7. Tom Pacheco

I wrote about Tom Pacheco a couple of months ago over at Mere Words. Back in 1974, Pacheco was one of the artists Paul struggled to sign to Mercury Records. While Paul was unsuccessful, he did help Pacheco land a record contract at RCA, where he recorded his first two solo albums. Until I brought it to his attention in March, Pacheco was unaware that Paul had reviewed his debut album, 1976’s Swallowed Up in the Great American Heartland.

Pacheco, who himself is known to wax political now and then, says, “One thing was true: Paul did not care much for political songs.” He told the critic back in the Seventies: “Paul, sometimes you’ve got to write those things. You have to. Even if they’re only going to be good for two years, you still have to do them once in a while.”

One wonders what Paul would think of Pacheco’s “When You’re Back on Your Ranch in Texas,” a lovely anti-Bush number that manages to invoke the war in Iraq, what’s left of New Orleans, international diplomacy, the separation (or not) of church and state, the national debt, 9/11, and global warming while at the same time humanizing the target of the song’s haunting vitriol.

Copyright 2007 by Kevin Avery. All rights reserved.

7. Tom Pacheco

I wrote about Tom Pacheco a couple of months ago over at Mere Words. Back in 1974, Pacheco was one of the artists Paul struggled to sign to Mercury Records. While Paul was unsuccessful, he did help Pacheco land a record contract at RCA, where he recorded his first two solo albums. Until I brought it to his attention in March, Pacheco was unaware that Paul had reviewed his debut album, 1976’s Swallowed Up in the Great American Heartland.

Pacheco, who himself is known to wax political now and then, says, “One thing was true: Paul did not care much for political songs.” He told the critic back in the Seventies: “Paul, sometimes you’ve got to write those things. You have to. Even if they’re only going to be good for two years, you still have to do them once in a while.”

One wonders what Paul would think of Pacheco’s “When You’re Back on Your Ranch in Texas,” a lovely anti-Bush number that manages to invoke the war in Iraq, what’s left of New Orleans, international diplomacy, the separation (or not) of church and state, the national debt, 9/11, and global warming while at the same time humanizing the target of the song’s haunting vitriol.

Copyright 2007 by Kevin Avery. All rights reserved.

7. Tom Pacheco

I wrote about Tom Pacheco a couple of months ago over at Mere Words. Back in 1974, Pacheco was one of the artists Paul struggled to sign to Mercury Records. While Paul was unsuccessful, he did help Pacheco land a record contract at RCA, where he recorded his first two solo albums. Until I brought it to his attention in March, Pacheco was unaware that Paul had reviewed his debut album, 1976’s Swallowed Up in the Great American Heartland.

Pacheco, who himself is known to wax political now and then, says, “One thing was true: Paul did not care much for political songs.” He told the critic back in the Seventies: “Paul, sometimes you’ve got to write those things. You have to. Even if they’re only going to be good for two years, you still have to do them once in a while.”

One wonders what Paul would think of Pacheco’s “When You’re Back on Your Ranch in Texas,” a lovely anti-Bush number that manages to invoke the war in Iraq, what’s left of New Orleans, international diplomacy, the separation (or not) of church and state, the national debt, 9/11, and global warming while at the same time humanizing the target of the song’s haunting vitriol.

Copyright 2007 by Kevin Avery. All rights reserved.

7. Tom Pacheco

I wrote about Tom Pacheco a couple of months ago over at Mere Words. Back in 1974, Pacheco was one of the artists Paul struggled to sign to Mercury Records. While Paul was unsuccessful, he did help Pacheco land a record contract at RCA, where he recorded his first two solo albums. Until I brought it to his attention in March, Pacheco was unaware that Paul had reviewed his debut album, 1976’s Swallowed Up in the Great American Heartland.

Pacheco, who himself is known to wax political now and then, says, “One thing was true: Paul did not care much for political songs.” He told the critic back in the Seventies: “Paul, sometimes you’ve got to write those things. You have to. Even if they’re only going to be good for two years, you still have to do them once in a while.”

One wonders what Paul would think of Pacheco’s “When You’re Back on Your Ranch in Texas,” a lovely anti-Bush number that manages to invoke the war in Iraq, what’s left of New Orleans, international diplomacy, the separation (or not) of church and state, the national debt, 9/11, and global warming while at the same time humanizing the target of the song’s haunting vitriol.

