"Can You Please Stop Playing Music And Just Talk Some More?"

As I made my way to my seat at the first, full-make-up Kiss reunion at Madison Square Garden back in 1996, I noticed my friend John just a few seats away. It was the second of a 2 or maybe 3 night stand for the band, and John had been there for night one, with plans on being there for as many nights as the band. I walk over and ask, "So how was last night?" He exploded, "Oh my God, it was fucking great! It was...oh wait...you saw them back in the day, right? '76, '77?" "Yeah," I said," why?" "Oh nevermind. This sucks, then."

That pretty much says it all.

John was a die-hard, a collector, a fanatic. John followed the band all over. John was a close personal friend of Gene, Peter, Paul and Ace. But even John knew, as much as there was to enjoy on the first 6 or so Kiss records, they were easy targets. The easiest, being Paul Stanley.

Kiss puts on a show, with every word uttered, note played, and hipsway scripted and delivered as precisely as a Broadway musical. There are no surprises...ever! No setlist changes, no extended jamming, no special guests. If they go off script, the empire may crumble.

If you've had the Kiss experience, and even if you haven't, you know all about the fire, and the blood, and the explosions, and the make-up. But above and beyond those theatrics is the brilliance of Paul Stanley's on stage banter. Shouted out loud with balls as big as Wyoming and what seems like little preparation--that's the trick, you see, making it sound spontaneous--- Paul's song introductions would more times than not, end up being more entertaining than the song itself. It's cringemaking entertainment at its finest.

Here, listen to a classic. This is the intro of "Cold Gin" from the Kiss Alive record.





Actually, here's another "Cold Gin" intro. (Hard to decide which was more hilarious.)



And how about this tribute to Canada?




Brilliant right? I mean, you want more, don't you?

I have a CD that some very patient person compiled, featuring 50 of these such intros. No songs, just these 30-90 second nightly bursts of genius.

I wish I had some loftier purpose here, but I'm afraid in the end, it's just about making fun of Paul Stanley.


In closing, I'd like to say that I am a Kiss fan, especially the first 6 classic records. But this was too good not to share.

BITS AND PIECES

I'm thinking that Cheap Trick's latest, "The Latest" is their best record since their debut. With so much to listen to on a regular basis, it's rare that I go back to something so soon after listening once. It's gotta be good. I have gone back to this record at least a half dozen times in the last week. It is killing me. Buy it HERE.




So here's my iTunes dilemma. I wanted to get some artwork via their "Get Album Artwork" function. I hit it, and within seconds, iTunes was looking up art for 9,349 songs. I watched it, eyes rolling in my head, as it passed at breakneck speed through everything in my library from The Louvin Brothers and The Move and David Bowie and Led Zeppelin to demos of my band. (How do they have artwork for my band and I don't?) When it was done, I couldn't find any artwork. Nothing at all, not even for "Abbey Road." Where does it go? What good is the function? Is this thing on?









Peter Wolf's upcoming release "Midnight Souvenirs" will end up on everyone's Top Ten list of 2010. You heard it here first. (Not the record, just the prediction.)




Have you seen the new T-Mobile commercial with Eric Clapton? This is even worse than "Lay Down Sally." (Listen to "Deserted Cities Of The Heart." You'll either feel better or worse.)
















I once asked a friend of mine what her favorite Paul McCartney song was, and she said "Spies Like Us." (I swear.)



Elton's "Saturday Night's Alright For Fighting"--yay or nay? Heard it real loud yesterday and it kinda kicked my ass. Wanna fight?










Speaking of Elton, here is a ZIP of the 4 unaired bonus tracks from the Season One DVD of Elvis Costello's Spectacle.




TRACKLIST

Ballad Of A Well-Known Gun- Elvis Costello & The Imposters w/Allen Toussaint & James Burton
I'm Beginning To See The Light- Elvis Costello & The Imposters w/Larry Campbell & Jenny Scheinman
Purple Haze- The Police w/Elvis Costello & The Imposters
No More Tearstained Make-Up- Elvis Costello & The Imposters

(Purple Haze is lame, but the other three are superb.)

ZIPFILE

If It's Tuesday, It Must Be Street Date: 1/26/10

DAVID BOWIE- A REALITY TOUR (2 CD)

I've made no secret of my love for Bowie's most recent output.

"Earthling," "Hours," "Heathen" and "Reality" released in 1997, 1999, 2002, and 2003 respectively, offer songs that stand up to anything Bowie has put out in his long career. I'm convinced most people have never even listened to these records, yet still manage to dismiss them as unworthy. On this live set, which is essentially the audio portion of the DVD of the same name, Bowie and his band run through songs from these records, as well as some chestnuts and rarities, over two nights in Dublin. I saw 3 shows on this 2004 tour, and loved them all.

