Boo Boo Boop Boo Boo, When I Want To

"BBQ, Beach, Balls, & Burning Wood" : BONUS, LONG WEEKEND MIX

If I was at the beach (in the shade), drinking a cold Champale, playing badminton, and grilling up some tofu dogs, I'd be pretty happy if this mix was playing. Hope you feel the same.



TRACK LIST

f.b.i. (i spy for)- the untouchables
the real thing- tina britt
bye bye love- ray charles
#9 dream- world party
cherry cherry- neil diamond
the world keep on turning- fleetwood mac
corrina, corrina- the rising sons
21st century, gypsy singing, lovin' man- taj mahal
mrs. robinson- booker t. & the mgs
wrap it up- clifton chenier
southern girls- cheap trick
head on- the jesus & mary chain
i apologize- husker du
bama lama bama loo- tom jones
mama here comes the bride- the shirelles & king curtis
tulane- chuck berry
cry one more time- j. geils band
hey, girl- freddie scott
you turned my bitter into sweet- mary love
lido shuffle- boz scaggs
b-a-b-y- rachel sweet
rock and roll- detroit
bust a move- young mc

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"The Beatnix" : THE WEEKEND MIX

Here's what Steve Huey of AMG has to say about The Beatnix:



The Beatnix' It's Four You is the work of painstaking archivists who gathered all 19 Lennon/McCartney compositions that were given to other artists (like P.J. Proby, Cilla Black, Billy J. Kramer & the Dakotas, Peter & Gordon, etc.) and never recorded for Beatles albums. The Beatnix perform these songs faithfully, in a strongly Beatlesque style that crosses the line from influence into imitation. But that's the point of the album -- giving power-pop fans a chance to hear what these songs probably would have sounded like had the Beatles kept them -- and in that sense, it accomplishes exactly what it set out to do.

I've always loved this. It's a brilliant idea, executed to perfection. And now sadly, unavailable. Though HERE is the Amazon link, if you want to buy for $119.00.

TRACK LIST

i'm in love
nobody i know
if you've got troubles
it's for you
hello little girl
like dreamers do
step inside love
woman
that means a lot
i don't want to see you again
one and one is two
bad to me
tip of my tongue
i'll be on my way
world without love
from a window
i'll keep you satisfied
love of the loved
goodbye

ZIP FILE

The holiday weekend may inspire me. I'll have some time on my hands, so I may slap together one more fun mix for your day at the beach. Stay tuned and have a great one!

Peter Wolf & Bettye Lavette: Live At The Highline Ballroom

Bettye Lavette has a lot of stories to tell. One of her most famous, is the one about not being famous. Peter Wolf can spin a few yarns himself. They shared a stage last night at NYC's Highline Ballroom for a long-ish night of rock and soul and some name-dropping.

Lavette had been booked to perform her just released "Interpretations: The British Rock Songbook." Weeks later, when Wolf's mini-tour was announced, he ended up on the same bill as the headliner. It seemed like a no-brainer.

Lavette took the stage promptly at 8, and did what she promised. It took 90 minutes to perform the 56 minute record from head to tail. The band was solid, but it was Lavette's electricity that carried the evening. She never came across as a has-been, and her stories about being neglected never sounded bitter. She talked about her famous neighbors. "I'm from Detroit, so all my neighbors were more famous than me. I just saw it as more people I could borrow money from." She cited Baby Washington as her biggest influence, and admitted that the artists being covered on her new record---The Beatles, Pink Floyd, Traffic, Led Zeppelin---were not really influences at all, but nemeses, as they would get airplay while she did not.

Her set was delightful, if a bit too long. "Interpretations" is a wonderful record, if a bit lacking in upbeat material. Most of Lavette's versions have been arranged for her sorrowful, soul begging voice, and though she put on an amazing show, it may have worked better with a few less dirges.




Peter Wolf took the stage at 10 P.M. and launched into a rocking set, that at this point in the evening, was most needed. The set included songs from his fantastic new record, mixed with older solo stuff and of course, some J. Geils gems. His band, with Duke Levine on guitars and the absolute monster Marty Richards on drums, turned this night into the houseparty the crowd was hoping for.

Wolf jawed with his older sister, who was sitting at a table up front, about the old days, concerts they attended, and some legends they had met, including Muddy Waters whose Cadillac once pulled up in front of a coffee house in Boston, while Wolf was a 15 year old waiting for an autograph. He gushed about being such a fan, and Waters replied, "Hey man, help me bring those amps into the club!"

The Strangeloves' "Night Time," Bobby Womack's "Looking For A Love," "Love Stinks," and "Homework" all made the cut, and the material off of "Midnight Souvenirs," which I feared may not pack the wallop live without the guests---Shelby Lynne, Merle Haggard, and Neko Case---were just as strong.

My God, Zilla Can Sing!

I found more on Zilla Mayes than I expected to. There's this, from The Georgia Radio Museum & Hall Of Fame:

Zilla Mays first appeared on WAOK as the 'Mystery Lady' in 1954. In 1955 she revealed her identity and began hosting the 'Dream Girl Show,' which aired on the station every night between ten and eleven. She also made frequent guest appearances on Piano Red’s WAOK show. She was signed to RCA Victor's Groove label which released several records. She was instrumental in organizing the "road shows" sponsored by WAOK, which brought live R&B and gospel music to the Southeast. She released singles on Brunswick as "Zilla Mays with Her Boyfriends," on Coral with her brother's Blues Caravan band, as well as others on Mercury and Checker. In the early '60s released an album on Bill Lowery's NRC label, The Men I Love and the Songs They Sang. She had previously recorded for Savoy in 1951, but no releases came of the session.

