If It's Tuesday, It Must Not Be Monday- New Releases, 9/30/08

Thank you Paul.




And now for something completely different...


Some new music to cheer you up.


BEN FOLDS- WAY TO NORMAL

Most of the time I can't get beyond his smugness and too clever for it's own good songwriting style, but Ben Folds is here to stay. This autobiographical new record continues with the piano-led, Billy Joel-for-hipsters pop that put Folds on the map in the first place.

Folds recently produced the brilliant solo release from Dresden Doll Amanda Palmer, "Who Killed Amanda Palmer?," a record I would not have paid any mind to, if a friend (and Ben Folds fan) hadn't made the suggestion. Props to Mr. Folds for having a hand in this great album which reminds me of some of my favorite records of the 70s--Bowie's "Heroes," Sparks' "Kimono My House," and John Cale's "Fear."

CREEDENCE CLEARWATER REVIVAL- REMASTERS

This has been done twice before, but never with bonus tracks and at such a low list price. "Cosmo's Factory" gets the popularity award and with good reason. But check out the gritty and greasy debut for some relentless boogie.







ANI DIFRANCO--RED LETTER DAY

President's Day, MLK's Birthday, Christmas Day, Memorial Day and the day a new Ani DiFranco CD comes out. It should be a paid holiday.


DION- HEROES

One of the great voices in rock and roll covers the songs that he loves. Could have been great because Mr. Dimucci's voice is still one of the best around. But the song list is just too obvious--Summertime Blues, Be Bop A Lula, Blue Suede Shoes--- as are the arrangements. Too bad. Worth a listen because it's Dion!


GRATEFUL DEAD- ROCKING THE CRADLE, EGYPT 1978.

Not being a Dead Head, I can't say if these shows are legendary because of their location, the set lists or both. What I can say is that for a long time, I didn't get it. Then one day, about three years ago, I got it. (Dick's Picks 8, Harpur College, 1970. Damn!) I just couldn't hold onto it. (Most everything else) Any Dead Heads out there wanna share their thoughts on this release, I'd be happy to post it.



THE IGUANAS- IF YOU SHOULD EVER FALL ON HARD TIMES

One of the hardest working bands in New Orleans--isn't that all of them---releases the follow-up to "Plastic Silver 9-Volt Heart," the strongest of their career. This is their post-Katrina record, so it covers love and loss while keeping the spirit that makes New Orleans so special. If you've never heard The Iguanas, think Los Lobos mixing it up with The Mavericks and Dave Bartholomew.


THE JESUS & MARY CHAIN-POWER OF NEGATIVE THINKING

I LOVE the tite of this 4 CD box set which features demos, acoustic versions, covers, b-sides, and more stuff that you will most likely listen to once.


TAJ MAHAL- MAESTRO

The great Taj celebrates 40 years in the biz with some help from Ben Harper, Jack Johnson, Angelique Kidjo and Los Lobos on this wonderful record that touches upon all the musical styles that Mr. Mahal has pulled off so effortlessly throughout his career.







TODD RUNDGREN- ARENA

The new "rock" record from legendary producer, pop icon, blue-eyed soul man, and eccentric, "Arena" is an angry record with big choruses and guitar solos. It's a bombastic display of what's on Todd's mind. It's a solid phalanx of politics in song. What it is NOT is what I had hoped it would be.

I can't give a fair review of this record. Do I like it less than I should because I love the man and expected something more? Do I like it more than I should because I love the man and am just glad he's released something new?

The songs have plenty to say lyrically, and Todd's guitar playing is sizzling. But too many of the songs just give up on the melody. Choruses are screamed and not sung. You listen and you be the judge. I will say this--the guy is a legendary producer. Look at his credits HERE. Why does his own record sound like it was recorded with a condenser mic in my cousin Paulie's basement?



JAMES TAYLOR- COVERS

Another artist going the covers route. I like James Taylor, but unless he's about to surprise us with some Krautrock renditions of these songs, I can't imagine "Hound Dog," "Summertime Blues," and especially "Road Runner" sounding like anything worth listening to.



PICK OF THE WEEK

WILL BERNARD- BLUE PLATE SPECIAL

Bay Area guitarist Will Bernard has played with people as diverse as avant-garde saxophonist Peter Apfelbaum to hip hop band The Coup. Most recently he has been part of Galactic drummer Stanton Moore's trio, whose two releases on the Telarc label, "III," and "Emphasis (on Parenthesis)" contain some of the baddest badass grooves this side of Funky Town.

On "BLUE PLATE SPECIAL," Bernard enlists Moore for the backbeat along with John Medeski and Andy Hess for a record that absolutely sizzles. From the slinky groove of the opener "Baby Goats," to the space age, James Brown funk of "Blister" to the sweet and soulful take on "How Great Thou Art" which closes the album, these 4 musicians show off, but never lose touch of the melody.

Bernard is a player with finesse, never getting carried away with his instrument, always allowing space for the musicians to interact. And that's what you will hear on this very unique collection of songs. Should be clever enough for serious jazz-bos and thanks to Stanton Moore's impossible drumming, "Blue Plate Special" will keep you moving.

Pick of some new music and try to stay happy. Works for me.

"Hi. I'm Peter. And I'm cooler than you think.": THE MONDAY MORNING RANT

I believe it was either Teddy Roosevelt or the great Huey Lewis who said, "It's hip to be square."

I've been thinking about "cool" and "hip" a lot lately. I first touched upon that subject, "What Is Hip," a few weeks ago in a Huffington Post piece HERE, when I reviewed three CDs that would no doubt be left off of most twenty-somethings' iPods. The editor of a certain music magazine saw the piece and was not impressed. Was this because the writing was not up to his standards? That is entirely possible. I never claimed to be the next Kitty Kelly. But, my self-esteem came a'knockin', so there had to be another reason for leaving an editor less than amused. (Monty, I will go with what's behind curtain #2.) The editor was in his late twenties and had no clue who I was writing about.