Here's my one complaint---you knew I had to have one---this set features 33 songs culled from the two nights in Dublin, 30 of which appeared on the DVD I mentioned earlier. The three "bonus" tracks are tacked on at the end of Disc Two. Wouldn't it have been nice to have sequenced them in their original running order of the set? Am I being an asshole? On top of that, two more additional tracks, which would then represent every song played on those two nights in Dublin, are iTunes exclusives. This is extremely frustrating for the people who still shell out money for CDs. At a time when CD sales are down 688%, this seems like a missed opportunity for the loyal Bowie fans. I mean, who else is buying this set? (Maybe I am being an asshole, but that's what I would have done.)


TRACK LIST:
# "Concert Introduction" – 2:42
# "Rebel Rebel" (from Diamond Dogs) – 3:25
# "New Killer Star" (from Reality) – 4:55
# "Reality" (from Reality) – 4:21
# "Fame" (from Young Americans) – 4:11
# "Cactus" (from Heathen) – 2:34
# "Sister Midnight" (originally from The Idiot by Iggy Pop) – 4:37
# "Afraid" (from Heathen) – 3:26
# "All the Young Dudes" (from Ziggy Stardust – The Motion Picture) – 3:25
# "Be My Wife" (from Low) – 3:12
# "The Loneliest Guy" (from Reality) – 4:00
# "The Man Who Sold the World" (from The Man Who Sold the World) – 4:04
# "Fantastic Voyage" (from Lodger) – 3:06
# "Hallo Spaceboy" (from Outside) – 5:27
# "Sunday" (from Heathen) – 5:49
# "Under Pressure" (a single by Bowie and Queen from the Queen's Hot Space) – 4:17
# "Life on Mars?" (from Hunky Dory) – 4:47
# "Battle for Britain" (from Earthling) – 4:40
# "Ashes to Ashes" (from Scary Monsters (and Super Creeps)) – 5:29
# "The Motel" (from Outside) – 6:00
# "Loving the Alien" (from Tonight) – 5:16
# "Never Get Old" (from Reality) – 4:18
# "Changes" (from Hunky Dory) – 3:48
# "I'm Afraid of Americans" (from Earthling) – 5:19
# ""Heroes"" (from "Heroes") – 7:25
# "Bring Me the Disco King" (from Reality) – 8:03
# "Slip Away" (from Heathen) – 6:23
# "Heathen (The Rays)" (from Heathen) – 6:01
# "Five Years" (from The Rise and Fall of Ziggy Stardust and the Spiders from Mars) – 4:40
# "Hang on to Yourself" (from The Rise and Fall of Ziggy Stardust and the Spiders from Mars) – 2:59
# "Ziggy Stardust" (from The Rise and Fall of Ziggy Stardust and the Spiders from Mars) – 4:40

CD BONUS TRACKS
Fall Dog Bombs The Moon
Breaking Glass
China Girl

ITUNES BONUS TRACKS
5:15-The Angels Have Gone
Days






CHARLOTTE GAINSBOURG- IRM

"January 26th, 2010 marks the Because Music / Elektra release of Charlotte Gainsbourg's third studio album titled IRM. The title is derived from M.R.I, (Editor's Note: NO IT ISN'T) which reflects the medical procedure Charlotte had to go through after suffering a head injury in a water skiing accident in 2007. The album is Charlotte's most personal to date, and is produced by acclaimed Grammy nominated artist/multi-instrumentalist Beck. What started as a brief recording session between Charlotte Gainsbourg and Beck ended up to be the body of work that is IRM. Over the course of a year and a half of writing and recording together, Beck's role grew to encompass all aspects of the creative process. He worked seamlessly with Charlotte co writing the lyrics and produced and mixed the recording. (This is the first time he has ever been so involved in another artist's work.)"

Considering naming my first album "Ypocsonoloc."







PATTY GRIFFIN- DOWNTOWN CHURCH

Produced by the great Buddy Miller, Patty Griffin, with great success, tries her hand at Gospel. Saw Miss Griffin do a couple of these tunes last year and they sounded great. Guests include Emmylou Harris, Julie Miller, Jim Lauderdale, Raul Malo and Buddy himself.






MAGNETIC FIELDS- REALISM

I don't get them, and I gave up trying. They (he, Stephen Merritt) are (is) often compared to so many other bands I admire, Kraftwerk, Roxy Music, David Bowie, yet I just don't hear it. What I hear is the same thing I hear when I try to listen to Guided By Voices--a lot of low-fi quirky noodling, with ideas that mostly sound unfinished. I can't say anything about "Realism," because I haven't heard it. So I am just hear to tell you, it's out.






CORINNE BAILEY RAE- THE SEA

Rae's debut was one of the smartest and strongest releases during a time when everyone seemed to be churning out weak and trendy retro soul records. Then in 2008, Rae lost her husband, musician Jason Rae to a drug overdose, and she disappeared. "The Sea" is her emotional return, with a set of songs that have a Jeff Buckley intensity, but still highlight her delicate yet powerful voice and don't stray too far from the hip and radio friendly grooves of her debut.






