Care to comment?

You can comment by clicking on the circle that's directly to the left of each post and just beneath the date

.

.

.

Just Another 10¢ Novel

  • 4
From The Five And Dime
A Tribute To Pulp Fiction And Film Noir


My name is Jack Stature. I'm a Private Dick, and this is my story.

It'd been one long, hot, hell of a lousy day to say the least. The Santa Ana winds were blowin’ like the devil’s breath over the L.A. basin, causin' an eerie stillness that brings out every bad instinct that lives in the heart of man, woman, and child alike. Even the little puppy dogs start actin’ like wild canines. After gumshoein’ through every stinkin’ burg in this miserable town, talkin’ with what felt like every two-bit bookie this side of the Rio Grande, I was beat, and I still had nothin’. At least nothin’ I could make a respectable deposit with at the Bank of Credibility, which is exactly what I needed over at the D.A.’s office in Riverside. All I’d come back with was an earful of malarkey and some top grade shine-ola. Maybe I was barkin’ up the wrong tree, but I just couldn't help but think that this just might be the ace in the hand that puts some dough in the pocket. After all, a shamus like me can't live on bread alone, he's gotta' have a little toast every now and then. But now, I was headed back to my office downtown, which was almost a welcome relief, if it weren't for those winds.

Hangin’ my hat on the rack, I was lookin’ forward to settlin’ in for a quiet night with a bottle of Scotch, a National Geographic, and a bag fulla’ pipedreams, only there was one question that kept knockin’ around my brain like a silver ball in some crazy pinball machine. Had Johnny DeLuchi stopped off at the track before his fatal run-in with Nick Scarlatti, or had he driven out to the valley to meet with Johnny 'The Lug' Rydell and settle his long-standing debt, the debt that had hounded him like pack of hungry wolves for the last 12 months? That was the key to unlockin' this stinkin’ case, but I was gettin’ nowhere with it. I had nothin’ and was too tired to even think about it any more. Besides, my feet were achin’ like a busted heart right out of a Hank Williams tune. Not only that, I was also starin' at a near empty pack of Chesterfields. I would’ve asked Velma, my Girl Friday to run down to Carlotta’s for another carton, but she’d already left for the day, something about a hot ticket and a night on the town with some dumb palooka who lived in Paramount. She was a sweet gal, Velma, but I felt sorry for her, always fallin’ for some small town loser with no directions home. But hey, it was her life, and what was I, her old man, or somethin’? I put my weary feet up on the desk, lit my last cigarette, and was just about to tune in the Hit Parade, when from outside my window, I heard a scream that pierced my gray matter like an ice pick through a Casaba melon.

It all happened in an instant, but I remember it like a schoolboy remembers his first wet dream. After the last car sped away, all I could see in the haze of smoke from the squealing tires was the mangled body that lay bleeding in the curb, and the silhouette of a dame with more dangerous curves than Mulholland Drive. I only saw her for a second, and that was mostly in the shadows of a solitary lamppost, but I’ll never forget the sight. She was shapely, that was for sure, with gams up to here. She wore a low cut powder blue cashmere sweater with a diamond-studded broach that had a small cluster of rubies in the center, positioned just above her left breast. Around her neck was a silk scarf, and she carried an Italian leather handbag from Bloomingdale's. Her pumps were new and they were sexy. Very sexy. T-straps with stiletto heels. Her lips were painted ruby red and she was wearing Prince Matchebelli, smokin’ a Lucky Strike, hummin’ a Rudy Vallee number, and thinkin’ about the pine nut she’d left behind in East St. Louis, still nursing a warm beer and a broken heart. That’s all I can tell ya’ though. Like I said, I only saw her for a second, but I savored every moment of it.