Most people that I talk to over the age of 40 have heard of, listen to, and enjoy The White Stripes, Coldplay, Metallica, Duffy, The Kooks, Kaiser Chiefs, blah blah BLAH blah BLAAAAAH! Yet, most people under the age of 30 have no idea about Irma Thomas, Taj Mahal, Maria Muldaur, The Move, Moby Grape, Todd Rundgren, Al Kooper, The Raspberries. The Young Rascals, Randy Newman, blah blah BLAH blah BLAAAAAAH!

That is NOT cool. That is NOT hip.

The specific incident that got me all sweaty regarding "cool & hip," was the unabashed pleasure of listening to a Peter Frampton CD this weekend. No, it wasn't "Frampton Comes Alive," the "ironic" choice of TV On The Radio-listening hipsters. It was "Where I Should Be," the 1979 release which featured Steve Cropper, Duck Dunn, and the Tower Of Power of horns. It is a great lost soul record.

My frustration isn't simply a matter of "How can Bill like bananas better than kumquats?" It's much deeper. The music industry is just a few bonehead moves away from digging itself so deep in the hole, it may soon reach China. So is buying a Peter Frampton CD going to save the world? Of course not. But as long the industry continues to cater to the people who have more interest in downloading ringtones and NOT the older, one-time record buying regulars who kept the business afloat for so long, few will realize that the veterans of rock, soul, and blues continue to make new music. Good new music that deserves some better attention than a contemptuous snort from some Deerhunter fan.

Irma Thomas, Taj Mahal, and Maria Muldaur just released excellent new records, and new ones are on the way from Todd Rundgren, Al Kooper, and The Pretenders. How about some real coverage and real airplay?

Can't we all just get along?

THE WEEKEND MIX--FROM ME TO YOU #4

"Midwood, Islip, Hackensack, Nyack/Everyone's talking 'bout POP MUSIC!"

Okay, it doesn't rhyme, but at least I've been to these places.

This weekend's mix is inspired by the current Squeeze reunion tour. I didn't catch them last week at Radio City Music Hall, but I did earlier in the tour at the Beacon Theatre and both Difford and Tilbrook looked as happy as clams before being blinded by lemon juice and cocktail sauce.

The boys pulled out the usual hits and fan faves, but I was more impressed with the gems they dug up from the vaults. It was great hearing "I'm Think I'm Go Go" from Argybargy, a song I don't recall hearing live since 1982. This mix pulls together some of my favorite, less obvious Difford/Tilbrook tracks, including one from Tilbrook's brilliant solo album, "Transatlantic Ping Pong."

I've padded the playlist with an additonal 10 songs, all with that great pop vibe, and chock full of killer choruses, vocal harmonies, and enough hooks to snag a flounder. (I believe that is the 34th time I've used that line.)

Some highlights:

"I Walked" by Wanderlust. I swear, it's NOT Crowded House. "Keep Your Hands On The Wheel" by Roy Wood. The Beach Boys meet Led Zeppelin. How is that possible? John "Bonzo" Bonham is on drums. You need to hear it. "Reactionary Girl" By Robin Zander, from his criminally ignored solo debut. This song gets my vote for one of the top ten Power Pop songs of all time.

Here's the full track list:

Big Beng- Squeeze
Satisfied- Squeeze
Forget About You- The Motors
All That That Implies - Michael Penn
What The Butler Saw - Squeeze
I Walked- Wanderlust
Keep Your Hands On The Wheel- Roy Wood
To Be A Dad- Squeeze
Call My Name- Starclub
Temptation For Love -Squeeze
Hostage- Glenn Tilbrook
My Before And After- Cotton Mather
When She Awoke- Swag
I Think I'm Go Go- Squeeze
She Doesn't Have To Shave- Squeeze
Reactionary Girl- Robin Zander
Slightly Drunk-Squeeze
English Tea-Thurman
Tongue Like A Knife- Squeeze
Both Sides Now- Jason Falkner

Show me some love and I'll give it right back.

The mix is yours if you e-mail me your address.

New Piece On The Huffington Post

RIGHT HERE.

"Gitchy Gitchy Ya Ya Ya," INDEED

In just less than a month, Verve Records will be releasing the first new record in 30 years from Patti Labelle, Nona Hendryx, and Sarah Dash, collectively known as Labelle.

I feel good about this record and I am eager to sink my ears into it. Lots of big names for the ride--Lenny Kravitz, Wyclef Jean, Gamble & Huff, Keith Moon and Nicky Hopkins.


UH...WHAT?

Yes, apparently a live version of Cole Porter's "Miss Otis Regrets" was recorded by Kit Lambert, The Who's manager and producer for Track Records in 1970, with Hopkins and Moon backing up this tres cool trio.

Now, will that Millie Jackson and Dave Davies duet ever surface?

Huffington Post review to follow.

John Riley

"This song tells the story of a prospective suitor who asks a woman whether she will go with him. She replies that she cannot - she is betrothed to John Riley, who has gone over the seas. He persists, asking her whether Riley is worth waiting for - that he may be drowned, dead in the war, or married to another woman. She maintains that she will continue to wait for him, irrespective of his possible fate. In the last stanza, the suitor reveals that he is John Riley, returned from the seas, and has been testing his beloved."

That was taken from Wikipedia.

I've been listening to The Byrds a lot lately. There are so many layers to this amazing band that it never gets boring. One song that has been in heavy rotation is "Lady Friend," an absolutely gorgeous hidden gem written by David Crosby.

This description of "Lady Friend" is courtesy of "Fillmore's Attic."

