Creedence Clearwater Revival: "Who'll Stop The Rain "

With this classic, now 40 years old and aging well, songwriter John Fogerty pulls off what great songwriters do: he writes a song that's a bit of a downer if you think of it that way, but I don't know anyone who does. Part of the magic is in the uplifting, we're gonna keep-on-keepin'-on music, in essence denying the sober realities of the lyrics.

One of three double-sided singles off CCR's 1970 album Cosmo's Factory, the folk rock groove the band establishes becomes an anthem for the post-flower power generation -- an anthem fully aware that movements and governments aren't going to "stop the rain from fallin' down".

Punch it up on the jukebox next chance you get. I always do.

Johnny Cash at San Quentin: The Song "San Quentin"

Johnny Cash Playing San Quentin Prison, 1969

When the double album Johnny Cash at San Quentin (1969) was released, a good bit of the show had to be edited out for space. The DVD special edition released in 2000, featuring almost the entire show, includes performances by supporting players Carl Perkins and June Carter Cash.

One little nugget Cash wrote just for this show, the song San Quentin, was the highlight of the evening for the inmates, but sadly left off the initial release. Here it is below. Even if you are not a country music fan, check it out -- it's an unparalleled musical commentary on prisons.

Scorsese's "Shutter Island": "Someone is Missing"

In Martin Scorsese's latest film, Shutter Island (2010), we find the great director tackling yet another film genre, the psychological thriller. I saw it on DVD a few months ago, twice, and have been struggling to find a way to write about it since. The film is based on Dennis Lehane's excellent 2003 novel of the same name which I read about around the time of the book's release. My first reaction when I heard Scorsese was tackling this book was twofold: first, what is Scorsese doing working in this genre, and second, how is he going to make a film of that book.

That's not to say I had any doubts that Scorsese could pull it off, but I knew the master had his work cut out for him. As usual, he didn't let me down. This film more than anything makes me think of Hitchcock in his prime, but with a little something extra that represents, to my mind, a renaissance of the genre.

One thing I can tell you without playing spoiler is that Shutter Island does a fine job drawing you into the protagonist's perspective on the mystery. This is a film mentor of mine's observation. She, however, was disappointed in the simplicity of the solution to the mystery. As I note above, I wasn't. Though not a perfect film, I would recommend it highly.

That said, my recommendation is don't see Shutter Island with any knowledge of the plot or expectations about the world this film will take you to. I also recommend seeing the film twice in order to sort out the mysteries you're left with after your first viewing.

Joni Mitchell: "A Case of You"

A Young Joni Mitchell

My buddy whiteray up at Echoes in the Wind just turned me on to a new tool that will allow me to place a song I'm discussing right into a post. Instead of being limited to what I can find on YouTube, where sound quality is hit or miss at best, I've now got my entire music library to work with, with high quality audio.

So let's try it out. All you have to do is click the play button below. Before you know it you will be wrapped in the arms of Joni Mitchell's A Case of You from her 1971 album Blue, arguably one of the best albums of our era -- it's listed at number 30 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time.

With A Case of You Joni stripped the record down to the essentials: in this case her hammer dulcimer, her voice and her songwriting, in this song examining the ebbs and flows of a love affair. (This record is from when Joni was in her late twenties; in a more recent interview, a mature Joni says of love, 'Yea, I got that all figured out'.)

I hope you enjoy this favorite of mine as much as I enjoy having a way to let you listen to it. Just hit the play button below and sit back.

*****

Los Lobos Has Still Got It

I've written about Los Lobos here before. I followed them in their early years -- their first major label release was in the mid-80s -- but I lost track of them in the late 90s while the members pursued side projects. Until last Friday night. The band played a gig in St. Petersburg (Florida) and I got a chance to see them live for the for the first time. The show was all I could have hoped for: rock/latin/jazz fusion with an East LA spin that is unsurpassed.

Los Lobos often close their sets with their 1987 cover of La Bamba (clip above), recorded for the film about the late Richie Valens, the first artist to infuse this Mexican folk song with a rock rock beat (back in '58). Los Lobos had an international with their '87 cover and theirs remains the definitive version of the song.

The Making of "Exile on Main St.": "Stones in Exile" (2010)

My ex-wife is a very opinionated lady. Back when we were together, she was never afraid to take a stand on some issue that was her view and often hers alone. And so it was when we got down to discussing Rolling Stones albums. Her view was that everything after Let it Bleed was a formula album. I never agreed. Exile on Main St. is by far my favorite Stones album, but until the release earlier this year of Stephen Kijak's documentary Stones in Exile, I had no retort other than "I don't agree!" Now, with this documentary, I do.

Stones in Exile, filled with recent interviews, rare photographs and excerpts from the notorious, unreleased documentary of the Stones' 1972 tour, lays to rest any notion that there was anything formulaic about the recording of Exile on Main St. The controlled chaos of the core recording sessions at Keith's villa Nellcôte in the the south of France is well documented here. Marathon 12 hour jam sessions extending over months with songs evolving as the sessions progressed is no recipe for "formula album". Quoted in the October 1997 issue of Guitar magazine, Jagger put it this way:

Just winging it. Staying up all night ... It was this communal thing where you don't know whether you're recording or living or having dinner; you don't when you're going to play, when you're gonna sing -- very difficult. Too many hangers-on. I went with the flow and the album got made. These things have a certain energy, and there's a certain flow to it, and it got impossible. Everyone was so out of it.

Jagger may not have been having much fun, but the result is an unparalleled rock/blues/country/soul document. So check out Stones in Exile and get a taste of how Exile on Main St. got made. It might even convince my ex-wife that this was no formula album.

A Landmark in TV Crime Drama: HBO's "The Wire" (Season One)

I've discussed music, film and books here, but never television. Though I watch my share, this blog is simply not about TV. But HBO's The Wire is not television as we know it. Just Season One alone, of the 5 season series, with it's long story arcs and "visual novel" style creates a 13 hour film that reinvents the television crime series.

Former Baltimore crime reporter David Simon created, produced, and wrote much of the series. It vividly portrays the Baltimore City police department and the drug gangsters ruling the city's high and low rise housing projects in the 1980s. We also see the people in the middle, the pawns caught in "the game" as these rival institutions work to control the ghetto streets of a decayed urban world.

Though I lived in Baltimore in the 80s, The Wire showed me worlds the outsider never sees: the inner workings of both the police and the gangs. One of the many great aspects of the show is its portrayal of the dysfunctional nature of these institutions. The institution I worked in, the state attorney general's office, was dysfunctional in many of the same ways. The show is giving me a chance to work through many of the frustrations I had trying to make my little piece of the system work better. It's good to know I wasn't the only one dealing with this frustration.

The Wire demands of the viewer a commitment of time, concentration and emotional involvement, but that commitment is well rewarded. Season 1 is 13 hours of riveting television that, at the end of episode 10 yesterday, had me crying.

This is not feel good drama, but rather a hard look at real life in a modern American city. There's a lot to learn here, not the least of which is just how good television can be. In terms of realistic crime drama and innovative television, The Wire ranks with the best there is.