Well, I put in an anonymous tip to Central Station, alerting the boys in blue, then grabbed my hat and ran down to street below, but by the time I got there, she was gone and the goons from downtown were already converging on the scene. L.A.’s finest, they call them. They weren’t always, but sometimes they get it right, like this time, but not without the help of friendly angels like myself I’d like to think. This case would fall squarely on the desk of Detective O’Malley and I didn’t want to get involved, not in the least. We’d been at odds he and I, ever since I beat him to the punch on the Remington caper and that international jewel thief from Monte Carlo. He thought I’d made him look bad in the eyes of the D.A., but I couldn’t help it if I was the better gumshoe. That’s just the way the cookie crumbles, but O’Malley, he’s not a bad guy really. His problem is that all these low-life punks have already figured him out. They can smell him comin’ like a bad odor. It's not all that hard to do, if you get my drift. And that’s where I get the upper hand on these G-men, see? Well, O'Malley was already overwhelmed, poor sap, starin’ at the corpse, rubbin’ his neck. The sweat was drippin’ from his brow and he already smelled like a hard salami, when suddenly it dawned on me. Why was I standin’ there talkin’ to myself like a blatherin’ idiot when I’d better make myself scarce? Maybe I was beginnin’ to lose my touch, or maybe it was those damn Santa Ana winds. I just couldn’t be sure which it was. That's what those winds do to ya'. Then it hit me again, but like a frying pan this time 'round. There I was doin’ it again! I fell back into the shadows and fumbled for a cigarette, but had already smoked my last. I needed a new pack, but then, I also needed to find that dame before O’Malley got wind of her. No time to dilly-dally. I tossed my burning match to the curb and was in the breeze without a sound.

Thank God I had a coupla’ dead presidents in my pocket, and possessed the nose of a bloodhound. Nobody's ever accused me of bein' a pretty boy, but I could always track a scent, and the smell of her perfume led me down La Cienega Boulevard until it finally disappeared behind the doors of a smoky saloon called, The Burning Embers. I called it a dive. Just another low-rent gin joint at the intersection of Down and Out Avenues. They're littered like cigarette butts all over this stinkin' town. Adjusting my hat, I stepped inside slowly like an alley cat through the back door of a Saturday night fish-fry. Bingo! There she was at the Wurlitzer, drinkin’ a highball and smoking’ a Lucky, pluggin’ nickels in the box and lookin’ for somethin’ lively by Rosemary Clooney. I sidled over in her direction and punched in a number on the old 'Bubbler' that I'd hoped would send a subtle message. It was an old favorite, 'Beat Me Daddy, Eight To The Bar.' Then, real casual like a hipster at a funeral, I said, "What's a good lookin' dame like you doin' in a dump like this?" "Whadda' ya' think I’m doin’, you dick!," she shot back. "A real firecracker!," I thought, "I like it, but how'd she nail my M.O. so quickly?" Maybe I really
was losin' my touch, or was it these miserable Santa Ana's? I knew O’Malley was washed up, but was I tip-toein’ down the same primrose path as that poor sap? She’d called my number early in the game and I couldn’t afford a new exchange now. I was treadin’ through dicey territory here and I couldn’t help but wonder whether I was about to break one of my three cardinal rules of life. You see, every shamus needs to set some guidlines for himself, otherwise he might to end up out at Cypress Lawn wearin’ a wooden kimono. My rules are 3, and simple. Never play cards with a guy named after a large metropolitan community, never date a girl with a tattoo of a dagger that’s drippin’ blood, and never, ever have lunch at a place where you can come out with enough gas to open up your own Mobil station. If I managed to keep my powder dry, the rest would be like cream cheese and baloney on rye. This was a fine line though, finer than the pair of silk stockings on this dame’s legs, but like a city politician, I was about to cross it gladly. I chewed it over for a couple of minutes when she broke my train of thought by saying, "Well slim, are ya' just gonna' stand there talkin’ to yourself all night, or are you gonna' buy me a drink?" Mouth like a sailor, Body by Fisher, and easy on the eyes. I liked it even more. It was a tempting combination that any of those two-bit bookies would be clamorin' to lay odds on, and I was already baskin' like a champ in the Winner's Circle.