Copyright 2007 by Kevin Avery. All rights reserved.

7. Tom Pacheco

I wrote about Tom Pacheco a couple of months ago over at Mere Words. Back in 1974, Pacheco was one of the artists Paul struggled to sign to Mercury Records. While Paul was unsuccessful, he did help Pacheco land a record contract at RCA, where he recorded his first two solo albums. Until I brought it to his attention in March, Pacheco was unaware that Paul had reviewed his debut album, 1976’s Swallowed Up in the Great American Heartland.

Pacheco, who himself is known to wax political now and then, says, “One thing was true: Paul did not care much for political songs.” He told the critic back in the Seventies: “Paul, sometimes you’ve got to write those things. You have to. Even if they’re only going to be good for two years, you still have to do them once in a while.”

One wonders what Paul would think of Pacheco’s “When You’re Back on Your Ranch in Texas,” a lovely anti-Bush number that manages to invoke the war in Iraq, what’s left of New Orleans, international diplomacy, the separation (or not) of church and state, the national debt, 9/11, and global warming while at the same time humanizing the target of the song’s haunting vitriol.

Copyright 2007 by Kevin Avery. All rights reserved.

And Then…

As if the weekend weren’t bad enough — and it’s looking less bad as I’ve billed out three or four months’ rent in work — I had a real shock on Monday.

As many of you know, I’ve been trying to sell a book based on my adventures as an expat. By the end of last year, it had been through three agents who were awful: first there was the agent who turned out not to be one, then another who held onto it for six months without reading it and only responded when I went to New York to talk to him (a trip which, in most respects, was a total disaster), then one who thought it was a novel (among other weird tics which disqualified her).

A friend suggested a guy who was a former student of his, and I sent it to him next. Twenty-four hours later, he wrote back that it wasn’t the kind of book he could sell. Fair enough; no agent knows all the markets out there. He wrote me that he’d been idly thinking of relocating to Berlin because Manhattan had gotten so expensive, and I suggested he read the blog here for some snapshots of what he’d be getting into. He wrote back and said I’d thoroughly put the kibosh on that idea. He also said he’d just had lunch with a publisher who told him he’d be willing to pay [large amount of money] for a book on [subject], and that it would be perfect for a younger version of [noted scholar].

I wrote him back and said that although I wasn’t young, and I certainly wasn’t [noted scholar], this was a subject I knew a lot about, and I’d welcome the opportunity to take a crack at it. In return, he e-mailed me several proposals which had resulted in advances of over a million dollars for each one. That was more than we’d talked about, but hey, it was indicative of a certain level of quality. I studied them and again I thought, I can do this. So I did.

Not off the top of my head, of course. I bought several books, big ones, and read them. I pored over documents, and confidentially sought help from people I knew and trusted. They, in turn, made very helpful suggestions. I did more research, watching films and talking to others. And I started to write.

It took two and a half months, but at last I had something which, although I felt it needed work, I couldn’t improve upon without some professional feedback. It was 35 pages long, detailed, filled with data, scrupulously researched. On February 15 of this year, I sent it off to him. He replied immediately: he had a pile of stuff to go through, and it would take him probably a week to get back to me. No problem, I said; I wanted his undivided attention.

Just before I went to SXSW, at the beginning of March, I was at a bookstore and there, prominently displayed, was a book on the same subject. I didn’t have the money to buy it, but I did thumb through it to see what was in it. As I’d suspected, it was very much the predictable approach, dull and unremarkable. I jotted down the author’s name and when I got home I fired off an e-mail to the agent, telling him the book existed, and how mine was different — and, I believed, superior — to this one. He asked how he could get hold of me in America, and that was that.

I didn’t hear from him the entire time I was in the States. When I got back, I wrote him — it was now the end of March — asking him when I could expect to hear from him. He said he’d read the proposal and get back to me. At the beginning of April, I asked him again if he’d read it and he said “I PROMISE to read it this weekend.”

A couple of weeks later, I got an e-mail from him asking if I’d heard of this other book. I reminded him I’d sent him an e-mail at the beginning of March. He replied that he was at the London Book Fair and his brain wasn’t working. I figured I’d wait til he got back and then write him again.