FRANK SINATRA- STRANGERS IN THE NIGHT (DELUXE)

Frank's classic from 1966 is back in print, newly remastered, and now includes 3 bonus tracks, 2 random live tracks from a 1985 show in Japan, and an alternate version of "Yes Sir, That's My Baby."


And that my friends, is IT, for January 26th.

"LOS LOBOS@CITY WINERY" : The Weekend Mix

As requested---by someone who occasionally makes my blood boil and whose comments on these here pages often border on dangerous and psychotic---here is a wonderfully fat sounding recording of Los Lobos' early set from the City Winery on New Year's Eve of 2009.


SET LIST
1. intro
2. Down On The Riverbed
3. Evangeline
4. Chuco's Cumbia
5. The Valley
6. Up The Line (aka "Little Walter")
7. banter - intro to...
8. I Wanna Be Like You
9. Ooh My Head
10. Dream In Blue
11. Maricela
12. tuning/banter - New York on New Years Eve
13. Kiko And The Lavender Moon
14. Let's Say Goodnight
15. Volver Volver
16. banter - dedication to Livingston Leo
17. Georgia Slop
18. Don't Worry Baby ->
19. Not Fade Away ->
20. Bertha
21. encore break/tuning
22. La Bamba ->
23. Good Lovin' ->
24. La Bamba
25. thanks

Many thanks to Scott Bernstein for the recording.

ENJOY.

ZIP FILE

I Don't Know. What Do You Think?

It's not quite "He's So Fine"/"My Sweet Lord."

But still...









WISH I WAS BACK-THOMAS BAILEY


BACK IN YOUR ARMS-BRuCE SPRINGSTEEN

Worst Bands Ever

As Vampire Weekend lands its first #1 record, it got me thinking about some of the worst bands in the world.

On days I've posted anything Bruce Spingsteen or Queen related, the hateful comments poured in and though you know, I am a huge fan of both, even if I wasn't, I wouldn't be so irrational as to call either "the worst."

I have never liked Dave Matthews. You can read why HERE. But I recognize the talent.

In the case of Vampire Weekend, I hear nothing. It's bad sounding and gimmicky. And while I try to find some reedeming qualities, I mostly just work myself up, think about their success, and want to beat them over their heads with their steel drums.

I'm feeling the same sort of rage towards Lady Gaga, who has unbelievably sold out Radio City Music Hall for 4 nights.

In 30 years, will we look back on Vampire Weekend and Lady Gaga and think the same thing our parents think now when looking back at The Beatles and The Stones? Will we think, "Boy, 'Just Dance' really is an amazing song by an amazing artist?"

That said, no matter how much you may hate Queen's pomposity or Bruce Springsteen's politics, I don't believe either is what I'm looking for when I ask, "Who do you think is the worst band you've ever heard?" Bands like The Shaggs shouldn't count either. I want bands or artists that really just sucked on every level, yet managed to maintain somewhat respectable careers.

Micheal Smotherman- Lost Tracks: Volume 3

Micheal Smotherman has been haunting me since 1982, June 3rd of '82 to be exact, the night I saw him open up for Kasim Sulton at The Bottom Line. It's been almost 30 years, so I won't pretend I remember exactly what I was thinking, but I assure you, being a Robert Palmer fan, I was thrilled to see Palmer's excellent go-to drummer Dony Wynn behind the drum kit, even if this tall, blonde and lanky opener named Smotherman, who I knew nothing about, was about to waste my time. (He didn't.)



Micheal Smotherman's set felt like the most fun I had ever had. Almost 30 years later, I feel like I can confirm that. The short set of music was filled with cajun-soul, or Jamaican funk, something not unlike Robert Palmer, right down to Smotherman's vocal phrasing and stiff but somehow sexy moves. This guy was cool. I wanted the record. I bought the record. I loved the record. I still play the record.

30 years later, session man and songwriter, Micheal Smotherman's 1982 sophomore release on Epic has yet to see the light of the day on compact disc. And worst of all, there has never been a follow-up.



Side One is fine. Both "Green Eyes" and "Matter Of Time" work best. But it's Side Two that just kicks this baby into gear thanks to a rhythm section--the aforementioned Dony Wynn on drums and James Jamerson Jr. on bass-- that would make George Porter Jr. and Zigaboo proud.

I won't say too much, as I've been known to gush, so just listen.


I'd like to point out the following tracks as killers:

MATTER OF TIME

IF YOU THINK YOU'RE HURTING ME
(which includes one of my favorite lyrics, "What is this baby/What are them bags/What are them tickets/What are them tags?")

DO I EVER CROSS YOUR MIND

(later, a hit for Cher. No, really.)