“Lady Friend” is spazzy, rollicking folk-rock blitz of dead-on harmony and progressive chord changes which defy their standard blend of Rock. A trumpeting interlude only briefly gaps the wispy 2 minute blast of psychedelic fog. For whatever reason this track never made it on Younger Than Yesterday.

My buddy Steve over at Power Pop hipped me to a rare remix with a new drum track that is stunning. Thanks for that, Steve. (go check out Power Pop, when you are finished here at Burning Wood)

But a song that I keep going back to is "John Riley," from the "Fifth Dimension" album. The story could make the toughest man weep, the patented McGuinn guitar sound is right up front, and the sweeping string arangement paints a most vivid picture of Riley and his fair young maiden. I can't get enough of this song.

An epic in 3 minutes.

Listen and get swept away HERE

NEW RELEASES FOR 9/23

I've got a silly new Huffington Post piece here.

And, I've got a brief round-up of some worthy CDs out today, below.

Check it out.
JACKSON BROWNE- TIME THE CONQUEROR

On his first studio album in 6 years, Jackson Browne doesn't take many chances. And that's a good thing. There's nothing here that will tear your heart apart like the old days, but it's a solid record with Jackson's voice showing just the slightest bit of age. Politics and more politics as usual, "Where Were You," an almost 10 minute march against the government's failure to react to Katrina and "Far From The Arms Of Hunger" with it's church-organ and hypnotic pace are both very powerful tracks on a better than average album.

DAVID GILMOUR- LIVE IN GDANSK

Pink Floyd guitarist releases his first live LP. Recorded in Gdansk with 40 Gpiece Gdorchestra, its features many hits including plenty from Gdark Side Of The Moon. Comes in a standard 2 CD version, a 2 CD and 1 DVD version, a 2 CD and 2 DVD version, and the no CD and no DVD version for people who don't care about this release. Gdank you.

GOLDEN SMOG- STAY GOLDEN:THE BEST OF

A supergroup of sorts, Smog which has featured members of The Jayhawks, Wilco, Soul Asylum, and The Replacements, releases an 18 track best of with 2 previously unissued tracks. A little less heavy-handed than Wilco, a bit more daring than The Jayhawks, and a lot better than Soul Asylum, this is a great place to start if you're unfamiliar with Golden Smog's work.

KINGS OF LEON--ONLY BY THE NIGHT

People love this band. I don't get it. This is the new one.


PICK OF THE WEEK

JENNY LEWIS- ACID TONGUE

With Rilo Kiley, Jenny Lewis released a handful of critically acclaimed albums. But it wasn't until her brilliant solo release with The Watson Twins that she really caught my ears. Now, with some all-stars by her side, Lewis releases her strongest work yet. There is something about "Acid Tongue" that reminds me of the "Plastic Ono Band," John Lennon's first solo LP. It's powerfully honest, with plenty of room in the production, and yet everything in your face.

With guest spots from Chris Robinson, M.Ward, Zooey Deschanel, and Elvis Costello, Jenny Lewis' brand of folk, rock and gospel is absolutely invigorating. On "The Carpetbaggers," Lewis and Costello share the vocals on an upbeat country-rocker reminiscent of early Tom Petty & The Heartbreakers, and the title track would not have been out of place on Neil Young's "Harvest." A great record that will keep on giving.


KENNY LOGGINS- HOW ABOUT NOW

How about never?

GRAHAM NASH- SONGS FOR BEGINNERS

One of my favorite records of all-time gets the much-deserved and long-awaited upgrade. Nash's first solo release is a bonafide classic that includes "Military Madness," "Chicago," "Better Days," and "I Used To Be A King." This features a new stereo mix, as well as a 5.1 DVD-A surround mix.

'MATS ENTERTAINMENT

I swore I'd never listen to The Replacements again after the relentless outpouring of crap from leader Paul Westerberg after his promising solo debut "14 Songs." But the four expanded remasters from Rhino Records--"Tim," "Pleased To Meet Me," "Don't Tell A Soul," and "All Shook Down," sound so good and feature a ton of bonus material, that I could no longer make a stand. These records are cult classics for a reason, especially "Tim," where Westerberg's writing became very personal and confessional. This is the record that took him to another level.


WRECKLESS ERIC & AMY RIGBY--WRECKLESS ERIC & AMY RIGBY

New wave original and pop songstress get married and make a record. Always liked both Eric and Amy's output, so I have high hopes for this collaboration.

THE IMUS RANCH RECORD

Radio icon and legendary charmer Don Imus asked all his rowdy friends to contribute a cover of HIS choice to this compilation whose proceeds will go to The Imus Ranch, an organization formed to help kids with cancer. Great, actually. Delbert McClinton does "Lay Down Sally." Lucinda Williams does "Mama, Don't Let Your Babies Grow Up To Be Cowboys." Big & Rich does the Beastie Boys' "Fight For Your Right To Party." Good stuff for a good cause.

Click here for full track list


For a more extensive list of what was released today, check out www.pauseandplay.com

WHAT HAPPENED?!

There are a handful of artists whose musical output has taken such a dramatic shift in the quality department, that it is hard to remember why we ever liked these people in the first place. The two that immediately come to mind are Elton John & Rod Stewart. Between 1970 and 1975, Elton & Rod were responsible for what is arguably some of the greatest albums ever made.

Madman Across The Water, Tumbleweed Connection, Honky Chateau, Goodbye Yellow Brick Road and Captain Fantastic from EJ.

The Rod Stewart Album, Gasoline Alley, Never A Dull Moment, Every Picture Tells Story, and 4 of my favorite rock and roll albums of all time, the Faces' First Step, A Nod Is As Good As A Wink, Long Player, and Ooh La La from Rod.

Since then, these two megastars have released what is arguably some of the worst records in the history of music.

