The Art of Tea by Michael Franks

art of tea.jpeg

The Art of Tea by Michael Franks

Flushed somewhere between the expert jazz rock of Steely Dan, Bob James and James Taylor's smoother craftsman-like moments lies Michael Franks.  And on his major label debut, 1976's The Art of Tea, Michael Franks sounds pretty damn convincing — especially if you're listening to him on a yacht!

The Art of Tea was released on the famous Warner Bros.' subsidiary, Reprise Records, which Franks was signed to after he made his first album on the Brut Record label (yes, friends, we are talking about a defunct label that was owned and operated by the discount cologne company. Hilarious.) 

Indeed, Franks was a perfect artist for Brut Records.  In some ways, he is absolutely a musical equivalent of that fragrance.  He is not unsophisticated and undeniably agreeable — though there is an element of evenness in his vocal delivery that makes him feel somewhat like a Central-Park-bootlegged version of some of his (frankly, better) major label contemporaries.  And that's probably why he never went gold or platinum on this higher-profile record.

But, truly, Franks is no slouch as a composer on Tea as evidenced by the musically imaginative and lyrical opener "Nightmoves," the breezy ballad "St. Elmo's Fire," and the should-have-been-minor-hits "Monkey See-Monkey Do" and "I Don't Know Why I'm So Happy I'm Sad."  And, boy, is he assisted marvelously by a truly platinum cast of supporting musicians: Larry Carlton, Joe Sample, David Sanborn, Michael Brecker — I mean, come on! 

Put simply, The Art of Tea pretty much sounds like the diet version of Paul Simon's Still Crazy After All These Years (released one year prior in 1975.) Yet, Simon's album is a classic and was named 'album of the year' at the 1976 Grammy Awards.  So, truly, you could do well worse than listening to this absolutely-worthy, consistent cousin of an album, wonderfully delivered by Michael Franks. 

SONGS ABOUT DEATH, GRIEF AND REMEMBRANCE

When a really gifted songwriter writes a song about death, their music and lyrics can move you in some very incredible ways.  It's such a sensitive topic, so when they do it well, you can't help but feel connected to them.  I have compiled a list of some of my favorite songs about death, grief and remembrance.  Some songs you will know.  Others will probably be new to you.  In no particular order:

"Pretty Angry" by Blues Traveler

This is a particularly moving song about losing a bandmate and friend to a drug addiction.   After a 55 second piano introduction, singer John Popper delivers one of my most favorite lines in any song: "I wish I drank tequila/ I wish I stayed up late/ But lately when the sandman comes/ You know I just can't wait/ No lately I can't Wait/ And we packed up all your boxes/ It's all be hauled away/ I never stare at walls so bare/ Cause something always stays/ Yeah something of you stays.  

This leads to its first beautiful chorus:

"I want to shout from my guitar/ Come out come out wherever you are/ The joke is over, open your eyes/ A heart like yours, it never dies/ And I found your keys behind the chair/ I still can see you standing there/ This isn't funny; don't fool around/ You let me go/ You let me down/ And I guess I'm still pretty angry/ And I don't want to be/ I don't know which was the bigger waste of time/ Missing you or wishing instead it was me."

"Song For Adam" by Jackson Browne

Featuring a finger picked guitar, a violin,  the pathos of Jackson Browne's clear tenor and a bass guitar that complements the song more than it keeps rhythm, "Song For Adam" details the suicide of Adam, one of Browne's friends.  Though it's theorized that Adam jumped, Browne can't accept it. Rather, he's "thinking that {Adam} fell."   Browne is crushed and it makes him feel like "a candle, in a way."  It's a touching piece of music—and a gutsy inclusion on a debut album, I might add.

"Let It Be" by The Beatles

It may be the quintessential popular rock song on the subject. It probably needs no other explanation.

"Julia" by The Beatles

It would be almost unfair to compile a list like this,  include "Let It Be"—a song about the death of Paul's McCartney's mum—without also including an equally beautiful song by John Lennon about the death of his mother.  While "Let It Be" includes all The Beatles, "Julia" is simply John alone on the guitar and voice.  It wasn't a number one hit like Paul's, but it also wasn't a pop song.  It's enigmatic and strange in it's wonderful beauty.  

"Fire And Rain" by James Taylor

Second only to "Let It Be."  It's the reason his listeners first fell in love with him.  "Fire And Rain" is both poetic and frank in it's description of Taylor's relationship with Susanne, his girlfriend who died in a plane crash.   On the album  Sweet Baby James, "Fire And Rain" is ppropriately preceded by a gorgeous cover of Stephen Foster's "Oh Susannah."  I think it'd be worth your while to hear the two together.  

