Decoding Album and Song Title Meanings

[robertoart]

Having long had Lp's in my collection with titles that I find interesting but unfathomable, thought I would put it to the board to see if anyone knew of (or was willing to reveal) the meanings of titles I have no hope of culturally translating.

Ronald Shannon Jackson's 'Barbeque Dog' is one such title I am at a loss to 'get'.

Any other decoded titles would be of interest as well, ie, 'A Jackson In Your House'? etc.

[jeffcrom]

A barbecue dog roams the neighborhood, hoping for handouts or stolen treats from backyard barbecues.

I heard the phrase years ago, although a quick Google search didn't lead to any confirmation, but did lead to some disturbing stories.

[paul secor]

If I find out exactly what an obscure title means, it spoils some of the magic for me. But perhaps that's just me.

[robertoart]

A barbecue dog roams the neighborhood, hoping for handouts or stolen treats from backyard barbecues.

I heard the phrase years ago, although a quick Google search didn't lead to any confirmation, but did lead to some disturbing stories.

Wow, thanks for solving that mystery for me. Yes disturbing stories seemed to exist behind the google searches I tried too. It's a sad world in this regard.

Wonder what the context for the titles meaning within the music, whether it related to older musical/cultural contexts or lyrics Ronald Shannon Jackson often referenced?

[JSngry]

Just another way of saying living hand-to-mouth, which is how a lot of players live.

[robertoart]

If I find out exactly what an obscure title means, it spoils some of the magic for me. But perhaps that's just me.

No I clearly understand and agree with you mostly. My interest perhaps is that sometimes the difference between titles that sound mysterious and enigmatic can have multiple layers of meaning.

For instance when I was a teenager, and I first saw the Lp 'A Jackson In Your House', I thought it was possibly a sardonic reference to the popularity of the Jackson 5. (from a fiercely independent avant-garde band). When later, I revisited the title (and knew there would be more behind the meaning), I subsequently learned that a Jackson was a (machine gun)? and became aware the title might be more sinister, or at least different, than a simple pop culture reference. Or perhaps more ambiguous again.

Other titles I have learned of are rather straightforward cultural vernacular translations, like the song 'Jingles', which I later found out means money or coins. Yet it is still a lovely title that evokes sounds.

Another Wes Montgomery song title, 'OGD; was a mystery, until the obvious translation of 'organ guitar drums; was revealed to me.

Edited April 7, 2012 by freelancer

[robertoart]

Just another way of saying living hand-to-mouth, which is how a lot of players live.

Yes, that makes further sense again now, thanks. Great title, great cover.

Anyone got any insights to this one.

Although this cover and title works well as an enigmatic mystery too, as Paul Secor suggests.

Edited April 7, 2012 by freelancer

[JSngry]

Street preachers are (or used to be) fairly commonplace in more urban communities, including African-American ones. Perhaps even more so there. "Priest" shifts the lens to a more African/tribal perspective.

I think it just means that these are guys preaching their "tribal" truth on/from the streets, "street" being more figurative than literal, meaning that they don't have any real formal, built-in support structure & have to hustle for anything/everything they get every step of the way.

A tribe of barbeque dogs preaching on the streets of the world, there you go!

[robertoart]

Street preachers are (or used to be) fairly commonplace in more urban communities, including African-American ones. Perhaps even more so there. "Priest" shifts the lens to a more African/tribal perspective.

I think it just means that these are guys preaching their "tribal" truth on/from the streets, "street" being more figurative than literal, meaning that they don't have any real formal, built-in support structure & have to hustle for anything/everything they get every step of the way.

A tribe of barbeque dogs preaching on the streets of the world, there you go!

Ah, well there's a theme emerging here.

No wonder they got...

[Shawn]

Not sure if there's anything to "decode" here other than just being whimsical, but I always loved this title.

Gretchen Goes To Nebraska by King's X

[kh1958]

Happy to see another Ronald Shannon Jackson fan!

A rare concert appearance is upcoming:

