About Lisa

Lisa is a Northwest Historian at the Everett Public Library. To find out what she is reading, check out her GoodReads feed at http://www.goodreads.com/LisaLab

Listen Up! Spring New Music Arrivals

Faded collage of six album covers with the text "Listen Up!" printed over them.

Chase away the clouds with some great new music arrivals. Place your holds now:

Starchild & the New Romantic – Language (Ghostly International) – Down-tempo funk with a retro feel. Artist Bryndon Cook’s music may be a nod to greats like Prince, P-Funk, and Michael Jackson, but the album is far from derivative. It’s more of a homage to those who have come before with the sincerity of a creative and talented musician blazing his own path past the monuments.

Soccer Mommy – Clean (Fat Possum Records) – Dreamy, folky, a little gritty. Singer/songwriter Sophie Allison took what was more or less a home-grown scene of her making via her uploaded music and re-recorded her material into a robust full-length release for a wider audience. The album still has the intimate, personal feel of her earlier recordings, but is more fully realized with the backing of a band. Her material is stripped down, autobiographical, and highly relatable – giving you a window into the life of this very talented young artist on the rise.

Meshell Ndegeocello – Ventriloquism (Naive) – Ndegeocello’s vocals are spare, layered over production that has an almost dreamlike, ambient feel. Her work features interpretations of RnB hits that anyone who came of age in the 80s or 90s will recognize. Each track is less of a cover and more of a reinvention; there is a warmth and mystery to each that makes me think of them as throwback lullabies.

Shopping  – The Official Body (Fatcat Records) – A post-punk concoction that’s a little surf rock, pop, and new wave all in one. If the B-52s and The Slits had a love child, it would sound a little like this album.

No Age – Snares Like a Haircut (Drag City, Inc.) – Lush, full bodied noise-rock. No Age’s fifth studio album shows a maturity of sound that has developed over 13 years of collaboration. The mingling of beauty and turmoil creates an explosive mix of highly enjoyable tracks. Is polished roughness a thing? If so, they’ve nailed it.

Screaming Females – All At Once (Don Giovanni Records) – Alt rock with venue-dominating vocals and a punk vibe. Another release from a veteran act making the list, this is the 11th album for the Screaming Females. Clearly they haven’t lost a step as they continue to push the boundaries of generefication. Special treat for the fans of Fugazi – Brendan Canty makes a guest appearance on drums.

Dabrye – Three/Three (Ghostly International) – Hip hop with strong electronic production. Producer Tadd Mullinix returns to his Dabrye moniker after a long hiatus. His time ‘off’ has been fruitful for his work in different electronic music ventures, but fans of his hip-hop material have long been awaiting this latest release. Three/Three does not disappoint. This album boasts a long list of collaborators staying true to Mullinix’s Michagander roots by highlighting Detroit-area MCs new and old in particular.

Lindi Ortega – Liberty (Shadowbox Music, Inc.) – Dramatic ballads with a Spaghetti-Western flare. Ortega’s beautifully-emotive vocals lend an air of mystery to her tracks. Grab this album and be taken along on a wild ride as each track tells a tale of loss and salvation. I have a soft spot for albums that tell a story and this one delivers a Country Gothic tale worth hearing.

Movers and Shakers – the Women who Helped Build Snohomish County

A group of women, some seated and some standing. All are wearing light-colored dresses with long white aprons over. All are also wearing ruffled white nurses caps, as well as ruffled collars.

Nurses at Everett’s first hospital, which opened on Broadway in January of 1894. Image from the Everett Public Library’s Northwest Room Collection.

In our last A Reading Life post about Women’s History Month, Mindy wrote about the importance of personal stories when describing the history of a place. We make history every day, just in living our lives and being a part of our communities. These individual contributions can be hard to trace unless a person leaves a written record or participates in something like the Everett Public Library’s oral history projects. The farther back we go, the more difficult it can be to track down the stories of women and people in minority groups; these individuals were rarely granted space in written accounts of the time. One thing that improves the chances of learning more about the activities of these underrepresented individuals is if they were a part of a larger group. Whether we learn from the records that groups kept or the occasional newspaper coverage that larger projects may have attracted, the trail is a little bit stronger.

