For the first time ever, I said yes to a podcast interview. Jesse from Set Lusting Bruce, a Springsteen podcast, caught me in a sharing mood and we talked about how I came to be a Springsteen fan and lots of other stuff about my childhood and my career path and whether or not I think Mary gets in the car at the end of “Thunder Road.” If you’ve ever wondered about the mystery that is moi, here’s your chance. I don’t open up the Fortress of Solitude every day, you know.
Let’s not speak of Aretha Franklin in the past tense. Let’s speak of her in eternals. The sun and the rain, the earth and the sky, love and faith, sorrow and perseverance. Aretha embodies all of those things and gives them voice, a rich, supple voice flowing with humanity. It’s among the two or three greatest voices popular music has ever known.
Aretha’s music is godly, lusty, turbulent, ecstatic, glistening. She spans musical styles and decades, while always remaining Aretha. She is the Queen of Soul, the reverend’s daughter, the woman who shows other women how to demand R-E-S-P-E-C-T, whose voice gave voice to torrential grief at Rev. Martin Luther King Jr.’s funeral and soaring joy at President Barack Obama’s first inauguration. She brought Obama to tears when she sang ‘A Natural Woman’ to its co-writer, Carole King, when the latter received the Kennedy Center Honor in 2015. Of that performance, Obama told The New Yorker, “American history wells up when Aretha sings. That’s why, when she sits down at a piano and sings ‘A Natural Woman,’ she can move me to tears — the same way that Ray Charles’s version of ‘America the Beautiful’ will always be in my view the most patriotic piece of music ever performed — because it captures the fullness of the American experience, the view from the bottom as well as the top, the good and the bad, and the possibility of synthesis, reconciliation, transcendence.”
Aretha is the soul of black America, she is the soul of America, period. She is soul music, and the music of the soul. Aretha, simply, is. And will always be.
Aretha is …
“Respect”. From her 1967 album I Never Loved a Man the Way I Love You, this is the song that changed everything. Aretha didn’t write it (Otis Redding did), but she wholly subverts it. A man reminding his lover, “I’m about to give you all my money … And all I’m asking, a little respect when I come home” is one thing. A woman singing the same lines, demanding “my propers” when she comes home from work, creates a thrilling new power shift. In the ‘60’s, Aretha’s “Respect” was adopted as an anthem of both the women’s rights and Civil Rights movements — intersectional feminism before the concept had a name. Aretha and her sisters Carolyn and Erma came up with the spelled-out repetition of the title and the “sock it to me” backing vocals. Listening to it now, more than fifty years later, it sounds more eruptive, uncompromising and triumphant than ever.
Amazing Grace. Aretha grew up a reverend’s daughter from Detroit (or “De-twah,” as she pronounced it, like the French), singing in her father’s church. She returned to her roots with this double gospel album recorded live at Los Angeles’s New Temple Baptist Missionary Church in 1972. Amazing Grace was the biggest-selling album of Aretha’s career. I wrote this about the albumin 2012: “This is the greatest singing you will ever hear. Period. Aretha’s rich, glimmering melisma on “Precious Memories”, her spine-tingling screams of ecstasy on “Amazing Grace”, her roof-rattling testifying on “Mary, Don’t You Weep,” will take your breath away. Amazing Grace is the holiest record I own. And I say this as a secular Jew and an atheist. I don’t believe, but I am moved beyond words by the joy, the spiritual transcendence, of Sister Aretha’s voice lifted in praise. And that’s religion enough for me.”
“Nessun dorma”, Grammy Awards 1998. She stepped in for an ailing Pavarotti to sing the aria from Turandot with only minutes to prepare, singing it in the key that had been arranged for him. (This video keeps getting removed from You Tube, so act quickly.)
Young, Gifted and Black. Aretha’s father, Rev. C.L. Franklin, was a cohort of Dr. King; he also recorded a sermon entitled “The Meaning of Black Power.” And Aretha used her profile to further black pride and culture. A small report in a 1970 issue of Jet Magazine details how Aretha “stands ready” to pay Black Panther Angela Davis’s bond “whether it’s $100,000 or $250,000.” The piece quotes Aretha as saying, “Angela Davis must go free. Black people will be free. I’ve been locked up [for disturbing the peace in Detroit] and I know you got to disturb the peace when you can’t get no peace. … I have the money; I got it from Black people — they’ve made me financially able to have it — and I want to use it in ways that will help our people.” (When the bond was set, Aretha was on an overseas tour and communications glitches prevented the transfer of the money.)