A Single Man, The Fox, Ice On Fire, Reg Strikes Back, Leather Jackets, Sleeping With The Past, Made In England and The Big Picture for Elton. That's just the 80s and 90s and it's not even a complete list. Try listening to any one of these records. The songwriting is insipid, and Elton's voice sounds just slightly more musical than Wilford Brimley's.

Rod spat out Body Wishes, Vagabond Heart, Spanner In The Works, When We Were The New Boys, Human, and the most offensive quartet of music ever put to tape, Stewart's four volume tribute to "The Great American Songbook."

What is interesting is that neither Elton or Rod suffered by releasing this musical ipecac. On the contrary, their careers exploded. They are as popular as ever. The transition from rock icons to pandering lounge acts wasn't overnight. Elton and Rod tried, albeit not very hard, to maintain their status as rock royalty. Too bad the material says otherwise.

On a similar note, tomorrow sees the release of four expanded reissues of The Replacements' Sire Records catalogue. I spent the weekend listening to these classic records. For a long time, I could not listen to a note of The Replacements thanks to Paul Westerberg's painfully lazy solo output. Talk about "poisoning the well!" But cranking up "Tim," made me forget such dreck as "Suicaine Gratifaction," at least for a Sunday afternoon. More on these reissues tomorrow.

I often wonder if Rod & Elton have one great record left in them. With the right producer, we just may see another classic from both. Or is it just too late? Maybe they just don't care. It's not like they need the money. Bastards.

EARL PALMER, R.I.P.

LOS ANGELES (Reuters) - Leading R&B drummer Earl Palmer, best known for his New Orleans recording sessions with the likes of Fats Domino and Little Richard, died on Friday at his home in Los Angeles at age 84, his family said.

I saw the man play on more than one occasion. I saw him as recently as 2005 and he still had it.

You have all heard Earl Palmer play. Do you have any records by any of the following?

Fats Domino
The Beach Boys
Charles Brown
Tim Buckley
Ray Charles
Rosemary Clooney
Sam Cooke
Elvis Costello
Dick Dale
Neil Diamond
The Everly Brothers
Dizzy Gillespie
Tim Hardin
Screamin' Jay Hawkins
Lightnin' Hopkins
B.B. King
Peggy Lee
Little Feat
Little Richard
Taj Mahal
The Mamas & the Papas
The Monkees
Maria Muldaur
Rick Nelson
Michael Nesmith
Art Neville
Randy Newman
The Platters
Lloyd Price
Professor Longhair
Bonnie Raitt
Lou Rawls
The Righteous Brothers
Diana Ross
Frank Sinatra
Huey "Piano" Smith
Phil Spector
Barbra Streisand
Johnnie Taylor
Tongue & Groove
Big Joe Turner
Tina Turner
Tom Waits
T-Bone Walker
Dinah Washington
Larry Williams

Well then, you've heard him play.

A huge loss.

Big "T" Tyler with Earl Palmer right HERE

THE WEEKEND MIX--FROM ME TO YOU

Friday I've got Friday on my mind. I am in a good mood. Don't question it. Just run with it.

Continuing with the Graham Nash/Hollies theme I started over at The Huffington Post, I offer you BURNING WOOD'S WEEKEND MIX. It's a little taste of one of my favorite bands, plus a few bonus tracks that seem to make sense.

When I say The Hollies, you may think "Bus Stop" and "Carrie Anne." And that's fine. Both songs nicely represent the intricate harmonies and mellifluous melodies of this incredible band. But I'd like to offer a mix that goes a bit deeper. Much like The Beatles masterful trifecta of "Rubber Soul" "Revolver," and "Sgt. Pepper," The Hollies delivered a very similar 1-2-3 punch with "For Certain Because," "Evolution," and "Butterfly." This mix takes the best of those 3 records, with a few special guests along for the ride.

Dear Eloise ("Butterfly")
The Games We Play ("Evolution")
Somebody Help Me- The Everly Brothers
Away Away Away ("Butterfly")
Tell Me To My Face ("For Certain Because")
My Big Mouth- The Posies
Would You Believe ("Butterfly")
Everything Is Sunshine ("Butterfly" Outtake)
Better Days - Graham Nash
Jennifer Eccles- Eels
I Used To Be A King- Graham Nash
Step Inside ("Butterfly")
Don't Run And Hide- The Everly Brothers
Have You Ever Loved Somebody ("Evolution")
King Midas In Reverse (from the US version of "Butterfly" called "Dear Eloise/King Midas In Reverse)


The Everly Brothers tracks come from the album "Two Yanks In England," a record that featured 8 songs credited to the collective L.Ransford pseudonym used by The Hollies' Allan Clarke, Grahan Nash, and Tony Hicks. (and I think Jimmy Page may be playing guitar here, as well)


The Posies track, from their pop masterpiece "Dear 23," sounds to me, exactly like The Hollies, were they still recording in 1992.

The Eels cover of "Jennifer Eccles" sounds nothing at all like the original Hollies version. That's why I like it.

And Graham Nash speaks for himself. (buy it here)

If you are really interested in hearing this mix, e-mail me your address. The first five requests I get will have this CD in their mailbox soon after.

ENJOY AND HAVE A GREAT WEEKEND!

New Piece On The Huffington Post

Right here!

Here We Go Again

For 15 years my business partner, Tony Sachs and I tried unsuccessfully to run a legitimate music retail outlet. Thanks to the perfect shitstorm of greed (record labels) and stupidity (us), we closed up shop in December of 2005, very unhappy and very poor. You've heard this all before.

Here we are three years later, doing what we can with limited resources, to keep our passion for, and love of music alive. Tony freelances and is a frequent contributor to The Huffington Post. I do the same, but I also started Burning Wood as an outlet for me to continue to share my opinions--some welcome, some not--on the music that keeps me going everyday.