Towards the end of the 19th Century, women in what would become Washington State began to form groups and clubs for a variety of reasons. This was a reflection of a larger Women’s Club Movement within the country, but also the outcome of homegrown political movements and a reaction to some specific needs within communities. In Washington State many women were deeply involved in movements to gain the right to vote. When Washington was still a territory, women organized and won the right to vote in 1883; unfortunately they lost that right when Washington became a state in 1888. It eventually became the fifth state to grant women the vote in 1910 – 10 years before the ratification of the 19th Amendment. More on that amazing story can be found here.

A group of women are seated on the steps of an ornate Victorian front porch. The women are dressed in clothing typical of the late 1800s, with puffy upper sleeves that taper into form-fitting lower arm coverage, corseted waists, and long skirts. All of the women are wearing some style of hat either decorated with flowers, or ribbons.

The Everett Woman’s Book Club sits on the steps of the old Monte Cristo Hotel. They were responsible for founding Everett’s first library. Image from the Everett Public Library’s Northwest Room Collection.

In Everett and Snohomish County, socially and politically active women were also engaged in acts of community building. As the men in the area worked at the clearing of land and the building of mills, the women were involved with founding the first schools, hospitals, and libraries. Women made sure that the children of the community had access to healthy food, clothing, and shelter. They provided for the social activities of the growing communities in the county and invited newcomers in to participate in book clubs, garden clubs, and other special interest groups. The Northwest Room collection has records from a small assortment of Everett-based women’s clubs that can be made available by request in which you could read about their efforts.

A brown document box with a label that reads "Wash State Federation of Women's Clubs - Acc. No. 3436-015 - box 4 of 10."

Just one of the many boxes of records in the University of Washington Special Collections pertaining to the activities of club women in Washington State.

Though immensely important to their home communities, these clubs were not without flaws. Nationally the Women’s Club Movement was, more often than not, segregated by color lines and ethnic backgrounds; Washington State was no different in this regard. There was a Washington State Federation of Women’s Clubs, and a Washington State Federation of Colored Women’s Organizations. As noted in my last post, one of the earliest presidents of the latter group lived in Everett. We can learn about the work of both groups by visiting the University of Washington’s Special Collections Department to view collections of their records (these are open to the public though it’s best to email ahead so that they can pull materials for you).

If you don’t have time to go be a historian for the day, there are resources in the Northwest Room and online that can provide you with information about the role of women in the Northwest – from indigenous life before contact, though today. Some of my favorites include the following:

As mentioned in Mindy’s earlier post, The Snohomish County Women’s Legacy Project is one of our go-to resources.

Washington Women as Path Breakers by Mildred Tanner Andrews does a wonderful job of representing the many different cultural groups who have played a role in the development of this region.

HistoryLink.org is full of scholarly articles on a wide range of local history topics. On the topic of the history or organized women’s movements, I would recommend the ones on Nettie Asberry, Women’s Club Movement in Washington, Woman’s Christian Temperance Union, Western Washington and YWCA – Seattle-King County/Snohomish County.

A group of middle-aged and elderly Native American women who are seated in a cedar longhouse. The women are dressed in non-Native attire, some with simple head wraps.

Women at the Tulalip Reservation, seated in a newly-built long house. 1914, photographer J.A. Juleen. Image from the Everett Public Library’s Northwest Room collection.

Herstories Northwest: Women Upholding Native Traditions by Jay Miller talks about the important role women have played in preserving and sharing indigenous culture within the region.

Organized Womanhood: Cultural Politics in the Pacific Northwest, 1840-1920 by Sandra Haarsager delves deeply into the impact of women’s clubs on the region.

The History of Snohomish County, Washington edited by William Whitfield contains sections on the different women’s clubs in towns and cities in Snohomish County and provides a good point-in-time look at what the County was like in the early decades of non-Native settlement.

Bridging Two Centuries: Everett Women from the 1890s to World War I by retired Northwest Room Historian, Margaret Riddle is an excellent audiobook that provides local context for the topics discussed in this post. Unlike the other resources listed above, the library owns circulating copies of this resource so it can be enjoyed at home or in your car.

While the other books mentioned are reference copies that must stay in the library, we encourage you to come to the Northwest Room to work with them. The Northwest Room is staffed on weekdays from 10-5pm but the materials in the room can be accessed any time the library is open. If you are interested in accessing any of the Northwest Room’s archival materials, contact us to make an appointment and we would be happy to pull boxes for you.

Celebrating Black History Month: Mrs. Jennie Samuels

Black and white portrait photograph of an African American woman with a hat decorated with ribbons. She appears to be wearing a suit jacket and a string of pearls over a light-colored blouse.

