Midnight Frisson- Janis Joplin

 

There’s a phenomenon called "frisson"—a sudden, electric surge of emotion that gives you chills, goosebumps, or even a lump in your throat when you hear music or experience something that taps into the depths of your emotions. The word comes from the French term for "shiver," and it's the body’s visceral reaction to something that resonates deeply within. Frisson happens when a piece of music hits a perfect chord with the emotional center in your brain. It’s that moment when a song builds, when an instrumental crescendo surges, or when a voice cuts through you like a blade. The hair on your arms rises, your heart skips, and sometimes you cry. 

When I hear the intro of Janis Joplin’s iconic 1970 live performance of "Cry Baby", I demand everyone to shut the fuck up so I can "get my frisson on"—and by the time she belts out that shattering "Cryyyyyyyyyyyy," I’m straight goosebumps and tears. I’m sorry for the language, but it’s absolutely necessary. She just oozes with soul and the music pours out of her. That raspy, unrestrained voice was a defiance against polished perfection. Raw and gloriously human. 

Janis commanded the stage like a preacher, giving out that good energy and smiling even when she is singing the blues. 

I shared this one for my mama; she was the one who introduced me to Janis when I was little, playing her CD (or maybe it was a cassette—I can't quite recall) while cleaning the house on a Saturday morning. Oddly enough, those introductions to musical artists are among the many memories from my childhood that really stand out.

Enjoy!!

With Love,

-Midnight Mama

     

On this Day.....

On this Day in Music History.....

 1939- Miss Tina Turner was born!

                                                                              1958 -Johnny Cash made his debut when his single "Cry!, Cry!, Cry!" made its way to #14 on the country charts.

2010- Willie Nelson was arrested for possession of marijuana found on his tour bus. The prosecutor decided due to it being a small amount, he was to issue a fine and have Willie play "Blue Eyes Crying in the Rain" in court. 

                                              

She Shot Me Down- Sinatra

 

        His voice is something I would hear often in my kitchen throughout my childhood, the classic theme to many Italian American homes in the Bronx. Jumping into the later years of Frank Sinatra, this 1981 quiet prelude to heartache is one of my personal favorites. You may think this isn't classic Frank, but it is. It's just the deeper layer, below the banter, lavish parties, booze, and women. 

  Unfolding like a dimly lit noir film, as I listen, I think to myself this is a man stripped bare by time and memories. His voice is vulnerable and beckons you into his feelings of longing, and regret. He is here to let you know he is well aware of what it means to lose.

   "Monday Morning Quarterback" is repeat worthy, and tear worthy. It's somber and warm, a song about remorse and wishing one could go back and do things differently. In my opinion the best song on the whole album, and I think it goes on my top 5 favorite Sinatra songs. It wouldn't make sense without the rest telling a sad story. 

His rendition of "Bang Bang (My Baby Shot Me Down)" is orchestrated beautifully, evoking the essence of a classical piece. Subsequently, Nancy Sinatra covers her father's song later on, infusing it with her own unique flair that lends it a "007" essence. What is interesting to me is despite both versions sharing the same lyrics, they convey distinct narratives: Frank's interpretation seems more resigned & defeated, whereas Nancy's version carries a tone of vengeance. You certainly do not want to mess with Nancy. 

  

    

   

    Frank's vocals, as always, linger throughout my home, each echo adorning the rooms, his lyrics seeping into the very structure. The extraordinary aspect of his voice lies in his intuitive knowledge of when to modulate a note, when to restrain, and when to unleash. His control, even in the liveliest of his songs, was remarkable. It was definitive; the moment he sang into the microphone, there was no mistaking that it was his voice.

Another masterpiece added to the Midnight Vinyl archives....

-Midnight Mama

    

CHILLS: Metallica Rocks Moscow

 

        In September 1991, Russia was witnessing a dramatic shift with the collapse of the Soviet Union soon to follow. A thunderous sound pierced the air in Moscow, and Metallica shook the grounds. An epic moment in music and history, with approximately 1.6 million people in the crowd making it one of the largest concerts in the world to this day. The thought of what it would have been like to be there is truly mind blowing. (I can only imagine trying to leave this place after) Not to mention, Metallica being at their peak, firing out that raw energy, feeding a generation that was longing for freedom and change. 

   Shout out to my hubby for recommending this one ✌

At first flash of Eden.....

 

     The Doors and this particular album reside near and dear to my heart. As soon as that intro to "Roadhouse Blues" hits, the world tilts on an axis and takes you to a time when music, lizards, and poets intertwined seamlessly in the warm glow of the California sun. Jim Morrisons spirit slithers and lingers in the air wherever his voice resonates.  

Given that this record came later in their career, Jim's vocals have matured, complementing the upbeat bluesy sound The Doors explored, which marks a different area from their earlier work. The lyrics of the tracks, of course, always capture the psychedelic rock genius that Jim was. The American poet wove his inspiration from the tapestry of his thoughts and experiences. Among his many musings, one childhood memory was often referenced in his lyrics—a moment when he witnessed a tragic accident on the highway, where a Native American family lay injured and bleeding. For reasons known only to Jim, he believed their spirits had jumped into his body, lingering for the remainder of his life. 