And there's this:
http://home.earthlink.net/~v1tiger/zillaM.html


All I know about Zilla Mayes is this track from the CD, "Deep Soul From New Orleans." That would have been enough for me.

I LOVE YOU STILL

If It's Tuesday, It Must Be Street Date: 5/25/10

BILL KIRCHEN- WORD TO THE WISE

BIll Kirchen, original Commander Cody & The Lost Planet Airmen guitarist, and the man whose fine Telecaster was a highlight of the 1972 hit "Hot Rod Lincoln," has made some fine albums on his own. He can sing, but man...can he play the guitar. "Word To The Wise" is another solid effort. With help from special friends like Nick Lowe, Elvis Costello, Maria Muldaur, and Dan Hicks, Bill Kirchen offers a collection of tunes that don't try very hard to hide behind the influence of his occasional employer, Nick Lowe. And anyone who covers Roger Miller's "Husbands & Wives" is alright by me. This is a great record!

BUY IT--->http://www.amazon.com/Word-Wise-Bill-Kirchen/dp/B003GEDLOO/ref=sr_1_1?ie=UTF8&s=music&qid=1274786977&sr=1-1







BETTYE LAVETTE- INTERPRETATIONS:THE BRITISH ROCK SONGBOOK

The soul queen continues her resurgence with a collection of very familiar tunes that won't sound very familiar during your first pass. Miss Lavette is a big singer, and the soul will ooze out of your speakers. I know the record is called "Interpretations," but Miss Lavette too often takes liberties with the original melodies of such songs as Zeppelin's "All My Love," George via Ringo's "It Don't Come Easy," and Pink Floyd's "Wish You Were Here" to name a few, so the fun of hearing these classics gets lost in the confusion. ("Oh! This is 'Wish You Were Here?'") Does this mean the record doesn't work? Absolutely not. This is a killer Bettye Lavette record, and her versions of The Beatles' "The Word," Clapton's "Why Does Love Got To Be So Sad," and Pete Townshend's "Love Reign O'er Me" are worth the price of admission alone.

BUY IT--->http://www.amazon.com/Interpretations-British-Songbook-Bettye-LaVette/dp/B003A4IFDW/ref=sr_1_1?ie=UTF8&s=music&qid=1274787005&sr=1-1








JOHN PRINE- IN PERSON & ON STAGE

A collection of live performances from Prine's recent tours, features guest spots from Emmylou Harris, Josh Ritter, Sara Watkins and Iris Dement. 14 track collection available as a $3.99 download on Amazon.

TRACKLIST
1. Spanish Pipedream
2. She Is My Everything
3. In Spite Of Ourselves
4. Long Monday
5. The Late John Garfield Blues
6. The Bottomless Lake
7. Bear Creek Blues
8. Saddle In The Rain
9. Angel From Montgomery
10. Your Flag Decal Won’t Get You Into Heaven Anymore
11. Mexican Home
12. Unwed Fathers
13. Glory Of True Love
14. Paradise

BUY IT--->http://www.amazon.com/gp/product/B003GEDLUI/ref=s9_simh_gw_p15_i2?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=0JBQPW7Z6NKAARC5W0J3&pf_rd_t=101&pf_rd_p=470938631&pf_rd_i=507846









SMASHING PUMPKINS- TEARGARDEN BY KALEIDYSCOPE 1: SONGS FOR A SAILOR

The packaging is a silk-screened wooden box (7 ¼ tall x 8 wide x 1.05 thick).

Each box will contain:

Hand-carved leopard stone obelisk, about 2 tall, similar to marble

And unfortunately----

A 4-song CD with 4 new SP songs and instrumental intros
7 vinyl single containing one NEW song plus b-side

LOOK AT IT--->http://www.amazon.com/Teargarden-Kaleidyscope-1-Songs-Sailor/dp/B00381YJQO/ref=sr_1_1?ie=UTF8&s=music&qid=1274787036&sr=1-1








STONE TEMPLE PILOTS- STONE TEMPLE PILOTS

Weiland and the boys are healthy and ready to rock. Good stuff from STP.

BUY IT--->http://www.amazon.com/Stone-Temple-Pilots/dp/B003CLAMYS/ref=sr_1_1?ie=UTF8&s=music&qid=1274787066&sr=1-1









WIDESPREAD PANIC- DIRTY SIDE DOWN

The Kings of Jam are back with their 11th studio release.

BUY IT--->http://www.amazon.com/Dirty-Side-Down-Widespread-Panic/dp/B003FUZMYQ/ref=sr_1_1?ie=UTF8&s=music&qid=1274787091&sr=1-1

Burning Wood

I have a vague memory of seeing George Burns on television, possibly on Johnny Carson, or maybe it was David Susskind. He was explaining how just one word can be funny. "Lettuce is funny," he deadpanned, "Wednesday is not." I still find that funny. Some of you may not.

Many things upset me, but there is little that offends me. There is a difference. My friend Charlie, at various times, has poked fun at my musical tastes, my Jazz Fest hat, my use of the word "albeit," my height and lack thereof, and my occasional habit of overreacting. I don't ever remember not laughing or being offended. He's even apologized, mid-punchline, anticipating a bad reaction from me. But there has never been. I think the key here is that Charlie is never mean-spirited. There is thought, (some) intelligence, and a giant sense of humor behind Charlie's ribbing.

I don't see how it is helpful to anyone reading Burning Wood, for me to like everything and everyone. And moreover, it couldn't possibly be entertaining to read commentary that isn't peppered with sarcasm, humor, and straightforwardness. You can buy an issue of Billboard if you're looking for some industry ass-kissing. If I get a bit mean-spirited towards Vampire Weekend or The Hold Steady, I don't think either band would mind so much. They still get paid, you know? I do it partially to vent my frustration over the hype, which seems to have finally overpowered talent. And of course, to hopefully get a laugh. I guess that type of writing is "lettuce" to some, and "Wednesday" to others. (Though, if anyone wants to pay me to hurl hurtful comments my way, I can certainly use the money. I think there's a $200 "Emotional Rescue" box on the horizon.)