Well, maybe my treads were wearin’ thin, but what did I care now? This wasn't the first time I'd found myself face to face with a pair of 38’s, only this time they were softer, warmer,
and cloaked behind a thin veil of blue cashmere. I adjusted my rod and ordered a Scotch. It looked like the night wasn't turn out so bad after all! In fact, the entire weekend looked like it promised to be perfumed, gin soaked, and hand rubbed, or at least that's what I thought she meant when she said, "Let's go to my place, get drunk, and refurnish the furniture." But it was the way she said it, you know? Kinda' husky like a lead dog in a snow job, and I wasn't about to get left out in the cold.

(c) 2008 Miles Mellough



Just Another 10¢ Novel From The Five And Dime

1) Complete Soundtrack to 'Farewell, My Lovely'/David Shire
2) Excepts from the Soundtrack to 'Mulholland Falls'/Dave Grusin
3) Complete Soundtrack to 'Body Heat'/John Barry

(Taken from the original Label X, LASE-X-2, 45 rpm recording)


To download, click here.

Special thanks to Edward G. Robinson and Humphrey Bogart, and especially to Raymond Chandler, Dashiell Hammett, the city of Los Angeles, Carl Reiner and Phil Austin.

Hot Fun In The Summertime

  • 4
Look at that mug. It's a face that only a mother could love. That was me, roughly 30 years ago when I still had a glimmer of faith in mankind. The days before life dealt me a few bad hands, before several sure bets turned into certain busts, and before I eventually packed it in to become the misanthropic crank I am today. If I lived in a small town with only a handful of neighbors, I'd likely be trying to get rid of them. "Hit your ball into my backyard, and you'll never see it again, Sonny!" That's what happens when you get shat on one too many times. But honestly, I'm not really that cantankerous, although it's safe to say that you'd never find me skipping down the sidewalk whistling, 'Up With People!’ It's a funny paradox. I mean, for someone who’s not too big on hanging out with humanity, here I am, week after week sharing myself in the pages of this blog, which is read worldwide. Funny too, that I've nearly always made my living in something that is called, ‘Communications.’ Considering this, it's then a contradiction that as a whole, I reserve more respect for those in the animal kingdom than I do for those of humankind. I do however enjoy watching people. No, not to ridicule and scoff at, as you might be thinking, but rather as a way of learning something about them as individuals, or about ourselves as culture. Education through observation. I could be a great reporter by way of casual bystander, or maybe even a cop, if I actually had an interest in upholding the law. I mean, I see it this way, I can't entirely avoid interacting with society. After all, I am a member of that organization, and a responsible one at that. So I mix, but only as long as I can hold most individuals at arms length. For the most part, I prefer to learn about people, customs, and lifestyles through astute examination, ideally with as little actual physical contact as possible. Kind of like Jimmy Stewart in 'Rear Window.' That's me, except without the broken leg, the telephoto lens, or Grace Kelly as a girlfriend. Minimum face time, maximum supposition. It's not a perfect form of research, I know, but more often that not, what I take away is relatively sound. Combine a bit of fact-finding with educated guesswork and analysis, blend with the scrutiny of my eye for detail, and I usually end up drawing conclusions that are pretty close to absolute truth. It's always been that way. In fact, I consider myself as knowing a little bit about a lot of things, from shipyards and mercury poisoning, to epicurean and make-up tips. Enough at least to get started. The things I don't know much about, I make up as I learn. Meanwhile, I cautiously mingle. But don't get me wrong, I'm not ready to disappear into the desert landscape of Baja to live in an Airstream trailer, or anything. Not yet anyway. Besides, there are still several people who owe me money, and I'd like to collect on those debts first.