So after a little over two weeks of posting, I was a bit shocked to receive an e-mail from the people who host the files I upload, saying that one of the tracks I posted for listening was flagged as "service abuse." A little investigating and I found out that the offensive track was the Beth Rowley song. I am honored that someone is reading, especially if it is someone from Rowley's camp, or maybe Miss Rowley herself. I am honored, even if I needed to remove the song.

I guess I have no defense, really. I don't own the rights, so therefore I can't do what I want with the track. But I will say this, I bought the CD as import over a month ago from Amazon.UK. Spent about 23 bucks for it. I wrote a great review of the CD. It WAS my "Pick Of The Week." I believe that thanks to that review and the song sample, I sold an additional 3 copies to my readers, bought from legitimate sellers.

I am not the bad guy. Considering CDs are selling about as much as wicker toilet paper and battery powered socks, is it really necessary to go after ME? A simple, "Thanks for the great review and support, Mr. Burning Wood, but would you mind taking the song down?" would have worked nicely.

Well, if you're still reading, "people who complained," the review and the song is gone. I don't like the album as much as I did before 12:20 PM today.

Norman Whitfield, R.I.P.

I wanted to post a comprehensive list of Norman Whitfield's contribution to music, so I did a bit of research. 38 pages worth of songs we know. YOU look it up.

He wrote "Just My Imagination."

That's plenty.

Thanks, Norman.

Could You Help An Old Altar Boy

During the first sessions of the now legendary, Rick Rubin produced "American Recordings" of Johnny Cash, there was a take of a song called "I Witnessed A Crime," that featured ZZ Top guitarist Billy Gibbons. This wasn't on the debut release, but on a bootleg CD called "American Sessions." Since that initial release, 4 more CDs were released, as well as a posthumous boxset that contained 5 more CDs from these sessions, and still no official release of the Cash/Gibbons duet. Can anyone shed some light on this? Why was that song specifically left off the official releases, and does anyone know if there were other tracks recorded with Billy GIbbons?

AND WHILE YOU'VE GOT YOUR THINKING CAPS ON....

Is David Werner still alive and will anyone eventually release his 3 brilliant CDs "Whizz Kid," "Imagination," and "David Werner?"

First two Jules Shear albums on EMI, "Watch Dog" (produced by Todd Rundgren) and "The Eternal Return."--limited CD release YEARS ago in Japan, now impossible to find. Any plans for re-release?

The African Queen & The Magnificent Ambersons, still not available on DVD---how come?


In 1979 Irish rock and blues guitarist Gary Moore released his now classic LP "Back On The Streets," which featured "Parisienne Walkways," a tune co-written and sung by Thin Lizzy's Phil Lynott. The song clocked in at around 5 minutes and featured what many hard rock and Lizzy fans called some of Moore's greatest guitar playing. The song became a staple in many of Lizzy's live sets, as well as Moore's solo shows. Since that initial LP release on the CBS subsidiary, JET Records, many CDs have been issued and re-issued, by both Gary Moore and Thin Lizzy, including a recent 2008 Japanese remaster of the actual LP and NOT ONE of the many CDs and boxsets to include this song have the full length version of the song. All versions released, clock in at a little over 3 minutes, completely fading out before Moore's mournful guitar solo. Maybe I am the only one who cares, but I'd still like to know...WHAT GIVES?!

Anyone else have some mysteries that need answers?

"I WITNESSED A CRIME"--HERE

Take That, Robert Merrill!

Omelet du Solange

The hipster Gods will no doubt get their Sharpies out and issue me a few demerits on my credibility report for this post, but I can take it. I can take it because I know a good song when I hear one, so it doesn't make a difference if it's Beyonce's sister.

My daily routine is as follows- wake up, make coffee, read the paper, make a conscious effort to mock Solange Knowles. Today, I just can't do it.

"I Decided," the first single off her new CD is incredibly catchy. But more than that, it's sung well, completely void of all the painful melismatics and flat notes usually employed by Solange's contemporaries. The production is minimal, a great Motown backbeat with Solange's vocals upfront, and the barest keyboard instrumentation laying behind. It's got a great melody reminiscent at times of the Martha Reeves classic "Heat Wave," and it is simply a perfect single.

David Byrne Is My New Sting and BURNING WOOD'S "WEEKEND MIX"

Mention Sting, and most people, even Sting fans will snort in contempt. We the people, hate the man. Never mind the legendary output of The Police, or his better than average solo career, you say Sting, we say "Eeeuuuw!" How did he poison the well? Was it the whole tantric sex thing, or writing a modern day standard by rhyming "take, make, bake, cake, fake and wake?" Or how about that facocta lute record he put out? Good fodder, but hardly reasons for such universal loathing. Makes little sense that a good-looking guy, with obvious talent, mostly in music and occasionally in film, can evoke such a hostile response from so many. (Believe me, I know. Heh!)

Me, I don't hate the guy. Well...I used to, but I got over it. During that time of reconciliation, David Byrne became my Sting. They share many career similarites- -legendary early output, better than average solo careers (at least for a while), some dabbling in film. But lately, Byrne has committed what, to me, is the mortal sin of a musician, abandoning your fans. His non-musical side projects--playing a building, the bike stand, the release of The Knee Plays--all reek of self-absorption. His "big-suit" quirkiness is no longer cute. It's just annoying. For Pete's sake Byrne, if Sting, Andy and Stewart could do it, so could you Tina, Jerry, and Chris. I must admit, his new collaboration with Brian Eno is damn good. But I think it's time for a Talking Heads reunion. Small theatres, affordable tickets, and NOTHING off of "Naked" or "True Stories" please.

And now, still on a high from the sizzling Paul Weller show at the Nokia Theatre, I give you this weekend's mix, courtesy of "Weller Exclusives." This blog is devoted to the man and his music. They have created a full live version of Paul Weller's brilliant solo debut from 1992. Taken from various locations, Weller Exclusives has reconstructed the album and a few related b-sides into a live performance for your downloading pleasure. Go get it HERE!