It is rare when I don't post comments. It's not like I get hundreds. (I'd like to, but I don't.) Even the mean-spirited comments get air time on Burning Wood. You have something to say, however insulting or mean-spirited, I'll post it. In most cases, I post those comments in the hopes of seeing some friendly sparring between readers, or, to get more personal, some back-up from those who appreciate what I do here. Props feel good. I won't apologize for my intensity. And anyone who says, "Calm down" or "Relax," can suck on it.

Recent comments on these pages seemed intentionally designed to push my buttons. Easy to do, I guess, when my heart is perched so comfortably on my sleeve in my reviews and opinions. Those comments, almost all of which I posted, were mean-spirited, misguided, and monumentally out of line. Those comments weren't written to enlighten. They were written to enrage. They were completely void of humor, unlike the comment, my comment, which started it all. And with each attempt to ameliorate the situation, I seem to have been trumped with more vitriol. I don't often take the high road, so when I do and it leads to a dead end, I implode. Only I, and now you, know how many "Go fuck yourselves" I suppressed. 39, easily! In retrospect, it would have been better handled with complete lack of acknowledgement. Instead, it turned ugly and it became a distraction for all of us. Bad judgement on my part. (I believe the terrorists may have won.)

I will continue to do what I do here. If you think it's easy, you try it. But considering it generates about $3.26 a year, you need to understand, it's a labor of love. So if you're going to be asshole, go be an asshole somewhere else. There's only room for one asshole here.

~wink~


"Todd Rundgren Mondays" will resume in June.

"And Then There Are These" : THE WEEKEND MIX

"Exile On Main Street" Outtakes
01 Get A Line On You
02 Shake Your Hips
03 Good Time Women
04 Sweet Virginia
05 Sweet Black Angel
06 Loving Cup
07 Let it Loose
08 All Down the Line
09 Stop Breaking Down
10 Shine a Light

Track 1-10: Recorded At Olympic Sound Studios, London & Mobile Recording Unit, Newbury, October 17-31, 1970

ZIP FILE

Happy? : The Exile Epilogue

For the record, the credits, unlike most reissues, show no mention of remixing or remastering. I don't remember reading anywhere prior to this release that "Exile On Main Street" was going to be "remixed," so I can't believe that it was. When I purchased the most recent UME remaster of "Sticky Fingers," I still had my Virgin remaster from 2000-whatever, so I was able to compare. I liked the new version more. Unfortunately, I got rid of my Virgin 2000-whatever remaster of "Exile" before this version arrived, so I couldn't do the old A-B. So if all of you are waiting patiently for THAT verdict, I can't help you.

I will admit my ears are playing tricks on me. Bothered by the newly recorded vocals and overdubbing on Disc Two, I can now no longer trust Mick Jagger. "Are the lead vocals no longer buried on Rocks Off?" "Was that an added guitar run at the end of Rocks Off?" "Is that due to the remastering or was it remixed?" "Is there a second drummer on the grassy knoll?"

If you have $20, I can't see why any of you would be disappointed having this new release. If you think you are buying something you already own, you're not. Would you spend $15 on "Exile Outtakes" if it had been released separately? Sure you would! So for another $5 you get the greatest rock and roll album ever, sounding...possibly better and possibly different, depending on your ears.

OH...I was ready to spin Side 3 of the vinyl last night, only to find another copy of Sides 1 & 2. I had to pack the big baby up, and send it back to Amazon. So it goes in the life of Mr. Burning Wood.

Exile On Main Street : The Verdict

"You're not nuts. It's good to care."
H.G.



I could spare you the drama, but then that would be bullshit. My UPS driver showed up at 4:20 and dropped the box---admittedly top heavy---three times! I thought about explaining the contents to him--- outtakes, "Tumbling Dice," Gram Parsons, "Keef", "BE CAREFUL IDIOT!," like that. But he was distracted by the Weimaraner taking a dump near his truck...in front of my house. (Really.)

On to the music...which arrived with the appropriate fanfare...as you can see.

The big box is lovely. The sound of the vinyl is stunning. Really, it is. I unraveled a bit when I first opened the hard cover book. I rifled through the pages, looking for the credits and some sort of song annotation. Nothing much. Some nice words from Anthony DeCurtis and snippets about the album from the band from various points in their career, but nothing at all about the outtakes and new stuff on Disc Two.

I did get bunched up a bit to find the original album credits edited to now include every Stone on every song. "Happy" didn't used to include Charlie on drums. I thought it was only Jimmy Miller. I was already uncomfortable with the overdubbing and newly recorded vocals on the additional material, but did they have to change the original band credits? What's next, a dance remix of "Factory Girl?"


"At least Ron Wood's not on it."
H.G.




It's really hard to get over how much "Pass The Wine (Sophia Loren)" and "Dancing In The Light" sound like new Jagger solo tunes. Very good Jagger solo tunes, mind you, just not something I expected on an "Exile" release. And sorry, but no amount of tweaking is going to make Mick sound like he did in 1971. I think it's obvious. It works the least on "Following The River," the most disappointing of the new-ish tracks.

On the other hand, "Plundered My Soul," "I'm Not Signifying" and "So Divine (Aladdin Story)" sound like pure Stones and really made me happy, and the alternate "Loving Cup" and "Soul Survivor," with Keith on lead vocal, happier still.


"I think you gotta just let go, hold your nose, and listen to them just as Stones' songs. I'd rather have them than not have them."
H.G.

