Thus I spent the last four weeks exploring possible playlists that might adequately satisfy the season-specific music void that exists Halloween and Christmas, something like a dignified tribute to noble November. Enter the notion of Feast Folk -- a seasonal buffet of harvest-inspired "folk rock" mainly adapted from or informed by ye olde English Roots music as exhumed by many a new age troubadour in the British Isles of the late 1960s (the likes of which is surveyed at length in Rob Young's exemplary book Electric Eden: Unearthing Britain's Visionary Music). Here is some food for thought:
There are plenty of divas and dime-a-dozen darlings moving through the vanity fair on any given day, but there is only one Grace Cooper in existence. An artist, singer, and songwriter known in part for her countless collaborations with local visionaries and troubadours aplenty, as well as for her contributions as one-third of the oft celebrated and much missed Bay Area "girl band" The Sandwitches, Grace has lately released a new collection of songs as Grace Sings Sludge, an alias that serves as a monicker for her mostly-solo show, one that is apparently executed entirely on her own terms.
Following up from her past two Grace Sings Sludge releases with San Francisco’s Secret Seven Records, This Time It’s Personal and Last Year’s Friend, this new self-released album, Red Light Museum (via Empty Cellar), is a heady potion of lust, devotion, and darkened encounters that seems to be a more disturbed affair compared its predecessors, in a good way. One bewitching example of this is the opening track, "Difficult to Luv," what begins as an intimate, barely-there rhythmic apparition that slowly slips it's limbs around you, easing into a slow-handed throbbing inquisition for the "Jesus Christ of love" -- see the cattitudes aplenty video for the song, below:
image credit Stevie Nicks/Morrison Hotel Gallery
Stevie Nicks may have found fame in Fleetwood Mac, but she is nothing if not her own super star, apparently. Concurrent with the October 7th release of her new solo album 24 Karat Gold - Songs from the Vault and her upcoming tour with the fully reunited Buckingham Nicks era Fleetwood Mac line-up, Morrison Hotel Gallery will debut Stevie's 24 Karat Gold photographic exhibit featuring a collection of Nicks' intimate and meticulously executed Polaroid self-portraits created while at home and on the road between 1975 and 1987. The exhibit begins in New York City on October 10th and 11th at 201 Mulberry Street, moving from there on to the Morrison Hotel Gallery Loft at 116 Prince Street for the month of October. Prints will be available for sale through the website, the gallery in Soho and and through Morrison Hotel Gallery's Los Angeles location at the Sunset Marquis Hotel, October 12th to the 21st.
Given that many of the songs recorded for this new album were written between 1969 and 1987, this exhibition presents a fitting glimpse into the clandestine musings of an artist at work. "I always hoped that there would be some kind of an outlet for them," Nicks says of these images. "When I started looking back at these songs I wrote years ago to select what I would record for my new album, I began to look at all the Polaroids I had taken during that time. For every love affair I had, there are pictures. "