Portrait of Mrs. J.B. “Jennie” Samuels taken from a cookbook published by the Colored Women’s Federation of Washington. Nettie J. Asberry papers. University of Washington Libraries Special Collections.

In the late 19th and early 20th Centuries women in the United States began to organize around what later became known as the Women’s Club Movement. In cities, towns, and even rural areas women’s clubs formed to tackle the improvement of their communities in a number of different ways. Within Washington State there were so many clubs that by 1896 they had incorporated a statewide federation of women’s clubs in order to better coordinate efforts. While these clubs focused on unifying the efforts of women around common causes, the majority of them remained racially and ethnically segregated in those early years of organization.

Women who were excluded from the Washington State Federation of Women’s Clubs on the basis of race or ethnicity formed their own clubs and federations. One of the largest of these was the Washington State Federation of Colored Women’s Organizations which was founded in 1917 and affiliated with the National Association of Colored Women’s Clubs. The Federation went through a handful of name changes during the course of its operation, but for this post I will be sticking with the abbreviation WSFCWO. The WSFCWO’s members were subdivided into different committees that focused on the following topics: constitution, peace, fine arts, business, history, arts and crafts, interracial issues, education, legislation, scholarship, race history, health and temperance, mother home and child, women in industry, music, credentials, press and publicity, and programs.

Black and white portrait photograph of an African American woman in a white lacy high-necked shirt. Her hair is piled on the top of her head, to which are attached silk flowers.

Nannie Helen Burroughs, by Rotograph Co., New York City, 1909. This image is available from the United States Library of Congress’s Prints and Photographs division under the digital ID cph.3b46093.

One of the most prominent early members at the WSFCWO’s executive level was an Everett resident named Mrs. Jennie Samuels or Mrs. J.B. Samuels as she appeared in club records (she occasionally also appeared as Jane). Samuels was the founder of the Nannie Burroughs Study Club in Everett which was named for Nannie Helen Burroughs, an African American educator, orator, feminist, and civil rights activist. Burroughs had gained national attention by calling on Baptist women to combine their charitable works into one federated movement, providing an inspiration for African-American women’s clubs all over the country.

Jennie Samuels was clearly highly motivated to keep her Everett colleagues closely involved with the activities of the state’s Federated club women. At the 1920 WSFCWO conference, held at Everett High School and hosted by the Nannie Burroughs Study Club, attendees were welcomed with an address by Roland Hartley who at that time had already served as Everett’s Mayor and a member of the Washington State House of Representatives and would go on to be the Governor of Washington. After the welcoming ceremonies the attendees discussed the importance of civic works, different projects underway within the WSFCWO, the life of Frederick Douglass, and matters concerning child welfare. In meeting minutes the group remarked on how accommodating the high school was giving them use of the school’s kitchens in which they could prepare meals for attendees and access to all rooms and buildings on campus for meetings and lodging.

The following year, Jennie Samuels was elected the second president of the Washington State Federation of Colored Women’s Organizations. Her first order as president was to pursue the establishment of scholarships for children of color who wished to pursue higher education. Though she only held the post of President for four years, and the WSFCWO’s membership was largely based in Tacoma and Seattle, most of the biannual officer’s meetings during her involvement with the Federation were held in the Samuels’s home on the 2200 block of Wetmore Avenue. Club records paint a picture of the Samuels’s residence being a hub of activity not only for meetings, but also social gatherings among club women and their families from Everett and points all around the Puget Sound region. The proceedings of one of the WSFCWO’s annual conferences even included a celebration of John and Jennie’s 34th wedding anniversary as a conference after party at their Wetmore home.

When not busy with the activities of the WSFCWO, Mrs. Samuels continued to work at the local level with the Nannie Burroughs Study Club doing benevolent works within Everett. Much time was spent giving aid to those who were home-bound due to illness or old age, and looking after the needs of children living in lower income households. In addition to their charitable works, the Study Club focused heavily on the study of issues affecting African Americans in the United States – bringing in speakers, and discussing papers and other publications. By the 10th annual meeting it was noted that the Study Club was the only organization in Everett affiliated with the of the Washington State Federation of Colored Women’s Organizations, yet its members still frequently ranked at the top of Federation fundraising lists and a handful of its members were active in leadership roles.