FAIS DO DO

ALL THE WAY DOWN

(which you can listen to below)




Here is the full album:
the zip

And here are the album's original liner notes:

I'm sitting in a patch of sunlight in a corner of a bare livinq room in California. It's the dead of Winter, must be 85 degrees and I can smell the ocean and hear sea gulls. This is a wonderful place. I came from Oklahoma (with a piano on my knee) and I'll bet a dollar to a hole in a doughnut it's not 85 degrees there. I'd like to try and introduce myself and talk a little bit about some of my songs on the record contained herein, hopefully so you will enjoy said songs, purchase said record, ano the faceless monolith of my record company will remand to me my pittance and I can continue to smell the ocean.

The song Fais Do Do (pronounced Fay-doe doe) is about a guy trying to find someone to explain what the hell Fais Do Do is. As our hero wanders from bar to bar, ever searching, ever thirsty, the answer is eventually revealed to him, so I'll tell you all. Fais Do Do is actually a Cajun dance beat which literally translated means "go to sleep." Strange, no? Maybe it's drinking all that swamp water. The song doesn't even have a Fais Do Do beat, it has a beat I made up I just dig the word.

Green Eyes is about a very lovely Southern girl I met when I was hanging out in Tennessee. Her eyes are sea green, two million miles deep, she never learned to frown or speak loudly, and her body is like warm marble. Yow.

I wrote Cold Burn about women who are exploited by men, apparently willingly.

Freedom's legacy is my attempt to try and feel the personal side of what it must be like to kill or be killed by a total stranger (who also has someone who loves him) to preserve or gain freedom. In the movies all the guys look like Robert Redford, but when I realize that the guys who bleed real blood and feel real terror, look like our Dads, it hits home pretty hard. I tried not to relate it to any specific conflict right now and it is not political. It is about love.

Do I Ever Cross Your Mind was written in a loft apartment I was renting above an old colonial house in Nashville, during a gentle spring shower. I feel in my heart that we all have telepathically sung this song to someone sometime.

Crazy In Love was co-written with a buddy of mine who was as drunk as me around his pool in L.A. Man, it sure sounded great around the pool. It also gave me the opportunity to finally use the word jacaranda in a song. I love that word. Jacaranda.

Adios amoebas.

Micheal Smotherman

The vocals were cut at Cherokee.

We mixed at George Massenburg Studios and Westlake, using the wizardry of Mick Guzauski (thanks again, Mick).

Wine for my men.

We mastered at JVC.

We were ably assisted on everything by my able assistant and road manager, Rick Davis.

Thank you Epic Records from the bottom of my heart. We had a hell of a party if I do say so myself.

Special thanks to Gregg Geller, Ron McCarrell, Larry Douglas, Pretty Polly Anthony (check them eyes), Saucy Stephanie Knauer (check that hair) and Sassy Sue Sawyer (check them lips).

Hi Mom, Pop, Amy, and all my friends in Nashville, my second home. I miss you.

God Bless Larry and Frankie and my cohort in crime Darlene Groncki.

Billy Burnette appears courtesy of CBS Records

James Jamerson, Jr. appears courtesy of Arista Records, Inc.

All rights of the manufacturer and of the owner of the recorded work reserved.

Unauthorized duplication public performance, broadcasting and copying of this record is a violation of applicable laws & prohibited.

Epic trademark of CBS Inc. Marcas Reg.

Made/Printed in Holland

(C) (P) 1982 CBS Inc.

33 1/3 RPM

BIEM

Stereo

LC 0199

CB 271

Kate McGarrigle, R.I.P.

http://blogs.telegraph.co.uk/culture/neilmccormick/100006239/kate-mcgarrigle-death-of-a-matriarch/

Wow.

If It's Tuesday, It Must Be Street Date: 1/19/10

Not much today, but it is January.






TERRY ADAMS' ROCK & ROLL QUARTET- CRAZY 8s

NRBQ piano man follows-up his killer release "Holy Tweet" with another raucous run through a selection of songs that really...might as well be NRBQ. Hey Big Al, Joey, Tom...we're ready for the reunion.






EELS- END TIMES

It doesn't seem like much time has passed since "Hombre Lobo," but who's complaining? Well, me... a little. E is back with an even more depressing than usual collection of songs that, in the words of Neil Young, "starts out real slow, then sorta fizzles out altoegther."







DAVID HIDALGO & LOUIS PEREZ- LONG GOODBYE

Dos Lobos, Hidalgo & Perez, stray from the pack (sorry) to celebrate a 40 year songwriting partnership with this collection of songs ranging from American folk to classic country. Great music from two great artists, whose work with Los Lobos has been consistently soulful and unique. You can purchase a hard copy or a digital download HERE.





HOTRATS- TURN ON

Gaz and Danny from Supergrass create their own version of David Bowie's "Pin Ups," with covers of songs by Pink Floyd, Roxy Music, Squeeze, Elvis Costello and Bowie himself, to name a few. Haven't heard it yet, but I did see them perform a version of the Beasties' "Fight For Your Right (To Party)" on Letterman that was very "nails on a blackboard." Maybe the record will be better.





LEN PRICE 3- PICTURES

British trio, none of whom is named Len Price, blast their way through a selection of songs that would fit nicely on a mix next to The Kinks and The Jam.






