“After Midnight” by J.J. Cale – Chords, Tabs, and How to Play

“After Midnight”
J.J. Cale

(Popularly performed by Eric Clapton)

C                        D#                F                    C
After midnight, we’re gonna let it all hang down.
After midnight, we’re gonna chug-a-lug and shout.
C
We gonna stimulate some action,
F
We gonna get some satisfaction,
F                                           G
We gonna find out what it is all about…

After midnight, we’re gonna let it all hang down.
After midnight, we’re gonna shake your tambourine.
After midnight, it’s all gonna be peaches and cream.
We gonna cause talk and suspicion,
We gonna give an exhibition,
We gonna find out what it is all about…

After midnight, we’re gonna let it all hang down…

SOLO (over one full set of chord progression)

After midnight, we gonna let it all hang down.
After midnight, we gonna shake your tambourine.
After midnight, it’s all gonna be peaches and cream.
We gonna cause talk and suspicion,
We gonna give an exhibition,
We gonna find out what it is all about…

After midnight, we gonna let it all hang down.
After midnight, we gonna let it all hang down.
After midnight, we gonna let it all hang down.
After midnight, we gonna let it all hang down…

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

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Addendum to the March 2011 Report: The Weekend Review

By Chris Moore:

Well, I somehow missed a brand new album from one of my all-time favorite artists that was released in March.  And I also listened to Lupe Fiasco for the first time, specifically to his album that was released in March.

Thus, I give you the addendum to my March 2011 Weekend Review report.

FYI: The word online is that Beckley’s Unfortunate Casino is the precursor to a new America album to be released later this year or early in 2012.  As was the case with 2006’s Horizontal Fall and 2007’s Here and Now, it has been suggested that the songs that didn’t make the forthcoming America album are the ones that you’ll find on his solo disc.  If that is true, then we’re in for a real treat when the America record drops!

Unfortunate Casino
Gerry Beckley
Producer:
—

Released:
March 31, 2011

Rating:
4/5 stars

Top Two Tracks:
“Hello” & “Feel”

Despite mixed reviews by fans and critics alike, Unfortunate Casino – for all intents and purposes Gerry Beckley’s third studio album – retains some of the best qualities of Van Go Gan (1995) and Horizontal Fall (2006) in a more concise package while covering sonic ground not explored on the aforementioned discs.

How Unfortunate Casino received harsher criticism than 2000’s remix disc Go Man Go is beyond me.

Still, much of the criticism is understandable, as the relative brevity of Unfortunate Casino’s ten tracks fall short of the soaring electric solos and overall energy of Van Go Gan.  It would also be difficult to argue that this new release has the same expansive ambition and the track-by-track songwriting excellence that was evident on Horizontal Fall.  All in all, this album is strikingly different from its predecessors, if only for its reliance on stripped down, slower tracks to lead in the album.There is no individual song to match the power pop brilliance of “Emma.”  There are sparks in “Remembering” and the title track, yet in many ways, the album doesn’t really kick into high gear until the second half with the lively “Feel” and “Hello.”  Some have attacked the lyrics on this latest release as insipid, which is ridiculous, especially considering some of the nonsensical tracks Beckley has helped pen in the past.

For the careful listener, Unfortunate Casino explores the themes of chance and change, playing on the obvious casino metaphors with admirable restraint.  Nostalgia and regret are shirked in “Remembering,” just as the present and future are embraced in tracks like “Simpson Sky” and “Feel.”  What is expressed purely in “Always” is held up to question by the greyer lines of “Fortune Fells.”  Frustration is dealt with forebodingly in “Dark River,” which is balanced later by the positive levity of “Hello.”

Balance is perhaps the best modifier for Unfortunate Casino, along with concise – I’ll take its ten strong tracks over Van Go Gan’s eighteen of fluctuating quality.  It is not better or maybe even as strong as Horizontal Fall, but it is a good album and a worthy addition to Beckley’s catalog.