Most of you collectors will be familiar with "Good Time Woman," the fun, but inferior early version of "Tumbling Dice." It's inclusion here only exemplifies what's wrong with the refurbished tracks. It's an average outtake that now sounds thrilling when nestled among the hot vocals and production of the new tunes.

THE VERDICT: it's still worth every penny and every minute of your time. I'd rather buy "Exile On Main Street" three more times over than a lot of other music which gets just as over-hyped.


"You're not nuts. It's good to care."
H.G.


(Quotes are from an ongoing text with a friend as I listened.)

If It's Tuesday, It Must Be Street Date: 5/18/10

ROLLING STONES- EXILE ON MAIN STREET

It is arguably the greatest rock and roll album ever, no? (Well, I think so.) I've had advance burns of both CDs in my possession for a week or so, now. I've held them, looked at them, thought about what they would sound like. Yet I've shown discipline. I've shown amazing restraint. I did not listen. This is an event and I wanted to do it up right. I thought, "What if the CDRs don't sound exactly right?" I couldn't take that chance.

I should have the official, big, super deluxe edition in my dirty little mitts sometime this afternoon. I may even put on a dress shirt and slap my face with Canoe. That's when I will listen. I'm not too keen on the fact the Mick (I'm sure it was Mick) insisted on touching up the outtakes a bit. (Lisa Fischer added background vocals on two tracks. ~painful eyeroll~) I guess it will have to do.





BUY IT--->http://www.amazon.com/Exile-Main-St-Super-Deluxe/dp/B0039ZF89G/ref=sr_1_2?ie=UTF8&s=music&qid=1274182917&sr=8-2







BAND OF HORSES- INFINITE ARMS

3rd release and major label debut from the Horses. You can read Joe Caramanica's review HERE--http://www.nytimes.com/2010/05/17/arts/music/17choi.html?pagewanted=2&ref=arts.

BUY IT--->http://www.amazon.com/Infinite-Arms-Band-Horses/dp/B003CIG7AE/ref=sr_1_1?ie=UTF8&s=music&qid=1274182971&sr=1-1







THE BLACK KEYS- BROTHERS

Produced by Danger Mouse and recorded in Muscle Shoals, "Brothers" is more of the raw, rough, and totally groovy sounds that Dan Auerbach and Patrick Carney have created over 5 full-length LPs. I had been hoping for something a little different, given the location of the recording. But no need to complain. If you're a fan of The Black Keys, you will be a fan of "Brothers."

BUY IT--->http://www.amazon.com/Brothers-Black-Keys/dp/B003AO1SVS/ref=sr_1_1?ie=UTF8&s=music&qid=1274182996&sr=1-1









THE DEPRECIATION GUILD- SPIRIT YOUTH

"Low-fi," "buzzy" and "shoegaze" is usually a holy trinity of death for me, but I liked this band's rendition of The Beatles' "Because" so much, I gave "Spirit Youth" a whirl. Plus, truth be told, front man Kurt Feldman, who is also the drummer of indie megastars The Pains Of Being Pure At Heart, happens to be the son of a friend, who happened to be the keyboard player in the legendary Cool Jerks. (Remember us?) All that aside, Feldman's song writing has come a long way, with melodies that stand out, though not enough, thanks to the consciously muddy production. Nice sophomore effort, I must say. And you can take a listen to "Because" on a "Weeekend Mix" from October over HERE.

BUY IT--->http://www.amazon.com/Spirit-Youth-Depreciation-Guild/dp/B003HESMCO/ref=sr_1_1?ie=UTF8&s=music&qid=1274183021&sr=1-1








MARY GAUTHIER- THE FOUNDLING

Mary Gauthier pulls no punches. She's a heavy duty songwriter, and this time, it's personal. Really. She was placed in a foundling home at birth, and spent years looking for her birth mother. When she found her, the mother did not want to meet her. (YOU find the single.)

BUY IT--->http://www.amazon.com/Foundling-Mary-Gauthier/dp/B003CLAN24/ref=sr_1_1?ie=UTF8&s=music&qid=1274183047&sr=1-1






THE JAYHAWKS- THE BUNKHOUSE ALBUM

NEVER BEFORE on CD! This was their debut release, and unavailable for nearly 25 years, only 2000 copies of the original vinyl were ever released! Download available for only $4.99

BUY IT--->http://www.amazon.com/Jayhawks-aka-Bunkhouse-Album/dp/B003ENTMIQ/ref=sr_1_1?ie=UTF8&s=music&qid=1274183067&sr=1-1

Ronnie James Dio, R.I.P.

LOS ANGELES - Ronnie James Dio, the metal god who replaced Ozzy Osbourne in Black Sabbath and later piloted the bands Heaven & Hell and Dio, has died, according to his wife and manager. He was 67.


The man had pipes! Very sad.

"When Sally Met Harry" : THE WEEKEND MIX

While the response to a Nilsson mix wasn't overwhelming, (where is everyone?), what little response there was, was positive. So here it is.

The hits are missing. You can find those and buy those on your own. The tunes compiled here, with a couple of contributions from my old pal, FD13NYC, are personal favorites. You will see after one pass through these 22 songs, that Harry Nilsson, whether writing an upbeat rocker, mid-tempo mambo, or his specialty, the big ballad, was always heartbreaking. (His version of the Doc Pomus classic, "Save The Last Dance For Me," produced by John Lennon, still renders me useless.)

Rarities include some BBC recordings---"Without Her" and an Everly Brothers "mash-up," piano demos of "The Moonbeam Song" and "Without You," and 2 songs from his last sessions for the proposed "Papa's Got A Brand New Robe" LP, "Misery & Gin" and "U C L A." ("A Love Like Yours," the Phil Spector-produced duet with Cher, used to be rare, by I think this is the 14th mix I've used it on. Sorry, I like it.)