The chugging funk of “Rock Steady” and the misty, swirling R&B of “Day Dreaming” are two of my favorite Aretha-written songs. Both are from her Young, Gifted and Black album, released in 1972, the same period as Amazing Grace. Aretha in the early ’70s, with her natural hair and African dress, was a powerful contrast to the conservatively groomed young woman of her early career. The video below, a galloping performance of “Rock Steady,” comes from a 1971 episode of The Flip WilsonShow, and I’m including it because it validates a hazy memory from my youth. I remember watching Aretha on a variety show, maybe this one, with my mother, who offered a stony dismissal of Aretha’s “crazy” hair and African garb. Watching Aretha on TV with my parents during this period was like sitting in a sauna of heated disapproval. Fast forward to President Obama’s 2008 inauguration, for which Aretha donned the quintessential church hat, festooned with a magnificent, oversized bow, to sing “My Country ‘Tis of Thee,” and instantly became the butt of white comedians’ jokes. Oh, and my mother couldn’t deal with that hat, at all.
The Interpreter. Aretha stands with Sinatra and Ella Fitzgerald as the greatest interpreters of pop songs of the 20th Century. With her unerring ear for arrangement and melody, her precise knowledge of when to caress a word, when to draw out a syllable, how long to hold a beat or a cry, and when to just let her emotions go, everything she sang became an Aretha Franklin Song. She conveys a deep connection to the lyrics of some of the most surprising choices. When Aretha sings it, the God-Is-Dead high-mindedness of the Beatles’ “Eleanor Rigby” becomes a gospel sermon about faith as the antidote to loneliness in disconnected times. Her ecstatic “I Say a Little Prayer” is the definitive version, all exuberant, full-hearted passion; Dionne Warwick’s (lovely) original of the Bacharach-David classic sounds muted and distant in comparison. Aretha pours blood and soul into Simon and Garfunkel’s tepidly angelic “Bridge Over Troubled Water,” and connects to Elton John’s “Border Song” with every atom of her being.
Sisterhood. If you’re going to talk about the seam of female strength and solidarity that runs through Aretha’s greatest hits, you have to talk about her relationship to her backup singers on those records. This is what I wrote in a piece called “In Praise of Backup Singers”:
The backup singers on Aretha Franklin’s records aren’t musical accessories, they’re emotional necessities. When Aretha is sad, crying over the man that got away on “Ain’t No Way,” they’re crying with her (that’s Cissy Houston’s mournful soprano). When she’s giddy in love on “Chain of Fools,” they’re giddy too. When she’s giving that no-good man the business in “R-E-S-P-E-C-T,” they’re standing right behind her, hands on hips. Aretha’s backing vocalists are more than her harmonizers, they’re her girlfriends, confessors and sisters — on many of her recordings, they’re her actual sisters, Carolyn and Erma Franklin. “I got a call the other day,” begins Aretha’s spoken intro to “Angel.” “It was my sister Carolyn saying, ‘Aretha, come by when you can. I’ve got something that I want to say …’ ” “Angel” floats on Aretha’s soaring wails of loneliness, but it ends with a calming moment of sweet empathy from Carolyn and Erma: “He’ll be there, now don’t you worry/ Keep lookin’ and just keep cookin’,” and you can imagine them reaching across the kitchen table to take her hands and dry her tears. Aretha’s music is the sound of sisterhood, women supporting and comforting one another. One voice.
The Queen of Soul. The 2015 Kennedy Center Honors video encapsulates better than any of my words what a profound and immutable part of popular music, of America’s collective soul, Aretha Franklin will always remain. Amen.
Today’s offering illustrates how hard it is to keep up with the brutal churn of the news cycle. Remember “Bodega”? Sure you do. Back in September, a couple of former Google employees announced plans for a startup that would place “Bodega boxes” in lobbies of apartment buildings, office buildings and dorms. These machines, called Bodega, would offer things found in a mom-and-pop corner store, minus Mom and Pop or any pesky human interaction. Essentially, they were proposing hyped-up vending machines. But wait — here’s the best part! In their funding plan, the founders talked up Bodega boxes as an eventual replacement for “centralized shopping locations” — in other words, they would be replacing those majority-immigrant-owned stores that are always there for you, on holidays, at night, through blizzards and hurricanes. It was tone-deaf tech culture at its worst.
I was a couple hours late out of the gate with my piece, and then a submission-software glitch lost it in the shuffle, making it even later. Bodega’s moment in the outrage cycle was gone within a week. So here’s my satirical take on a terrible tech idea, preserved for posterity.