The London Book Fair ended on April 18. I waited and waited, meanwhile doing other work to pay what bills I could and keep my own brain active. Finally, I decided it was time to move. On Monday of this week, I wrote and said look, it’s time to get this thing going. I’m losing momentum, I’m getting new ideas all the time, and I want to get to work. He wrote back almost immediately, saying he’d decided the other book would do for the moment and he’d lost interest in the project and wasn’t going to pursue it.

Without even so much as reading my proposal. The one he’d encouraged. The one I spent two and a half months on and waited another three months for him to read.

Almost six months of my life, in other words, down the drain.

There’s nothing I can do about this. What he did was wrong, what he did was unethical, but I have no recourse whatever. And, in a profession based on trust, so much for his “PROMISE.”

I spent the next couple of days feeling like I’d been kicked by a horse. I’d already given up on the expat book after yet another agent I’d sent it to said he didn’t understand what it was — but wasn’t interested in my explaining it. I began rewriting the proposal based on what I’d learned from the other project and then just gave up. I’d spent over two years on it, and was sick of it.

But now I’m without a book project, and magazine work really isn’t happening. As I’ve said before, none of the writers I know have any work. It’s nothing personal except as it affects me personally.

Yes, I own the mammoth book proposal. Yes, I have the names of other agents. Before I send it out again, though, I’m going to have to get that other book, read it, and develop a counter-argument on why mine is better. I’m not even sure I really want to do it at this point; it’s not a particularly pleasant subject, and it would entail my maintaining a presence in Berlin part-time.

Some week, huh?

Manning Overboard

Over the past year or so, I’ve gotten into some real esoteric music. Since my refusal of buying over the Internet means that sometimes I can’t find anything that strikes me at the local Record Hut, I have begun buying the weirdest thing I can find in the store at any time, just to test my musical limits. It has led me to a few great discoveries and a lot of things I’ll never listen to again, though I do feel enlightened after giving them a try. I recommend trying it sometime just to expand your musical horizons and to explore some different influences.

The album below, though I got it from a record company to review, is the sort of thing I would pick up during one of these binges. Made by a well-known engineer and producer, it is nonetheless one of the weirdest rock records you are going to find. I am not sure if I will ever listen to it again, but it blew my mind when I checked it out and it was a very, very interesting listen.

Check it out:

Terry Manning – Home Sweet Home
Sunbeam Records

Best known for his production and engineering work with groups such as Led Zeppelin, ZZ Top, George Thorogood, Molly Hatchett, most forget Terry Manning was also a well-respected musician and sideman around Memphis for many years before making his name as a producer par excellence. Not that you’d know it from this album, however. Thrown together as a bit of a joke by Manning and some of his Memphis cronies for Stax Records, the album has a decidedly non-commercial air about it which, paradoxically, has led to it becoming a much sought-after holy grail of sorts for music aficianados.

Thanks to the folks at Sunbeam Records, one of the best reissue labels around specializing in late ’60’s early ’70’s vintage music, this album has finally been allowed to re-enter the marketplace. Those looking for transcendant rock music to blow their minds will not find much on this record, however. By making this album more for a lark than a serious statement, Manning ultimately shortchanged himself no matter what the interest is by seekers of rare discs. While Manning more than had the chops to come up with something infinitely more weighty and meaningful, the slapdash efforts to throw songs together smacks more of rushed desperation than anything else.

Begun as the result of a studio prank on the vocal group the Box Tops by taking their song Choo Choo Train and altering the backing tracks to sound like a psychedelic freakout instead of the regular blue-eyed soul the band was known for, the president of Stax Records heard the resulting acid-trip version of the song and asked Manning to record a whole album in that style. Hence, this record filled with overdone (waaaay overdone) pastiches of soul, country, rock and rockabilly. Though selling hardly any copies, the album eventually passed down through the hands of collectors and has become quite notable in reputation.

Weird and eccentric, the album nonetheless stands on its’ own as an artistic statement and there are some interesting moments, but the feeling of the album being somewhat rushed permeates the tracks. That most of the songs were recorded at the end of other artist’s sessions when there was spare studio time left over speaks a lot to how little priority was placed on this album. But, there is one cooler than cool artifact on this album that may blow your mind! This album featurtes a cover of a Beatles tune made before the actual Beatles tune was even released. It seemed that the Beatles had leaked some demos of their song The One after 909 before it was finished and the Manning version on this album contains a version of the song before the Beatles re-arranged the composition. In fact, some of the lyrics Manning uses in the song were later excised when the Beatles recorded their version.