"JAZZ AT THE KESSLER" WITH RONALD SHANNON JACKSON

RONALD SHANNON JACKSON

$20.00 +fees & tax

BUY

Saturday

7

JUL

6:30pm Kitchen and Bar Opens

7:30pm Theater Doors Open

8:30pm Showtime

All Ages

Legendary, Jazz Drummer and Fort Worth native, Ronald Shannon Jackson makes his much anticipated Kessler Theater debut. His unusual style draws from both traditional jazz and marching bands. His band , the Decoding Society of the 1980s, has been dubbed free funk: a blend of funk rhythm and free jazz improvisation. The decoding Society learned from the example of Ornette Coleman's Prime Time and are a logical extension of the group. Jackson played professionally in Texas with James Clay when he was 15. He moved to New York in 1966, where he worked with Byard Lancaster, Charles Mingus, Betty Carter, Stanley Turrentine, Jackie McLean, McCoy Tyner, Kenny Dorham, and most significantly Albert Ayler (1966-1967), among others. He took time off of the scene and then joined Ornette Coleman's Prime Time (1975-1979). Jackson also worked with Cecil Taylor (1978-1979) and James "Blood" Ulmer (1979-1980). The Decoding Society (formed in 1979), through the years, featured many talented and advanced improvisers, with the best-known ones being Vernon Reid, Zane Massey, Billy Bang, and Byard Lancaster. Jackson also played with the explosive group Last Exit (starting in 1986), and in the early '90s with Power Tools. Jackson's most recent tours include performances in Paris, Amsterdam, Cologne, Rome, Padua, Florence, and Vienna. We are glad to have him back home in North Texas for a rare performance.

[robertoart]

Not sure if there's anything to "decode" here other than just being whimsical, but I always loved this title.

Gretchen Goes To Nebraska by King's X

Great cover painting.

Is it more whimsical if you've been to Nebraska?

Happy to see another Ronald Shannon Jackson fan!

A rare concert appearance is upcoming:

"JAZZ AT THE KESSLER" WITH RONALD SHANNON JACKSON

RONALD SHANNON JACKSON

$20.00 +fees & tax

BUY

Saturday

7

JUL

6:30pm Kitchen and Bar Opens

7:30pm Theater Doors Open

8:30pm Showtime

All Ages

Legendary, Jazz Drummer and Fort Worth native, Ronald Shannon Jackson makes his much anticipated Kessler Theater debut. His unusual style draws from both traditional jazz and marching bands. His band , the Decoding Society of the 1980s, has been dubbed free funk: a blend of funk rhythm and free jazz improvisation. The decoding Society learned from the example of Ornette Coleman's Prime Time and are a logical extension of the group. Jackson played professionally in Texas with James Clay when he was 15. He moved to New York in 1966, where he worked with Byard Lancaster, Charles Mingus, Betty Carter, Stanley Turrentine, Jackie McLean, McCoy Tyner, Kenny Dorham, and most significantly Albert Ayler (1966-1967), among others. He took time off of the scene and then joined Ornette Coleman's Prime Time (1975-1979). Jackson also worked with Cecil Taylor (1978-1979) and James "Blood" Ulmer (1979-1980). The Decoding Society (formed in 1979), through the years, featured many talented and advanced improvisers, with the best-known ones being Vernon Reid, Zane Massey, Billy Bang, and Byard Lancaster. Jackson also played with the explosive group Last Exit (starting in 1986), and in the early '90s with Power Tools. Jackson's most recent tours include performances in Paris, Amsterdam, Cologne, Rome, Padua, Florence, and Vienna. We are glad to have him back home in North Texas for a rare performance.

I saw your earlier post about this. He must be a power to hear live.

[kh1958]

Not sure if there's anything to "decode" here other than just being whimsical, but I always loved this title.

Gretchen Goes To Nebraska by King's X

Great cover painting.

Is it more whimsical if you've been to Nebraska?

Happy to see another Ronald Shannon Jackson fan!

A rare concert appearance is upcoming:

"JAZZ AT THE KESSLER" WITH RONALD SHANNON JACKSON

RONALD SHANNON JACKSON

$20.00 +fees & tax

BUY

Saturday

7

JUL

6:30pm Kitchen and Bar Opens

7:30pm Theater Doors Open

8:30pm Showtime

All Ages

Legendary, Jazz Drummer and Fort Worth native, Ronald Shannon Jackson makes his much anticipated Kessler Theater debut. His unusual style draws from both traditional jazz and marching bands. His band , the Decoding Society of the 1980s, has been dubbed free funk: a blend of funk rhythm and free jazz improvisation. The decoding Society learned from the example of Ornette Coleman's Prime Time and are a logical extension of the group. Jackson played professionally in Texas with James Clay when he was 15. He moved to New York in 1966, where he worked with Byard Lancaster, Charles Mingus, Betty Carter, Stanley Turrentine, Jackie McLean, McCoy Tyner, Kenny Dorham, and most significantly Albert Ayler (1966-1967), among others. He took time off of the scene and then joined Ornette Coleman's Prime Time (1975-1979). Jackson also worked with Cecil Taylor (1978-1979) and James "Blood" Ulmer (1979-1980). The Decoding Society (formed in 1979), through the years, featured many talented and advanced improvisers, with the best-known ones being Vernon Reid, Zane Massey, Billy Bang, and Byard Lancaster. Jackson also played with the explosive group Last Exit (starting in 1986), and in the early '90s with Power Tools. Jackson's most recent tours include performances in Paris, Amsterdam, Cologne, Rome, Padua, Florence, and Vienna. We are glad to have him back home in North Texas for a rare performance.