Say “Hola” to ABUELA!
Like many of our friends in Silicon Valley, we, the founders of JoshWorx, sympathize with the hard-working undocumented immigrants being persecuted in the name of nationalism. But sympathizing is one thing; experiencing the cruel upheaval of deportation first-hand is another. That’s what we — Josh and Josh and Josh — learned when we went out to get lunch one day and found that the tamale lady on the corner was gone. We asked around, and when we heard that she got snagged in an ICE dragnet at her kids’ elementary school, we bowed our heads in silent reflection and mourned the loss of that lady’s amazing tamales. Well, Josh and I did — Josh was never that keen on them, but her cart was really close to the office.
Our traumatic experience taught us that Illegal immigrants can’t be removed from society without repercussions. You might ask yourself, If all the undocumented Mexican workers are sent back, who will make my tamales? Who will pull my hair out of the shower drain? Who will do something about that family of raccoons living under Josh’s deck? As you can see, this is a national emergency. Which is why JoshWorx is proud to introduce our game-changing autonomous technology to help the innocent victims of harsh anti-immigration policies — victims like you and me and Josh and Josh. Say “Hola” to ABUELA, your personal immigrant replacement unit!
ABUELA — Autonomous Bot Undertaking Established Latino Assignments — does all the jobs the (sadly) departed undocumented Mexican immigrants in your life used to do, only faster and with no need for awkward conversations in eighth-grade Spanish nouns!
Does your apartment need vacuuming? ABUELA’s Roomba-partnered technology will leave your floors spotless (unlike Marta, who could never quite manage to get to those last few dust bunnies under the bed). Are you hungry? No need to interrupt a binge-watch of “RuPaul’s Drag Race” to visit your neighborhood taqueria — ABUELA’s onboard freezer is stocked with tamales, enchiladas and all the other Mexican comfort foods you crave, while her microwave unit delivers them piping hot to your table! Garden looking scraggly since Luis was sent back to Jalisco against his will? Check out ABUELA’s retractable hedge clippers! You’ll never feel guilty about standing inside your air conditioned home watching ABUELA dig out a dead stump in 101 degree heat — unlike Luis, ABUELA is equipped with an advanced core-temperature-cooling system!
We understand the tragedy of families pulled apart by the anti-immigrant agenda of a probably illegitimate president. We’ve been there. Josh and Josh’s wives, Amanda and Amanda, had to lean out of their respective Director of Marketing jobs after our nannies vanished overnight. And believe us, nobody is happy about it. Which is why we’re working on ABUELITA, a fully automated child-minder/self-driving-car hybrid. But, honestly, it’s not going great at the moment, because Unmarried Josh is always preoccupied with his stupid idea for a bodega-in-a-box. Bro, it’s just a vending machine! Let it go!
Anyway, ABUELA is here to help working parents, hungry programmers and people who aren’t into touching the toilet brush maintain the same quality of life they enjoyed when the immigrants were still around. We at JoshWorx even foresee a day when farmers who’ve lost their undocumented workers can employ whole fleets of ABUELAS to harvest the tomato, squash and blueberry crops rotting in the fields. We just need a little time to figure out a work-around so that ABUELA’s cold mechanical fingers stop crushing the delicate fruit to a pulp. (Hey Siri, take a note: Juicer bot? JUICITA? EL JUICADOR? JUICERO?)
JoshWorx is committed to diversity. ABUELA is the product of a talented engineering team that brings a wide cultural perspective to the table. Although, it’s basically just Josh and Josh at the moment; Masoud went home to Tehran for his sister’s wedding ages ago and seems to have run into some visa trouble. And we hardly ever see Josh anymore, now that he’s found investors for the bodega-in-a-box. But we’re confident that we’ll be able to put an ABUELA in every “casa,” “manana!” Or, more likely, whatever the day after “manana” is — we’ve had our hands full ever since Amanda walked out on Josh, and Amanda was named Director of Marketing for bodega-in-a-box. Every day is “Take Your Children to Work Day” around here, LOL. It’s been really great getting quality time with our kids. We’re so blessed! Seriously, if anyone knows a couple of nannies who’d work for $10 an hour and no benefits, could you shoot their info our way? Ethan! Isabella! Other Ethan!Stop that! ABUELA IS NOT A TOY!