 

Lasers
Lupe FiascoProducer:
Lupe Fiasco, et alReleased:
March 8, 2011

Rating:
3.5/5 stars

Top Two Tracks:
“State Run Radio” & “Words I Never Said”

Politically-charged and clearly driven by anger, or at least angst, Lupe Fiasco’s Lasers is enigmatic for its simultaneous endorsement of disengaging from the system.  As a whole, Lasers is the only album I’ve ever listened to that both protests and subscribes to apathy, though the former seems to win out in the end with Fiasco’s consistent call for change and carefully placed qualifiers like the “wanna” in “I Don’t Wanna Care Right Now.”

Sonically, Lasers covers a range of sounds and draws textures from a variety of genres without resorting to the time-tested rap topics of drugs, hoes, and violence.  Fiasco’s modus operandi is to avoid the norm, to speak out against what he sees as the perpetuators and enablers of violence and corruption in society.  I have never understood listeners who bristle at the first sign of social commentary, and in fact, I’ve always found those who do so with artistry and a sense of balance to be the most interesting songwriters (i.e. Bob Dylan, John Lennon, George Harrison, Woody Guthrie, and the list goes on…).

Fiasco is successful on songs like “The Show Goes On” with its catchy melody and lyrical middle finger to abusive power or “All Black Everything,” a track that plays out like a blend between rap and Sinatra, imagining a world fundamentally changed as the conception of slavery is prevented; the effects resemble an exercise in imaginative butterfly effect theory.  Lyrically and sonically, “State Run Radio” is perhaps the strongest example of this type of song on the album, verging on being more of a pop/rock track than a rap song.  Still, with every politically-charged writer, there is the danger of going too far.

Even at the peak of the Dylan protest song era, on 1964’s The Times They Are A-Changin’, there was one thoughtful, lyrically nuanced song for every blatantly political track.  This is, however, not necessarily the case on Lasers.  For those who have followed his recent interactions with the press, it is what can only be referred to as the quasi-extremism of his espoused methodologies that most profoundly weakens the overall impact of his message.  For instance, verbally bashing President Barack Obama – with one liners in songs like “Words I Never Said” and in interviews, such as the most recent and severe when he claimed that Obama is the “biggest terrorist” – is certainly not the way to motivate people like myself to listen more closely.  The fact that his comments appear to be directed at all American presidents and all branches of the government, past and present, does little to blunt the impact of such statements.

Even still, though Fiasco is far from being a poet, I have found his music compelling and catchy, and I continue to return for the core messages, such as the frustration with the seemingly unalterable trends in big business and government policies in “Words I Never Said.”  Even though I cannot support a non-voting stance, I can deeply feel and, to a degree, relate to such lines as those that follow his declaration that he will not participate in politics: “I’m a part of the problem; my problem is I’m peaceful.” 

Lasers will inspire questions and thoughts and perhaps even action; for this, in addition to the more important aspects of the music itself, Fiasco remains an artist worth listening to, whether you consistently agree with him or not.

 

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What Good Am I?: 70 Reasons Why Bob Dylan is Awesome

(or, Writing 70 Reasons is a Long Time)

By Chris Moore & Nicole Fekete:

Unlike just about every other Dylan article in existence (some of mine included), we’re going to resist the urge to rattle off some witty Dylan-themed puns and cut directly to the point.

Bob Dylan turned 70 on May 24, 2011!

It’s a bit odd for me to accept that my all-time rock music icon is a septuagenarian, but, even at seventy, Dylan is still making headlines, unpeeling yet more layers of the so-called Never-Ending Tour with a top notch band, and releasing new material at a surprising rate.

Tonight, in no particular order, we celebrate Bob Dylan — holder of the record for most songs by a single artist covered at the Laptop Sessions (63) — for being awesome, for…

1) Coining the phrase, “Keep a good head and carry a light bulb,” after carrying an over-sized light bulb to a press conference.

2) “Going electric” and doing so at maximum volume.

3) Sneaking marijuana innuendo into the major radio hit, “Rainy Day Women #12 & 35.”

4) Getting arrested for looking like a hobo.

5) Spawning co-founding Wallflower and outstanding lyricist Jakob Dylan.

6) Inspiring, in his words, a gazillion books.

7) Remembering words when high, yet forgetting when sober.

8 ) Assembling what is perhaps the first creative, true music video in “Subterranean Homesick Blues” in the opening credits of Don’t Look Back.

9) And for including Allen Ginsberg in it!

