This is why I love Apple Music

You know I love my Apple Music playlists. And have wondered aloud who puts these together. Steven Levy wondered the same thing:

“Who are those editors putting the playlists together? It turns out they are music nerds who might have otherwise been displaced by technology. People from radio; people who used to work at publications; people who used to work at record companies — hard core passionate music people. They check in to work at offices in Cupertino or LA (though a few work remotely) and perform curation tasks that include making those playlists, which they draft and discuss in meetings that must be more fun than the ones at your job. The important thing is that they are human beings. Apple believes that only flesh-and-blood music lovers can properly select and format these lists, artfully making the segues from one tune to the next.”

“They are very much like those cosmic deejays in the early days or FM, or today’s superstar spinners at Las Vegas casinos and high end clubs everywhere. But without a direct channel to communicate with the audience — no microphone to explain yourself between blocks of song — it’s a weird kind of communication they have with their audience. […] After listening to a lot of these playlists, I feel I almost know whoever it is at Apple who specializes in Americana, Blues, and 60s rock.”

Apple Music has a Connect feature where fans can ‘connect’ with their favorite artists. I have zero interest in doing that but would love to connect with the people who create the playlists.

Early Elvis contract

ElvisGoblerContractKBOA

In 1955 Elvis Presley appeared at a little honky tonk called the B & B Club, in Gobler, MO. Not far from my hometown of Kennett, MO. More information here, including an audio clip with my father who was working at the local radio station. The contract above is between Elvis and Jimmy Haggett, who also worked at KBOA and booked entertainers on the side. If you look closely you’ll see Elvis was to receive 75% of the gate to be paid “after dance.”

City of New Orleans


I’ve been looking for a project where I could try a video-on-video effect I like. I had some suitable background video from my 24 Hours of Amtrak Hell and this song is one I like. Ideally I would have waited until I was more proficient with the song but I’ll be 68 in a couple of weeks so we go with what we got. (This was easier than I expected, mostly because I used Screenflow instead of iMovie.)

Fortunate Son

I recently heard a bluesy/jazzy version of CCR’s Fortunate Son. The uke chords seemed to be within my limited range so I’ve been amusing myself (and our two dogs). This afternoon I took a break to fiddle around with Garageband. This sounds nothing like the cover that got me started. Submitted here for your amusement.

At the Dark End of the Street

“In the summer of 1966, while a DJ convention was being held in Memphis, Dan Penn and Chips Moman were cheating while playing cards with Florida DJ Don Schroeder,and decided to write the song while on a break. Penn said of the song “We were always wanting to come up with the best cheatin’ song. Ever.” The duo went to the hotel room of Quinton Claunch, another Muscle Shoals alumnus, and founder of Hi Records, to write. Claunch told them, “Boys, you can use my room on one condition, which is that you give me that song for James Carr. They said I had a deal, and they kept their word.” The song, lyrics and all, was written in about thirty minutes.” (Wikipedia)

I first heard this song in the 1991 Alan Parker film The Commitments. It’s been covered by lots and lots of artists (Percy Sledge, Aretha Franklin, Elvis Costello, Gregg Allman, Linda Ronstadt, to name a few) but my favorite versions are by Bobby King & Terry Evans and Veronica Klaus.