SPOON- TRANSFERENCE

Austin's indie-darlings return strong. "Transference" offers what Spoon does best. There's a lot of space in the band's production and attack, but at the heart "Transference" is pure rock and roll with enough hooks to snag a flounder.

Who Are You? I Really Wanna Know!

One of my favorite moments in one of my favorite Woody Allen films, 1987's "Radio Days," came early on as Allen's narration set up the story line and locale for this sweet, autobiographical tale of a young boy growing up during World War 2 and getting through the days thanks to the radio and its players. As Woody Allen sets the stage on a windswept rainy day in Far Rockaway, we hear a simple, yet gorgeous piano trio version of the Kurt Weill/Maxwell Anderson classic "September Song."




There are so many moments in this movie where the songs and visuals just make minced meat out of your emotions, but this particular scene really hit home for me. I don't believe the era should make a difference. If you were brought up around music, you will appreciate the song and story associations, even if you were born after World War 2. Woody's "September Song" could just as well be your "Elenore" by The Turtles.

I remember seeing and loving this film on opening day. I also remember being preoccupied with "September Song," occasionally drifting off from the movie, trying to guess who it was that performed this version. Art Tatum? Bud Powell? There is a bit of violin, but it is not Django and Stephane Grappelli. I paid very close attention to the closing credits, which listed what seemed like 200 songs and performers. Of course, the only....I REPEAT... THE ONLY song that did not list a performer, just a composer credit, was "September Song."

I kid you not.

Almost 25 years later, and no one has been able to give me an answer better than, "Maybe it was like the RKO orchestra or something."


Speaking of "Elenore" by The Turtles, cut to a few weeks ago:




I am watching a screener of "Pirate Radio," which is also filled with a ton of music, this time from the sixties. (The movie was fine. I didn't shut it off, which is a huge accomplishment for me.) There is a wedding scene, and "Elenore" by The Turtles is playing. As my friend, bass player extraordinaire Sal Maida would say, "That is an 'in the coffin' song. It's coming with me when I go."
I feel the same. "Elenore," just randomly slapped into any part of "The Missouri Breaks," would have taken that movie from 2 to 3 stars for me, but I digress.



As the scene unfolds, so does "Elenore," into a wonderful instrumental, that was part muzak-y, part Pet Sounds-y, and absolutely infectious. There went the rest of the movie. I started drifting. I couldn't wait to get to the closing credits to find....NOTHING!

WTF?

This shouldn't be allowed.







Here is an audio clip of that scene from "Radio Days." Don't have one from "Pirate Radio."


SEPTEMBER SONG



Can anyone help with either?

"BOBBY CHARLES" : The Weekend Mix

My one and only chance to see Bobby Charles was at the New Orleans Jazz Fest in 2007. An all-star band featuring Dr. John, Marcia Ball, Sonny Landreth, Shannon McNally and C.C. Adcock, was assembled to perform Charles' best known songs, with a special appearance by the man himself. The band was enthusiastic, played a great set, but Bobby Charles never showed up. Some say, he just wouldn't come out of his trailer. Others say, he never even made it to the Fairgrounds. He had been battling too many things, and this week, he finally lost.

This "Weekend Mix" is a disc I have had for years; a publishing company sampler highlighting the great songs of the late, great Bobby Charles.

R.I.P., Bobby.






ZIP FILE


Here is Keith Spera's piece from the Times-Picayune:

Robert “Bobby” Charles Guidry, the reclusive south Louisiana songwriter of hits for Fats Domino, Frogman Henry and Bill Haley & the Comets, died early Thursday after collapsing at home in Abbeville, his manager said. He was 71.

Known professionally as Bobby Charles, he wrote “Walking to New Orleans,” one of Domino's most beloved songs; “(I Don’t Know Why I Love You) But I Do,” an enduring classic by Henry; and “See You Later Alligator,” a smash for Haley at the dawn of rock ‘n’ roll.

A reluctant performer, Mr. Charles largely disappeared after participating in the Band’s 1976 farewell concert The Last Waltz. He preferred to release the occasional album while living quietly, an enigma whose songs were more famous than he was. Along the way he dealt with a litany of personal disasters ranging from fires to floods to cancer.

Mr. Charles agreed to stage a “comeback” at the 2007 New Orleans Jazz and Heritage Festival presented by Shell, only to back out at the last minute, citing health issues. Mac “Dr. John” Rebennack, Marcia Ball, guitarist Sonny Landreth and other admirers performed his songs in his absence.

"He was the champion south Louisiana songwriter," Landreth said. "Everybody had a favorite Bobby Charles song. He had the gift."

Mr. Charles grew up poor in Abbeville, the son of a gas company truck driver. At 14, he joined a band that entertained at high school dances.

“Nobody in my family wanted me to get into the music business, but I always loved it,” he said during a 2007 interview. “The first time I heard Hank Williams and Fats Domino, it just knocked me down. When I was a kid, I used to pray to be a songwriter like them. My prayers were answered, I guess.”