In a cookbook published by the WSFCWO during her tenure as President, Mrs. Samuels was quoted as saying:

“Thank our God that we have something to do, whether we like it or not. Doing our duty brings out the best that is in us and will breed in us self-control, strength of will, cheerfulness and content, and a score of virtues which idleness fails to give.”

 

Three lines of text written in cursive containing the names and statistics about the Samuels household. John Samuels, head of house - male, black, 46, married 23 years. born in kentucky, as were his parents. Jennie, wife, female, black 41, married for 23 years. Born in North Carolina, as were her parents. John Wesley - son, male, black, 18, single. Born in Minnesota.

Information from the 1910 United State Federal Census Records for the Samuels family. This record was accessed through Ancestry Library Edition 2.14.18 at 12:51 pm.

Though most of what we know about the life of Jennie Samuels comes from club records archived in the University of Washington Special Collections, some information about her family life can be gleaned from other sources such as newspapers, census records, military records, high school yearbooks, and Polk City Directories.

Mrs. Samuels was born on October 1, 1868 in Salem, North Carolina. Not much is known about her early life, but she remained in school until the end of her second year of high school. In 1890 she married John B. Samuels a laborer from Louisville, Kentucky who was literate but had left school in the 4th grade. The Samuels family briefly lived in Saint Paul, Minnesota where their only child John Wesley was born in September of 1891. The Samuels family moved to Everett around 1897 and by 1900 owned one of the first homes built on the 2200 block of Wetmore. John B. Samuels worked as a cook for one of the railroads when he first arrived, but soon switched to custodial work which would remain his profession until retirement. Jennie Samuels was a homemaker in addition to her numerous club activities.

Black and white portrait photograph of a young African American male in a dark suit and a high white collar.

Senior portrait of John Wesley Samuels from the 1912 Everett High School Nesika. – Everett Public Library Northwest Room Collections

John Wesley Samuels, known as Wesley or J. Wesley, graduated from Everett High School in 1912 where he had been active in the drama club and athletic club. He served overseas in World War I; before his honorable discharge he had reached the rank of Battalion Sergeant Major in the Army. In club records it was noted that he suffered from lingering health issues related to his military service. He returned to Everett, where he worked for many years as the secretary of the American Boiler and Iron Works at 700 Hewitt. He appears to have never married, and spent the remainder of his life sharing the Wetmore home with his parents.

After a long illness, Jennie Samuels passed away peacefully at her home on August 13, 1948. She had remained active in several clubs and her Methodist church until the very end of her life. Sadly J. Wesley Samuels died only six years later in a Veteran’s hospital in Vancouver, Washington; his father passed away seven months later at a hospital in Everett. The entire family is buried in a family plot in Evergreen Cemetery, not far from their beloved home and the now-bustling city center that Jennie Samuels devoted so much of her life to improving.

To learn more about the lives of people living in and around the Everett area, visit the Northwest Room at the Everett Public Library and take advantage of the phenomenal records available in the University of Washington Special Collections. The University’s Digital collections are available online at any time, but many may not know that their non-digitized records are also mostly available to the public by appointment.

Keep an eye on A Reading Life for a second post in this series celebrating Black History Month from Northwest Room Historian Mindy Van Wingen.

Listen Up! Winter New Music Arrivals

Mosaic of barely visible album covers in a tile formation of 3 x 3. Nine total squares. Superimposed over the album covers are the words "Listen Up!" in a deep red color.

Load up your holds list for all your New Year’s gatherings (or to provide a soundtrack as you have some alone time to recover from all that socializing) – it’s time for the final new music arrival round-up of 2017:

Lucinda Williams – This Sweet Old World (Highway 20 Records) – Twangy, mournful, and full of life’s hard-learned lessons. Williams revisits some of her back catalog, giving a new worn-in and worldly interpretation to some of her earlier works.

Moses Sumney – Aromanticism (Jagjaguwar) – Swoony, ethereal, loungy, and full of eclectic instrumentation with hints of electronic production. Sumney has the kind of falsetto that made me fall in love with Jeff Buckley. For an album that revolves around the rejection of romantic love, I find that kind of funny.

Lindstrøm – It’s Alright Between Us As It Is (Smalltown Supersound/Feedelity) – Bright, poppy, dance-floor-friendly house music with strong cosmic disco overtones.

Porter Ray –  Watercolor (Sub Pop Records) – Seattle rapper Porter Ray’s Sub Pop debut gives a very intimate look into his tumultuous life. Watercolor’s lyrics dive heavily into the artist’s processing of the murder of his brother, Aaron. The tracks have a dreamy, often ominous feel to the production with a blending of current and throwback styles.

