Wussy rocks! Tonight, they’re going to bring their amazing songwriting to life in an intimate setting. And that gets me right where I live.
The show is part of Chuck and Lisa’s house concert tour. A company called Undertow organizes these tours for Wussy and several other artists. They take care of ticket sales and all the other details. You can host a show… or see one. Check out the current roster here. In my email exchanges with Jayne from Undertow, I thanked her for what Undertow is doing to bring great artists to folks all over the country. Her response:
She’s right, I do give a damn about artists like Mark, Lisa, and Chuck. (They also happen to be super-kind human beings… a huge bonus!)
Music is my happy place. Home is where the heart is. Tonight, I get the best of both worlds. It’s gonna be beautiful.
It’s not my podcast, actually. It’s the podcast that Dave Tellmann and I do… or did, rather. But we’re still hauling in the hardware (“we’d like to thank the members of the academy…”) and reaping the accolades (“none of this would’ve been possible without your support…”).
The latest shout-out came courtesy of Cincinnati CityBeat.
Our “97X Rumblings from the Big Bush” podcast has run its course. (We did do a bonus episode recently after Mojo Nixon passed away.) But maybe a few more fans of the station will find their way to our little ol’ show. Which is the point.
“Rumblings” has a lot in common with a kid’s fort.
You can tell a lot of time and effort went into the construction of it, but it’s still clearly quite amateur. And that’s OK. For the few folks that tuned in, it was a time capsule from a time in their lives when the music and the people who shared it mattered a great deal to them. Those connections still matter.
We appreciate the recognition from CityBeat. Now if you’ll excuse us, Dave and I have to go put on our tuxedos for the awards ceremony.
I’ve always had a face for radio. But my first cousin once removed is a star of stage and screen!
That’s Erika Henningsen (my first cousin once removed!) on the right. She has the lead role in Hazbin Hotel, a new animated series now streaming on Prime. She plays… the princess of Hell!
She also played “Young Gloria” in Girls5Eva – all episodes of that series are now available on Netflix.
And she originated the role of Cady Heron in Mean Girls on Broadway.
(I think that’s her future hubby Kyle Selig on the left… )
Oh, and she made her Broadway debut as Fantine in Les Miserables. NBD.
Acting isn’t an easy profession. There’s plenty of drama before you even get to the drama (or comedy, or romance, or…). I’m glad Erika learned early on that you need to be resilient, and to separate your work worth from your self-worth:
“Constant rejection became a thing that was just inevitable,” Henningsen said of the cycle of auditions. “It is inevitable in this business because there is so much job turnover. I think I got used to that much faster than I anticipated, because I realized that rejection has nothing to do with my identity or my sense of purpose; it just is for that one job. And the sooner you can get over it, the sooner you can move on.”
I spend most of my waking hours (typically 2-6 p.m. – I’m very sloth-like) listening to music. And on those rare occasions when I’m not listening to music, I’m listening to podcasts about music. (60 Songs that Explain the 90s is hilarious!) One of the shows in the regular rotation is Sound Opinions, co-hosted by longtime Chicago music critics Greg Kot and Jim DeRogatis.
Their most recent episode is “Give the Drummer Some” – here’s the synopsis:
I enjoyed the entire episode (although I vehemently disagree with fellow-Jersey-City-born Jim DeRogatis’ opinions about The Who). But it was the final segment, an interview with influential R&B, soul and funk drummer Bernard “Pretty” Purdie, that really caught my ear. Because it wasn’t just about music, it was about life.
Bernard Purdie has a signature drum sound: “The Purdie Shuffle.”
His session work can be heard on thousands of songs, especially ones from the mid-60’s through the early 80’s. Aretha Franklin. Steely Dan. Hall & Oates. Nina Simone. Miles Davis. The list goes on… and on. Here’s one legendary example:
Purdie’s handiwork (and footwork too – drummers put their body and soul into it!) has been sampled by plenty of hip-hop artists in the ensuing years. And here’s the thing: If you’re not the recording artist or the songwriter, you probably don’t get a nickel in royalties. If someone wanted to sample the “Rock Steady” drums, they’d have to cut a check to Aretha, not Bernard.
It would be easy for him to be “Bitter Bernard” instead of “Pretty” Purdie. But he’s not. Check out this two-minute clip from the interview on Sound Opinions where he talks about his approach to getting the short end of the drumstick:
Yes, I was bitter for a while. No more. I stopped being bitter because bitter means that you don’t live long… I just want to have fun. I want to enjoy myself and have a ball!
Bernard Purdie
That’s just beautiful!
I tuned in for some music, and got a life lesson in the bargain. Keep rockin’ steady, “Pretty” Purdie!
Some have taken issue with the fact that a white country singer has “cashed in” on a song by a black female artist. But this is not a Pat Boone situation, where record labels would take a popular R&B song by a black artist and use white singers to create a sanitized pop version that was more palatable to predominantly white audiences. The most egregious example is Pat’s soulless cover of Tutti Frutti:
In this case, the cover came from the heart:
“My dad would play me that Tracy Chapman self-titled album, I just loved that song. So, when I went into the studio to record…I was like, what if we just did this cover of ‘Fast Car,’ just ’cause I want to do it?”
He clearly adores both the song and the songwriter:
“Tracy, I want to send my sincerest thanks to you for allowing me to be a part of your moment. Thank you for the impact you have had on my musical journey, and the musical journeys of countless other singers, songwriters, musicians, and fans alike,” the post continued. “I hope you felt how much you mean to the world that night. We were all in awe of you up there and I was just the guy lucky enough to have the best seat in the house.”
It’s not like Tracy Chapman didn’t get recognition for the song when she released it – she won the Grammy for Best Female Pop Vocal Performance back in ’89 for “Fast Car” (and she won Best New Artist and Best Contemporary Folk Album for her debut album on which it appears, and “Fast Car” also was nominated for record and song of the year, while her album received a nomination for album of the year). She’s been nominated for 13 Grammys overall and has won 4.
Not to mention the fact that Tracy Chapman wrote “Fast Car” and owns the publishing rights, so her royalty checks have been getting a lot fatter of late.
Billboard estimates that Combs’ version has generated about $500,000 in publishing royalties globally from its March 17 debut through June 8. Chapman alone is pocketing a sizable portion of that total.
Source: this Billboard article from June of last year… the Grammys bump will take those totals way higher
It’s not about the money, though. Luke Combs has introduced a great song to a whole new generation. And if his audience tends to skew less hipster and more hip waders, so be it. He’s building bridges, and we probably could use a lot more of that today.
In fact, Luke’s cover of “Fast Car” won a CMA Award for Song of the Year – an award that goes to the songwriter, making Tracy Chapman the first black woman to win a CMA. So he’s helping break down barriers too.
“I never expected to find myself on the country charts, but I’m honored to be there,. I’m happy for Luke and his success and grateful that new fans have found and embraced ‘Fast Car.’ ”
Tracy Chapman in Billboard last July
“All of this was done to honor the amazing woman, songwriter, and artist that she is, The entire opportunity for us to even be on a stage with Tracy Chapman is what this was all about.”
You done said…