When that picture above was taken, I was working at KRE, the station you've heard me wax about in previous posts. Man, I loved that station! Not only was it a great learning experience for me, but I also got to work alongside (oddly enough) a talented crew of people who for the most part, kept their egos checked at the door when entering the building. And there, much like my way of observing people, I educated myself, again through attention to detail, a bit of formal research, a dash of luck, and the ability to become a quick study. I mean, before I encountered
Thelonious Monk at the age of 10, my childhood idea of jazz was Boots Randolph and The Anita Kerr Singers, the latter who did that stuff like, "Scooby-dooby-dooby-doo, Scoobity-wa-wa-waaaa!" Later in my post-Monk teen years, I poked around the jazz section in the record aisle at the local Department store and found some other things I liked. But when I got to KRE as a young adult, I got exposed to it all, and all at once! What jazz I already knew was enough to get me through initially, but while there, I picked up as much as I could absorb until I became versed enough to consider myself a connoisseur. And again, it was through scrutiny and studied consideration. A friend in a similar circumstance once told me that when auditioning for an on-air position, she was asked by the Program Director to pick out what she thought were the two-dozen strongest titles in the stations library. Cleverly, she perused the collection methodically, and the titles she selected were the L.P.'s whose jacket spines were the most well worn! From there, like me, she simply absorbed and learned as she went along, making up the other bits along the way. A very smart girl! It's almost like, if you talk as though you were an authority on something, as long as your line of bullshit isn't too far out, most people will initially accept your word on it. Then over time, you truly do educate yourself and it's no longer B.S., but fact.

I mention this because while at KRE (as with most any radio station), staff members would fill in for a colleague if they were ill, vacationing, or otherwise predisposed. Every so often, I would get tapped to cover for Talaya Trigueros who now works at KTWV-FM in Los Angeles. The young and beautiful
Talaya hosted a salsa music program that was extremely popular, largely due to her winning personality, her silky voice, her excellent taste in music, and of course because of the large Latino community that resides in the Bay Area. Well, who was I to substitute host a salsa program? I'll tell you. I was a dopey gringo who didn't know salsa from shinola. Similar to my take on jazz before first hearing Thelonious Monk, anything that featured timbales and was sung in Spanish potentially qualified as salsa music to my unenlightened ears. However, I wasn't that completely naive. I made it a point to inform myself in the only way I knew how --- I listened to her show, took note of what she played that appealed to my own sensibilities, checked out what was selling at 'Discolandia' in San Francisco's Latino Mission district --- and then I undertook the task as though I actually knew what I were doing. Meanwhile, I'd audition other recordings I was less familiar with (or completely unfamiliar with) while airing one that I felt confident in. That, combined with listener requests, always got me through in spite of my relative lack of exposure to the genre. Of course, I didn't produce anything that vaguely resembled a 'salsa' program in the strictest sense, it was rather a 'Musica Latina' program that featured Latin rock, Latin jazz, Afro-Cuban jazz, the requisite salsa, and even 'old school' soul (although it wasn't old school at the time). The music featured below is an example of the sort of mix I'd do (except then I had a much larger library to choose from), and the selections are mostly from that period as well. As it was then, it today remains more than quite suitable for summer listening. In fact it's actually great for summer listening! Looking back, it obviously wasn't Talaya's salsa show, no way! But all things considered, I didn't do too bad of a job with it. I mean, I would get calls from Mission low riders, some of the brothers in Oakland, and even the random cholo from East San Jose! I figured that kind of response was pretty good for a honky/gringo who was learning on the fly, and making up the rules as he went along. Man, what was that thing that Honest Abe said? "You can fool some of the people all of the time, and all of the people some of the time, but you can't fool all of the people all of the time." It's kinda' like that.


Viva La Musica Latina

1) El Chicano/El Cayuco
2) The Santana Band/Incident At Neshabur
3) Celia Cruz/Usted Abusó
4) Ruben Blades/Buscando Guayaba
5) Kool & The Gang/Summer Madness
6) Cal Tjader/Guarabe
7) Sapo/Been Had
8) The Harvey Averne Barrio Band/Cayaco
9) Herbie Hancock/Butterfly
10) The Santana Band/Treat
11) Willie Colón/Dime
12) The Alex Cuba Band/Muevete
13) Cruisin' With Pedro
14) El Chicano/Viva Tirado


Bonus Tracks
(Because I'm really not such a crank after all)

14) Jerry Gonzalez/Bye-Ya
15) Pedro's Request
16) Tower Of Power/You're Still A Young Man
17) The Chico O'Farrill Orchestra/Freezelandia
18) Donny Hathaway/The Ghetto
19) Cal Tjader/This Is Always
20) Malo/Nana
21)
Las Siete Potencias/No Volvere
22) Celia Cruz/La Guaga
23) Pedro, Red Freak, And 'La Bamba'
24) War/All Day Music


To download, click here. For the bonus tracks, click here.


