Merle Haggard & Willie Nelson – Pancho & Lefty

Pancho & Lefty

Merle Haggard & Willie NelsonPancho & Lefty Epic FE 37958 (1983)


Here’s an album that occupies a strange place between “urban cowboy” country and easy listening pop.  Hag and Willie both sing really nicely, even if most of the material is pretty fluffy.  The synthesizer, electric bass, trebly electric guitar and other little orchestrated touches bestow on it a dated, faddish sound that is unmistakably of its era, but, for what it is, it delivers fairly consistently.  The slickness isn’t too much of a distraction.  There aren’t any obvious stinkers here.  As a long as expectations aren’t too high, this is a nice light outing.  The best song is probably “Opportunity to Cry,” which has no discernible input from Haggard.

Dean Baker – Inequality As Policy

Link to an article by Dean Baker:

“Inequality As Policy: Selective Trade Protectionism Favors Higher Earners”

This article is Baker grandstanding as usual, making the same arguments he has made ad nauseam for many years.  There are numerous flaws in his arguments, which is extremely unfortunate because he’s trying to make some important points, however crudely, about the promotion of inequality.

The major flaw in his argument about intellectual property (IP) law is that he conflates the specific case with the general case (a type of association fallacy).  This is a flawed form of argument that many economists use regularly to deceive readers.  Baker concludes that all IP is bad, but his argument relies almost exclusively on examples from copyright and pharma patents.  It almost goes without saying that copyright laws are indeed maximalist and skewed toward special interests.  His criticisms there are spot on and need no further explanation.  His critiques of patents focus on pharmaceuticals.  The problem is that pharma is not like other technologies.  Pharma is a regulated industry, and companies are able to rent-seek even with unpatented drugs.  Recent examples in the headlines include the Martin Shkreli saga and the EpiPen debacle.  While excessive patent strength/value may be problematic, it is not the sole cause of rent-seeking problems.  And there are so many unique aspects of the pharma industry (right down to doctors’ monopolization of writing prescriptions) that criticisms of pharma patents says almost nothing about patents in other technology areas.  Baker writes, “The laws have been changed to extend patents to new areas such as life forms, business methods, and software.”  The problem with this statement is that it is completely false.  While the U.S. patent laws have indeed been updated with the America Invents Act, and other miscellaneous legislative changes, it is worth noting that these changes to the patent statutes did not alter patent-eligible subject matter (35 U.S.C. 101 – unchanged since 1952).  While courts did expand patent subject matter eligibility from the early 1980s through the turn of the millennium, Baker ignores how the major development in patent law in judicial decisions over the last decade has been to curtail patent subject matter eligibility (Bilski v. Kappos, Mayo v. Prometheus Labs., Alice v. CLS Bank, Association for Molecular Pathology v. Myriad Genetics, etc.).  Baker suggests a trend in a direction directly opposite to the bulk of the recent judicial record.  While numerous other countries prohibit patenting of medical diagnosis or treatment inventions, and countries like Germany historically (though no longer) prohibited patenting chemical compositions, there was never such a ban in the United States.  Furthermore, what about trademarks or trade secrets?  These constitute whole areas of IP law, yet Baker makes no mention of them.  This further underscores how Baker has cherry-picked specific cases, divorced from their specific factual contexts, and (misleadingly) presented them as the general case.

The comments to Baker’s article make some useful points.  As Vic Volpe notes, software and financial patenting is arguably a bigger problem than pharma patents.  (see also, e.g., http://open.mitchellhamline.edu/cybaris/vol5/iss2/1/).  Also, BobbyG notes the misleading citation of average physician salaries in the article, which further evidences how Baker’s primary mode of argument is to distort the facts to serve his ideological agenda — in case it is in doubt what that is, Baker supports centrist “New Deal” Keynesian economic policies.  So, while it is fine that Baker critiques neoliberal policy in its promotion of “winner take all” inequality, readers can rightfully question how and why he inserts New Deal liberalism in its place.  Of course, many other critiques of patents and such are equally ideologically-driven, which is unfortunate because meaningful criticism is needed.

 

Addendum:  Baker has continued to promote the same line in a further interview (no surprise).  But what is hilariously ironic is that he makes the following snide comment: “There also is a reluctance to think differently. We often joke that intellectuals have a hard time accepting new ideas. Unfortunately it is close to accurate. Even well-established academics are much more likely to accept an idea from an academic with high standing than a person with less standing, no matter how compelling it might be.”  Reading the whole interview makes clear that Baker fails to see how this criticism forcefully applies to him too!