PAUL WELLER at the NOKIA THEATRE

I expected the show to be good, even great. But Paul Weller was off the hook last night at the Nokia Theatre. It was a relentless musical assault with barely enough time to catch your breath between songs.

Touring behind his new CD and possibly my favorite record of the year, "22 Dreams," Weller and company looked as if they were having the time of their lives, with Weller dancing, jumping and windmilling through most of the performance. The album itself plays like a Paul Weller history lesson, with each song representing an influence on Weller--acoustic folk, northern soul and British psychedelia-- and last night's set drew heavily from this brilliant new release.

The crowd was more than receptive to the new material, with many singing along to soon-to-be classics like "Sea Spray" and the great first single, Bitterest Pill-rewrite "All I Wanna Do Is Be With You." An inspired "Shout To The Top" brought the crowd to it's fe....ok, we were already standing. But if we were sitting, "Shout To The Top" would have brought us to our feet. A slow grooving "Wildwood" and a revved-up "Come On/Let's Go" ended the set and made way for special guest Kelley Jones of the Stereophonics, who joined the band for the encores of "That's Entertainment," "Eton Rifles." and The Beatles, "All You Need Is Love."

A great performance from a great man with a great new album.

Click here to a listen to a great acoustic version of the great"Brand New Start," from the Wiltern Theatre last week. Uh...great. I thank you.

New Piece On The Huffington Post

Right here!

If It's Tuesday, It Must Be Street Date

For the nine of you out there who still buy CDs, here's some of what's hitting the street, Tuesday, 9/9.




JOAN BAEZ- DAY AFTER TOMORROW

Celebrating her 50th year in the recording biz, the folk legend gets a hand from the great Steve Earle to produce a new record of covers, featuring songs by Tom Waits, Elvis Costello, Patty Griffin, and Earle himself. Feeling good about this one.

GYM CLASS HEROES- THE QUILT

I paid no mind to this band after their first two releases. Why? Lazy. But leader Travis McCoy charmed the pants off of me as a guest on "Live From Daryl's House," the brilliant internet-only show from Daryl Hall. (you MUST check it out HERE) Now, I want to hear what the Gym Class Heroes have to say.


JOAN OSBORNE- LITTLE WILD ONE

Joan doesn't make bad records. Joan has a voice like no other. Joan is the shit! And this record of all new material is worth your time.



JOHN PHILLIPS- PUSSYCAT

Long lost record from Papa John was to be the first release on Rolling Stones Records. Produced by Mick & Keith and featuring Mick Taylor and Ronnie Wood, this finally sees the light of day. (Haven't heard a note, so I can't really comment.) How can it be bad? Stones, Mamas & The Papas. (Drugs and the fact that it's remained unreleased for 30 years, that's how.)


RARE EARTH- FILL YOUR HEAD

3CDs, 5 albums-- a totally great tribute to the groundbreaking Rare Earth, and one that finally brings together all of their Motown studio albums in one place! Long out of print, this release from Hip-O Select, the boutique "limited run" label from Universal Music, brings together EVERYTHING from this band who is known for their hits "Get Ready" and "I Know I'm Losing You," but unjustly not lauded for their unique brand of psychedelic soul. What REALLY would have been cool is if UMG actually kept this as a limited edition so that the suckers who dropped $75 a couple of months ago, would not feel like such douchebags now that it's being released commercially for less money.


JULES SHEAR- MORE

See earlier post below. BUY THIS!


STEVE WYNN- CROSSING DRAGON BRIDGE

Damn, Steve! You're spewing out product faster than Angelina Jolie. Well, thank goodness it's quality material and has nothing to do with Jon Voight. Another CD I highly recommend.


PICK OF THE WEEK

ANAT COHEN- NOTES FROM THE VILLAGE

Anat Cohen is simply sublime. Few jazz artists have moved me in recent years the way Miss Cohen does. She plays the clarinet as if it was bendable. She feels it, and the horn seems to respond as if it had a heart of it's own. On this new release, Anat and company offer a musical palate that is a welcome change from the not-so-musical "showoffyness" of so many young jazz artists.



From the pulsing opening groove of "Washington Square Park," to the joyful dirge of "A Change Is Gonna Come," Anat Cohen seems to have lived it all at such a young age. (I could be wrong, but I think she just turned 11. I could be wrong.)

"Notes From The Village" is a very smart and solid release.

BRITNEY IS BACK! Thank God

YAAAAY!!! Britney Spears WON at the prestigious MTV VMA's. NBC has been reporting this all morning with the same gusto that is normally reserved for heroic Coast Guard rescues. "Everyone had one thing on their minds, what will Britney do next?" Really? Is that what we are wondering? I wonder.

A Review Of The New Jules Shear CD "More," via An E-Mail Conversation Between Two Jules Shear Fans

JOHN:
Did you notice that it's listed as Jules MARK Shear. Legal problems? Can't record under Jules Shear alone anymore?

SAL:
That's hysterical. Maybe Lars Ulrich told him he couldn't. He gets pissed off at everyone.

JOHN:
My guess is that producer Sean Slade was a big Jules and The Polar Bears fan and tried to bring Jules back to that bygone era. "Tables and Chairs" sounds like it could've been a bonus track off the Wounded Bird "Fenetiks" reissue. Have you noticed in an iPod it reads "FAnetiks" because of the upside down e. I thought I was senile one day, searching for it to no avail. That slightly off key falsetto he used during the Polar Bears is used quite a bit on this record. His vocals sound a bit out of practice with the rockers, all that folkiness lately, I guess. And, he's a bit off at times, but in this day and age of autotune, I find it refreshing. John Hiatt does the same on his new record.