Leaving a cafe one night, Mr. Charles bid farewell to friends with “see you later, alligator.” As the cafe door closed behind him, a drunken stranger replied, “after ‘while, crocodile.” Not sure he heard correctly, he went back inside and asked the stranger to repeat it.

That couplet inspired him to write “See You Later Alligator.” He sang it over the phone and landed a recording contract, sight unseen, from Chicago blues and R&B label Chess Records. The company’s owners assumed he was black until he stepped off the plane in Chicago.

As a burgeoning teen idol, he hit the road with other Chess artists, the only white guy on the bus. Not all audiences appreciated such integration. The threats soured him on touring. So did the occasional bullet fired his way.

“I never wanted to be a star,” he said. “I’ve got enough problems, I promise you. If I could make it just writing, I’d be happy. Thank God I’ve been lucky enough to have a lot of people do my songs.”

In the 1970s, Mr. Charles wrote a song called “The Jealous Kind.” Joe Cocker recorded it in 1976, followed by Ray Charles, Delbert McClinton, Etta James and Johnny Adams. Kris Kristofferson and Gatemouth Brown covered Mr. Charles’ “Tennessee Blues,” as did newcomer Shannon McNally. Muddy Waters recorded “Why Are People Like That”; so did Houma guitarist Tab Benoit on his Grammy-nominated 2006 album “Brother to the Blues.”

He could not play an instrument or read music. Songs popped into his head, fully formed. To capture them, he’d sing into the nearest answering machine; sometimes he’d call home from a convenience store pay phone.

“I can hear all the chords up here,” he said, pointing to his brain, “but I can’t tell you what they are.”

He counted Bob Dylan, Neil Young, Willie Nelson and James Taylor among his friends and fans. Mickey Raphael, the longtime harmonica player in Willie Nelson's band, appears on Mr. Charles' forthcoming CD. He once encountered Mr. Charles at Nelson's studio outside Austin, Tex.

"He said he wanted to record some music, and he was bringing some musicians," Raphael recalled. "He said, 'This is my guitar player, Neil.' And it was Neil Young.

"He was so unpretentious and laid-back. On further investigation, you'd find out he wrote all these incredible songs."

In his younger years, Mr. Charles raised all kinds of hell. His rogue’s resume included scrapes with the law, a busted marriage, and general excess. “To love and lose -- I know that pain,” he said. “And cocaine killed so many of my friends.”

For a time in the 1970s, he laid low in Woodstock, N.Y. But mostly Mr. Charles holed up in the bosom of south Louisiana, waiting for the next song to come along. Or the next calamity.

For years, he lived on the Vermilion River outside Maurice, La. In the mid-’90s, his house burned down. He moved into a trailer on the grounds of Dockside Studios in Maurice, a favorite haunt. Despondent, he hit the road with one of his four sons and washed up at Holly Beach, a hamlet with 300 permanent residents on the Gulf of Mexico southwest of Lake Charles.

“I’m a Pisces. I love water,” he said. “There’s nothing like a wave to wash away your problems and clean out your mind.”

In Holly Beach, Mr. Charles disappeared for a decade. But in the summer of 2005, Hurricane Rita found him. He escaped just ahead of the storm, then later returned to find his house had washed away.

bobby charles horizontal.JPGDavid Grunfeld / The Times-PicayuneBobby Charles on the grounds of his property outside Abbeville, La., in 2007. The reclusive songwriter preferred to live quietly, out of the limelight.He moved to a two-bedroom trailer amid the grand oaks of an eight acre property outside Abbeville. He kept his address and phone number secret, and cast a wary eye toward strangers and acquaintances alike.

“They all want to meet Bob Dylan or Willie Nelson. They say, ‘Man, I got a song for Bob Dylan.’ I think Bob Dylan writes most of his own. So does Willie. I don’t even sing any of mine to them.

“Some people have to depend on somebody else to make a living. And that gets tiresome, man, carrying a load like that. It gets to the point where you’re afraid to open your mouth in front of anybody.”

Despite being swindled out of some publishing rights and songwriting credits along the way, his annual royalties afforded him a comfortable living. When, for instance, Frogman Henry’s version of “But I Do” landed on the “Forrest Gump” soundtrack, Mr. Charles received a royalty check.

Mr. Charles was happiest in the studio. He often scheduled recording sessions to coincide with the full moon. "His approach was unorthodox," said Sonny Landreth, who often recorded with Mr. Charles at Dockside. "It wasn't like recording in Nashville, which is very organized, with musical charts."

Recent compositions occasionally contained ecological messages. The issue of clean water was especially important to him, Raphael said. "He'd call me up and say, 'I'm so mad about this, I had to write a song,'" Raphael said. "You'd listen to the song, and know he was mad as hell, but he always put a positive spin on it."

