1966, the year of England’s global triumph in the World Cup, marks the beginning of Lee Baggett’s lifespan, may it continue forever, during which time he has played in several musical projects in the inner West Coast. Sociological criticism, n., engages with music as a background to the persona representing a lifestyle. If it were to employ a hierarchy of values, founded on a belief in the thrill of novelty ultimately intersecting with familiarity, its twin peaks would be unconventional individuals and bands with cultlike tendencies. Legends, rumors, and rare musical output (or massive musical output) concatenate to produce a single work of art represented by a hazy amalgamation that both fetishizes a cultural object and reduces it to a quantitative outlier. With the composite spirit of rock n roll, the tendency to mythologize and incarnate secrets is attributable to none other than the Mississippi Delta Blues singer/songwriter. If you are interested in journeyman/arborist/health foods manager Lee Baggett’s music, its aesthetic complement is commercial photographer Steve Hiett.
I like the back roads I got an old truck with a heavy load on the backroads don’t drive too fast I don’t drive too slow on the on the backroad Got nothing on my mind maybe my baby down by the seaside I’m free free as the sunshine on the backroad
Boosted by the UK music press one part of NYC music is rocky rock rock set to 10 and ultraanthemic and the spiritual successor to 00s postpunk. Bambara “Love on My Mind” takes away from the drums and instruments and pushes the vocals to the brink of the soundwall horizon. Get in your car, take the vyvanse, blast cigs, reach the precipice of a god (but he/her/its not quite there). Empty spot, undefinable because its empty but in its detectable absence we see the end of things becoming the beginning of things, or the beginning becoming the end. It’s a wholeass ouroboros vibe.