10) Having the bitchin’-est background singers around.

11) And for becoming romantically involved with each of them.

12) Coming out with a self-proclaimed terrible album to shirk attention and shed devotees (Self Portrait).

13) Being (one of?) the most covered artists of all time.

14) Having a song called “The Cough Song” (“Suze”).

15) Punning off stoned while being stoned.

16) Dropping my favorite f-bomb of all time (“Play effin loud!” live in 1966).

17) Recording the only country album by someone other than Johnny Cash that I enjoy (Nashville Skyline).

18) Being friends and dueting with Johnny Cash.

19) Being friends and dueting with George Harrison.

20) Making the first Traveling Wilburys session possible.

21) Taking the lead role on Traveling Wilburys, Vol. 3.

22) Writing popular rock songs that feature lumberjacks, sword swallowers, and one-eyed midgets.

23) Inspiring a song about his beard (Wilco’s “Bob Dylan’s Beard”).

24) Busting out a song like “Billy 1” from the Pat Garrett and Billy the Kid for the first time live in concert… nearly four decades after it was released.

25) Inspiring that National Lampoon parody song about the “spangled dwarf in his bowtie.”  (And the infantry don’t ask why!)

26) Walking off the Ed Sullivan Show when he was prohibited from playing “Talkin’ John Birch Paranoid Blues.”

27) Writing Chronicles, Volume 1.

28) Giving us hope that there’ll be a volume two!

29) Rearranging any song from his catalog as though it were the year 1942.

30) Giving the Byrds the boost they needed to truly hit it big.

31) Conceptualizing the Rolling Thunder Revue.

32) Composing some of the most notable protest songs in American history.

33) Avoiding titles like “voice of a generation.”

34) Playing “Oh Sister” at the Hard Rain (1976) concert in response to a request that he play a protest song.

35) Continuing to write subversive protest songs throughout every period of his career (“Gonna Change My Way of Thinking,” “Neighborhood Bully,” etc.).

36) Recording what is perhaps one of his best albums at the age of 59.

37) Being in the midst of a Never-Ending Tour.

38) Playing with the Band, which is best when working with Dylan.

39) Still knowing how to rock out. (see: the version of “High Water” on Tell Tale Signs)

40) “Oh, Mama, can this really be the end? / To be stuck inside of Mobile with the Memphis Blues again…”

41) For recording “Spirit of America” with Brian Wilson!

42) Surprising everyone with Christmas in the Heart, the creepy, raspy-voiced curmudgeon’s guide to yuletide tunes.

43) Inspiring a fairly uninspired collection of covers titled Tangled Up in Blues.

44) Inspiring that most ridiculous of cover collections titled Tangled Up in Bluegrass.

45) Sporting a mullet during the only decade that it was even remotely forgivable to do so.

46) Not being ashamed to wear that sequined jacket in the seventies.

47) Developing an aura that led to wild rumors regarding subjects like his legs (amputated in the motorcycle accident?) or the motorcycle accident itself (did it ever even happen?).

48) Recording and writing with the Band (heard of the Basement Tapes, anyone?).

49) Rarely swearing, then dropping just about every swear and slur of his catalog in “Hurricane.”

50) For inspiring controversy over his first performance in China (see: Maureen Dowd’s editorial, Ron Rosenbaum’s reaction on Slate.com, etc.).

51) For becoming deathly ill… right after releasing an album that was all about death… and shortly after saying that the album wasn’t necessarily about death.

52) Writing “All Along the Watchtower” and admitting to the superiority of Jimi Hendrix’s version.

53) Writing “New Pony,” and enabling Jack White and the Dead Weather to create the rare arrangement that, by far, surpasses Dylan’s own.

54) Having one of the wildest rock star heads of hair ever.

55) Introducing the Beatles to drugs.  Imagine how the sixties would have been different without that…

56) Transforming and altering the public perception and memory of the Newport Folk Festival.

57) Having more talent in his left jowl than the sum total of most popular contemporary artists.

58) “Mississippi.”

59) Hardly acknowledging the stage invader during the SOY BOMB incident (1998).

60) Writing “Masters of War” (1963), a song that would eventually (2004) cause the Boulder, CO high school band Coalition for the Willing to be investigated by the Secret Service for allegedly threatening President Bush when alarmists overreacted to the final lines of the song.