SAL:
Yeah, I love this record. I followed along with the lyrics, like the old days. Jules always seems to move me. Lyrically, it tore me up. Is he still writing about Aimee Mann and Pal Shazar? What an amazingly sensitive soul! I dig it. The last track, "You Might Show Up" put me over the edge. Could be my fave track. I hear elements of everything I have ever loved about Jules, all over this record.

JOHN:
It sounds like it was recorded very quickly, almost live. It takes a couple of listens, but what doesn't really. I have to say I really love it, too. I've been listening to it everyday and "The Tide Has Turned" seems to be sticking in my head.

SAL:
YES!! "The Tide Has Turned" is a killer! His phrasing on the title alone is pure Jules genius.

JOHN:
"Sea Shell" sounds a bit too much like "Jewel In A Cobweb."

SAL:
Yep. A few songs are reminiscent, in a good way, of older gems.

"We Said Goodbye" = "Make Believe."

"Tables & Chairs" = "Tried To Please Her."

JOHN:
A couple almost sound like Reckless Sleepers. I'm just happy he's still making records, and this time he sounds very inspired. Maybe this Mark middle name is his rocking alter-ego.
A far cry from "Dreams Don't Count."

SAL:
The opening track and "Sea Shell" are the two weakest tracks, but it hardly matters. As for the off key falsetto, the vocal straining, the awkward phrasing and lyrics, it's what made Jules so special in the first place. "MORE" is really outstanding. I can't see anyone who has ever loved Jules, not going berserk over this record.

Sal Nunziato & John Dunbar
--

Something/Everything

I've been a fan of Todd Rundgren's since I first heard that 3 minute piece of pop brilliance "I Saw The Light." I've been loyal from the early prog-rock days right on through his (misguided?) forays into Bossa Nova and Rap. (ouch) If he produced it, I bought it. "12 Rods" anybody?

With a new CD just weeks away, I'm starting to get Todd fever. I found this piece, which is running in the new issue of "Uncut Magazine" extremely interesting. It says alot about the wizard, the true star, his influences and how he came to record "The Ikon," "The Verb To Love" and "Wolfman Jack" all within 3 years of each other.

CLICK PHOTO TO ENLARGE

"Tonight...I'LL SPEND MY BREAD....Tonight...I'LL LOSE MY HEAD..."

THE WEEKEND MIX

With the unofficial end of summer a few days behind us, and the official end more than a few away, I offer you the first installment of "BURNING WOOD's" WEEKEND MIX. Nothing too trendy here. This is simply my perfect soundtrack for summer. You must have these songs somewhere. Burn the disc, hit play and be reminded of all the great summer moments-the smell of garbage in the air, the soul-numbing slowness of the subway on a holiday schedule, A-Rod's spectacular play in the clutch, life-altering weather patterns, and...aah...just enjoy the music for the music


Friday On My Mind- The Easybeats
Summer In The City - The Lovin' Spoonful
Expressway To Your Heart - The Soul Survivors
Our Day Will Come - Ruby & The Romantics
Groovin’ -The Rascals
Elenore -The Turtles
Reflections Of My Life - The Marmalade
Green Grass - Gary Lewis & The Playboys
Emotional Rescue - The Rolling Stones
Band Of Gold -Freda Payne
You're So Good To Me - The Beach Boys
It's Over- Boz Scaggs
More Today Than Yesterday- Spiral Staircase
The Rain, The Park, & Other Things- The Cowsills
Summer Wind - Frank Sinatra
The Worst That Could Happen- Brooklyn Bridge
Girls In Their Summer Clothes - Bruce Springsteen
The Sun Ain't Gonna Shine Anymore- The Walker Brothers
Old Cape Cod- Patti Page
Hot Fun In The Summertime - Sly & The Family Stone
To Sir With Love - Lulu
Theme From "A Summer Place" - Percy Faith

My iPod, My Patti, and Me

Just like guest contributor Allen Vella, I too have an "iPod Subway Story."

What I find most appealing about that little Pod of i, is how often it catches me off guard. Very rarely does it disappoint. If any of you have ever made a mixtape in your life, you know the thrill of gathering content, sequencing, and ultimately, showing it off at your friend's Charade's Party. With the iPod, you give up two out of three. Just scroll to shuffle and WHAM, the Pod takes over. It shows off for you.

On a recent subway trip to Midtown Manhattan, I was treated to the improbable trifecta of "What You're Doing" off of "Beatles VI," "Strange Animals" off of the brilliant new record by Sparks, and "Point Of Know Return" by Kansas. YES THAT'S RIGHT, KANSAS! It even surprised ME, so much so I started to play a bit of air keyboard on my lap, ya know, during that, "Diddlelooodlelooodle/Diddlelooodleloodle/DiddleloodleHOWLONG!" part.

(here's where it gets interesting)

Next to me is a woman, smiling. Not just any woman but Patti LuPone, on the subway, heading to work. (Gypsy, right?) I took the headphones off and started laughing. "Must be a good tune," she said. I was tempted to say, "It is. I love Mozart's 4th ...Movement In...Green." I thought that may be more impressive than the truth. Instead, I said something equally ridiculous- "Loved you in Summer Of Sam." Her expression changed quickly. I know what she was thinking, "No one loved anything in that movie."

We pulled into Times Square and we both got up. Her expression got worse as she realized, "This putz is getting off with me." Well, I simply said "Nice meeting you," and we parted ways. I wonder if she would have appreciated what I was appreciating in the first place, the great iPod shuffle and the always entertaining playlists it spits out.

(None of this true...except the part where I was playing air keyboards to Kansas on a crowded subway.)