Feedback is encouraged.

ANY QUESTIONS?






ENJOY!

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First The Oil Spill, Now This

From the Yoso website, YOSOHQ.COM. (They have a headquarters.)

"The term “Super-Group” can only describe the formation of two of the most creative and musical legendary bands of the past 30 years into the new band YOSO. Formed out of TOTO’s brilliant vocalist Bobby Kimball and the creative force of YES members, Tony Kaye and Billy Sherwood, it does indeed equal the magic of YES with the voice of TOTO. However, YOSO is much more than a combination of two classic rock groups. YOSO has combined their musical talents to produce an album of new music."





Yoso, everyone. Yoso.



They will be at B.B. King's Blues Bar & Grill in August. I'd go, but I'm saving my money for The Whotles, you know...Pete Townshend, Roger Daltrey, Paul McCartney and Ringo Starr.

He Sang His Balls Off For You, Baby

There are few artists who could fuck with your emotions like Harry Nilsson. His brilliance could stop you in your tracks. He'd rip your heart or make you laugh until you plotzed.

Exhibits A & B: "Without You" and "You're Breaking My Heart.

You know the former. Are you familiar with the latter?

"You're breaking my heart/you're tearing it apart, so fuck you."

You ever hear Harry sing "Save The Last Dance For Me," from the grossly underappreciated, John Lennon produced "Pussy Cats?" Or "Sleep Late, My Lady Friend?" Sure, there are the bad records, which aren't really that bad at all. They just aren't "Aerial Ballet" or "Nilsson Schmilsson." I'm considering a Nilsson mix for Friday, but I need to get a better vibe, which at the moment could be filed under "luck pushing." (The gods have been kind thus far, blessing me with some sort of music blog immunity. I need a day to think about it.)

Until then, please enjoy two takes of "Take 54," from another favorite of mine, "Son Of Schmilsson," in which Harry "sings his balls off for you."

TAKE 54





TAKE 54 (ALTERNATE TAKE)

If It's Tuesday, It Must Be Street Date: 5/11/10

JACKSON BROWNE & DAVID LINDLEY- LOVE IS STRANGE

Tour document of the occasional duo's 2006 tour of Spain.

Disc One:

1. Intro (0:50)
2. I'm Alive (5:03)
3. Intro (0:45)
4. Cal It a Loan (5:02)
5. Looking East (7:02)
6. Intro (0:48)
7. The Crow on The Cradle (6:01) - Featuring Carlos Núñez
8. Intro (0:20)
9. Mercury Blues (5:16)
10. Intro (0:54)
11. El Rayo X (3:59)
12. Sit Down Servant (4:04)
13. Intro (0:20)
14. Take It Easy (4:13)
15. For Taking the Trouble (4:38)

Disc Two:

1. For Everyman (5:36)
2. Intro (0:45)
3. Your Bright Baby Blues (6:40) - Featuring Javier Mas
4. Intro (1:29)
5. Tu Tranquilo (6:04) - Featuring Kiko Veneno
6. Late For the Sky (6:03)
7. Intro (0:43)
8. These Days (4:39) - Featuring Luz Casal
9. Intro (1:03)
10. Running on Empty (6:34)
11. Love is Strange / Stay (7:46)
12. Intro (0:49)
13. The Next Voice You Hear (9:05) - Featuring Kiko Veneno

BUY IT--->http://www.amazon.com/Love-Strange-Jackson-Browne/dp/B003C5FMIA/ref=sr_1_3?ie=UTF8&s=music&qid=1273576018&sr=8-3












THE DEAD WEATHER- SEA OF COWARDS

The ubiquitous Jack White's other, other band is back with their second release, and it's not much different than their first, yet I like it more. Filled with Zep heavy riffs, and riffs that sound so familiar you will get a headache trying to figure out where they were ripped from, "Sea Of Cowards" may not have any real songs---what does these days---but it's got enough going on with White's clever drumming and arrangements to keep you on your toes. (Opening cut, "Blue Blood Blues" = David Bowie's "Black Country Rock." Just figured it out.)

BUY IT--->>>http://www.amazon.com/Sea-Cowards-Dead-Weather/dp/BT00CHI1V2/ref=sr_1_1?ie=UTF8&s=music&qid=1273576068&sr=1-1









THE HOODOO GURUS- PURITY OF ESSENCE

Aussie garage-rockers are back with new songs recorded last year in Sydney. Good to see the Gurus back in action.

BUY IT--->>>http://www.amazon.com/Purity-Essence-Hoodoo-Gurus/dp/B003E1QCTU/ref=sr_1_1?ie=UTF8&s=music&qid=1273576116&sr=1-1










JUDAS PRIEST- BRITISH STEEL (30TH ANNIVERSARY EDITION)

You don't have to be a fan of heavy metal to appreciate, "British Steel," the legendary 1980 release that sent Judas Priest to the top of the world (Well, maybe you do.) Newly remastered and now including a bonus disc of live material, I sincerely recommend "British Steel" to anyone with any interest in hearing how to do metal right. (Tongue is NOT cheek. I repeat, tongue is NOT in cheek.)
BUY IT--->>>http://www.amazon.com/British-Steel-Anniversary-Judas-Priest/dp/B003AYPMBU/ref=sr_1_1?ie=UTF8&s=music&qid=1273576167&sr=1-1-spell










MEAT LOAF- HANG COOL TEDDY BEAR

Good to see ol' Meat decided against a "Bat Out Of Hell IV" for this new record. Special guests include Jack White, Brian May, Steve Vai and Hugh Laurie on a record that is sure to be bombastic and unintentionally hilarious.