In 2003, Mr. Charles and Jim Bateman, his manager for the past three decades, gathered recordings spanning 20 years for the double-CD “Last Train to Memphis,” released via Charles’ own Rice ‘n Gravy Records. Guest musicians included Neil Young, Fats Domino, Willie Nelson, Delbert McClinton and Maria Muldaur.

Mr. Charles’ voice, graced with a slight, Randy Newman-esque drawl, remained strong in his later years, as did his gift for pairing lyrics and melody. He was due to release a new album, "Timeless," next month. Co-produced by Mr. Charles and Rebennack, it contains mostly new songs, and is dedicated to Domino. While recording, "he had lots of energy, and was very productive," Landreth said. Rebennack "had that affect on him."

Mr. Charles recently injured his back in a fall, but remained intensely focused on finishing "Timeless." "He kept saying, 'I've got to get this out. I want to hold it in my hands,'" Bateman said. "It's like he had a premonition."

Mr. Charles saw the final design for the album's artwork, but died weeks before its scheduled Feb. 23 release.

Had he lived, he was unlikely to hit the road to promote his new CD. In recent years, he tended to keep to himself. Most days, he ate alone at an Abbeville seafood joint where the waitress mixed his preferred cocktail -- a Grey Goose martini on the rocks -- as he parked his car.

“I don’t really have anybody,” Mr. Charles said in 2007. “I just don’t have a whole lot in common with the people I went to school with. I still love them as my friends, but I don’t have anything to say to ‘em. They wouldn’t believe half the (stuff) that happened to me anyway.

“But when I get around Mac Rebennack or Fats or somebody like that, then I’m in my world.”

Bobby Charles, R.I.P.

http://www.offbeat.com/2010/01/14/bobby-charles-passed-away/

Galactic & Irma Thomas Funk It Up

Check out my piece on the upcoming Galactic CD, "Ya-Ka-May" over at The Huffington Post and see the premiere of the EPK.

Before you go, listen to the lead track, "Heart Of Steel," with Miss Irma Thomas on vocals.

HEART OF STEEL

Lost Tracks: Volume 2

It wouldn't be uh...ridiculous to say that Squeeze's 1996 release "Ridiculous" is a lost album. Though no longer churning out radio hits and heavily-rotated videos for MTV, Squeeze continued to make consistently solid music, with the modern day Lennon and McCartney, Glenn Tilbrook & Chris Difford, still going strong as one of the best writing teams in pop music. I think "Ridiculous" stands up as strongly as their best work found on classics like "Argybargy" and "East Side Story."

"Temptation For Love," Glenn's duet with Cathy Dennis, is not your typical Squeeze song, though I think it may be the best track on this record. As usual, Chris Difford's heartbreaking, often autobiographical lyrics make you pay attention and Glenn Tilbrook's melody will turn you into a puddle of goo.

TEMPTATION FOR LOVE

Not So Killer Queen

This 2005 tribute to Queen is no more of a tribute to the band than if I just puked in a bag and handed it to Freddie Mercury. Look at this lineup.

1. We Are the Champions - Gavin DeGraw
2. Tie Your Mother Down - Shinedown
3. Bohemian Rhapsody - Constantine M.
4. Stone Cold Crazy - Eleven, Josh Homme,
5. Good Old-Fashioned Lover Boy - Jason Mraz
6. Under Pressure - Joss Stone
7. Who Wants to Live Forever - Breaking Benjamin
8. Bicycle Race - Be Your Own Pet
9. Crazy Little Thing Called Love - Josh Kelley
10. Sleeping on the Sidewalk - Los Lobos
11. Killer Queen - Sum 41
12. Death on Two Legs - Rooney
13. Play the Game - Jon Brion
14. Bohemian Rhapsody - Flaming Lips
15. '39 - Ingram Hill, Ingram Hill
16. Fat Bottomed Girls - Antigone Rising


The 1971 Padres had more talent. Is there anyone here that has anything to do with the band?

AMG feels differently:

Freddie Mercury, Brian May, John Deacon, and Roger Taylor could make fey sound manly and inject complex melodic lines into straight-ahead megaton rockers -- this is known. Queen are a near impossible act to follow, but tribute after tribute proves that people are still willing to give it a shot. Hollywood Records offers up Killer Queen: A Tribute to Queen and takes as good a stab as any at trying to capture some of Queen's magic. Pagan god of American Idol, Constantine Maroulis' "Bohemian Rhapsody" is a Xerox copy of the original (helped in great part by the cast of the British Queen musical We Will Rock You). He sounds great, no doubt about that, injecting quite a bit of human feeling into the performance of a song that he obviously holds in the highest regard. Well, good for him. (Editor's Note: I love this next line. This was written a mere 5 years ago.) This CD surely will sell a few copies based on his presence alone, and that's precisely why he's on here with Joss Stone and Sum 41 in the first place. (Editor's note: Hilarious.) L.A. rockers Eleven turn down the speed and turn in a girthy version of "Stone Cold Crazy," taking the tune out of the mosh pit and into the back of Monster Magnet's tour bus. Rooney takes an ambitious stab at "Death on Two Legs" and proves that they can play it note for note. They just can't sing it (who can, anyway?). Los Lobos eat up some studio time with "Sleeping on the Sidewalk" and the Flaming Lips decide this whole thing is just too much trouble by giving up and recording another version of "Bohemian Rhapsody," a limp and route take on the tune that makes Constantine's version sound even more reverent than it already does. But none of this is the "real deal." It can't be, not without Freddie, and this brings to mind a quip, related by Led Zeppelin's most revered knob-twiddler, Glyn Johns, where a band he was recording kept begging him for that "Bonham" drum sound. "I'll tell you what," he said. "Here's the phone. Call him up and have him come down here to play the drums, because that's the only way you're going to bloody get it." There can be only one.







