MP3 Hestia - Beeswax and Feathers
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9 MP3 Songs
ROCK: Folk Rock, FOLK: Modern Folk
Even in the embers she is there. In the cold ashes she is there. The goddess of the hearth. She sounds like someone you once heard as a child singing outside your window when you were dreaming. Was it Amy Grant singing the tunes of James Agee and Walker Evans to a thumb piano, a Jew's Harp and a harmonica lost on Highway 61? No, it was a small black dog curled at the foot of John Lennon's grave. Hestia is Electra, Karl and Alex, deaf-mute-blind conjoined triplets from Bali whose ESP-like voices emit from the whirl of the heat pump which you erroneously think to be the chorus of In Excelsis Deo sung in harmonies beyond the range of the human larynx. Then suddenly, a broken B string on a Les Paul resonates for a moment like a bee circling the honeysuckle vines growing up a Georgia power pole. Then you awake to find, it's only Hestia.
Nickel and diming Detroit supermarket customers to hear her sing a few measures of Que Sera, Hestia (aka Karen Medlock, nee Rotunno) started her career as Doris Day at age three, roaming 8 Mile Road when the peroxide child was still gathering enough amino acid to become a strand of DNA. Following Pan to excesses beyond tinpan alley airplay, he pivoted her inward to the source of all sounds. She littered the silent path to this Fountain with bread crumbs and gum wrappers marking the trail for return trips in the dead of every Michigan childhood night. Somewhere, some evening, along this trail she became the music. âIt's all stolen,â she says. âRecall a true song, one you truly loved, and it's stolen. Mama is the only composer, sitting in a rocker on the front porch waiting your return. We are all sucklings at her breasts. Sure, you can make up a song, but you end up vomiting up all your milk. Contrivance gives you musical colic. Mama doesn't care that I'm a thief, 'cause no one in heaven is starving. The tree of good and evil was chopped down years ago. All that's left is a stump and a couple of used fig leaves.â A songbird sings from the only remaining tree. The only place left to sing from is Eden. Hestia is that bird. The only one listening is you. Ascend in reverie by the hearth while the oak and hickory still crackle. Take off your shoes. This is the burning bush.
All of Hestia's songs are sound tested by seven stray cats each named after hurricanes that brought them injured to her door. While the endless flow of melodies reach her fret fingers cats gather at her feet, then rub against her legs as her fingers find the fitting notes. They stand in a semi-circle listening at the speakers to the rough drafts, then curl up beneath them, ears cocked back, when the master copy's finally done. The supreme test is passed when all seven melt into feline dreams. As long as one remains awake beyond the second verse then the song goes back to the drawing board. As a tragic but inadvertent result, all 9 songs on Beeswax and Feathers are feline lullabies. Therefore be warned, in rare cases those of you who descended from cats may be subject to the same intoxication that lured your ancient kin into the homes of the Egyptian royalty to make you gods.
Regretfully, these songs have not been tested on canines with the one possible exception of a Hermetic, North Georgia birddog who Hestia seduced into becoming her lyricist, arranger and husband. In his compassion and propensity for vengence, Apollo morphed this dog into the human form of a balding replica of Hephaestos and named him, Randall Medlock, meaning wolf of the steppes who sups poetry from a muddy cow stream beyond Blackburn, Lancashire. In humiliation he goes by the alias of Lumbar Payne.
As an explanatory disclaimer, this biography is purely nocturnal. Neither the daylight activities, nor the history and occupations of this couple can be legally disclosed due to policies and statutes that order them to seclude their clientele from information that could directly lead to âundue familiarity.â We sincerely apologize, but we know from the past actions of others in our line of work, that any other course of action could seriously increase the risk to our own lives as well as to the lives of others.
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