I saw your earlier post about this. He must be a power to hear live.

I heard four different editions of the Decoding Society live in Fort Worth back in the 1980s--all fantastic concerts.

[Swinging Swede]

Bloomdido?

[BillF]

Bloomdido?

IIRC, dedicated to someone called Teddy Bloom, but a blues, so not on the changes of "Perdido", despite the name.

[robertoart]

Not sure if there's anything to "decode" here other than just being whimsical, but I always loved this title.

Gretchen Goes To Nebraska by King's X

Great cover painting.

Is it more whimsical if you've been to Nebraska?

Happy to see another Ronald Shannon Jackson fan!

A rare concert appearance is upcoming:

"JAZZ AT THE KESSLER" WITH RONALD SHANNON JACKSON

RONALD SHANNON JACKSON

$20.00 +fees & tax

BUY

Saturday

7

JUL

6:30pm Kitchen and Bar Opens

7:30pm Theater Doors Open

8:30pm Showtime

All Ages

Legendary, Jazz Drummer and Fort Worth native, Ronald Shannon Jackson makes his much anticipated Kessler Theater debut. His unusual style draws from both traditional jazz and marching bands. His band , the Decoding Society of the 1980s, has been dubbed free funk: a blend of funk rhythm and free jazz improvisation. The decoding Society learned from the example of Ornette Coleman's Prime Time and are a logical extension of the group. Jackson played professionally in Texas with James Clay when he was 15. He moved to New York in 1966, where he worked with Byard Lancaster, Charles Mingus, Betty Carter, Stanley Turrentine, Jackie McLean, McCoy Tyner, Kenny Dorham, and most significantly Albert Ayler (1966-1967), among others. He took time off of the scene and then joined Ornette Coleman's Prime Time (1975-1979). Jackson also worked with Cecil Taylor (1978-1979) and James "Blood" Ulmer (1979-1980). The Decoding Society (formed in 1979), through the years, featured many talented and advanced improvisers, with the best-known ones being Vernon Reid, Zane Massey, Billy Bang, and Byard Lancaster. Jackson also played with the explosive group Last Exit (starting in 1986), and in the early '90s with Power Tools. Jackson's most recent tours include performances in Paris, Amsterdam, Cologne, Rome, Padua, Florence, and Vienna. We are glad to have him back home in North Texas for a rare performance.

I saw your earlier post about this. He must be a power to hear live.

I heard four different editions of the Decoding Society live in Fort Worth back in the 1980s--all fantastic concerts.

Here is an interesting summation of the early LP's from the Destination Out blogsite. Also thought it interesting re-the Glasper discussions etc.

Not only a stellar drummer, and the funkiest man named Ronald, Jackson is also a crack bandleader and superb composer. His harmolodic funk band The Decoding Society cranked out some of the smartest, fiercest, and just plain finest slabs of fusion during the 1980s. Barbeque Dog is the last in an impeccable run of releases highlighted by Eye on You (1980) and Man Dance (1982).

Because it was the 80s, some of the production choices and guitar treatments occasionally sound a bit dated. But overall, Jackson’s work holds up as well as â?? if not better than – any other jazz musician using electric instruments during roughly the same period. (Don’t believe us? Try spinning Steve Coleman’s Black Science again). For one thing, he didn’t buy into (too) many of trendy synth textures of the day. And for another, his compositions were so good that they can survive any missteps of history.

These tunes are elegantly constructed, morphing through various sections while still leaving room for go-for-broke playing. Dig the contrast of the shifting horn charts and Vernon Reid’s dive-bomb guitar on “Trials of an Honest John.” And note how the song effortlessly slides into a keening free jazz/Middle Eastern mash-up at the 1:30 mark. What’s most impressive is how organic Jackson makes his multi-headed fusion sound.

Revisiting some of these lp's recently (after a long time), I thought I would find Vernon Reid's contributions the weak link in this band. But I was really 'really' surprised how good he was at such a young age.

[David Ayers]

I'm assuming it was too obvious to post this one. But I did it anyway.

[robertoart]

Here is another title I long wondered about, High Yellow-James Blood Ulmer.

Apparently it refers to a light skinned African American woman. Always loved this tune BTW!

Other titles in the mystery basket include;

Solid-Sonny Rollins, I am guessing this is a term denoting a staunch or redoubtable community member or friend perhaps?

Mama Too Tight-Archie Shepp ?

Also Archie Shepp, what's a 'pitchin can'?