"Indians scattered on dawn's highway bleeding

Ghosts crowd the young child's fragile eggshell mind."

- Peace Frog

   Although Morrison and the band were dealing with some issues due to Jim's onstage outbursts and his recent "exposure stunt" in Miami, the album received a ton of praise from critics and their fans. There was one negative review I never got around the understanding from Rolling Stone magazine stating this album was going downhill with the exception of "Roadhouse Blues". Referring to Ray Manzareks "carnival-calliope organ work and whorehouse piano", lamenting it could have been a great album, but instead created a problem for The Doors. Weird take from Lester Bangs, who penned the review in 1970. Many of us would strongly disagree!

"Waiting for the Sun" and "You Make Me Real" were always repeat worthy to me. I feel like I am in a desert bar, the air thick in sorrow, soaked in whiskey and soul. This is where the line is drawn between the boys and the men. True artists drag you into their world, whether you want to go there or not. 

  As usual, you are left with the delightful Doors aftertaste when "Maggie McGill" fades. The rooms of Morrison's mind, and "bloody red sun of fantastic L.A".

With Love,

Midnight Mama

  

Chuck Berry is on Top

 

The father of rock n' roll. A true legend and pioneer. Master of the duck walk. Tonight, we are spinning Mr. Chuck Berry's hits album "Chuck Berry is on Top."

  A work that moves from beginning to end, this 1959 release is a time capsule of rock 'n' rolls early heartbeat. This was Chuck Berry's declaration that he was, indeed, on top. On top of his game and on top of the charts. Marrying rhythm and blues with country, Chuck created the sound that would define rock music for generations. His guitar solos, storytelling lyrics, and unforgettable stage presence made him a force to be reckoned with. 

  As I ventured into his discography, I noticed Chuck often leaned on the same rhythms, giving many of his songs a similar feel. But there was a method to his madness and somehow, he made it work every time. To me, that gave him his signature sound. Take a listen to "Carol," and "Roll Over Beethoven" and you will hear they echo with that same riff. I've read somewhere it draws from guitarist T-Bone Walker, but I may need to dig a little deeper on the 12- bar blues chord progression Nonetheless, this album is a treasure cove of Chucks work. 

         "Johnny B Goode", arguably his most famous track feels like his autobiographical anthem, a tale of a boy with a guitar and big dreams. Chuck presents it with a fiery swag so magnetic, you can almost feel the moment it was written in the rock n roll scriptures. Again, with that beautiful 12 bar riff, it tells the story of ambition and it still one of those tunes you simply cannot skip over every time you hear it. 

   Once again, Chuck Berry reminds me why this music has never and will never die. 

With Love,

Midnight Mama

Muddy Waters: Grit & Grace

 

Tonight, the air is humming with the rich pulse of Muddy Waters, Brass and the Blues. 

The record speaks for itself on what I will be covering: Brass and Blues. 

  Born McKinley Morganfield, Muddy was the architect of blues, the foundation on which countless bands built their sound on. Before the Stones & the Beatles made their mark, Muddy was laying down the roadmap. He brought blues to the city of Chicago, plugged it in, and turned the volume way up. 

    Released in 1966, this record displays Muddy's raw delta sound. A bold fusion of instruments that create a world of grit & grace. I have listened to Muddy many times before, but this would be my first time hearing this album in full and I am soaking up every single track; each song has a strong mood that is hot and heavy. What I respect most is Muddy didn't just stick to one formula- he blends brightness and darkness, allowing the brass to add fresh layers. By the mid 60s, Muddy was already an established icon in the world of Chicago blues, having shaped his sound while the musical landscape was shifting. Rock n' Roll, heavily inspired by the blues, was exploding in popularity and Muddy's label Chess Records was eager to evolve. Enter "Muddy Waters Brass and the Blues." At the time, adding brass wasn't entirely unheard of in this genre, but for artists like Muddy, it was a departure from the norm. Produced by Gene Barge, who was known for his work in R&B and gospel, the album was a big arrangement of melodies, giving it the authenticity and everything it stands for. 

 Songs like his version of "Corine, Corina" and "Going Back to Memphis" sends out a more celebratory, toe-tapping energy. As if the brass is sunlight and his voice is casting shadows, pushing the music forward in an almost playful way. While my personal favorites "Piney Brown Blues" and "Betty and Dupree" provide a heavier & somber tone, all hitting the right spots in the feels. "Trouble in Mind" starts out very subtly, the brass never steals the spotlight but adds that depth and homesick feeling that only the blues can bring. The entire album leaves you both exhausted and exhilarated in the best way; absolutely brilliant. 

   Muddy's inclusion of brass on this record reshaped the traditional blues by adding that illumination and complexity. While blues heavily relied on guitar, harmonica, and vocals to express that raw emotion, the brass instruments brought a whole new dimension of texture. It was carefully balanced, so it never overshadowed the core of Muddy's voice, instead it complemented the blues deep-rooted themes of longing and resilience. 

   I raise my glass to Muddy and to the brass that brought this album into new, uncharted territory. I will be covering more of his work in upcoming posts. 

If you haven't spun it yet, I highly recommend dimming the lights and giving this a listen. 

With Love,

Midnight Mama