61) Releasing an album on September 11, 2001 with an eerily timely amount of twin imagery.

62) Imagining and filming the incredibly lengthy and as-yet unavailable on DVD Renaldo and Clara, yet another artifact from the Rolling Thunder Revue era (the Bootleg Series live album being the premier artifact).

63) Inspiring terms like Dylanologist, Bobolator, and more.

64) Adding sound and voice to a Victoria’s Secret commercial and releasing a limited edition compilation CD via store locations.

65) Writing and recording what is arguably the best “break-up album” of all time.  Twice. (see: Blood on the Tracks)

66) Playing lead and soloing during the 1995 MTV Unplugged concert.

67) Inspiring tales such as those told by Highway 61 Revisited-era electric guitarist Mike Bloomfield, the best of which are inappropriate for a family-friendly blog.

68) Accumulating such an impressive vault of alternate versions (most recently, beautiful versions of “Mississippi,” “Most of the Time,” and others have emerged), live tracks, and more.

69) Having the guts to leave his hometown, travel east, change his name, and reinvent himself as an authentic performer and, eventually, songwriter.

70) Living a life that is more the stuff of legends and rock star biographies than any of us will ever experience or even be able to imagine.

This is, admittedly, a limited list.  It was developed and written on a whim in one draft, so we encourage you to add reasons via the comment box below.

We hope you’ve enjoyed this, — a happy Bobby’s B-day to one and all!

P.S. I almost forgot! 

71)  Inspiring an outstanding website such as Expecting Rain, which enabled my two installments of “Together Through Life: A Look Back at Ten (Officially Released) Bob Dylan Rarities” to earn the record for first and second most views in a single day of any post at guitarbucketlist.com!

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The Weekend Review: February 2011 Report

By Chris Moore:

Don’t be shy; step right up for this, the second Weekend Review of the new year.  It’s long in coming, so each weekend until we catch up, I’ll be bringing you these month-at-a-glance reports.  I’m very happy with the focus and concision of the new format, as you’ll see below.  However, it appears to be less than iPhone-ready, so I’m working on ways to fix that.  After all, there’s nothing worse than visiting a site on your iPhone and coming to the realization that you won’t be able to read it properly.  Well, I suppose there are probably a few things worse than that, but what I mean is that there’s just no excuse in the 21st century for websites NOT to work smoothly on mobile devices, so please know I’m working on that.

I hope you enjoy reading — there’s plenty more music-related content here on the Laptop Sessions cover song music video blog!

 

The People’s Key
Bright Eyes 

Producer:
Bright Eyes &
Mike Mogis

Released:
February 1, 2011

Rating:
2/5 stars

Top Two Tracks:
“Triple Spiral” & “Jejune Stars”

This being my first Bright Eyes album experience, I must say it’s a mixed bag: lyrically excellent, yet musically ranging from masterfully beautiful to far too weird to be listenable.  I didn’t expect the sort of alternative country sound I’d heard from Conor Oberst’s Mystic Valley Band when they opened for Wilco a couple summers ago.  However, I certainly didn’t expect the sort of spoken word nonsense that stretches for MINUTES across the beginning of the first track (which is a shame, as “Firewall” is actually quite a strong song otherwise) and resurface elsewhere. 

On paper, it is understandable why Oberst added Denny Brewer’s “shamanic vocals,” as the liner notes refer to them.  After all, they add a certain inimitable spiritual, existential ambience to the record.  They also grow old quite quickly and distract from the excellent music being laid out and the even more profoundly impressive lyrics being voiced throughout, especially on standouts like the driving  rock track “Triple Spiral” and the early gem “Jejune Stars.”  The latter track lyrically raises issues (and the bar) that will stretch throughout the remainder of The People’s Key, as Oberst sings, “Come fire, come water, come karma, we’re all in transition / The Wheel of Becoming erases the physical mind / Till all that remains is a staircase of misinformation / And the code we inherit, the basis, the essence of life … / It’s just so bizarre, is it true what we’re made of? / Why do I hide from the rain?”  He is referring, of course, to the fact that our bodies are made up – by an overwhelming percentage – of water, yet we carry umbrellas and seek shelter from the rain.