Edited April 9, 2012 by freelancer

[JSngry]

My impressions, by no means guaranteed to be correct:

"Solid" = everything as it should be, as in somebody tells you what's going on, it's all good, so you say "Solid". Also sometimes used to indicate doing a favor, as in "can you do me a solid?"

"Mama Too Tight" = described by Shepp as "a woman of paramount virtue" which could mean a virgin (probably the main meaning), and/or a woman whose personal integrity is unassailable ("tight" in the old African-American sense meaning beyond solid, i.e. DAMN fine goo,' c.f. "Baby, everything is all right, uptight, out of sight", "uptight" meaning that things are GOOD.

OTOH, I read an old interview with Captain Beefheart where he took it to mean "baby, you need to relax". But I'd go with Shepp.

"Pitchin' Can" - I always took this as a variation on "pitching cain" which is a Southern (I guess...) expression meaning the same as "raising cane" which means whoopin' it up and raising hell in a party-like manner. This one I could be waaaayyyy off on.

Also, be really careful with "high yellow"...that's a very "charged" term as it was/is often used by racist whites to describe a light-skinned African-American woman who appeals to them sexually, as well as in a boast when these desires are actually fulfilled, consensually or otherwise. Even when not used by whites, it's, as I've encountered it, never really used in a really flattering manner, often used as a more crude/blunt/personally-invasive form of "siditty", playing to the "skin tone caste system" that has existed both within and without the community. So, defintiely not a term to toss out in general conversation, if you know what I mean...

[Pete C]

Bloomdido?

IIRC, dedicated to someone called Teddy Bloom, but a blues, so not on the changes of "Perdido", despite the name.

Bird's manager, whose name was actually spelled Blume.

[BillF]

My impressions, by no means guaranteed to be correct:

"Solid" = everything as it should be, as in somebody tells you what's going on, it's all good, so you say "Solid". Also sometimes used to indicate doing a favor, as in "can you do me a solid?"

"Mama Too Tight" = described by Shepp as "a woman of paramount virtue" which could mean a virgin (probably the main meaning), and/or a woman whose personal integrity is unassailable ("tight" in the old African-American sense meaning beyond solid, i.e. DAMN fine goo,' c.f. "Baby, everything is all right, uptight, out of sight", "uptight" meaning that things are GOOD.

OTOH, I read an old interview with Captain Beefheart where he took it to mean "baby, you need to relax". But I'd go with Shepp.

"Pitchin' Can" - I always took this as a variation on "pitching cain" which is a Southern (I guess...) expression meaning the same as "raising cane" which means whoopin' it up and raising hell in a party-like manner. This one I could be waaaayyyy off on.

Also, be really careful with "high yellow"...that's a very "charged" term as it was/is often used by racist whites to describe a light-skinned African-American woman who appeals to them sexually, as well as in a boast when these desires are actually fulfilled, consensually or otherwise. Even when not used by whites, it's, as I've encountered it, never really used in a really flattering manner, often used as a more crude/blunt/personally-invasive form of "siditty", playing to the "skin tone caste system" that has existed both within and without the community. So, defintiely not a term to toss out in general conversation, if you know what I mean...

"High yellow" occurs in the lyrics one of W C Handy's blues - can't remember which one. Louis Armstrong sings it on the Armstrong Plays Handy album.

[JSngry]

Yeah, I know. But just a little time has passed between then and now...

[Pete C]

Yeah, I know. But just a little time has passed between then and now...

To ban all reference to the historical use of the term, within and outside black communities, would be taking PC to a ridiculous extreme. It's also my understanding that the term had at least at much currency within black culture as outside it.

Edited April 10, 2012 by Pete C

[JSngry]

Right. And I didn't suggest "banning" it, I just suggested being careful with it in general conversation, because times have changed.

By "general conversation", I meant, like you're out at a bar shooting the shit with a group of your buddies, bad there's this hot light skinned black chick over on the other side of the room. You don't want to go over there, start breaking the ice, and then say something like, "you know, you're one fine high yellow" or something like that. That would be a very bad idea. Or, like you meet one of your friend's wife for the first time at a party and the next day at work, you compliment your friend on the attractiveness of his wife by calling her "a beautiful high yellow". That would be a VERY very bad idea.

Obvious, you say? Well, not necessarily. Sometimes white folks learn a word like "triflin'" and jokingly use it on/to a black friend/associate/whatever, not realizing the depth of the insult that word is meant to convey. Bad move, and feelings do get hurt.

Besides, if the context of discussion of jazz, its peoples and its customs is in any way or any world "general conversation", then I have died and gone to, if not exactly heaven, then at the very least a better grade of hell.

[Michael Weiss]

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