Afternoon Delightful

Anyone heard of Johnny Blue Skies (AKA Sturgill Simpson)? Six weeks ago, I hadn’t. Not really, anyway. I knew he was a country artist, but his music was unknown to me. One of those names popular in an area I’m not paying attention to, like basketball or NASCAR. He took home the GRAMMY for Best Country Album in 2017 (deservedly) and has earned nominations in various genres over his career, but not being a country music fan, I was oblivious.

As y’all know, most of my writing roads lead to X. I’ve mentioned that the former Twitter is where the community congregates, and my activity waffles between awkwardly mingling and being a wallflower. I’m an extrovert IRL but an internet introvert. I drop hearts on all the author W’s, the hot classic cars, and cool electric guitars. I’m a bit invisible, hovering at the fringe, which I love and hate. Anonymity gives freedom to try things, but growth is slow. I’m happy to report that I have a small bot army of Nikki Sixx’s. 🎸 Seven Sixx’s to be exact, plus three Joe Bonamassa’s, two Sturgill Simpson’s, and a partridge in a pear tree.

The WriComm hosts frequent pitch events, flooding the feed with works-in-progress, mood boards, and querying projects to garner the elusive agent-like—all the peacocks splaying their tail feathers. 🦚 Pitching a book in 280 characters is tricky, and pitch exhaustion is real, but that’s an article for another time. With each event, my books get some attention, but not by literary agents. Well, a couple of times, but without result. My rock themes and cool art bring the musicians to the yard, not just the Sixx’s and the Bonamassa’s. I’m not mad at this. Rock music lovers (or their wives) who also love a good happily ever after are my target readers.

I’m embarrassed to say I have a broader knowledge of song lyrics than of words and stories from books. Instead of reading, I spent my youth scanning the broadcast band and being raised by the radio. I absorbed all the musical gems (and turds) between Chicago’s WXRT and WGCI, skipping over all the country stations in between. My listening habits did not open a gateway to Sturgill Simpson. 

My awareness of Johnny Blue Skies’ most recent release, Mutiny After Midnight, began with David C Lowery, founder of Camper Van Beethoven and Cracker. Milkshake, I mean musician. Yard. He posted a survey about Simpson’s album release. Like a total dolt, I missed his point and answered the first question posed, not the second. He called me out on it, probably because he’s a senior lecturer now, and that’s what educators do—school the less-learned. 

Dr. Lowery’s post was my introduction to the artist, the album, and the road about to rise to meet Johnny Blue Skies. Rhyme intended. You see, Mutiny After Midnight was released solely in physical formats—CD, vinyl, and cassette—with no stated date for availability on streaming platforms. Old school. Ragin’ against the machine. Stickin’ it to the man. Ballsy. 

This daring concept led me to explore a few entertainment news articles, where I learned that Mutiny After Midnight is also a departure in sound and genre. More of a funky rock disco vibe than his earlier work, which already blurs boundaries. I know this now because I’ve been down a rabbit hole, but that’s an article for another time. As a collector of vinyl and author of a two-book series about a rocker reinventing himself by deviating from his established musical genre toward more booty-shaking beats, I’m all in for the mutiny.

What my engagement with Dr. Cracker Van Beethoven effectively did was to wash some of his musician followers onto the shores of my measly account. I follow these dudes who are trying to do the darn thing in their industry just as I am in mine. Future readers and all that. When this hit my feed, I could feel it—the genius of a fearless surfer who’s about to enter the barrel, precariously balanced between glory or wipeout.

GENIUS.

And when my publishing ship comes in, I plan to pirate this idea and put my own artistic spin on it. As Pablo Picasso says, “Good artists copy, great artists steal”.

Two weeks before Mutiny After Midnight’s scheduled release date, Sturgill leaked his own album, posting it on his YouTube channel. Listeners and fans got a first taste, a little hit. Me included. I dug it. Even shared it with a few of you for discussion. Then, I called the local record store and pre-ordered the vinyl. Stupidly, I didn’t specify a fun vinyl color—like orange or off-white rather than traditional black.

A trip to the record store is a treat—like going to 31 Flavors, except there are a bazillion, and if you’re not careful, you can drop a mint. Umm! Mint chocolate chip. Delicious. I brought my teenage daughter (whom I’ll call PJ for internet safety). This was PJ’s maiden voyage into this sonic sea, this other world. A world of new sounds and old musty smells, young listeners and aging artists (and vice versa), and all the auditory flavors captured and cooled, distilling emotions onto hot wax or coated plastic.

We browsed the bins of new records, pausing over Abbey Road because her bestie is in her Beatles era. I’m looking forward to when Bestie is in her Doors era because there will be much to discuss. PJ lovingly eyed The Arctic Monkeys, which Mom wholeheartedly approves. 

I skipped the crates of affordable used records lining the floor. I wasn’t in the mood to crouch-browse for a bargain, where my joints would scream, and I’d see stars every time I stood up. Sadly, I’m in my crone era, and I try to limit doing grand pliés in public. Instead, I migrated to the side bins of recent acquisitions and pulled out I Am Very Far by Okkervil River. I had never heard of the band or record, but I had to own it. The jacket was a work of art. The price was reasonable for a double album, so I added it to the selections.

