Tears, Bartolomé Esteban Murillo, c. 1650
“Jesus, I can’t deny we’d all have oodles of fun playing your little guessing game, but it’ll have to wait,” he said, “because right now it’s time to bring out some special guests. Mary Magdalene, Joseph, Methuselah, get your butts out here!”
Jesus was confused, but his inner light illuminated the room when he saw the three guests enter.
“That’s right, God Boy — tonight you’re getting roasted!” said Simon Peter.
Judas Iscariot was unamused by the proceedings. But his fellow Apostles cheered as Simon Peter moved to the center of the dining table.
“I remember when I first met Jehovah Junior, A-K-A the Hairiest Jew Alive,” he said unto the dais. “I was with my brother Andrew over there, casting our nets into Lake Galilee, when Jesus walked up and said something I’ll never forget: ‘Who wants to suck my dick for eternal salvation?’”
Nervous laughter filled the room, which immediately fell silent when Jesus cried out, “That’s a lie!”
Then he smiled ever so slightly. “I never offered them eternal salvation.”
O, how the room erupted in joyful noise! John and James, the two sons of Zebedee, refilled their friends’ wooden chalices with wine as Simon Peter said, “I swear to his dad it’s true. Of course, we have Jesus’s other dad here tonight. Joseph, take it away!”
Joseph stood and cleared his throat. “As I’m sure you already know, I found out my beautiful wife, Mary, was knocked up when an angel came to me in a dream. He said, ‘Joe, I got some good news and I got some bad news. The good news is, Mary’s got a bun in the oven. The bad news is, it ain’t yours. The worse news is, the kid’s gonna be free of original sin, so have fun raising the most self-righteous bastard who ever lived.’”
And Jesus brayed like an ass relieved of all its burdens.
“But seriously, folks, I couldn’t be prouder of Jesus, even if he isn’t my flesh and blood. Son, you make every day worth living, and for that I’ll always love you.”
Then, looking toward the kingdom of heaven, Joseph said, “But since I paid for your bar mitzvah, your weekend dad better pick up the check for your homecoming celebration.”
Amidst peals of laughter, Jesus gave his earthbound father a warm embrace.
“You know, it’s funny,” said Simon Peter. “As a teenager Joseph was always praying to God, ‘Please don’t let this girl be pregnant, please don’t let this girl be pregnant, I swear I won’t do it again.’ As soon as he doesn’t do it again? He gets a girl pregnant! And the guy who should’ve answered his prayers turns out to be the real father. That ain’t divine intervention — that’s just fuckin’ mean!”
And while the other Apostles slapped their knees and held their sides, Judas whispered sharply to Jesus, “This vulgar language is highly offensive.”
Jesus placed a comforting hand on his disciple’s shoulder and said, “Relax. It’s all in good fun.” He gestured toward Judas’s chalice. “How’s the house wine? Too sweet? If you need me to turn your water into cabernet, just say the word.”
And Simon Peter said unto Joseph, “Joe, we love you, you know we do. No offense to the big man upstairs, but where was He when Jesus was soiling his swaddling clothes? You had to do the dirty work while He was busy setting bushes on fire, and we can all respect that.”
Applause echoed off the room’s walls of stone.
“Hey, speaking of a bush that’s on fire, please welcome Mary Magdalene!”
Mary Magdalene, Guido Reni, c. 1616
Jesus’s devoted follower stepped to the center of the table with a small stack of papyrus notecards in her hands. “Simon Peter, everybody,” she began. “Personally, I wouldn’t fuck him with Judas’s pussy — and I’m a prostitute.”
They all laughed. All but Judas, whose face turned as red as King David’s beard.
“We’re here tonight to roast a man I’ve been trying to get in the sack for years now,” said Mary. “You’d think a carpenter would know something about screwing, nailing, and banging, but not Jesus. He may be able to raise the dead, but his wood’s another story. Seriously, an erection on this Jew would take a miracle. Just last week I said, ‘Jesus, I want you inside me,’ so what’d he do? Gave me a stale wafer and one sip of wine and said, ‘Happy now?’”
Jesus, happily embarrassed, covered his face as Philip and Matthew slapped him on the back.
“I’m telling you, the man wouldn’t know the meaning of the word ‘passion’ if a Roman centurion nailed it into his hands and feet,” said Mary.
And as the laughter exited the room like the Israelites from Egypt, it was replaced by the din of a mighty swarm of crickets that had gathered outside.
