Could be worse. …

August slipped in wearing its gray flannel suit.

Sixty-four degrees at 8 a.m., with a monochromatic sky and a forecast that would have Noah muttering, “Not again,” as he reached wearily for the red phone next to his spyglass and Mae West.

“Hello, San Diego Zoo? Two of everything, please, chop-chop. No, no delivery necessary. I’ll pick ’em up. Just truck ’em up to Hot Springs Mountain and keep a sharp lookout for a real big boat.”

Welcome to August.

It’s not what I expected, frankly. With The Visitation on hiatus and my calendar remarkably free of to-do items I had been pondering a brief escape from the sodden Duke City to air-dry the old brain-case.

Fewer deer, more roses.

But the weather is proving uncooperative, and it seems silly to drive somewhere else to watch it rain when I can do that right here at home.

Especially since travel involves either a cheerless motel room that was no bargain before the daily rent shot into the mid-two-hundies (plus you can’t find one anyway), or pitching a tent in a flaming puddle full of vampire bugs, shape-shifting cooties, and hobos who wish all these slumming hipster dickheads would just dig into their Hilton points and piss off so they could enjoy their mulligan stew and squeeze in peace.

Masque of the Dread Breath

Well, at least we’re back to the face panties again, hey? Some of us, anyway. The checker was not up for casual banter as I hit the Sprouts to replenish the larder, possibly because The Great Remasking seemed to be a few faces short of a full team effort at 9:30 on a gloomy Sunday morning.

I had noted some diamonds on my windshield during the drive to the grocery and was hoping the actual tears from heaven would hold off long enough for me to sneak in a quick ride without fenders or jacket.

Sure, we need the moisture. And no desert dweller should bitch about rain, unless he parks his shopping cart in an arroyo. But I’m just enough of a hipster dickhead to need the ride, too.

With the deer rustling their own grub up in the hills we were getting a rerun of roses in the yard, so, yay. But the murky mornings and low ceilings recalled Corvallis, Oregon, the only place I’ve ever lived without a bicycle.

The clouds sagged all the way down to the ground in that burg. The moist walls of my tiny apartment closed in around me like hungry freegans swarming a Whole Paycheck Dumpster and the firewood steamed before it burned in the cheap tin wood stove.

A neighbor’s ducks loved that climate, quacking contentedly outside my bedroom window. I drank a lot.

Horses for courses

Back home, with the groceries put away, I took another glance at the sky and decided to go for it. I used to race cyclocross, I thought. I’ve covered school-board meetings. I can do anything for an hour.

I felt another drizzle tuning up as I approached the base of the short climb to the tram. So I swung around and headed back south, weaving Tramway and a network of foothills avenues into a rolling 20-miler. It was just the ticket. Smoove like butter and dry as a good martini.

Today — eh, not so much. The rain started before I even left the house.

I thought about taking the day off, but I ride with a small group of graybeards on Mondays and Wednesdays, and had already committed to the meetup. I had a feeling they’d be out in it, and it was unfortunate that I had mentioned my fondness for cyclocross in their presence.

So I left the New Albion Privateer parked and pulled a Steelman Eurocross down from its hook. A cyclocross bike for cyclocross weather. A man must carry on.

Sharp-dressed man

I stuffed a jacket into a jersey pocket to make sure the rain stopped, but it didn’t work. Didn’t matter, either. The rain continued, but never turned into a frog-strangler; it was barely even chilly, though I kept my arm warmers on. The jacket stayed in its pocket.

And yes, the geezers were all there. And yes, the Steelman drew many admiring glances. So yes, I’ve fooled ’em again.

At one point as we took shelter under a tree there was a short discussion about cutting a climb and subsequent descent from the usual route. It ended when one of us (not me) observed, “Well, we’re already wet, so. …”

So on we rode, taking the downs along with the ups.

It made me wonder what I’d been missing by not riding a bicycle in Oregon. I mean, I was gonna get wet anyway.

Birthday card from a Mad Dog in Albuquerque*

The last leaf on the tree. Well, not really;
we had to make life imitate art a little bit here.

A happy 71st birthday to Tom Waits. This particular autumn is taking a whole lot of leaves; I hope it won’t take him.

* For anyone who isn’t a Tom Waits fan — could such a person exist? — the headline riffs on the title to his song “Christmas Card from a Hooker in Minneapolis,” from the album “Blue Valentine.”

New coat of paint

“Come On Up To The House: Women Sing Waits,”
is available at Dualtone Music Group.

Tom Waits is an acquired taste (just ask Pat O’B), but Allison Moorer finds him delicious.

Moorer and several other female artists, working with producer Warren Zanes, have released an album of Waits covers titled “Come On Up To The House: Women Sing Waits.”

They lay a sweet, smooth coat of Sherwin-Williams over that weatherbeaten Waits structure, which Zanes describes with all due respect as a “trash-can aesthetic,” and it works beautifully in the cuts I’ve heard.

Roseanne Cash performs a gently reimagined “Time,” one of the Waits songs I like to play badly on guitar. Iris Dement, a frequent John Prine collaborator, takes a deep, Dolly Parton country dive into “The House Where Nobody Lives.” And Patty Griffin’s take on “Ruby’s Arms” strips the original of its instrumental fat and gets right down to the bone.

In an interview on NPR’s “Weekend Edition Saturday,” Scott Simon quotes Moorer describing Waits as “a fully integrated artist who seemingly sees the whole picture at once and knows how to present it so that we do too.”

“He does seem to draw up marginal characters a lot — people who are either stuck in life or we don’t consider them people that we see,” Moorer said. “He exposes the everyday.”

Zanes hopes the album will unearth the lyrical voice that for some may be inextricable from the “grit and the growl” that characterizes Waits’s delivery.

“I think over the years he went deeper into the back of the cave, and sometimes I think people fail to see the very classic nature of the songs because of that ‘trash can’ aesthetic,” he told Simon.

“We viewed it as, ‘His 70th birthday is coming, and it’s a feast day, and we’re gonna take these songs and we’re gonna give them all the sweetness that we can.’ There’s something about the female voice that’s associated with a kind of vulnerability and a kind of emotion that we really wanted to breathe in these songs.”

Meanwhile, here’s the original “Ruby’s Arms,” the closer to 1980’s “Heartattack and Vine.” I was alone and miserable in Tucson when I trudged down Orange Grove Road to some anonymous Oracle Road music shop to buy this one. Still have it, too.