Those interested in quirky rock music unashamed by lack of quality and purpose may find this record a lot of fun. Big Star collectors (it marks the first recorded appearance by guitarist/songwriter Chris Bell) and Beatles aficianados may appreciate its’ weirdness as well. It’s obvious Manning is a talented musician and maybe one day we’ll see a solo album proper. Until then, do with this strange artifact what you will.

I will leave you with this: don’t be afraid of any CD in the racks. It’s only fifteen dollars and it won’t kill you. Try something new, try something different and expand your taste. And, if you don’t like it, send it to me.

The Music Nerd Knows……..free stuff!

We have the Ford family. What do you have?

This post is for non-regional readers.  

Yes, there’s the snappy, likeable but confusing Harold Jr., but the remaining members of his family make for an illiterate and corrupt addition to my local news on an almost nightly basis. I hope that the book is epic and done right.

Please read about and listen to the ridiculous rant that Ophelia Ford barfed out earlier this week. Funny, I get the same thing yelled in my face when seeking help at a T-Mobile outlet. Anemia? Sure, whatever spins your way, but it also seems that Mizz Ford suffers from a bad case of C.P.T., and proves that her true calling may have been the JC Penney returns counter.

The evidence is in, so I’m not afraid to ask it: Is it possible for an African American to rise to political rank in Tennessee without becoming unbelievably corrupt? Again, remove Harold Jr. from the equation, and the answer is a resounding “noâ€Â. I’d love to read someone’s defense of this trend. Lay it on me. Our Mayor? Holy Moses!! This man suggested the SELLING OF OUR PARKS as a solution to the city’s debt problem, and that’s Willie Herrington on a good day. Edmond Ford? John Ford? These nuts regularly run people off of the road, sexually harass interns and underlings, threaten people with bodily harm, take bribes, publicly cheat on their spouses….the list goes on and on. The head of our power company (Memphis Light Gas and Water)??? He allowed a Ford family member to lapse on his bill….to the tune of $16,000.00!!! If you are a Wire fan, let it be known that Tennessee’s (and primarily Memphis’) political issues are almost identical to the ones fictionalized on that show.

Are white politicians any better? Of course not, but we don’t have white politicians (except for Warren Zevon fanatic Sen. Steve Cohen), so I run with the available material. When I come to power, however that may happen, I will sentence the Ford family to a year of ruling Olympia, WA.

Cardinal Point –I’m The Grand Pretender

Cardinal Point –I’m The Grand Pretender/ Lolly Linda –Philips 6012 387 (1973 NL)

Cardinal Point were a bunch ex-pat Italians living in Holland. They released an album and a few singles, but of all the tracks I’ve heard; this is the one that really stands out for me. Produced by Hans Van Hemert and co-written Piet Souer (Mouth & McNeal, Dump etc…) this is a work of pure folly. The track has pre-Bohemian Rhapsody pretensions albeit with platform boots firmly stuck in a waste-management centre and the twist and turns cemented by the stomping beat makes this a single to seek out and cherish. It’s quite readily available on the Internet and cheap to boot!

Click on title for soundclip

Last Days

Director Gus Van Sant’s fictionalized take on Kurt Cobain’s suicide is similar in tone and execution (pun unintended) to Elephant, his fictionalized take on Columbine; which is to say, the film is virtually devoid of dramatic narrative, offers little if any understanding of its characters or their motives, and, though its art-film pretensions insist otherwise, ultimately exploits the hell out of its subject matter. Which would be okay if either film were at least entertaining, but, given their source materials, they’re not because that would be, well, exploitative. Both movies are basically punchlines we already know to jokes that were unfunny to begin with.

Anybody can point a camera at someone pulling a trigger; making us understand why and allowing us to experience the sense of loss that comes from pulling the trigger, that’s a different matter. There’s more I’d like to say about Last Days, but, honestly, the movie already robbed 97 minutes of my life. I’ll be damned if I’m going to surrender any more to it.