That's not a rave, but it certainly shows a little more respect for this compilation than I do. Oddly enough, the only two tracks I thought had any business being heard were Jon Brion's "Play The Game," which gets NO mention at all and Los Lobos" groovy take on Brian May's "Sleeping On The Sidewalk," which J. Scott McClintock of AMG implies was phoned in.




Take a listen to both.

Sleeping On The Sidewalk


Play The Game

If It's Tuesday, It Must Be Street Date: 1/12/10

JASON BOESEL- HUSTLER'S SON

A smart and much needed fresh slice of Americana, from a man who spends most of his time sitting behind the drums for Rilo Kiley and Bright Eyes, "Hustler's Son" finds Boesel trading in his drum mount for the songwriter's seat, and with help from David Rawlings and Benmont Tench, delivers a very strong debut. Check this record out, especially "Burned Out And Busted" and "Winking Eyes." You WILL get lost.







ELVIS COSTELLO- THE COSTELLO SHOW VOLUME 2: LIVE AT HOLLYWOOD HIGH

The second installment of the new, ongoing, UMG Elvis Costello "Let's Suck The Life And Last Red Cent Out Of The Fans" campaign, is actually a step in the right direction. The legendary "Hollywood High" show from 1978 sees its first official release. This new series, which started with the infamous "El Mocambo" show, continues with this classic, now featuring 11 unreleased tracks. Let's hope Volume 3 is not a reissue of "El Mocambo."







THE ELECTRIC MESS- THE ELECTRIC MESS

Back in November of 2008, I ran a piece about the Electric Mess. Take a look HERE. This band knocked me out from the very first day I saw them perform live and I have been waiting patiently for the record. Well, the debut release has arrived and it does not disappoint. This is The Kinks, The Yardbirds, The MC5, The Shangri-Las, The Stooges and The Who, all wrapped up in one. Check them out at The ElectricMess.com and BUY THIS RECORD.





FREEDY JOHNSTON-RAIN ON THE CITY

Rolling Stone once called Freedy Johnston one of "America's finest songwriters." I've always thought Freedy was a bit overrrated myself, but releasing a new album for the first time in 8 years is exciting, nonetheless.






OK GO- OF THE BLUE COLOUR OF THE SKY

Who didn't love the "treadmill" video? Unfortunately, the energy of their live shows has yet to translate to record. The smart lyrics and catchy melodies of Damian Kulash seem to always get buried underneath a muddy production usually reserved for Def Leppard. Let's see if this new release takes care of that problem.






RINGO STARR- Y NOT

The new, aptly titled record from Mr. Starkey has Beatles' references up the wazoo and that's alright. It's bloody Ringo. Nothing special, but nothing terrible either. "Y Not" is a respectable pop record, with some very special guests and an excellent duet with Paul McCartney. This is from Billboard.com:

"People just came out and supported me 'cause I was doing it," Starr tells Billboard.com about a guest list that includes Beatles mate Paul McCartney, brother-in-law Joe Walsh, Joss Stone, Ben Harper, Van Dyke Parks, Don Was and All Starr Band alumni Edgar Winter, Billy Squier, Gary Wright and Richard Marx. "A lot of it was just people hanging out and thinking, 'Let's try this.'

McCartney, according to Starr, was originally slated for just one song, "Peace Dream," but after laying down a bass part for that he listened to some of the other songs he also contributed a vocal to "Walk With You." "He heard that one and said, 'Gimme a pair of (headphones) and give me a track. I want to do something on that,' " Starr says. "And then he just did that follow (vocal). He comes in a beat after me...so that's how that ended up."






VAMPIRE WEEKEND- CONTRA

One of the greatest blessings about being an American is the freedom to never have to listen to this record or any other recorded sounds by this band ever again. What are they? Twee Soca? This is fucking terrible.





LAURA VEIRS- JULY FLAME

I think Mojo may have given "July Flame" 5 stars, and while I wouldn't go that far, I will say that on her 7th release, Laura Veirs has put together one of the finest records of her career; a gorgeous collection of psychedelic folk songs that will keep you focused for its duration.


In case you never saw it....