BUY IT--->>>>http://www.amazon.com/Hang-Cool-Teddy-Bear-Explicit/dp/B003CR9CAC/ref=sr_1_1?ie=UTF8&s=music&qid=1273576206&sr=1-1







THE NATIONAL- HIGH VIOLET

Sorry everyone. I know it seems I go out of my way to dis the indies, but this is another band with critical acclaim, and again I hear nothing. It's moody, full of textures, full of sounds, full of disjointed melodies, full of unfinished ideas, full of everything but songs. Really disappointing, almost insulting.

BUY IT-->>>http://www.amazon.com/High-Violet-National/dp/B003BKF696/ref=sr_1_1?ie=UTF8&s=music&qid=1273576248&sr=1-1













THE THREADHEADS

With the 2010 New Orleans' Jazz Fest already behind us, it's time to catch up on some of the new local music that was released this year. Leading the pack with no less than a dozen new releases is Threadhead Records, the fan-funded, volunteer-run record label that started on a dare and has become a force to be reckoned with. You can read all about it HERE.

There are new releases from Susan Cowsill, Honey Island Swamp Band, Paul Sanchez & Shamarr Allen, Mary Lasseigne and Marc Stone. But two have really knocked me out.




INGRID LUCIA- MIDNIGHT RENDEZVOUS

Lucia has been on the scene for awhile, both as a solo arist and with the Flying Neutrinos. Her recorded output has been uneven at best, singing standards and songs about New Orleans, with the usual band arrangements behind her. But Miss Lucia may have put out the record of her career with "Midnight Rendezvous," a collection of original material, produced by Andres Osborne, that is unique from head to tail.

There is no escaping the comparison to Billie Holiday, with her small and smokey voice, but the band, featuring one of the best rhythm sections in New Orleans, Cassandra Faulconer on bass and Simon Lott on drums, as well as John Fohl on guitar, takes Lucia's songs and creates an album that will satisfy your Crescent City needs, and leave you smiling with fresh arrangements that do not exploit the sounds and feelings of the great city.


MATT PERRINE & SUNFLOWER CITY- BAYOU ROAD SUITE

With the "Godfather Of Soul" no longer with us, Matt Perrine may now be the hardest working man in show business. (You try schlepping a tuba around from gig to gig!) As Matt puts it at the top of his CD notes, "Traditional jazz has been on the ropes for decades. Time is rendering its largest fan demographic extinct." Well, thankfully this brilliant musician, as well as some the New Orleans' finest such as Evan Christopher, John Ellis, Matt Rhody, Ben Schenck, Alex McMurray, Rick Trolsen, and David Torkanowksy are keeping it alive.

"Bayou Road Suite," like Ingrid Lucia's "Midnight Rendezvous," is strong on originality. Too often, New Orleans' releases will cater to the Bourbon Street crowd, playing tired versions of "The Saints," and the like. That's not what you get here. This record is filled with big, bold, original music, rooted in the tradition, but always sounding fresh. This record is pure joy and I strongly suggest you picking one up.

You can buy both HERE or HERE.

Lena Horne, R.I.P.

Todd On Monday : Up Against It

There weren't too many favorable reviews of "Up Against It," the 1989 Joe Papp production of playwright Joe Orton's unproduced screenplay for The Beatles, adapted for the stage by Tom Ross and Todd Rundgren. (phew)


I saw it. I didn't love it. But it wasn't, at least from what I can remember, as bad as the review below. And quite frankly, the music, which you will find here in demo form, was daring and at times, wonderful. The critic Mel Gussow said, "Mr. Rundgren composed an inferior pastiche of everyone from Brecht and Weill to Gilbert and Sullivan and proves totally unable to transform Orton's wit into lyrics." Personally, it's that exact description that makes these tunes work.




Some of these tunes found their way onto Rundgren's 1991's release "Second Wind," while the just about flawless "Parallel Lines" ended up on 1989's "Nearly Human." (I often wondered if "Parallel Lines" was written earlier and then used as an afterthought for the musical.")

TRACK LIST

when worlds collide
free, male, & 21
smell of money
if i have to be alone
up against it
life is a drag
parallel lines
lili's address
love in disguise
maybe i'm better off
you'll thank me in the end
from hunger
we understand each other
entropy
finale

Here is the ZIP for this long, out of print, Japanese only release, and below that, the New York Times review, if you have a few more minutes.

ZIP FILE


New York Times Review/Theater; Joe Orton's 'Up Against It,' a Screenplay Staged

By MEL GUSSOW
Published: December 5, 1989, Tuesday

In ''Up Against It,'' his unproduced screenplay for the Beatles, Joe Orton tried to combine the irreverent spirit of ''A Hard Day's Night'' and ''Help!'' with his own far more mordant sensibility. Since the playwright's death, the screenplay has remained a tantalizing footnote to Orton's career. Although the film script is not in the same class as his plays, the published version exists for reading and imagining, raising the question of what the movie would have been like.

A partial, unrewarding answer is given by the production that opened last night at the Public Theater, a musical stage adaptation by Tom Ross and Todd Rundgren. Perhaps Richard Lester or members of the Monty Python troupe could have realized the script (with revisions), but not the current collaborators and their director, Kenneth Elliott. Together they have obliterated whatever charm existed in the screenplay. The musical itself is emblematic of one of the evening's several unnecessarily repeated songs, ''When Worlds Collide.'' On stage, everything collides - book, score, direction, performances, even the push-me, pull-you plasterboard scenery.

Because ''Up Against It'' was conceived as a movie musical, there would seem to be a rationale for enlisting someone like Mr. Rundgren, a popular rock composer. Unfortunately, when it came time to create a theatrical score, Mr. Rundgren composed an inferior pastiche of everyone from Brecht and Weill to Gilbert and Sullivan and proves totally unable to transform Orton's wit into lyrics.