Mary, gallantly attempting to win back her audience, said unto them, “What, too soon? Hey, they can’t all be gold. Sometimes you have to settle for frankincense and myrrh, am I right?”
Jesus laughed, which soothed Mary’s soul. And she looked down upon her notecards, shuffled a few around, and set her gaze on the most senior of the assembled citizens.
“Methuselah, you’re still alive? Unbelievable. This guy’s been around so long, he still calls the Old Testament ‘the Testament.’”
And thus, as laughter returned to the room, Mary’s confidence returned as well.
“He’s so old, he remembers when Sodom and Gomorrah were good places to raise a family.”
Lo, the merriment was contagious!
“In fact Methuselah’s so old …”
Mary paused. But her call was quickly met with a unified response from the Apostles: “How old is he?”
“Methuselah’s so old, he once told Adam, ‘I know you think Eve’s “the one,” but it can’t hurt to shop around.’”
Mary, to borrow a popular post-B.C. expression, had killed. And as the crowd roared, Jesus leaned over to Methuselah and shouted Mary’s jokes in his ear. The elder grinned.
“Listen, that’s all I got, boys,” said Mary unto them. “Thanks for having me, and if you’d really like to have me, my price is one lamb an hour, so start counting your sheep. Enjoy the buffet, cocksuckers!”
The Last Supper, Carl Bloch, c. 1876
Judas pounded his fists on the table and screamed, “Stop it! All of you!”
And Jesus said, “Judas, take it easy.”
“No, I won’t take it easy! How dare they make such blasphemous remarks about the son of God! You should all be ashamed of yourselves, betraying Jesus’s love and friendship like this.”
“Whoa whoa whoa — ‘betray’?” Jesus said unto Judas. “Interesting choice of words.”
And Judas turned white and stammered, “Uh, well, no, see, what I meant was, uh—”
But he was interrupted by Methuselah, who said, with great effort, “Jesus … you need … to see a doctor.”
And Jesus responded, “Why, Methuselah? I’ve never felt better.”
“Because Judas’s nose … needs to be removed … from your ass.”
And as Jesus and his loved ones exploded in hysterics, Judas fled. He had eaten his last supper as an Apostle, but he would never have the last laugh.
The preceding Bible story was originally performed onstage in 2004. In other words, it is risen, it is risen.
Camden, New Jersey has fallen on hard times in recent years but at one time it was not only a manufacturing center but its close proximity to Philadelphia made it something of a sub-capitol for the Philly Soul sound. As a matter of fact, one of the pioneers of that sound, Leon Huff, was born and raised in Camden. And it was Huff, together with partner Kenny Gamble who eventually signed the Ebonys to their newly-formed Philadelphia International label.
The Ebonys were led by David Beasley who founded the group and added Jennifer Holmes, Clarence Vaughan, and James Tuten to the lineup. They took their name from a copy of Ebony Magazine that Holmes was reading in their rehearsal space, which happened to be her living room. As high school students, they began singing in talent shows and eventually graduated to club performances.
The quarte got a record deal with the Philadelphia-based Avis Records and released their first single, “Back in My Arms,” in 1969. The record label billed them as the Ebony’s. They followed that up with another Avis single called “Many a Man.”
Beasley thought the Ebonys were ready for a step up so he arranged an audition with Gamble & Huff. They passed on the group the first time around but in a case of ‘it’s not what you know, it’s who you know’ the Ebonys took on a manager by the name of Gerald Wilson who knew Huff. Wilson brought the group back to Gamble & Huff for a second audition. They sang the same songs but this time the Ebonys got signed to Philadelphia International.
The group recorded its first single for PIR at the legendary Sigma Sound Studios with backing by MFSB on a song written by Gamble & Huff and arranged by Thom Bell. No group anywhere could ask for more of an all-star team at that time. The resulting single was “You’re the Reason Why” and it was a hit, reaching the Top 10 on the R&B chart in 1970 and finding crossover success on the pop chart as well.
The follow-up single was called “Determination” and it didn’t quite deliver on the promise of “You’re the Reason Why,” just managing to scrape into the Top 50 on the R&B chart. “I’m So Glad I’m Me” failed to make any dent at all but the next single, “It’s Forever,” brought the Ebonys back to the charts, reaching #14 on the R&B chart in 1973.
Despite their best efforts, the Ebonys could never seem to get ahead. They didn’t really have proper management (Wilson was a bar owner) or a booking agent and so even though the records got some attention the group never got to play the venues they should have. Even nearby Atlantic City was out of their reach in terms of live shows.