"Fire And Rain" also includes some wonderful James Taylor history hidden inside of it.  Listen to the line "Sweet dreams and flying machines in pieces in the ground."  Sure, you can interpret it as Susanne's plane crashing.  But you can also interpret it as the breakup of "The Flying Machine" James Taylor's first band with guitarist Danny Kortchmar, which occurred only a couple years before Sweet Baby James was released.  Here's a recording of the band JT probably thought was going to be his claim to fame.

 

Note: Guitarist Danny "Kootch" Kortchmar played with James Taylor on most of his recordings.  What a coincidence that Taylor's best friend happened to be so talented.  Incidentally, he appears on countless hit records by a plethora of other famous artists of the 70s and 80s.  Without a doubt, Danny Kortchmar is one of the most important guitarists and producers of all time (that's why I put his name in bold.)  Seriously, ask any prominent musician of that time period.  If they don't agree with me, they probably were never all that prominent.  Or good.  Kootch is also a great songwriter.  Take this number one hit he wrote for Don Henley, for example.  

"Texas Girl For The Funeral of Her Father" by Randy Newman

 

One of my biggest pet peeves is when people rip on Randy Newman. If only people weren't so ignorant! Randy Newman is a genius.  He's not just a genius songwriter.  He's a genius composer, arranger, composer and conductor.  Sure, music taste is subjective, but I consider this a natural truth.  

One of Newman's most underrated compositions is "Texas Girl At The Funeral of Her Father." It's an example of everything that's great about Newman: his ability to compose and arrange string parts, his unique vocal, his totally original chord progressions and his uncanny ability to tell a detailed and moving story.

"Keg on My Coffin" by Chris Trapper

First, what a great songwriter.  He's also a real treat to see live—I highly recommend you do.  This is a wonderful—and oddly hilarious—folk song that has also been covered many times in concert by Rob Thomas of Matchbox Twenty.

"Ever Since The Day" by Chris Trapper

This is Chris at his serious side.  One of the reasons I love Chris Trapper is that, like Randy Newman, he has the ability to write songs with words that are more like short stories than song lyrics.  This song tells the story of a new kid, "the stranger" who "came to town."   A group of friends decide they hate him—probably because they are bored.  They decide to test his worth by having him race his car with one of their friends for "a $20 bet."  

In the end, one of the cars "drives right off a hill" ending in a fiery death for one of the drivers.  The others are left scarred, "shell shocked and immune."  Trapper explains that "ever since the day {they've} never been the same" and remain "hollow and afraid." This song is so captivating that it's easy to not even realize that Trapper is rhyming with nearly every line.  Amazing.  

"Shine on You Crazy Diamond" and "Wish You Were Here" by Pink Floyd

Former Floyd Bandleader Syd Barrett only died recently, but when he was young his mind sort of imploded and he went crazy after the band's first record.  These songs are about losing a bandmate to a mental illness.  The recordings couldn't have been more "authentic."  As the story goes, in the middle of the mixing process for "Shine On" Syd Barrett, looking like a shadow of his former self came in and sat down.  Neither Roger Waters nor David Gilmour could recognize their former bandmate.  These two recordings, and the album they appear on, are legendary.

"When Can I Kiss You Again" by Michael Brecker

Jazz saxophonist Michael Brecker, like Danny "Kootch" Kortchmar, is another one of those legendary guys who played on everything.  Here's a quick example:

"When Can I Kiss You Again" is from Brecker's last album, the Grammy award winning, Pilgrimag.  Brecker who was suffering from the final stages of leukemia.  "When Can I Kiss You Again?" is the question Brecker's son asked him after he was put into the critical care unit.  It's gorgeous and tear jerking. 

"Borrowed Tune" and "Tonight's The Night" by Neil Young

Because he was "Too wasted to write [his] own," Neil Young literally borrows the melody from The Rolling Stones' "Lady Jones" for the appropriately titled "Borrowed Tune," a song about the death of his long time roadie Bruce Berry and bandmate Danny Whitten of Crazy Horse.  This underrated song features some of Young's best lyrics and, in my opinion, the finest vocal he ever recorded.  The details of these two men are also featured on "Tonight's The Night" (both tunes are found on the album of the same name) and features future E-Street Band guitarist Nils Logren on lead guitar.  

Let's end on a high note.  In the words of Paul Simon: "Let's hope that we continue to live!" 

MOVIE NIGHT: SIMON & GARFUNKEL - THE CONCERT IN CENTRAL PARK

SandG.gif

Tonight's movie is the famous "Concert in Central Park of 1981" by Simon & Garfunkel.  

A most famous reunion.  Since parting ways in early 1970, Paul Simon and Art Garfunkel had reunited a couple of times for a song or two, but fans had pretty much given up hope that the two would ever truly sing together again.  And they had reason to be so pessimistic.  Tensions between the duo came to a fever pitch years before breaking up and it was painfully obvious to anyone watching that the two artists were beginning to hate each other.  If it was a marriage, let's say it ended in a very nasty divorce.  