Elsewhere, though, the songs drag a bit, as on “Approximate Sunlight” and “Ladder Song.”  All in all, this could have been an outstanding album rather than one I pay a complisult (see: Community; combination compliment & insult) by writing something like:

The People’s Key falters and falls short at various points, yet there are a series of truly first-rate tracks, like the closer “One for You, One for Me,” which make the album worth the purchase, if you’re willing to skip a few tracks and fast-forward through several others.

 

Yuck
Yuck 

Producer:
Yuck

Released:
February 15, 2011

Rating:
3.5/5 stars

Top Two Tracks:
“Shook Down” & “Suicide Policeman”

Yuck is one of the pleasant musical surprises of 2011.  The band’s debut album is a distorted, grungy, feedback-ridden gem that sparkles as often as it crackles. 

What is most impressive about Yuck is their sense of ebb and flow, clearly evident through the arrangement of tracks here.  The smoother sound and brighter vocals of “Shook Down” slip in after two tracks where the garage rock mentality ruled and where even the vocals were run through with distortion.  Then, by the end, that pedal-processed guitar sound sneaks back in just in time to make the transition to the dirty-sounding “Holing Out.”

This is the sort of well-planned craftsmanship that helps to hide the fact that this is a first album.  If nothing else, Yuck is one of the noisiest, most energetic rock albums of the year.  It isn’t perfect – the noise overtakes the tracks here and there and the quality fades noticeably by the end – and, in fact, the final two tracks are wholly unnecessary and should have been cut entirely, shipped off to bonus track land.  (Which reminds me, if you buy this album – which you should, I highly recommend it – don’t waste your time with the bonus track editions.)

In modern music criticism, I feel as though something has been lost, namely a sense of appreciation for the rock essentials: riffs, solos, catchy choruses, snappy lyricism.  Yuck has all these components.  Although I was initially put off by the level of grunge that absolutely pervades several tracks, I’ve come around to the careful sonic mastery displayed by the band more and more with each listen.

The final verdict?  Not perfect by any means, but one of the most exciting releases of 2011.

 

The King of Limbs
Radiohead 

Producer:
Nigel Godrich

Released:
February 18, 2011

Rating:
4/5 stars

Top Two Tracks:
“Codex” & “Little by Little”

Even longtime Radiohead devotees appeared thrown by this release.  The sessions for the record were announced… a whole week before its release, and the band decided to release the album a day early because… well, why not?  With all the moves that make them an interesting band for reasons outside the music, Radiohead ushered The King of Limbs into their long tradition of norm-breaking practices. 

The music itself is strikingly sparse at times, but this does not – and is surely not meant to – conceal just how much attention has been paid to subtlety.  The percussion is particularly notable this time around as clicks and clacks and clangs and taps abound.  Additionally, there is a riff-driven feel at times, though not in any traditional sense.  In many ways, this is another of those albums from Radiohead that are clearly produced using fairly standard instruments, yet where just how to reproduce these sounds and songs would prove elusive.

Truth be told, I am not a fan of Radiohead: I fall firmly into the category of liking OK Computer and thinking much of their other work is seriously overrated.  That being said, In Rainbows (2007) changed my mind a bit – and even made my top albums of the decade list.  The King of Limbs continues my reappraisal of the band, particularly when the breathtaking, heartbreaking beauty of a song like “Codex” and the oddly catchy nature of tracks like “Morning Mr. Magpie” and “Little by Little” are undeniable.  The acoustic loop on “Give Up the Ghost” and even the nearly-instrumental “Feral” add texture and unpredictability to the mix, as the lack of a clear single or rock sensibility threaten to flatten the record.

All told, the eight tracks of The King of Limbs offer the perfect length for an album of subtleties and stripped-down, built-back-up beauty like this; any shorter, it couldn’t be called an album, and, any longer, it would lose its momentum and appeal.

And so, for the first time in my life, I offer up to you a review of Radiohead that includes my seal of approval.  It’s not the most rocking record, but that’s not the point.  It is, however, a starkly beautiful album of subtle complexities and unique qualities, quirky enough to be interesting but not so much as to be alienating.

 

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