Another Perfect Record by Allen Vella

Today I rediscovered something I've always known yet often slips away into the routine of life in the big city. Music heals all wounds. Rapidly and profoundly. Everyone with an iPod has their "iPod Subway Stories." Mine involves Graham Parker's masterpiece "Squeezing Out Sparks." It started with "shuffle," but after three minutes, I gave the entire album a whirl as I made my way into Manhattan, feeling kinda lousy.

From the twisted travelogue love song "Discovering Japan" to the sad but snarky "Local Girls," to "Nobody Hurts You," a study in disillusionment with a most-killer guitar riff, right on through "You Can't Be Too Strong," the achingly beautiful classic about the not-often sung about subject, abortion, Parker and the muscular sounds of the Rumour were at their peak.

I'll admit, "Waiting for the UFOs" would've been better has a b-side, but otherwise, "Squeezing Out Sparks" is one of the most solid collection of songs ever assembled. "Saturday Night is Dead" rocks about the emptiness of a drunken pub night while the utter reality of "Love Gets You Twisted" is something we've all experienced. We all hear songs differently, but I'm quite sure that most agreed in 1978, this is a band in top form.

Listening to a record like this reaffirms all my beliefs in the magic and mystery of rock 'n' roll. It's one of the many reasons I can't stop listening, why I can't stop searching for the next perfect song or the next must see band. The rest of my day was awesome…even as the doctor jabbed a two inch spike into my torn rotator cuff!

Allen Vella-

This Can't Be Good

I mean, just look at them. This will be going on for two hours. In 1975, this would have been major. But now? Has anyone seen the last 24 movies these guys starred in?

Clap Hands For Charlie Hunter

Some people love amusement parks, especially those impossibly built rides that take you and your loved ones and shoot you at 200 M.P.H. through a dark tunnel with more curves than the cast of “The Hills,” or drop you 30 stories into a free fall, only to snap you to safety before smashing into the ground like a roof-hurled pumpkin. These thrill seekers claim that these rides, although at times frightening, leave you invigorated and breathless. And, they are apparently… FUN!

May I suggest Charlie Hunter as a viable alternative? Same sensations, only no fear of spinal injury. (Although I do remember spraining something when listening to Groundtruther, Charlie’s side project with rhythm machine Bobby Previte.)

This particular ride with Charlie Hunter dates back to the early nineties. That’s 15 years of musical….do I dare say…genius? Yes! Musical genius.


Is it a guitar? Is it a bass? Is it an organ? It sounds like all those things, but it’s just Charlie Hunter, a wizard, an original, a visionary, and a lover of music. Charlie’s original material draws from all his influences and yet sounds like no one else. There are jazz snobs who stare in awe at Hunter’s guitar prowess on stage. There is also a multitude of younger people, who can appreciate the pocket of the groove and the funk that Charlie has been laying down live for so long. Not an easy task, pleasing both.

Now on September 10th, we get “Baboon Strength.” Just wait until you sink your ears into this one. It’s Hunter’s most musical journey to date. Do you like Squeeze? How about The Carpenters? Memphis soul? Techno? Charlie Hunter has created an album’s worth of original material that is uniquely all of those things and unmistakably Charlie Hunter. It’s that ride at Six Flags that you’ve been waiting all day to experience, only to listen, you can be any height

Hey New Orleans....

It's hard not to think that someone in the great beyond is playing a dirty trick on the great people of Louisiana. Almost 3 years to the day, New Orleans and it's surrounding areas were smacked around, yet again, by Motherf***ing Nature, especially the city of Houma. And though re-entry for the hundreds of thousands is imminent, it may take a few weeks to get power restored to many Parishes. The Crescent City can always use your help. If you feel so inclined...http://www.usafreedomcorps.gov/

Brian Wilson Or, How I Learned To Stop Believing and Just Love The Beach Boys

There's a scene in "Annie Hall" where some third-rate comedian is looking to hire Alvy Singer as a joke writer. Woody Allen's character sits in horror, wearing that "frozen smile," as this buffoon preens and prances his way through some embarrassing schtick, to show Alvy, the potential employee, the kind of material he needs. This "frozen smile" is the exact expression that remained on my face for the entire 38 minutes of "That Lucky Old Sun," the new release from Brian Wilson. I couldn't believe my ears.

I will set the record straight. I love the Beach Boys. You know, many don't. Some hear "I Get Around" and "Fun Fun Fun," and, well...all of the Boys' 60's hits as nothing but novelty songs for summer. (They are wrong, of course) More than a few have never even heard a note from the groundbreaking 70's albums "Holland," "Surf's Up," and "Sunflower." And really, is there a more perfect pop tune than "Don't Worry Baby?" I think not. Brian Wilson is a legend, a genius, one of the world's greatest composers and a national treasure.

That said, I have no problem tossing aside those accomplishments like a half-eaten chicken wing when the bleu cheese is gone, once I listen to any of Brian Wilson's solo work. From his overrated, eponymously titled debut of 1988, through the painful and mostly laughable collaboration with Van Dyke Parks, "Orange Crate Art" of 1995, to the much-hyped 2008 release "That Lucky Old Sun," Brian Wilson sounds like a shell of his former self. That's because sadly, he is. We all know of his health problems, and his is one of the sadder stories in music. For this, the man gets an A for effort, but his solo output falls far short of that passing grade.


"That Lucky Old Sun" plays as one long suite, a love song to Brian's beloved state of California. Interspersed with narrative, the album is a hokey pastiche, that sounds less like the SoCal of the 50s and 60s that Brian is paying tribute to, and more like a dinner theatre revue about the Beach Boys. Wilson's husky vocals, even when singing about happy things like "A Good Kind Of Love" or the woman who will forever be his surfer girl, are lugubrious. It's an uneasy combination that even with my love and respect for Mr. Wilson, I cannot endure.

I love you Brian. I hope you have another 10 records in you. I'll suffer through them all with you. But I needed to tell it like it is.