Despite the lack of overall success, the Ebonys continued to show up on the charts, reaching #34 with “I Believe” in 1974. Their final PIR single, “Life in the Country” reached #69 later that year. The label had released a debut album for the group a year earlier and a second album, compromised mostly of Gamble & Huff songs, was recorded but not released. According to Beasley, Gamble had a problem with Tuten’s drug use and dropped the Ebonys from the label.
Wilson got the Ebonys a deal with Buddha Records. There they released one last chart record, “Making Love Ain’t No Fun (Without the One You Love).” The label also released an album called Sing About Life but there was no promotion for it and there were no gigs to support it.
“There was no promotion on that album. We never were anywhere. We never performed any of those songs on the stage,” Beasley told soulexpress.net.
The Ebonys broke up in 1976. Holmes went on to sing with Creme D’Cocoa and Beasley eventually began a solo career on weekends away from his day job. It was in this capacity that he finally got to sing in Atlantic City. He finally got the group back together, albeit with a new and constantly changing lineup, in 1997. Beasley began to feel the effects of vertigo and decided to retire in 2001.
That wasn’t quite the end of the group though. A replacement came in and in 2003 an entirely new group of Ebonys released an album called That’s Forever. At one point two different groups of Ebonys were performing. In 2015 Beasley put together a group called David Beasley’s Fabulous Ebonys and released an album called Anything That You Want. The album was recorded back at the scene of the Ebonys early success, Sigma Sound, and included new recordings of four songs from the glory days.
Chris Hillman co-founded some of the most classic, seminal, groundbreaking acts of the ’60s and ’70s – namely The Byrds, The Flying Burrito Brothers, Manassas, and The Souther-Hillman-Furay Band. But in the mid 1970’s, he decided it was time to try things on his own.
1976 saw the release of Slippin’ Away, Mr. Hillman’s first solo album. This was a star-studded affair, featuring members of Booker T. & The M.G.’s (!), Poco, Buffalo Springfield, The Turtles, and a host of ace studio musicians. Hillman took his place as frontman, and the results were “the classic ’70’s L.A. sound”.
In 1977, Clear Sailin’, came out; this saw him dial back the flashy supporting cast for a more traditional release — much like the imusic he had created in his early years with The Byrds and Burritos. For Clear Sailin’, Mr. Hillman enlisted a core band with production by Jim Mascon (Poco, Firefall). As well, several songs feature co-writes with Crawdaddy magazine’s founder, Peter Knobler.
Now, thanks to the tireless work from the good folks at Omnivore Recordings, The Asylum Years presents both of those ’70s albums on one disc, with an essay from Scott Schinder and featuring a new interview with Hillman. It’s not one of those “completist” things but an important look at the beginnings to the solo career of an important American artist.
“Step On Out” kicks things off perfectly, with (naturally) a country feel, but a rock-boogie rhythm/groove, with rich vocal harmonies and background – why wasn’t this plastered all over radio? The title track, “Slippin’ Away” has that very laid back, “easy” ’70’s vibe, driven by Fender Rhodes piano and Mr. Hillman’s very smooth singing; “Take It On The Run” is a slice of Southern-style rock with some vicious yet tasteful bottleneck guitar and “Midnight Again” is a big production with a big sound – anthemic and very much of the time. “Fallen Favorite” has an exquisite opening with guitars and keyboards; harmonies and piano driven melody; “Hot Dusty Roads” definitely has that Burritos vibe, with its’ galloping rhythm and good-time feel (think “The Older Guys”) and “Playing The Fool” is another of those radio-friendly moments, with a great groove (listen to that bassline).
I’m very happy to see Mr. Hillman’s first solo works being brought back to the public consciousness. With a more-than-formidable resume (so to speak), having these first two albums available again is a great way to continue exploring the interesting work of a very fine, but sometimes criminally overlooked, artist.
This is really good. I mean REALLY GOOD. This second album from The Shelleye Valauskas Experience, History Of Panic, which is anchored by singer-guitarist Ms. Valausakas and Mr. Dean Falcone on second guitar, took almost a decade to make and release, but it’s damned well worth the wait. Ten perfectly, meticulously crafted power pop (emphasis on “power”) tracks that shimmer and shine. The sound of the album is top notch, having been produced by Mr. Falcone, who has quite the producer’s ear and among the many players who helped shape and drive sound would be legendary drummer Dave Mattacks (most notably, for the uneducated, the long-time drummer for the equally-legendary Fairport Convention) and Jonathan Auer, of The (beloved) Posies and (of course), Big Star (the ’90’s edition onward). Everyone who contributed to this album created a very special collection.