PJ and I meandered through the secondhand stereo equipment—treasures about to get a second wind by those interested in owning the tangible in a digital world. We admired the Joel Washington paintings. PJ noted the ornate pressed tin ceiling overhead in the cool, old building. We went up some precarious steps to peruse the dollar discs and onto a platform that, in another circumstance, was probably stage risers. Densely packed in their wood crates, the records shook their bins as the stacks shifted at the midpoint, wobbling the risers and heightening spatial awareness. Falling at the record store is a better metaphorical love song than a literal happening. (Locals: Don’t call OSHA or anything. While probably not compliant, it’s charming as hell.)

I snagged a Johnny Rivers record. I enjoy his voice, also because River and Johnny were becoming themes. And because “Afternoon Delight” was another theme and cheese worth owning, I added The Starland Vocal Band to the pile. I also picked up some freebies—a numbered postcard from the band Turnstile and a poster promoting Yungblud’s current tour. Maybe the British rocker will find his way into a future collage. I dig his rock persona and the path he’s carving. I wish I dug his music equally.

On the way to the Mommy Van (I mean Minivan), I asked PJ what she thought of her first record store visit. She shared that she felt cool just by being in there. Right? Yes! [Insert fist pump ✊] Parenting level unlocked. Cool Mom status achieved.

So, let’s unpack the haul.

I already knew going in that I enjoyed Mutiny After Midnight. If you like funk/rock with a main course of sexual innuendo, and a side helping of timely protest themes and good old-fashioned country love, then you may dig it too. There are many moments of lyrical brilliance, some even swoon-worthy. The liner notes and inner sleeve artworks are simple yet delightful and very fitting to the themes.

“Situation” was the only song available to share after the full album was taken down from the official YouTube channel. I’d probably have chosen to share it anyway, as it provides the flavor. I suspect “Situation” will be quite the situation live, as it’s structured perfectly to flow into another song. Jamtastic. However, its album fade-out suggests the groove couldn’t be tamed into a proper ending. The Dark Clouds could take a cue from Loggins and Messina, who have a knack for blending tracks. The standout song is “Stay On That” with its overlap of sexual innuendo and double entendre. I can see this song crossing over to the pop charts and even hitting the top ten.

JBS released MAM with a bonus track on April Fool’s Day. The mutiny (and manipulation) ensues.

I Am Very Far by Okkervil River (2011) was worth the purchase for the art and design alone. The outer jacket is a print-nerd’s dream with debossing that accentuates the details of the William Schaff woodcut graphics. The headline typography appears hand lettered. Inside, there are additional woodcut artworks within the liner notes and one printed on the vinyl. My copy included a ripped ticket of mysterious origin. Overall, a stunning package. 

I’ll admit I forced a second listen. I wasn’t impressed on the first go around, but I warmed to it. The music is very layered, often noisy and discordant. Will Sheff’s vocals have a Bowie-esque quality that I appreciate, full of emotion. The vibe is kind of 80’s new-wave, post-punk meets yacht rock. There are some lovely moments with brass, winds, and strings. The standout tracks are “Hanging From a Hit” with its melodic waltzy lullaby à la Tom Waits’ “The Piano Has Been Drinking (Not Me),” and “Your Past Life As a Blast,” where the backing track feels like a sampled loop somewhere between “Kung Fu Fighting” and “The Hustle” before either hit their groove. Ooooohhhh…. Oooohhh. Ooh, ooh, ooh, ooh. Do it!

OK, so Johnny Rivers is a vibe, and Changes (1966) would be well-suited for a Sunday drive with the top down or a movie flashback scene on a crisp autumn day as lovers walk in the park. Backed by the Wrecking Crew and produced by Lou Adler, Changes is an excellent example of polished production. “The Poor Side of Town” was a WJMK 104.3 oldies station staple, the only song I knew going in, and the only track on the album written by Rivers. The rest are covers, none of which I had heard before, and some of which are regrettable. “Cast Your Fate to the Wind”, composed by American jazz pianist Vince Guaraldi, has a playful sax solo leading into a little piano flourish (both of which are too short) that makes this a standout track.

Starland Vocal Band’s Self-Titled Debut (1976) is where folk/country soft rock collides with Broadway musical storytelling. ABBA fans may enjoy this quartet and record. A bit sappy for my taste, but the vocal harmonies of Jon Carroll, Margot Chapman, Taffy Nivert, and Bill Danoff are incredible. And yes. Not a typo. Ms. Nivert’s first name is Taffy. 🍬 Beyond “Afternoon Delight,” which Billboard once named the 20th sexiest song of all time, the standout track is “Hail! Hail! Rock and Roll,” which is why I claim there are Broadway vibes. This doo wop ditty pays homage to several 50’s artists and tracks with lyrics such as … twistin’ like a piston in your daddy’s car… C’mon now! That’s some creamy, delicious cheese right there.

To support the resurgence of physical media and the musicians keeping the good times rolling, visit your local record store. Bypass Amazon if you can. Comment below and share your treasures or the song you’d rank as the sexiest. Grab your copy of Johnny Blue Skies and the Dark Clouds’ Mutiny After Midnight (while supplies last) or listen on iTunes (or Spotify, if you must) and get your sexy groove on. Rock on, friends! 🤘