One of the most grating songs is the title number, which has the additional misfortune of being sung by the actor with the most unmusical voice, Dan Tubb, in the role that would have been reserved for John Lennon. There is, in fact, only one good song, ''Parallel Lines,'' which, in reprise, is given a plaintive urgency by Philip Casnoff (as Ian McTurk, the Paul McCartney role). In style, ''Parallel Lines'' seems out of context with the rest of the show.

Following the screenplay, the story chronicles the misadventures of three prodigal friends (Orton had eliminated the George Harrison role after the Beatles turned down the script) who are victimized in a flagrant battle between the sexes. They become involved in a plot to assassinate the first female Prime Minister of Britain. Wherever McTurk turns, on land or at sea, he encounters the entire cast.

The book is spotted with rude Orton remarks about Church, State and sex. In response to a statement that a priest has been wrestling with his conscience all afternoon, McTurk asks, ''Who won?'' Such moments are far outweighed by the alterations in the script and by the interruption of Mr. Rundgren's score. The show, which is set in the 1960's, also reaches far afield for anachronistic jokes. (In her acceptance speech, the Prime Minister gushes, ''You like me, you really like me.'') Mistakes are exacerbated in Mr. Elliott's comic strip-style production. Best known for his direction of plays by Charles Busch, he approaches Orton in a similar vein, turning absurdist farce into camp caricature and overplaying the war of genders to the point of misogyny.

One of the pivotal decisions was whether to attempt to imitate the Beatles. The show's response is self-contradictory. The three characters speak in insecure Liverpool accents. Two have Beatle hairdos and mannerisms, while the third, Mr. Casnoff, acts less like a Beatle than like a Rolling Stone. Roger Bart, in the guise of Ringo Starr, is the closest to having a Beatle-mien, but, in common with his colleagues, he is undercut by the circumstances.

The only character to emerge relatively unscathed is Miss Drumgoole, the parlormaid who adores McTurk but whose love remains unrequited until the finale. Alison Fraser plays Miss Drumgoole with a kind of impassioned innocence that is one of the evening's few assets, although in the second act she suffers the indignity of a coarse Spanish number that calls for her to sing to a Yorick-like skull.

Mr. Casnoff carries the primary burden of the score, including the cliched ''If I Have to Be Alone,'' in which he sounds as if he were still trapped in the musical ''Chess.'' Other actors are even less fortunate, including Toni DiBuono as a strident Chief of Police and Mari Nelson as a bimbo.

After John Tillinger's recent authentic revivals of Orton's three full-length comedies, the author seemed to have achieved his proper recognition and respect as a Wilde for our age. The musical at the Public reminds one that Orton is still up against it, even though in this case the opposition is not from philistines but from misguided admirers. 2 Beatles, 1 Stone And No George UP AGAINST IT, music and lyrics by Todd Rundgren; based on a screenplay by Joe Orton; adapted for the stage by Tom Ross; directed by Kenneth Elliott; choreography by Jennifer Muller; set design, B. T. Whitehill; costume design, John Glaser; lighting design, Vivien Leone; sound design, John Kilgore; orchestrations, Doug Katsaros; vocal arrangements, Mr. Rundgren; musical director, Tom Fay; associate producer, Jason Steven Cohen. Presented by Joseph Papp. At the Public Theater/LuEsther Hall, 425 Lafayette Street. Father Brodie and The Old Man...Stephen Temperley Miss Drumgoole...Alison Fraser Ian McTurk...Philip Casnoff The Mayor...Joel McKinnon Miller Christopher Low...Roger Bart Connie Boon...Toni DiBuono Rowena...Mari Nelson Bernard Coates...Tom Aulino The Man in the Hole and Lilly Corbett...Judith Cohen Georgina...Marnie Carmichael Jack Ramsay...Dan Tubb Guard...Scott Carollo Ensemble...Brian Arsenault, Scott Carollo, Mindy Cooper, Dorothy R. Earle, Julia C. Hughes, Gary Mendelson and Jim Newman

"The ABCs Of Ray Charles" : THE WEEKEND MIX

If you don't love this, well then (insert caustic, yet hilarious comment.)

I'd like to thank my good friend Steven for giving me this CD. And I'd like to thank the demented philanthropist in Europe who found the time and patience to compile this mostly officially unavailable material from Ray Charles' ABC- Paramount years.



TRACK LIST

Don't Set Me Free -
My Baby Don't Dig Me -
That's All I Am To You -
Love's Gonna Live Here -
I Like To Hear It Sometime -
You're Just About To Lose Your Clown -
Peace Of Mind -
You've Got A Problem -
I Don't Need No Doctor -
The Train -
What-cha Doing In There -
Somethin's Got To Change -
Go On Home -
That's A Lie -
I Chose To Sing The Blues -
I'll Be Your Servant -
I'm Satisfied -
I Won't Leave -
Come And Get It -
Finders Keepers,
Losers Weepers -
If It Wasn't For Bad Luck -
The Same Thing That Can Make You Laugh -
You Ought To Change Your Ways -
I Can't Stop Loving You Baby -
Tired Of My Tears -
I May Be Wrong -


zip

WANTED

Please indulge me. I don't do this often. Hardly ever, I think. But I thought, why not?

I am looking for some vinyl. Original U.S. pressings. Nice, playable condition. Nothing mint or sealed, though I wouldn't turn anything mint or sealed away. Reasonably to incredibly low priced is a good thing.