The "seperation" phase commenced while recording their landmark, Grammy winning finale, Bridge Over Troubled Water.   Much of the tension was rooted in jealousy and bitterness.  Paul Simon wrote all of the songs—literally, all of the groups original songs which made up 99.9% of their catalog.  Yet, who received standing ovations for "Bridge Over Troubled Water?" Art Garfunkel, the singer—a mere interpreter, in Simon's mind.  Paul Simon knew he was THE genius.  He could do it all without Artie.  So he left to begin a very fruitful solo career and Art Garfunkel became a part time film actor and easy listening artist. Artie's albums were only mildy successful.  Garfunkel wrote none of the songs, leaving that duty to the likes of Jimmy Webb and Randy Newman.  

When the divorce was finalized in 1970, the two weren't on speaking terms.  It's a good thing there were no children involved ;).  Any indication of friendliness  on TV specials was purely acting.

So it was a big deal when in 1981, they reunited in their hometown of New York City for a free "neighborhood concert."  Keep in mind that Simon & Garfunkel were pretty much behind only The Beatles in popularity.  Here's some perspective: Less than a year before, the public lost John Lennon, perhaps the ultimate rock hero, an apparent pacifist and champion of world peace.  This was, in some sense, a reunion for the mourning masses.  

In the weeks prior, when Paul and Artie rehearsed, tensions were at their highest.  Literally, Simon & Garfunkel disagreed on EVERYTHING.  Originally, the plan was for Simon AND Garfunkel to each give seperate solo performances before coming together for the most famous songs in their catalog.  The idea was scrapped.  Garfunkel wanted to perform a show like they used to -- just the two of them, with Simon playing acoustic guitar.  Simon, who in his newer records had begun to experiment with jazz elements, thought this idea was total crap (or more likely, he thought that any idea Garfunkel had was total crap by the virtue that it was an idea by...Art Garfunkel.)  In the end, they decided to go with the big band and have Garfunkel sing on some of the solo Paul Simon hits.  

Let that settle in for a second!  What an oppurtunity for die-hard fans.  They could finally hear what their favorite Paul Simon songs would sound like if Simon & Garfunkel had never broken up.  It would be sort of like hearing Paul McCartney sing harmonies on Imagine or John Lennon sing the chorus of Band On The Run.  Arrangements for these songs were done by Paul Simon and David Matthews (nope, not the Dave Matthews you're thinking of.  He would have only been 14.)

Backing the duo was a large (emphasis on LARGE) group of some of the finest New York session players.  I mean, what a band! We're talking about an ensemble of guys who played on just about everything in 70s.  The group featured such prominent dudes as the late Richard Tee on Keys, the great Anthony Jackson on bass guitar, Rob Mounsey on synthesizer and Steve Gadd on drums.  Look those names up!

More than 500,000 people showed up on a chilly September to hear their favorite folk duo of the 60s reunite.  Mayor Ed Koch gave a quick "Ladies and Gentleman, Simon and Garfunkel!" (and was later 'booed' when Simon thanked him later in the set) and the band began to play the first truly electric version of "Mrs. Robinson" ever heard! 

At 45 minutes, one of the most chilling and controversial moments occurred in the concert.  Following, a solo performance of "A Heart in New York" by Art Garfunkel, Simon began to play a new song, "The Late Great Johnny Ace." The song told the story of the death of the Duke Records hit recording artist Johnny Ace, who supposedly died playing  "Russian Roulette." The song also directly mentioned the death of John Lennon.  At approximately 48 minutes and 40 seconds, Paul Simon was (very) nearly attacked by a crazed fan. Obviously startled as he watched security reprimand his attacker, Simon continued and finished the song.  

The night concluded with a second performance of Simon's hit "Late in The Evening" from the soundtrack to his failed film One Trick Pony.

Afterwards, the duo did a worldwide tour together.  What happened next would be a minor tragedy. 

Simon & Garfunkel decided to put their differences aside and record another album together.  Garfunkel came into the studio to record vocals on some songs.  But, we all know they wouldn't be Simon & Garfunkel if they didn't begin to argue.  Sadly, tensions were too high to continue making an album.  Garfunkel's parts were scrapped (left unreleased to this day) and Simon released his lowest-selling record at the time, a long player called Hearts And Bones.  Though it is now recognized as one of the artist's finest efforts, one has to wonder if the public felt a little bit teased by the failed attempts at a Simon & Garfunkel reunion album.  

On that note, let's have one moment of silence for the death of the duo's partnership.  

And finally, let's watch The Concert in Central Park:

 

For one last hurrah, I'd like to include some important albums.  First, let's listen to Paul Simon's Hearts And Bones, what could have been a Simon & Garfunkel reunion.  

I'd also like to include an album by "Stuff," a band that featured many of the musicians that backed S&G at The Concert of Central Park. Check out the bad-ass album cover, by the way.