T. Scot Halpin

Thursday, April 30, 2009

...Are Some Thoughts of You

We meet again. Today’s track is another rehearsal tape for the Carlyn Lindsey Archives. This song, “I Idolize You,” by Tina Turner is one I remember loosing my mind on, one night on the dance floor (Bears—2004-ish). “CL & SD” had a few special friends with them that night. Todas Paegle was playing his flat-out killer guitar. I remember Dan Witherd had his trombone out several times that night (this song chief among them)--right before I lost my mind.

This is a very striped down track. What I love about it is how clearly Scot’s bass line is coming through, the obvious LINK between him and Carlyn, and the general kick-assness of the band. Bass is a tricky instrument. It has its JOBS, its duties--to hold down things down and to move things along. Too many notes are not necessarily a good thing on bass. I can remember Scot and Edward talking about “eat shit” bass lines. It this point in his musical career, Scot had really found a way to blend those two jobs, with a truly melodic approach that drove the band to the frenzy groove, while adding phenomenal sonic interest to the tune.

Today’s artwork has to do with whom we idolize. Sometimes idols are unlikely characters.

Wednesday, April 29, 2009

The Subtle Parts

Something sort of soothing after the rattle of yesterday’s post—something with some subtle parts--somewhere between “Knights of White Satin” and “A Whiter Shade of Pale.” Today’s track is one of a series, “Solo Instrumental Jam #1.” The drum track is the machine I told you he played like a typewriter. I always felt he got some really funky rhythms out of that little box. Then he’s got the real churchy organ track. Not wanting to repeat myself, I will repeat, Scot loved the gutsy, religious experience this kind of sonic field provides. Then he’s got the guitar things going on, which almost sounds like the track is being played either backwards, but most likely it’s being played through some kind of tricky box.

Today’s artwork also has some subtle parts. I, in particular love the expression on the face of the pot. Blow the piece up, after listening to the music, to see the sweetest, kindliest, and most forbearing of expressions, as you’ll see on any clay pot. I imagine such an expression on our own Mother Earth. This piece started out as a graphite drawing on a glossy paper. He went in a couple of times with color application. The elements, including sun, star, flower and pot, fore and background, are all acrylic wash treatments. The sky is all airbrush. The piece glows.

Sunflowers were one of Scot’s personal power symbols. For a time, he grew a batch every summer. The seeds all cross- pollinated and we got some really wild looking variations. The sunflowers attracted beautiful little yellow and black finches, which we got to look at close up. They did a very effective job of camoflauging themselves. I hope to grow some big ole sunflowers this summer.

Tuesday, April 28, 2009

Swine Flu Anyone?

Some of you who’ve been following the blog from the beginning will remember on my personal profile, I suggested I am usually good for a positive reframing. But sometimes it is hard, even for me. The reality is that we are just one news cycle away from some pretty big holes. It reminds me of the computer games my son James used to want me to play with him. Generation, neurological…whatever it was, I would always jump immediately into the big hole. I feel like that now--it appears we are playing on a course where the golfers ahead have left some pretty big divots.

Today’s track is once again, the first tape I picked up. I knew it was over there. I had listened to it recently. Somehow when I shuffled over to look through the tapes, and I saw Scot’s handwriting on the label, I knew today was the day for this song. The title on the label is, “It’s a Mad, Mad, Mad, Mad World,” but I think there might be some infringement issues on that name, so I’m calling it, “Such a Mad World.” The track is another solo demo of material Scot wrote for “Folklore”, which never made it to the band. I love how at the end of the track, you can hear Scot just sitting there alone and on his quest.

During this period, (early 1990')Scot read several accounts of how songwriters who's lyrics he admired used a techniques of hallucinating sounds and words to various melodies. This approach opened up a wellspring of poetry from deep within him. Normally I don’t think of Scot as a guy gifted with gab, but I do have a huge box of this poetry though, which down the line, I want to go through and do books. Yes, poetry too! I think this song uses lyrics like Dylan does, poetic—but bitingly clear as to their meaning. As dark as the song is, please do notice the words Scot lays out for us at the beginning of the track, almost like a protective charm for a dangerous journey, “Hearts hold what’s waiting for you.”

Today’s artwork is very open-ended. What’s up with this guy? A lemming on a unicycle? And what’s with the target on his back? Is he trying to head for that island maybe? The place he's leaving doesn't look that bad? He doesn’t look particularly scared? Maybe he’s got a parasail in his backpack? Maybe that's a flying unicycle!