The album explodes in the best possible way with “Do Over”, which just kicks from the first raging chords, into a Raspberries/’70’s sound storm which immediately goes clean pop, with a catchy chorus and tight harmonies; “Over The Top” is low-voltage, again, harmony-laden and hooky. I hear a lot of influences here: some (as mentioned) Rasperries/Big Star/Posies/dB’s/slight R.E.M. – and it works. “Gravity” especially has a dB’s (or Chris Stamey) type of feel; a sweet and lush piece with swirling guitars and melody that instantly draws you in – this should be on every radio. “Leftover Mistake” comes charging forward with fiery guitars and intensity, in that early ’80’s radio-friendly way and again, you can’t help but tap a foot to this, with its upbeat tempo; “Options” is the country-pop piece, which is a perfect fit on this album – sweeping, yearning pedal steel runs, acoustic guitars and on-the-one and “Take It Back” sounds like an amalgam of Velvets/Big Star, circa “3rd” and R.E.M. when they slowed down – a twang-filled, gentle moment that satisfies on every level.
And that’s the key thing – it satisfies on every level. The entire album. So I don’t need to carry on further with hyperbole – it’s very simple. Listen to this and tell me you’re not instantly in love with it. It’s impossible to not be.
Chris Hillman co-founded some of the most classic, seminal, groundbreaking acts of the ’60s and ’70s – namely The Byrds, The Flying Burrito Brothers, Manassas, and The Souther-Hillman-Furay Band. But in the mid 1970’s, he decided it was time to try things on his own.
1976 saw the release of Slippin’ Away, Mr. Hillman’s first solo album. This was a star-studded affair, featuring members of Booker T. & The M.G.’s (!), Poco, Buffalo Springfield, The Turtles, and a host of ace studio musicians. Hillman took his place as frontman, and the results were “the classic ’70’s L.A. sound”.
In 1977, Clear Sailin’, came out; this saw him dial back the flashy supporting cast for a more traditional release — much like the imusic he had created in his early years with The Byrds and Burritos. For Clear Sailin’, Mr. Hillman enlisted a core band with production by Jim Mascon (Poco, Firefall). As well, several songs feature co-writes with Crawdaddy magazine’s founder, Peter Knobler.
Now, thanks to the tireless work from the good folks at Omnivore Recordings, The Asylum Years presents both of those ’70s albums on one disc, with an essay from Scott Schinder and featuring a new interview with Hillman. It’s not one of those “completist” things but an important look at the beginnings to the solo career of an important American artist.
“Step On Out” kicks things off perfectly, with (naturally) a country feel, but a rock-boogie rhythm/groove, with rich vocal harmonies and background – why wasn’t this plastered all over radio? The title track, “Slippin’ Away” has that very laid back, “easy” ’70’s vibe, driven by Fender Rhodes piano and Mr. Hillman’s very smooth singing; “Take It On The Run” is a slice of Southern-style rock with some vicious yet tasteful bottleneck guitar and “Midnight Again” is a big production with a big sound – anthemic and very much of the time. “Fallen Favorite” has an exquisite opening with guitars and keyboards; harmonies and piano driven melody; “Hot Dusty Roads” definitely has that Burritos vibe, with its’ galloping rhythm and good-time feel (think “The Older Guys”) and “Playing The Fool” is another of those radio-friendly moments, with a great groove (listen to that bassline).
I’m very happy to see Mr. Hillman’s first solo works being brought back to the public consciousness. With a more-than-formidable resume (so to speak), having these first two albums available again is a great way to continue exploring the interesting work of a very fine, but sometimes criminally overlooked, artist.
Popdose is pleased to present the exclusive premiere of “Sexy N’ Domesticated,” the brand new video from actress/singer/songwriter Brooke Josephson.
The song offers a preview of Josephson’s new EP of the same name which will be out next month.
“It’s been four years since I released my first EP, Live and Let Live, and it’s been quite a trip,” Josephson tells Popdose. “I had the privilege of collaborating with veteran record producer Tony Berg and Grammy Award-winning engineer Shawn Everett to mix my sophomore EP, Sexy N’ Domesticated, which is a culmination of my growth as a wife, mother, and artist. I really let loose on this project and allowed my tongue-in-cheek take on motherhood and marriage to shine. Sexy N’ Domesticated is for the modern day woman shapeshifting between wife, mom, and work.”