John Cale-Paris 1919
John Cale-Fear
John Cale-Slow Dazzle
Television- Marquee Moon
Iggy Pop- The Idiot
King Crimson- Lizard
Patti Smith- Radio Ethiopia
David Bowie- Hunky Dory
Yes- Close To The Edge
XTC- Skylarking
The Jam- In The City
The Clash- London Calling
Genesis- A Trick Of The Tail
Sly & The Family Stone- Stand (MONO)
Rolling Stones- Between The Buttons (MONO)
Lee Dorsey- Yes We Can
Frank Zappa-One Size Fits All
Frank Zappa- Overnight Sensation
The Impressions- This Is My Country

Thank you.

And now, I will get to work on tomorrow's mix.

The Galaxies

My friend Jeff sent me a disc last year with some new music that was kicking his ass. I quickly loaded it up into iTunes, and of course, it got lost among the thousands of hours of Ironing Board Sam rarities, James Booker sessions and live Todd Rundgren recordings. But I took a long train ride last week and clocked in a few hours of iPod time. That's when I heard "An Ocean Between Us," by The Galaxies, somewhere between Harrison and Secaucus. I am in love with The Galaxies.

It's power pop at its finest, with the obvious influences, of course. (Beatles, Hollies, etc.) "An Ocean Between Us," though, sounds to me like James Taylor fronting the Fountains Of Wayne, and the chorus, with the Four Seasons-like harmonies and melancholy lyrics, just smacked me upside the head.

Buy their record HERE

And take a listen to:

AN OCEAN BETWEEN US


LOVE HAS FOUND ME

If It's Tuesday, It Must Be Street Date: 5/4/10

THE A-LIST (?)










A-HA...AIR SUPPLY... ASIA...

A career retrospective from A-Ha, and new music from Air Supply and Asia, in case you were wondering what happened to these bands once MTV stopped playing music.







THE B-LIST




MICHAEL BOLTON- ONE WORLD, ONE LOVE

To express my joy over Michael Bolton's current record deal with Motown, words...just... won't...come. Stay tuned for a video of my interpretive dance, followed by some violent weeping. (Anyone interested in sending me a list of some wonderful artists without a record deal? I'll post it.)








COURT YARD HOUNDS- S/T

The Dixie Chicks sans "troublemaker," release a thoroughly pleasant, if a bit unsurprising collection of country-tinged pop tunes. It's pleasant...thoroughly.

BUY IT-->http://www.amazon.com/Court-Yard-Hounds/dp/B0037W6O1W/ref=sr_1_1?ie=UTF8&s=music&qid=1272972032&sr=1-1-spell









JUSTIN CURRIE- THE GREAT WAR

New release from the man behind (or in front of) Del Amitri. "The Great War" doesn't always cut it. But Justin Currie's smart songwriting and soulful voice makes this record worth your time.

BUY IT--->http://www.amazon.com/Great-War-Justin-Currie/dp/B003BWQDLE/ref=sr_1_1?ie=UTF8&s=music&qid=1272972249&sr=1-1










THE FLAMING LIPS- DARK SIDE OF THE MOON

Sitting comfortably in my Top Ten of most overrated bands, The Flaming Lips have teamed up with Stardeath & The White Dwarfs (pinch me), Henry Rollins and Peaches for my early vote for "Most Unlistenable Record Of The Year." Yes, I know the original is barely tolerable at this point in time, but for Pete's sake, write your own material and fuck that up instead. In a related story, David Baldacci is poised to release his new novel, "Huckleberry Finn."

BUY IT--->http://www.amazon.com/Flaming-Stardeath-Dwarfs-Rollins-Peaches/dp/B003D8O8FY/ref=sr_1_1?ie=UTF8&s=music&qid=1272972116&sr=1-1








THE HOLD STEADY- HEAVEN IS WHENEVER

Speaking of my Top Ten overrated bands, The Hold Steady and their painfully annoying and affected lead singer Craig Finn are back with another collection of songs that sound...at least to me...no different and not much better than John Cafferty & The Beaver Brown Band. I just don't get it.

BUY IT--->http://www.amazon.com/Heaven-Whenever-Hold-Steady/dp/B003AS9GJU/ref=sr_1_1?ie=UTF8&s=music&qid=1272972278&sr=1-1











RICHARD JULIAN- GIRLS NEED ATTENTION

New release from singer-songwriter who cut his teeth in the downtown NY scene with the likes of Marshall Crenshaw and Norah Jones.

BUY IT--->http://www.amazon.com/Girls-Need-Attention-Richard-Julian/dp/B003BWQD6Y/ref=sr_1_1?ie=UTF8&s=music&qid=1272972322&sr=1-1









CAROLE KING & JAMES TAYLOR- LIVE AT THE TROUBADOUR (CD/DVD)

Over 150 hit songs, 50 million albums sold, and a half dozen grandchildren combined, these two legends are currently on tour, though this souvenir was recorded in 2007.

BUY IT--->http://www.amazon.com/Live-At-Troubadour-DVD-Combo/dp/B0039TD7PY/ref=sr_1_1?ie=UTF8&s=music&qid=1272972348&sr=1-1









NEW PORNOGRAPHERS- TOGETHER

5TH record of incredibly infectious pop from A.C. Newman, Neko Case and friends.

BUY IT--->http://www.amazon.com/Together-New-Pornographers/dp/B0039ZEM0W/ref=sr_1_1?ie=UTF8&s=music&qid=1272972388&sr=1-1










FRANK SINATRA & ANTONIO CARLOS JOBIM- THE COMPLETE REPRISE RECORDINGS

The brilliant 1967 collaboration, it's follow up session from 1969 which became Side One of 1971's "Sinatra & Company," and three additional tracks which have never seen the light of day on an official release, get remastered for this excellent release.

BUY IT--->http://www.amazon.com/Sinatra-Jobim-Complete-Reprise-Recordings/dp/B003CR9BYE/ref=sr_1_1?ie=UTF8&s=music&qid=1272972429&sr=1-1