TR-i (The Rundgren-index) No.#4

  • 4
The Kid Gets Heavy
No.#4 in a series.


O.K., I admit it, I'm a Toddhead. But don't get me wrong, I'm not obsessive about the guy or anything. I mean, I don't salivate over every piece of Rundgren related memorabilia that goes up on eBay, I don't attend every show, nor have I ever visited a chat room devoted to the man. I didn't name my first born 'Runt,'* nor am I a completest, collecting every single bootleg and alternate take that ever sees the light of day. Hell, I don't think I even own all of his official recordings! But those I do possess have always brought me great pleasure. And what keeps me returning to them is the combination of quality songwriting, solid playing, intricate harmonies, memorable hooks, and the underlying humanistic message that informs them. I've never held anyone up as an idol, but there are those for whom I have great admiration, and Todd Rundgren is one of them. I've touched on my reasons in previous entries and I won't repeat them here. Let me just state that beyond his music, it's Rundgren's vision and commitment to remaining true to himself that I find most intriguing and commendable.

As
Todd is currently on tour in the U.S. to promote his forthcoming release, 'Arena,' this seems as prime a time as any to showcase his guitar driven hard rock recordings in this 4th chapter of TR-i (The Rundgren-index), a series which profiles Todd's 40+ career in the music industry.



The Kid Gets Heavy

1) Under The Ice
(with Nazz)
2) The Death Of Rock And Roll
3) Everybody's Going To Heaven/King Kong Reggae
4) No.#1 Lowest Common Denominator
5) I Hate My Frickin' I.S.P.
6) Black And White
7) Utopia Theme
(with Utopia)
8) Little Red Lights
9) Black Maria
10) Couldn't I Just Tell You
11) Parole
12) Devil's Bite
13) Drive
14) Is It My Name?
15) Love In Action
(with Utopia)
16) Heavy Metal Kids




*'Runt' is the name of Rundgren's first solo LP. And for the record --- I don't have any children, although I occasionally rent one for special events and holiday gatherings with the family.

To download, click here and play loud!

Visit Roger Linder's labor of love The Todd Rundgren Connection for more info on Rundgren.

A Loose Salute

  • 5
30 Big Ones
From The Underappreciated Solo Recordings
Of
Michael Nesmith
The RCA Years
Friday, July 04, 2008


Most anyone who is over the age of 40 and a fan of music is no doubt already familiar with the name of Michael Nesmith. Whether you came of age during his stint with the wildly successful Monkees, or learned of him years later while browsing through an older brother or sister's record collection, Nesmith has played a small role in their life whether they realize it or not. In today's world of music however, Nesmith is likely a complete unknown to those who didn't grow up with him, but for those who do recall the singer, songwriter and guitarist, Nesmith may have potentially influenced their music listening preferences in ways that they may not even be aware. While he was at one time nearly a household name (or at least visually notorious throughout living rooms and front parlors by virtue of his television characters ever-present stocking cap), something unfortunate happened on his way to establishing himself as a solo act.

Nesmith's pivotal role as the 'one with the hat' in that zany made-for-TV music combo no doubt kept his children outfitted in new shoes and knit caps all the way from kindergarten though earning their masters. But much to his detriment, it was ironically his very association with the pre-fabricated band that forever haunted and tainted his post-Monkee solo career. For those who considered themselves to be 'serious' music lovers, Nesmith's connection to the past became a stigma that followed him around like a bad odor. Without bothering to check the facts, many of those who may have dismissed him as simply a be-hatted puppet in a corporate marketing scheme, they likewise spurned him in the wake of the Monkees demise as a counterfeit pop star who continued to make lightweight pop music exclusively for the pre-teen set. But in reality, Nesmith was busy producing a small, tasteful and largely underappreciated body of work that in all honesty featured some of the most listenable recordings ever created in the country rock idiom, recordings that were actually among the first in the genre, squarely placing the ex-Monkee alongside Gram Parsons as a founding father of the once popular and influential hybrid. Those who consciously chose to overlook his post-TV series output did themselves no small favor by ignoring it, but it's time to rectify that.