Monday, April 27, 2009

Still Wild

Today’s track is another version of “Wild About My Lovin’.” For this track, Scot and John headed out to Bethel Lane for a Basement Collaboration session with Kenny Wright and Jerry Farnsworth. On this track, the boys were joined by Jim ______ (hopefully getting name). Scot loved the addition of brass!

Today’s artwork is silly.

Sunday, April 26, 2009

Rock My Life Away

I listened to all of Side Two of this cassette, "Funhouse @ Pat O’Shea’s 11-1-85" yesterday. I was so taken back to that time. I got to thinking about all the friends who were there that night. Friends who were there who now live on a different continent, friends who now live in the far corners of this continent, a friend whose mom just died, a friend who died February 9, 2008…

Scot wrote this song, "Love to Boogie," shortly after we got to see Clifton Chenier at a little club on Grant Avenue in North Beach, called (for the moment) “The Raccoon Saloon.” Scot and I actually booked music at this club briefly after we returned from Europe in 1982. Clifton Chenier was divine. The whole night remains etched vividly in my mind. I will never forget the guy playing the washboard. We were sitting less than 15 feet away from him, and let me tell you—that sucker was loud. Talk about percussive! This you felt in your bones.

I too have never been to New Orleans. I hope to go someday soon. This song is dedicated to those friends of mine who love New Orleans and all the music and food and culture that bubbles up out of that part of the world. Lucky those who get to go to the New Orleans Heritage Festival which happens soon. Scot became nothing short of smitten with this music. I like listening to him set the beat at the beginning of the song--looking for that funky sweet-spot. The drummer (will get name) did a pretty good job for never having heard, let alone played the song before!

I was finishing up yesterday’s entry when the phone rang. Much to my surprise and delight, it was Edward Bachmann—featured on this and many other blog tracks playing bass. Wonderful catching up! Today’s artwork is a light-hearted piece that put me in mind of the message of today music.

Saturday, April 25, 2009

Soul on Saturday

Meanwhile, back at Pat O’Shea’s with Funhouse (11-1-85), Scot heads for the land of soul; doing one of his favorites--“Midnight Hour,” by Wilson Pickett and Steve Cropper. This song was in his set way back in the “T. Scot Bottom and the Rockabilly Funhouse” days. I’m pretty sure this is one of those songs he first heard in his brother’s room. Based on the stories Scot would tell, Big Brother Rick was one of his most profound musical influences.

When Scot was learning songs like "Sea Cruise", he recreated chord structure from memory; and later found his arrangements to be way off. This is where Scot first learned to love “The Beach Boys,” Dylan, “The Animals…” Scot especially loved Eric Burden, who was certainly one of his key vocal influences. The first song Scot ever sang was “House of the Rising Sun.” Oh what I would give to see and hear a 13 year-old Scot Halpin sing (while playing drums)--“House of the Rising Son.”

Today’s artwork is a pen and ink drawing (extra fine lines, not well captured--sorry), butwith some absolutely delicious acrylic wash. The piece is called “Barefoot” (or as Scot called it “Barefootin’).

Today's entry is dedicated to a great lady named Shirley, who passed over last Wednesday. May the angels guide her soul and comfort her loved ones left behind.

Friday, April 24, 2009

Black & White

Today’s track is dedicated to all the people who are responsible for creating “interrogation policy” during the Bush/Cheney presidency. At least we are past the dark days when those people were actually in charge! Bravo to all who are moving to expose the horrors that were perpetrated in the name of our freedom.

Today we find ourselves at another jazzbo Encore Café gig
(c 2003) with the wonderful Carlyn Lindsey & Snake Doctor. The tune is the telling, “Your Mind Is On Vacation,” by Mose Allison. This is one song that everyone had fun with, because it felt so good to just tell is like it was. Just to keep things fresh, the Snake Doctor line-up is as follows: Carlyn Lindsey-lead vocals, Larry Vessily-keyboards, David Witherd on sax, Tim Haas on drums, and my own beloved Scot Halpin, thumping in the groove. Scot loved it when Larry switched on the organ sound, and on this track, we hear why.

Today’s artwork is another black and white piece. I choose it in keeping with today’s dedication, because some things just are black and white.