In a recent interview, Josephson shared the story behind the title track, revealing, “I’ve always been a Chrissie Hynde fan, and when she was doing press for her first solo album, I read an article where she told the story about a punk band that had sent her their record. They wanted to get her feedback, but in between the time they sent it to her she had taken time off from touring to become a mother. When she finally got around to reviewing it, she realized how great the band was and wrote to tell them. They wrote her back and said, ‘Yeah, your music was cool until you became domesticated.’ I was so fired up about it that I decided to write a song. Just because you become ‘domesticated’ by getting married or becoming a mom, it doesn’t mean that you suddenly become irrelevant or drop off the planet.”
She’ll celebrate the release of the new EP with a special show in Los Angeles on May 19 at the Peppermint Club. Tickets are available now.
“There was never a time when I did not exist, no you. Nor will there be any future in which we will cease to be.” — The Bhagavad-Gita
“I could do something like that someday … You have all your best pals out there being groovy and making it interesting. I mean if I had a ‘special’ I’d have a few people who mean something to me.” — George Harrison
George finally got his special but unfortunately, he wasn’t there to enjoy it, or maybe he was. He died on November 29, 2001. One year later, to the day, a group of his best pals gathered at Royal Albert Hall in London for the Concert for George. The impressive list of participants included former Beatle-mates Paul McCartney and Ringo Starr along with sixth Beatle Billy Preston, Wilbury colleagues Tom Petty and Jeff Lynne, Eric Clapton, Monty Python, Jools Holland, Gary Brooker, Joe Brown, Anoushka Shankar.
Joining his father’s friends on stage that night was a young Dhani Harrison, dressed in spectral white. He looked so much like George that you couldn’t help but wonder if George really was presiding over the concert that night.
The Concert for George was commemorated with an audio CD and a film release in 2003. The concert film was particularly beautiful set as it was in the majestic old hall. The film won a Grammy for Best Long Form Video and it has become a staple for PBS fundraising broadcasts.
George would have turned 75 on February 25 of this year. To mark the occasion, Concord Music has released the complete Concert for George in an impressive four-LP box set and a truly extravagant Deluxe Box Set (in a limited edition of 1,000) that includes four 180-gram audiophile LPs, two CDs, two DVDs, two Blu-rays, and a 12”x12” hard-bound 60-page book. The concert is also available in new CD, DVD, and Blu-ray configurations.
“We will always celebrate George’s birthday and this year we are releasing Concert for George in a very special package in memory of a special man.” — Olivia Harrison
The four-LP set marks the first time that complete concert has been available on vinyl and the box set includes a booklet full of photos as well as a stirring essay by noted writer Paul Theroux.
From the opening traditional prayer to the wistful closing number by Joe Brown, the Concert for George is as close to a perfect tribute as George’s friends could have hoped for. Like me, you may have seen the film several times and listened to the concert on CD, but the new 180-gram LP set is a revelation and it belongs in your library.
Purchase link: Concert for George – Four-LP box set
Four-LP Vinyl Track Listing:
Side 1:
“Sarve Shaam” – Traditional Prayer
“Your Eyes” – Anoushka Shankar
“The Inner Light” – Jeff Lynne & Anoushka Shankar
Side 2:
“Arpan” – Conducted by Anoushka Shankar
Side 3:
“Sit On My Face” – Monty Python
“The Lumberjack Song” – Monty Python with Tom Hanks
“I Want To Tell You” – Jeff Lynne
“If I Needed Someone” – Eric Clapton
“Old Brown Shoe” – Gary Brooker
“Give Me Love” – Jeff Lynne
Side 4:
“Beware Of Darkness” – Eric Clapton
“Here Comes The Sun” – Joe Brown
“That’s The Way It Goes” – Joe Brown
“Horse To The Water” – Jools Holland & Sam Brown
“Taxman” – Tom Petty and the Heartbreakers
Side 5:
“I Need You” – Tom Petty and the Heartbreakers
“Handle With Care” – Tom Petty and the Heartbreakers with Jeff Lynne & Dhani Harrison
“Isn’t It A Pity” – Billy Preston
“Photograph” – Ringo Starr
Side 6:
“Honey Don’t” – Ringo Starr
“For You Blue” – Paul McCartney
“Something” – Paul McCartney & Eric Clapton
“All Things Must Pass” – Paul McCartney
“While My Guitar Gently Weeps” – Paul McCartney & Eric Clapton
Side 7:
“My Sweet Lord” – Billy Preston
“Wah Wah” – Eric Clapton & Band
“I’ll See You In My Dreams” – Joe Brown
