The whole grapevine can fit under the molarsĬan hide under a tongue, even as it says love, love, you With your top teeth only hiding something at the bottom. She teaches at the Alabama School of Fine Arts and the University of Alabama at Birmingham, and she is the founding director of the Magic City Poetry Festival in Birmingham, Alabama.ĬONTRAPUNTAL WITH GLADYS KNIGHT AND INFIDELITY Her poems and essays appear in or are forthcoming at CNN, The Oxford American, Origins Journal, The Quarry by Split This Rock, Obsidian, and many others. Her poetry has earned local and national awards, including the Rona Jaffe Foundation Writers Award, the Silver Medal in the Independent Publishers Book Awards, the Lena-Miles Wever Todd Prize for Poetry, a Literature Fellowship from the Alabama State Council on the Arts, the Lucille Clifton Poetry Prize, and the Lucille Clifton Legacy Award. She holds an MFA in Poetry from Florida International University, and she is the author of Magic City Gospel (Hub City Press, 2017) and dark / / thing (Pleiades Press, 2019). Jones is a poet, organizer, and educator from Birmingham, Alabama. The side closes with “Vampire Blues,” which digs into the oil crisis and the false claims made by politicians of all stripes: “Good times are comin’/I hear it everywhere I go/Good times are comin’/I hear it everywhere I go/Good times are comin’/But they sure are comin’ slow.This week we are delighted to present “Contrapuntal with Gladys Knight and Infidelity,” a new poem by Ashley M. “For the Turnstiles” explores the toll paid by troubadours, explorers and professional athletes the world over. The album opens with “Walk On,” which was recorded in late 1973, after Tonight’s the Night had been rejected by Reprise, who no doubt wanted a Harvest Part 2 out by Christmas: “I hear some people been talkin’ me down/Bring up my name, pass it ‘round/They don’t mention the happy times/They do their thing, I do mine.” But his resolve to move forward remains, however: “Sooner or later, it all gets real/Walk on.” “See the Sky About to Rain” dates to 1970, but its somber mood fits the occasion to a T: “Some are bound for happiness/Some are bound to glory/Some are bound to live with less….” “Revolution Blues” spins the Charlie Manson saga into an ominous rocker.

(I share those sentiments simply because I enjoy digging into what I like to call “the first draft of history.” It takes time for critical consensus to congeal, after all.) Times rock scribe Robert Hilburn wrote in his August 27, 1974, review “he tone of the new album is drab, sullen, isolated.” Newsday’s Robert Christgau, too, found little to like: “Something in the obsessiveness of this music is easy to dislike and something in its thinness hard to enjoy.” (He spent the bulk of the review praising Time Fades Away so, as with Marsh, forgive him his misjudgment.) The two stars remained, but a sentence description was added: “his album’s apocalyptic prophecy is rendered all but unlistenable by Young’s grating, whining delivery.” (He gives Tonight’s the Night five stars and a paragraph of praise, however, so all’s forgiven.) For the 1983 (blue) edition, rock curmudgeon Dave Marsh elbowed Swenson to the side and rewrote (and expanded) the discography. The original (red) Rolling Stone Record Guide (1979), I should mention, gave On the Beach two stars but no mention in John Swenson’s half page take on Neil’s oeuvre. In addition to making him mellow, the honey relaxed his vocal cords his once-high register slipped down a few octaves. His down mood was no doubt magnified by a new “delicacy” that entered his life during the recording of the album: honey slides, which paired cheap grass and honey in a concoction that was ingested. On the Neil Young Archives, Neil himself wrote, “Looking back on this album, somehow it makes me feel sad remembering that part of my life.” (It may be why he allowed the LP to go out of print in the early ‘80s and waited until 2003 for it to be issued on CD.) It reflects the moment when the fantasies of youth give way to self-doubt (if not self-recrimination). Jack Garner of the Rochester Democrat & Chronicle, in his 8/16/74 review, called it “a strong, complete and exciting record.” Across the pond, in the Bracknell and Ascot Times, Geoff Thompson agreed, though he thought it had a listening curve: “ On the Beach is an album that takes quite a bit of getting into, but once you are in, there’s no escaping.” A few decades later, in a capsule review that I posted to the original Old Grey Cat website in the late 1990s, I called it “a grim realization (or is that acceptance) of life, circa 1974.” Rolling Stone magazine lauded it upon its release (and has since ranked it the 311th greatest album of all time). (Geoff Thompson’s review click to make larger.)

Gladys knight tour 2019 review