Dale Crover – The Fickle Finger of Fate (Joyful Noise Recordings) – After 30 years with the Melvins and early work with Nirvana, drummer Dale Crover aims his skills at a solo project. The album at times can feel a bit disjointed as Crover jumps from style to style – gritty and driving, acoustic and meandering, or even slowly-unwinding noise-rock. If you’re not looking for an album to take you on a journey this shouldn’t be too much of an issue; the ground that’s covered here is covered well.

Simo – Rise & Shine (Provogue) – Simo ventures a little out of their blues rock comfort zone into the uncharted waters of funk, soul, and psychedelia. The resulting fusion leaves the listener with a solid album to jam to at home and promises heat on the stage when touring with this material.

Ariel Pink – Dedicated to Bobby Jameson (Kemado Records, Inc.) – With a title that is a homage to the turbulent life of an outsider musician who was once groomed to give The Beatles a run for their money, Ariel Pink’s latest seems steeped in references to his musical influences. The album has a whimsical though dark feel to it, somewhere between psych-pop and new wave.

Margo Price – All American Made (Third Man Records) – Price comes out swinging with “Don’t Say It,” a rowdy rollicking jam and one way or another she doesn’t let up. This is an album that pulls no punches; it’s a stripped down look at life in America through the eyes of a woman raised in rural America. While this listens like a classic country album, from start to finish it also has the feel of a collection of folk-inspired protest songs that would make Woody, Pete, Joan, or Buffy proud.

Talib Kweli – Radio Silence  (Javotti Media) – In his 8th studio album, Kweli brings you the kind of consistent, compelling music hip-hop fans have come to expect from him. As always, socially conscious lyrics are backed by beats of intricately-woven soul samples studded with collabs and cameos.

John Maus – Screen Memories  (Ribbon Music) – Ever the craftsman, Maus spent the six-year span between albums essentially trying to hand-create electronic music from wires to vinyl, going so far as to build his own modular synth. While he said that the experiment was largely a disappointment, as his creation didn’t sound wildly different from commercially produced equipment, his output on Screen Memories doesn’t let the listener down in any way. This similarity may have more to do with the fact that he’s carefully honed his sound over time, rather than any failings in his synth construction. It’s a nice complement to his older work, showcasing his brooding deep vocals and moody synth-pop aesthetic.

Sly 5th Avenue – The Invisible Man: An Orchestral Tribute to Dr. Dre – This album brings me endless joy. It’s like the thrill of recognizing a favorite song in the QFC Muzak, but far funkier and infinitely more enjoyable. I think any fan of sample-driven music would appreciate what Sly 5th Avenue has accomplished here; it feels like an album just waiting to be remixed, sampled, and molded into new creations.

Ibeyi – Ash (Xl Recordings) – A powerful second album from Ibeyi. This eclectic offering of musical styles defies generification, blending vocal harmonies, minimal electronic production, hints of jazz, hip-hop, soul, and occasional flurries of West African and Yoruba percussive styles. The duo of twin sisters use their songwriting to address some of the violence they have faced as women of color in France, though this is less an album of protest than one of solidarity and strength with others engaged in similar struggles.

Julien Baker – Turn out the Lights (Matador Records) – Soft, slow builds with radiant finishes. Baker’s storytelling skills shine within the musical landscapes she painstakingly crafts.  Heartrendingly soft and beautiful, her often mournful vocals deliver what feels like a deeply personal collection of songs.

Odonis Odonis – No Pop (Felte Records) – Dark, minimal, almost elemental industrial music. No Pop is pretty much right on the nose with the title. This album kind of recreates the feel of early Nine Inch Nails for me. You get an overwhelming sense of a world falling apart, and the desolation that will surely follow the collapse.

Greta Van Fleet – From the Fires (Republic Records) – Short but sweet: if you like Led Zeppelin, you’ll probably find something of interest here.

Listen Up! Fall New Music Arrivals

"Listen Up!" in dark pink text, written over a blurry black and yellow background with a design that looks like a half moon.

Fall into some new music at the EPL (I’m sorry – that was terrible). The seasons are changing, and so should your playlist. Place your holds now:

Soul of a Nation: Afro-Centric Visions in the Age of Black Power (Soul Jazz Records) – Funk, jazz, poetry: this compilation showcases an awesome variety. This was compiled to accompany an exhibition at the Tate Modern of Black art from the 1960s. While comprised of funk, soul, jazz, and spoken word, fans of hip hop and electronic music can also appreciate this album as a history lesson in the roots of many modern genres.