While I actually hold a great admiration for Parson's songs, Nesmith's excellent music during this period may have really been the more organic of the two band leaders and therefore the more authentic. After all, the elder Nesmith had already paid his dues in the folk music scene, tasted life as a rock star, and even shared a certain commonality with 'The Father of Country Music,' Jimmie Rodgers. Nesmith was also a Texan, a state that's rich in country music mavericks. It was Parsons however who was lionized in the end, largely the result of his larger-than-life legacy of 'living fast, dying young and leaving behind a good looking corpse.' Yet Nesmith's approach to genre blending was far more eclectic than Parson's, making his less discovered music a category that's unique to himself. Leaning neither too heavily on either side of the equation, his songs are far more original in their approach and sound. At the bottom line, regardless of how history may ultimately rank him, Nesmith and his band made some damn fine music in their time, largely due to the presence and superb playing of pedal steel great, O.J. 'Red' Rhodes with whom Nesmith had forged a copacetic musical relationship. Collectively, his two National Bands had more than enough credibility to not only to stand shoulder to shoulder with their L.A. peers, but additionally with their Nashville and Austin counterparts as well. From a compositional viewpoint, Parsons songs do have legs and are built around more traditional themes, structures, tempos and harmonies, but Nesmith's on the other hand are just plain fun to hear.
There are no maudlin, brokenhearted laments where the bottle lets him down, no ridiculous Topanga Canyon 'outlaw' stances, and thankfully no desperadoes facing yet another tequila sunrise in the Hotel California like his lesser L.A. Instead they're just honest, unaffected and heartfelt tunes that are extremely listenable and very likable. In fact, they're the kind of songs that would sound great on a warm summer's eve as a soundtrack for sharing tacos, guacamole and corn chips, and plenty of cold beer with a handful of good friends. And what could be better than that!? Well, depending on my disposition, I could maybe think of several things, but the point is, like that unassuming gathering, Michael Nesmith's music too can be a simple and rewarding pleasure.



 A Word About The Albums

These recordings all come from Michael Nesmith's three RCA albums dating from 1970 through 1974 with the National Band. In this re-posting, I've additionally added a few bonus tracks to the mix which are taken from 'And The Hits Just Keep On Comin,' an acoustic duo date with Red Rhodes that was also released on RCA. All are still in print now having been issued on CD, and there are several excellent collections (like those below) that are also available. The sources from which these songs are drawn include, 'Loose Salute' (1970), 'Magnetic South' (1970), and 'Nevada Fighter' (1971) by Michael Nesmith and The First National Band, 'Tantamount To Treason, Vol.1' (1972) by Michael Nesmith and The Second National Band, and the aforementioned 'And The Hits Just Keep On Comin' (1972) as well as 'Pretty Much Your Standard Ranch Stash' (1973) both credited solely to Nesmith alone. Nesmith later went on to record a handful of equally enjoyable (and groundbreaking) projects on his own imprint, Pacific Arts. These too remain in print and a compilation of those may well become another BWBW project at some point down the road. Meanwhile enjoy the music and don't forget to bring the hot sauce for the tacos.




A Loose Salute: 30 Big Ones, Vol.1
 

1) Keep On
2) Tengo Amore
3) Wax Minute
4) Propinquity (I've Only Just Begun To Care)
5) Calico Girlfriend
6) Nine Times Blue
7) Little Red Rider
8) The Crippled Lion
9) Joanne
10) Continuing
11) Some Of Shelly's Blues
12) Prairie Lullaby
13) Born To Love You
14) Silver Moon
 


A Loose Salute: 30 Big Ones, Vol.2 

15) I Fall To Pieces
16) Thanks For The Ride
17) Dedicated Friend
18) Texas Morning
19) Tumbling Tumbleweeds
20) I Looked Away
21) Rainmaker
22) René

23) Release
24) Winonah
25) Bye, Bye, Bye
26) Only Bound

27) Lazy Lady
28) You Are My One
29) Cantata & Fugue In C&W
30) Tomorrow And Me