Sons of Anarchy house band the Forest Rangers have been known to kick it old-school: Last month, they unveiled their scorching cover of blues classic “Baby, Please Don’t Go” for the Season Seven episode “Poor Little Lambs.” But for this week’s installment, “Greensleeves,” the eclectic group went even further back, reworking the titular English folk ballad into a brooding textural epic.
”Greensleeves stirred my heart anew / Greensleeves caught my eye of blue,” sings the show’s star Katey Sagal over drifting acoustic guitars, cello and keyboards. The show’s musical supervisor, Bob Thiele, told Rolling Stone that it was “challenging” trying to recreate “arguably one of the great melodies in all of history.”
"It’s happy and hopeful at Christmas time, but that’s obviously not what we are looking for here in Charming, much as we wish that were the case," he says. "Traditionally, ‘Greensleeves’ is in 6/8 time, which suggests a joyful and/or serene mood. So the first thing I did was deconstruct the rhythm, playing it in quarter time, and change harmonic structure to minor as opposed to major in order to get us to the dark side!"
The song is utilized during a montage in the episode, wherein “there’s so much to grieve… and in so many of our montages, there are no words spoken. Only the music and the voice.” All the technicalities fade, Thiele says, “once Katey Sagal opens her mouth.”
"Once again, she brings her elegant beauty and grace to our soundtrack," he continues. "Katey has consistently provided some wonderful renditions of songs from all over the musical spectrum showing her incredible diversity and range. Whether it be ‘Son Of A Preacher Man’ or ‘Ruby Tuesday,’ ‘Strange Fruit’ or ‘To Sir With Love,’ Katey’s artistic intuition has propelled the drama in ways that words could not."
Two weeks after closing Woodstock with his reinvention of “The Star Spangled Banner,” Jimi Hendrix decided to offer a free concert for a group he called “my people.”
He held a concert for an African-American audience in Harlem, a place he once called home. Hendrix’s homecoming, though, was almost ruined as soon as he stepped onstage. Someone threw a bottle at him that shattered against a speaker; eggs splattered on the stage. Hendrix gamely played on while much of the crowd melted away.
“They didn’t like him,” says Charles R. Cross, who recounts the episode in his biography of Hendrix, “Room Full of Mirrors.” “He was jeered. People heckled him.”
A new film focusing on a more triumphant period in Hendrix’s life is rekindling interest in the guitar icon. “Jimi: All Is by My Side” shows how Hendrix left New York for London to become a star. Yet no film has explored another twist in Hendrix’s journey: How black and white audiences misunderstood the importance of Hendrix’s race, both to the man and to his music.
Hendrix traveled to Harlem because he was trying to connect with blacks who had dismissed him as a musical Uncle Tom: a black man playing white man’s music. Music critics and biographers say Hendrix also was frustrated by legions of white fans who only saw him as a racial stereotype — a hypersexual black man who was high all the time — instead of a serious musician.
There are signs today that more fans are starting to appreciate how Hendrix’s race shaped his life and sound. Yet he’s still seen by many as a musical genius who just happened to be black instead of a man whose genius was inseparable from his race, says Jeremy Wells, author of “Blackness Scuzed: Jimi Hendrix’s Invisible Legacy in Heavy Metal.”
Wells first noticed this pattern when he examined how white heavy metal musicians and fans described Hendrix. They rarely mentioned his race, or even said that his music transcended race. Wells said he found that odd given Hendrix’s sound was steeped in the blues tradition of black guitarists such as B.B. King and Muddy Waters.
“Nobody would say that race doesn’t matter for Muddy Waters,” says Wells, an English professor at Indiana University Southeast. “But there’s a whole industry devoted to saying it doesn’t matter for Hendrix.”
Race mattered more to Hendrix than most people realize, critics and biographers say: He was hurt by black radio’s refusal to play his music; he experienced stinging racism during his time as an R&B sideman and star; and some of his most famous songs were profoundly shaped by his experiences as a black man in America. [Read More]
“i’m going to rip your heart out and
feed it to my dogs and when they
accuse me of murder i’m going to
look them right in the eye and say
“it’s not my fault did you not see
where he was did you not see what
he was wearing did you not see what
time of night it was i cannot be held
responsible for this crime —
he was asking for it”.
actaeon was not the first man to bleed out
at my feet and he will not be the last.”—tell artemis she was asking for it | e.h. (via elisabethhewer)