Twista – Crook County (GMG Entertainment) – The Chicago artist with arguably the fastest flow in hip-hop is back with his tenth studio release. Twista seeks to tackle the corruption rife in his home city and explore the conflict between old-school hip hop and new. Not all of the tracks feature Twista’s blisteringly-fast rhymes, but his unique style will leave you tongue-tied on more than a few occasions if you’re ambitious enough to try to rap along.

Nine Inch Nails- Add Violence (Capitol) – A short sampling of what NIN has been working on during their long silence. I loved what they had to offer, but found it a little funny that they made it a little longer by adding a fairly unnecessary 4 minutes of static on the last track. I generally love what Trent Reznor does, but that seemed to be stretching it a little.

Lo’Jo – Fonetiq Flowers (Real World Records) – A playful blend of musical styles from French folk and Romani music to hip hop and languorous torch songs. An eclectic array of instruments build a mood that is dramatic, mysterious, and worldly.

Tyler the Creator – Flower Boy (Columbia) – Switching gears from abrasive and controversial to a more introspective vibe, Flower Boy delves into the changes that have come into Tyler the Creator’s life as he’s grown up in the public eye. From empty sexual encounters to seeking partnership, Tyler’s lyrics reflect the anxiety, confusion, and isolation he’s often felt during the course of his career. This release seems like a leap into a maturation of sound, with even the production taking on a tighter, more focused feel.

King Krule – The Ooz (True Panther Sounds) – An intriguing, avant-garde mix of jazz, rock, hip hop, electronic, and spoken word. One of the many music-making monikers of British artist Archy Marshall, King Krule’s sound manages to be both beautiful and a bit disturbing at the same time. Each track flows with a sense of unease – that there is something hidden to discover that could either be wonderful or horrible (or somehow both?).

Doing Our Thing: More Soul From Jamdown 1970-1982 (Cree Records) – A rich collection of early reggae covers of U.S. soul and disco cuts. Compiled by reggae historian Steve Barrow, this track list reads like a who’s who of Jamaica’s musical pioneers and showcases the mass appeal of the cover tradition in reggae music.

Jupiter & Okwess – Kin Sonic (Glitterbeat Records) – Congolese rhythm, instrumentation, and vocals smash together with Western rock and RnB culture to produce something energetic and unique. Hard to pin down because Kinshasa born/German-raised bandleader Jean-Pierre Bokondji’s influences are many, listeners find elements of ska, hip hop, disco, soul, funk, reggae, rock, Congolese rumba, and so much more. Extra flavor comes from guest appearances by Damon Albarn of Blur and Gorillaz, Bad Seeds‘ Warren Ellis and Massive Attack‘s Robert del Naja.

Béla Fleck & Abigail Washburn – Echo in the Valley (Rounder) – This album is just exploding with bright sounds and melody. The partnership of Fleck and Washburn, between their skilled banjo playing and her elevating vocals, is hard to rival. This is a joyous, warm, and welcoming collection of songs that seems to give its all from first to last note.

William Patrick Corgan – Ogilala (BMG Rights Management) – The former front man of The Smashing Pumpkins is back with a new solo endeavor and a more adult-sounding iteration of his name. What hasn’t changed is the signature sound of Corgan’s acoustic songwriting with its gentle, melodic instrumentation and sing-song lyrics, which as the artist admits are more often than not composed to sound poetic than to bear much meaning. This pick is more one of nostalgia than anything for me. It’s an easy listen, with WPC’s skills stripped down to where he shines. One majorly disappointing note to this release is the inappropriate faux Native American theme with its misspelled title and the cover art featuring bad dime-store feather headdresses. Haven’t we moved past that sort of disrespectful kitsch? Corgan has not been known for his tact and sensitivity over the years, so I can’t say this comes as a huge surprise.

Listen Up! Summer Music Wrap-Up

Collage of nine album covers, faded so that they are not as legible. All are covered with the words "Listen Up!" Listen is written in turquoise and up is written in black.

School is back in session and we’re hurtling towards Labor Day; it must be the end of the summer. We’ve had a very busy season for adding new music to our collections here at the Everett Public Library. Hopefully you can find something from these hot picks to provide the soundtrack to your last few BBQs. Place your holds now!