Tame Impala – Lonerism

Lonerism

Tame ImpalaLonerism Modular MODCD157 (2012)


So it’s quite easy to spot the references points to know where Tame Impala is coming from.  Right away this music screams out its adulation for 1960s psychedelic rock.  The lead singer could well pass for a John Lennon impersonator, and the weirder stuff of Magical Mystery Tour makes a decent reference point.  Yet Animal Collective seems like an equal influence.  What you end up with is something on the spectrum of post-psychedelic bands like Spacemen 3, The Brian Jonestown Massacre, Ty Segall and White Denim with a strong sense of melody and composition.  Ultimately it’s the good craftsmanship and solid songwriting that carry this along.  It may be a recombination of retro-isms, but the band’s enthusiasm makes it always a fun and fresh experience.

Sam Cooke With The Soul Stirrers – Sam Cooke With The Soul Stirrers

Sam Cooke With The Soul Stirrers

Sam Cooke With The Soul StirrersSam Cooke With The Soul Stirrers Speciality SPCD-7009-2 (1991)


A good set, though still an imperfect one.  Many reissues of Soul Stirrers material with Sam Cooke have overdubs that were not present on the original releases.  Fortunately, the versions here are the originals.  On the other hand, this set includes Sam Cooke’s first 5 solo recordings (some originally released under an alias “Dale Cook”), and those are for the most part a distraction.  Sam Cooke’s softer, lighter lead vocals took gospel music in a whole new direction.

The Velvet Underground – Bootleg Series, Volume 1

Bootleg Series, Volume 1: The Quine Tapes

The Velvet UndergroundBootleg Series, Volume 1: The Quine Tapes Polydor 314 589 067-2 (2001)


The Quine Tapes is essential for any true Velvet Underground fan. Recorded from dates on the same tour as 1969: Velvet Underground Live With Lou Reed and The Complete Matrix Tapes, this “Bootleg Series” release is decidedly of amateur recording quality (the series’ title is honest at least). Robert Quine was one of the handful of Velvet Underground superfans in their day (Quine later co-founded The Voidoids and then played with Lou Reed).  These recordings were made with a cassette recorder in the audience (the sound quality of the recording being comparable to The StoogesMetallic KO and Television‘s The Blow-Up). Disc One is material from the Family Dog in San Francisco, while Discs Two & Three are primarily from the Matrix in San Francisco, with just one medley from Washington University in St. Louis.

Disc One’s “Foggy Notion” takes the song on an extended and explosive guitar solo (one of the set’s gems). Disc Two’s “White Light/White Heat” is both aggressive and precise. Disc Three’s early version of “New Age” is profoundly inspired and features different lyrics than later appeared on Loaded. “Black Angel’s Death Song” is different without viola, but retains all the essential elements. Of course, the importance of The Quine Tapes lies in the three versions of “Sister Ray” included, clocking in at 24:03, 38:00 & 28:43 on each respective disc. Surprisingly, these versions often move in and out of slow grooves amongst powerful bursts of beautiful noise. “Sister Ray” is probably the greatest rock song but only when performed by the Velvets — other artists attempting the song are asking to be made fools. My money is on the “Sister Ray” recorded at the Family Dog on 11.7.1969 (from Disc One) as the finest recording in this set.

The Quine Tapes features many extended song performances. This album proves that the Velvets with Doug Yule were a different band than the Velvet with John Cale but still a great band. Without compromising any creativity, the Velvets do their best to entice people into their music. Blending songs that never made it onto any studio albums with many of the group’s most experimental numbers from years past, The Quine Tapes allows you to put the 1969 Velvets in context. Fans will perennially wait for the “holy grail” of live recordings with John Cale still in the band, but they just don’t exist (else they would have been released by now)!

The Quine Tapes goes far beyond 1969: Velvet Underground Live in sheer breadth. Only one recorded song overlaps between the two albums.  There is considerable overlap with The Complete Matrix Tapes, with that later release having supposedly higher fidelity.

While it can be somewhat frustrating when these bootleg recordings distort or fail to capture the entirety of the performances, the sheer brilliance of the Velvet’s musical ingenuity makes up for a lot of that. This isn’t a definitive Velvet Underground live recording. Nonetheless, The Quine Tapes is a portrait of the Velvet Underground as stylists rivaling anyone. The improvisational variety of songs within this release, much less compared to others, is astounding. There are no signs of the band’s (effective) demise looming a few month ahead. Maybe the album takes some effort but rarely in music are the rewards so great.  This set is good for a VU fix no matter how severe.