Last week, Apple announced the death of the iPod Nano and iPod Shuffle, its last two stand-alone MP3 players. Most people might have been surprised to learn that those two lower-end iPod models had been, in fact, still alive in 2017. As music players, they were eclipsed years ago by the iPhone, and, to a lesser-degree, the iPod Touch (basically, the phone without the calling capability). For younger people, the iPod is as attractive as a gramophone.
The news didn’t surprise me. As the owner of a 2008 4th generation iPod Nano, which I still use every day, I’ve seen the writing on the wall for a long time now. Apple all but abandoned iPod fans like myself when it shifted its focus to the iPhone. I see the business logic to it: Unlike the iPhone, the iPod wasn’t a robust revenue stream. You bought an iPod, you loaded your music onto it, The End. But Apple’s announcement still makes me angry.
Look, I know that, as an old lady who doesn’t see the point of replacing a perfectly good working gadget every five seconds with a shinier iteration of the same, I am not Apple’s target consumer. I can live with that. Tech moves fast, and I made my choice to not move with it.
But it pisses me off that the most perfect portable music delivery system I’ve ever known is now — like a string of forerunners — over. Ever since I was a kid, I carried my music with me, consuming it in my head, on a succession of ’60s transistor radios and ’70s boomboxes, followed by an ’80s Walkman and a ’90s Discman. Just typing the names of those devices conjures flashes of memory. Transistor: On the front porch, in the summer, 10-years-old, AM Top 40 countdown. Boombox: Road trip to Asbury Park, Springsteen cassettes blasting out the windows. Walkman: On the bus, on my way to work, earphones in, listening to mix tapes. Discman: Man, I really disliked the Discman. Yes, CD’s sounded better and were more convenient to search than cassettes. But, unlike the Walkman, it was practically impossible to be mobile while using one. The discs skipped and I hated the stupid foam fanny pack-type belt holder accessory. I still have a Discman in the junk drawer. What a ridiculous invention.
But my first iPod … sweet liberation! Light, palm-sized, skip-proof, no physical media to carry, yet you could take your entire music collection with you — it was the best of all worlds. I had a 2004 1st generation iPod Mini, green, with the tiny screen and the big click wheel, and I used that baby everywhere. I hooked it onto my waistband, hit “shuffle” and listened to my own freeform radio station when I was cooking dinner (still my favorite use for the iPod). Holding the Mini now, it seems like it weighs a ton, but compared to the Walkman and Discman, it was light as a feather.
I stuck with that Mini until it stopped holding a charge, and moved onto the model that had replaced it, the Nano. Mine was a 2008 16 GB 4th generation, blue, with color display. It was so much lighter and smaller, yet it had a bigger screen and video playback capability, a pleasing, slightly curved, rectangular body, and, of course, a click wheel. I loved the feel of her in my hand, and I’ve had her for nine years, but she needs more charging all the time. I fear the end is near. Apple stopped making MP3 players with click wheels in 2014, switching everything to touchscreen technology. If mine can’t be fixed, I’ll have to hunt down a 4th or 5th generation Nano, or any MP3 with a click wheel, on eBay or someplace.
What is it about the click wheel? It’s simple. You can control it blind, without having to look at it and touch a screen. Use it once and you know instinctively where to place your thumb on the wheel to skip and pause play, how much pressure to apply in circular motion to control volume. With the click wheel, it just takes a second to put down the chopping knife, touch the “skip” or “volume” place on the wheel without taking your eyes off what you’ve got sautéing on the stove, and go back to work. Without the click wheel, it’s impossible to do that. And thanks to that click wheel, the iPod kept me calm through more dental and medical procedures than I care to remember; I’d hold it in my hand, thumb on the click wheel and turn up the volume to drown out the medical machinery and take my mind off the pain.
When I travel, I carry both my iPod and my iPhone. I could just accept defeat and stream music on my phone, but … no click wheel. And the thing is, more than half of the music on my iPod is my music, that I own, that I loved enough to buy on physical media and then wanted to carry around with me in my pocket, so I transferred it into my iTunes library. Yes! I still do this! I sit there at my laptop feeding CD’s into the slot and picking and choosing tracks to add to my library. And, yes! I own an old MacBook Pro that I won’t replace because it was the last model with an onboard CD drive. Are you seeing a pattern here? (I also refuse to update to the latest version of iTunes, because it sucks, and has sucked for years, and I have the last non-sucky version. As long as it still works, it’s staying.)