Sza – Ctrl (Top Dawg Entertainment) – Ethereal RnB with acoustic overtones and a little hip hop flavor sprinkled over the top. This album has a lot to offer, and is worth all the buzz it’s been getting.

Cody ChesnuTT – My Love Divine Degree (Handwritten Records) – After taking time out from a successful early music career to raise a family, ChesnuTT is back with an album that sounds like he hasn’t missed a day. His neo-soul sound remains as passionate and eclectic as ever, but there’s a mellowing and deepening of his subject matter that seems to reflect the lessons he’s learned from fatherhood.

Ozomatli – Non-Stop: Mexico to Jamaica (Cleopatra Records) – Sunny Spanish-language reggae. It’s a delightful fusion of sounds that exudes a summer vibe.

TLC – TLC (852 Musiq) – I feel like this is one for the fans. T-Boz and Chili tap into the classically-unique TLC formula to produce an album that brings the listener back to the neon days of Hypercolor shirts and BK kicks. This isn’t to say that this release sounds dated; TLC feels timeless. Bittersweet is the absence of Left Eye, though the album and its liner notes play homage to her memory.

A. Coltrane-TuriyasangitanandaThe Ecstatic Music of Alice Coltrane Turiyasangitananda  (Luaka Bop) – Recorded in the 80s and 90s in Alice Coltrane’s ashram in Southern California, this compilation pulls highlights from four tapes that were only released in a very limited fashion to members. At the root of these recordings are Hindu devotionals and Indian meditative instrumentals, but Coltrane’s diverse musical background infuses and remixes these traditional elements with jazz, Southern Baptist organ playing, and powerful gospel-inspired vocal styling. The end result is a very moving fusion of a variety of continents and cultures.

Slowdive – Slowdive (Dead Oceans) – Returning after a hiatus that spanned two decades, Slowdive came back with an elemental hit that feels as natural as if they never took a pause. This eponymous dream pop album feels sweet, soothing, and fairly reserved.

Calvin Harris – Funk Wav Bounces Vol. 1 (Sony Music Entertainment UK Limited) – At times Harris gets dangerously close to over-doing the autotune, a particular pet peeve of mine, but the funkiness of the tracks more than make up for it. I guess that should be expected, given the title. On the whole, this is a light, poppy, star-studded roster of dance-floor-friendly tracks that provided a bit of fuel for many a summer club night.

Offa Rex – The Queen of Hearts (Nonesuch Records) – Ballady folk, with a little psychedelic rock in the mix. The overall sound is very earthy and eclectic.

Shabazz Palaces – Quazarz: vs. the Jealous Machines / Born on a Gangster Star (Sub Pop) – Fans of this Seattle duo got more than they could ask for this summer with this set of companion albums, simultaneously released on the iconic Sub Pop label. The sound throughout is jazzy, avant garde, free-form hip-hop, with brooding minimal production. Both releases share a common theme, following space traveler Quazars as he tries to survive in Amurderca on the dystopian planet of Gangster Star. Through this sci-fi lens the lyrics explore the perils of the Black experience in the United States.

Nu:Logic – Somewhere Between the Light (Hospital Records) – Jazzy, atmospheric drum and bass rollers.

Terrence Parker – GOD Loves Detroit (Planet E) –  Parker’s latest LP combines factors that are clearly of utmost importance to his life: techno and his religious faith. The result is a fusion of techno, gospel-style vocals, Chicago house groove, classic stabbing piano chords, and a little bit of east coast garage to pick up the tempo. Parker said that these tracks were inspired by the ongoing redemption story of the City of Detroit. Once viewed largely as an object of ridicule, within the past decade the city has begun to see a rebirth in many ways. I

Bokanté –Strange Circles (Ground Up Music) – Mix of Delta and West African blues with a 90s RnB sound reminiscent of En Vogue and their contemporaries. Powerful vocals with a variety of individual vocalists taking turns to show all they have to offer, all backed by some ripping guitar riffs and dancy production.

Laurel Halo – Dust (Hyperdub) – at times very minimal and glitchy, with discordant, bright vocals. There’s a little bit of a jazz feel to this album, with heavy use of horns.

Listen Up! July New Music Arrivals

Image showing nine different album covers in a tile-like formation. Album covers are faded out, and there is text superimposed over them that reads "Listen Up! July New Music Arrivals"

Here’s your short list of what’s been pouring through the doors at the Everett Public Library. Place your holds now, and pick up some new tunes to keep your summer moving.

