Thursday, January 16, 2014
The way the story most often gets told, Marvin Gaye with What’s Going On (1971) liberated himself from Motown’s formulaic method of music-making and achieved total artistic independence, whereupon the music—if not, to be sure, the man himself—went on to live happily ever after. But the story gets told incompletely, because What’s Going On was only the start of it—it was how Gaye leveraged the potential for his independence, but it wasn’t how he ventured out and completely seized that independence. To tell that story, you have to tell about Trouble Man.
It’s a story that can now be told more elaborately, with a wonderful fortieth anniversary reissue of the original album, complete with some newly released material and a supplementary booklet.Trouble Man is absolutely sui generis within the Marvin Gaye canon for being not only a blaxploitation film soundtrack—the only film score he would ever do—but for being jazz-based and largely instrumental. The booklet does a commendable job articulating Trouble Man’s importance, while the artifact itself sings, as always, with perfect eloquence to the same thing. Except that now it sings even better.
Monday, January 13, 2014
Maybe it really was those days and nights out at sea that did it. Stationed aboard a Navy destroyer in his late teens and early twenties, young Leonard Schneider would “[s]ometimes . . . talk out loud up on the bow,” vocalizing all those thoughts he’d be thinking because, after all, “out at sea you have a lot of time to think. All day and all night I would think about all kinds of things.” A couple decades later, when he wrote his memoir, How to Talk Dirty and Influence People (1965), that’s how Lenny Bruce chose to frame his stylistic development—or this aspect of it, anyway: “[t]his process of allowing one subject spontaneously to associate itself with another.” Which is, Lenny added none too modestly, “equivalent to James Joyce’s stream of consciousness.”
I’ll leave to others any comparisons with Joyce, but to pursue the question of where Bruce got his style—not just his free-form and -flowing spritz but the entire repertoire, the slang, the Yiddishisms, the scandalous and sacrosanct subject-matter—we need to take our inquiry beyond the sailor’s lonely days and nights at sea and into the places where Bruce began honing his craft in earnest, after getting himself discharged—by pretending to be a cross-dresser—from the Navy.
Labels: Lenny Bruce