I’m fussy and I make no apologies for that. At the same time, I accept that the world will not conform to my fussiness. Which is a good thing, because Apple couldn’t care less about me and my quirks. But it’s not my fault that once upon a time, Apple designed a product that so impeccably fit my needs, I saw no need to replace it. I’ve loved its iPods long and well, and in return, Apple sees us both as obsolete.
I know I’ve been a little sports-heavy on this blog, but indulge me a few words about Matt Cain. The stalwart grand old man (at the age of 27) of the San Francisco Giants pitching staff sums up everything that’s good and just and right about baseball and sports in general. After seven years of dependable, often dominating, pitching, Cainer pitched his first no-hitter as a major leaguer last night. Not just a no-hitter, but a perfect game, meaning that he allowed no opposing players (in this case, Houston Astros) to reach base. To put this in perspective for non-sports fans, only 22 pitchers in major league history have pitched a perfect game; no Giant has ever done it. And the only other pitcher to strike out 14 batters in a perfect game, as Cain did, was Sandy Koufax. Look him up, if you’ve never heard the name.
What makes Cain’s perfect game so, well, perfect is that it really could not have happened to a better player and a better man. Cain’s calm, mature demeanor on the field has made him the rock of the Giants staff. He is a quiet but fearless leader, the team’s player union rep. He never whines, never showboats. He handled his recent contract renegotiation with class, never issuing threats or ultimatums. He has been a Giant his whole career, and, thanks to the front office’s commitment to pitching, will finish his career as one. He is the face of the Giants’ connection to Project Open Hand, the venerable San Francisco charity that provides food for people living with HIV and AIDS, sponsoring the annual fun run the Giants hold to raise funds for the group. In the Showtime documentary series about the Giants, “The Franchise,” Cain came across as a devoted husband and new father, and he remains one of those players about whom you never hear a whiff of scandal. When asked what he did on the day of the perfect game, Cain said that it had been just another homestand day: had breakfast with his wife and daughter, let “my crazy one and a half year old” run around in a park, you know, family stuff.
And that’s the thing about sports history, you never know when it’s going to happen. You turn on the TV or you head to the park for just another Wednesday night game, except, in baseball, you can never be sure you’ll be seeing just another Wednesday night game. There’s always the potential for ordinary to turn extraordinary. Sports is unscripted drama, but not in the manufactured way of reality TV. It’s a drama (or, often, comedy) that plays out spontaneously, yet no one could have written it better. When Cain, the archetype of the broad-shouldered, un-flashy hero — think Gregory Peck or Gary Cooper — took the perfect game into the fifth, and then the sixth, and seventh, the crowd came to life, standing and urging Cain on with every pitch. His teammates went into a hyper-focused state, making impossible catches to take away runs, digging as deep as Cain was to avoid committing errors in the field that would have permitted a man to reach base.
When the final out came, the usually stoic Cain pumped his arm and shouted, the Giants mobbed him and the crowd wept and cheered. Recently voted the most unsung pitcher in baseball by his peers in an ESPN Magazine poll, Cain had finally gotten the recognition he deserved. Catcher Buster Posey, who’s cut from the same preternaturally mature cloth as Cain and who spent most of 2011 recovering from a horrific on field leg and ankle injury, entered the record books as Cain’s battery mate in perfection — the baseball gods taketh away, the baseball gods giveth back and say, “My bad, bro.”
And that’s another beautiful thing about baseball: Cain was not laboring alone out there, he needed Posey and his teammates (by the way, the final score was 10-0, for a team that usually takes a week to score that many runs) to ensure his achievement. A perfect game may be etched in one man’s legacy, but it is not his legacy, or his accomplishment, alone. Matt Cain knows it, which is why he sat at the podium answering press questions flanked by Posey on one side and outfielder Gregor Blanco, of the magnificent catch, on the other. And, which is why Matt Cain will have a statue outside AT&T Park someday and Barry Bonds won’t.
Bruce Springsteen wrote a couple of lines in “Long Walk Home” about America itself, but they apply to baseball as well, and I’ve been thinking about them today as I replay the game in my head: “Son, we’re lucky in this town, it’s a beautiful place to be born/ It just wraps its arms around you, nobody crowds you and nobody goes it alone.” Perfect words for a perfect game.
