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LISTENING POST: The Mighty Fine — “Mr. Drive By”

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New York and New Orleans meet at the crossroads and what emerges is The Mighty Fine.  Lead singer Steve Myers calls their sound “sweaty rump shakin’ garage soul”.  It’s Brooklyn roots rock. If you dig The Heavy or Black Joe Lewis and the Honeybears, you’ll be right at home.  This song is from their latest album, Get Up to Get Down.

Enjoy!

[audio:http://www.boldaslove.us/wp-content/uploads/2012/03/08-Mr.-Drive-By.mp3|titles=08 Mr. Drive By]

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3 Responses

  2. There is a lot of great music coming out of Louisiana, or influenced by the culture of that state, despite some of the difficulties of actually living there…It’s nice to see some of that acknowledged here.

    FYI:
    I sometimes write about music for a website, The Compulsive Reader, that focuses on literature, film, and music:  
    http://www.compulsivereader.com/html/index.php?name=News&catid=&topic=14&allstories=1
     Daniel
    (graduate, New School for Social Research)
    Contributor to American Book Review, Cinetext, Offscreen, Pop Matters, Review of Contemporary Fiction, and World Literature Today  In addition, of course, I like reading about music; and the comments of a wide range of writers on music have interested me over the years, including those of James Baldwin, Playthell Benjamin, Delphine Blue, Nate Chinen, Kandia Crazy Horse, Stanley Crouch, Angela Davis, Jim DeRogatis, W.E.B. DuBois, Ralph Ellison, Christopher John Farley, Nelson George, Farah Jasmine Griffin, Claudrena Harold, Pauline Kael, Greg Kot, Will Layman, Wynton Marsalis, Michelangelo Matos, Paul Nelson, Sarah Rodman, Kelefa Sanneh, Gene Seymour, Armond White, Christian Wikane, and Carl Wilson.  (I tend to like the Journal of Music http://journalofmusic.com/ , Pop Matters http://www.popmatters.com/ , and Wax Poetics http://www.waxpoetics.com/ , though I know there are many other publications available: http://library.music.indiana.edu/music_resources/journals.html ).  I have just read Rick Moody’s On Celestial Music, his collection of rather long-winded, thoughtful, and impressively sensitive and wide-ranging music essays (he discusses Meredith Monk, the Magnetic Fields, Wilco, the Lounge Lizards, and Pete Townsend, as well as experimental music, spirituality, music standards, computers in music, and more).  As well, I have begun reading Blackness in Opera, an essay anthology on classical, folk, and popular music, on opera, racial politics, and public ethics and image, edited by Naomi Andre, Karen Bryan, and Eric Saylor…I had wondered, at different times over a period of years, about the history of black music criticism, and recently passed on a query about this to the Center for Black Music Research, and received a response from a librarian there (Thank you, Ms. Flandreau); a useful list of references:  
     
    Historiography
     
    Dougan, John M. “Two steps from the blues: creating discourse and constructing canons in blues criticism.” (Thesis: College of William and Mary, 2001)
     
    Floyd, Samuel a., Jr. “Black music and writing black music history: American music and narrative strategies.” Black Music Research Journal 28:1 (2008) p. 111-121.
     
    Garabedian, Steven Patrick. “Reds, whites, and blues: blues music, white scholarship, and American cultural politics.” (Thesis: University of Minnesota, 2004).
     
    Maultsby, Portia K., Burnim, Mellonee V., and Oehler, Susan E. “Intellectual history,” In: African American Music: An Introduction. (New York: Routledge, 2006) pp. 7-32.
     
    Radano, Ronald Michael. “Narrating black music’s past.” Radical History Review 84 (2002) p. 115-
     
    Ramsey, Guthrie P., Jr. “Cosmopolitan of provincial? Ideology in early black music historiography, 1867-1940.” Black Music Rsearch Journal 16 (1996) p. 11-42.
     
    Ramsey, Guthrie P., Jr. “The pot liquor principle: developing a black music criticism in American music studies.” American Music 22 (2004) p. 284-295.
     
    Ramsey, Guthrie P. “Secrets, lies and transcriptions: revisions on race, black music and culture.” In: Western music and race, ed. Brown, Julie. (Cambridge: Cambrdge University Press, 2007). Pp. 24-36.
     
    Ramsey, Guthrie P., Jr., and  Angermueller, Rudolph. “Who hears here? Black music, critical bias, and the musicological skin trade.” The Musical Quarterly 85 (2001) p. 1-52.
     
    Strong, Willie F. “Philosophies of African American Music History.” (Thesis: UCLA, 1994).
     
    Wilkinson, Christopher. “A new master narrative of Western musical history: an American perspective.” In: De-canonizing music history. (Newcastle upon Tyne: Cambridge Scholars, 2009) p. 37-48.
     
    Anthologies:
     
    Brackett, David, ed. The pop, rock and soul reader. 2nd ed. New York: Oxford University Press, 2009.
     
    Clark, Andrew, ed. Riffs and choruses: a new jazz anthology. New York: Continuum, 2001.
     
    Conyers, James L., Jr. ed. African American jazz and rap: social and philosophical examinations of black expressive behavior. Jefferson, NC: McFarland, 2001.
     
    Koenig, Karl, ed. Jazz in print (1856-1929): an anthology of selected early readings. Hillsdale, NY: Pendragon Press, 2002.
     
    Lornell, Kip, ed. From jubilee to hip hop: readings in African American music. Upper Saddle River, NJ: Prentice-Hall, 2010.
     
    O’Meally, Robert G., ed. The jazz cadence of American culture. New York: Columbia University Press, 1998.
     
    Perkins, William Eric, ed. Droppin’ science: critical essays on rap music and hip hop culture. Philadelphia: Temple University Press, 1996.
     
    Tracy, Steven C., ed. Write me a few of your lines: a blues reader. Amherst: University of Massachusetts Press, 1999.  
     

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