Soulwax – From Deewee (PIAS America) – Infectious, dance-floor-friendly electro full of rich layers. Soulwax accomplishes the delicate balance of maintaining their tried and true sound, honed over two decades, without sounding kitschy and dated.

Faith Evans & Notorious B.I.G. – The King & I (Rhino Records) – Many people have mixed feelings about posthumous ‘collaborations.’ They can seem like a cash grab, and the departed musician’s artistic intentions and vision can never truly be represented. Regardless of these criticisms, this album is worth a listen. The interview clips of Biggie are of interest and Evans as a vocalist is a powerhouse who is clearly pouring love and affection into this project.

Somi – Petite Afrique (Okeh)– Gorgeous vocals, bright melodies, jazzy drumming, and an afrobeat undertone. Somi explores the African-American experience living in Harlem, as well as those of African immigrants blending cultures in the New York City melting pot.

Paramore – After Laughter (Fueled by Ramen) – The latest from Paramore kind of reminds me of classic Sugarcubes with loud vocals, cheery new wave instrumentation, and jarringly-contradictory lyrics, full of angst and anger.

Juana Molina – Halo (Crammed Discs) – Melodic, dancy, mysterious, and playful. I’ve seen this described as “folktronica,” and I think this fits the album nicely. Molina effortlessly merges synths and folk melodies to support a loose narrative based on the Argentinian and Uruguayan myth of the “luz mala” or evil light.

Saint Etienne – Home Counties (Heavenly Recordings) – Upbeat indie rock with lots of harmony and a sense of place very strongly tied to the commuter areas surrounding London. This eclectic album features some dance-floor tracks and sometimes even a little 60s go-go feel.

Harry Styles – Harry Styles (Erskine/Columbia Records)– This is Styles’s debut solo album after leaving the boy band juggernaut that was One Direction. I almost hate to mention his past work in the boy band genre because that may drive some people away from this record. In reality, Styles achieves a beautiful, melancholy mix of tracks that rocks when it needs to. His sound is a little folky with a tendency towards ballads; very minimal but satisfying.

Mali Music – The Transition of Mali (RCA) – Soul, RnB, and little hip hop mixed in. Mali Music has a smooth, sensual sound, with rich, multi-layered vocals. You can’t pin this very versatile album down to one genre; it switches from beats and samples to classical piano melodies and strings.

Roger Waters – Is this the Life we really want? (Columbia) – A moody, gritty, raw offering from the Pink Floyd frontman. Waters remains an unflinchingly critical analyst of modern society and popular culture.

Ani Di Franco – Binary (Righteous Babe Records) – The words that this album brings to mind for me could sound unflattering to someone who may not have ‘come of age’ with Ani playing in the background: comforting, no surprises, reliable. Ani Di Franco is an artist who, while always exploring collaborations with a very wide range of musicians from different styles, has created a signature sound that is unmistakably hers. Binary showcases her unique blend of folk, funk, and rock that lulls you into a groove while at the same time excoriating the shortcomings of the world we live in.

The Secret Sisters – You Don’t Own Me Anymore (New West Records) – Real-life sisters Laura and Lydia Rogers return from a dark period of court battles and bankruptcy to release their third album. Their hard-luck story and abundant musical talent attracted the interest of Brandi Carlile, who produced this latest offering. The result showcases the sister’s songwriting prowess and beautiful ability to harmonize in a mix of sleepy, soulful country and bluegrass sounds.

Little Cub – Still life (Domino) – Socially critical lyrics over a satisfying electro soundtrack? What’s not to love? The analog synth work on this debut album brings to mind the well-honed sounds of New Order or Depeche Mode in their prime.

Ifriqiyya Electrique – Rûwâhîne (Glitterbeat Records) – This album is really hard to define – the closest I can pin it to is tribal industrial music. François Cambuzat and Gianna Greco have teamed up with a group of Tunisian Banga ceremonial musicians to blend their traditional trance dancing chants with grinding guitar riffs and bass-heavy production. The end result is a bit ominous and absolutely mesmerizing.

Yola Carter – Orphan Offering EP (Carter Records) – Loads of twang and folky strings, backing raw and powerful vocals. Carter’s ballads can swing from sleepy to soulful at a moment’s notice. This album is a bit of a late arrival, having been released at the end of 2016, but it’s well worth the listen.