Ever since I was a kid, I haven’t been able to pass a remainder table, used record store, cut-out bin, yard sale or Goodwill without stopping to dig through the books and music for buried treasure. Don’t get me wrong, I’m not an extreme coupon cutter or Dollar Tree fan, and Costco was so depressing I let the membership lapse years ago. I’m particular, too. Five bucks is my absolute limit, under $2 is the sweet spot. And we have to be talking about the good stuff, like out-of-print gems, releases that fill gaps in my collection, or unfamiliar stuff that I’m willing to take a flyer on if the price is right. Five-for-a-dollar romance paperbacks: Junk. Autographed first edition of Neil Gaiman’s exquisite fairytale The Graveyard Book for $2.49 in the local Goodwill: Jackpot! (One of my best finds ever.)
I learned the art of treasure hunting from my friend Mark Moses, who couldn’t pass a bargain bin without inventorying the goods. He would buy records that he already owned, just to spare them the ignominy of the scrapheap. Of course, Mark had a music critic’s discerning eye and a wide scope of musical interest and curiosity. He knew the worth of each of his finds, and I’m not talking about money, although finding a pristine vinyl copy of Dustyin Memphis for $1 would be an awesome day’s work in itself. In turn, I passed on the record-scavenging jones to my son, who keeps the tradition alive with a fever , and cheapness, that surpasses even my own.
So, I’m going to try something here. This is what (I hope) will be the first installment of an occasional series, depending on what my scavenging turns up. For the first “Tales from the Bargain Bin,” we have two stellar scores.
Amazing Grace by Aretha Franklin. $1.99, San Mateo (CA) Goodwill. Granted this is the original CD reissue of Aretha’s landmark Grammy-winning 1972 gospel album, not the more recent expanded version. But, when I saw this in the Goodwill CD rack alongside the usual piles of Chumbawumba and Boyz II Men castoffs, I shouted, “Hallelujah!,” fell to my knees and started speaking in tongues.
Well, not really, but I wanted to. Who gives away Amazing Grace by Aretha Franklin? Who prices it for $1.99? But, I’m not complaining. Franklin recorded this live set in L.A. at the New Temple Missionary Baptist Church with a full choir directed by her mentor, Rev. James Cleveland. I have it on vinyl, but I wasn’t passing up this chance to own a version I could put on an iPod. This is Aretha in her prime, pouring her soul into the gospel music of her youth as well as into contemporary songs like Carole King’s “You’ve Got a Friend” and Marvin Gaye’s “Wholly Holy.” This is the greatest singing you will ever hear. Period. Aretha’s rich, glimmering melisma on “Precious Memories”, her spine-tingling screams of ecstasy on “Amazing Grace”, her roof-rattling testifying on “Mary, Don’t You Weep,” will take your breath away. Amazing Grace is the holiest record I own. And I say this as a secular Jew and an atheist. I don’t believe, but I am moved beyond words by the joy, the spiritual transcendence, of Sister Aretha’s voice lifted in praise. And that’s religion enough for me.
Love Is a Strange Hotel by Clive Gregson and Christine Collister. $1.99, Burlingame (CA) Goodwill. I would say that this 1990 rarity by two former Richard Thompson associates was my most bizarre, random and unlikely Goodwill find ever, if I hadn’t already stumbled upon a CD of Thompson’s obscure 1972 solo debut album, Henry the Human Fly, in the San Mateo outpost. And here I thought I was the only British folk nerd on the San Francisco Peninsula.
Clive Gregson and Christine Collister were a folk-rock duo who orbited Planet Thompson in the ’80s; if you caught his full-band shows during this period, you saw the burly Clive strumming and the pixie-like Christine taking Linda Thompson’s place on duet and backing vocals. Gregson and Collister recorded a handful of albums before going their separate ways, and Love Is a Strange Hotel, which I’d never heard before, is one of their last efforts. It’s a mixed bag (more a demo, really) of covers, including 10 cc’s “The Things We Do for Love,” Merle Haggard’s “Today I Started Loving You Again” and Bruce Springsteen’s “One Step Up.” The spare acoustic guitar and keyboard production is crystalline and their harmonies are as lovely as ever. But it’s Christine’s rich, husky, intimate wonder of a voice that should send you on a quest for Gregson and Collister (or Collister solo) finds of your own. Like Linda Thompson and Sandy Denny before her, Collister draws you in quietly and then devastates you with emotional directness. On the CD’s best track, she shrinks Aztec Camera’s “How Men Are” from the universal to the personal, with demure vulnerability and plaintive soulfulness. And I always thought Jackson Browne’s “For a Dancer” was pure sap, but Collister’s soaring version over a simple piano accompaniment is, in its plain, Church of England way, as prayerful as Aretha’s revival meeting.
Here are Christine and Clive singing a track from an earlier album, “I Specialise.”