If It's Tuesday, It Must Be Street Date: 8/31/10

BOBBY BARE JR.- A STORM: A TREE: MY MOTHER'S HEAD

This is a collection of songs that came out of a family fire which destroyed the Bare family house, and left Bobby Jr.'s mother with two broken vertabrae, and Bare himself, one odd little album title. All have recovered, thankfully, and this CD recorded with three members of My Morning Jacket is a pretty nice listen. Hard to pinpoint the sound, but since my least favorite thing about MMJ is Jim James' voice, I'll say it sounds like a really good MMJ album.

BUY IT--->http://www.amazon.com/gp/product/B003VOP7FU?ld=










RYAN BINGHAM & THE DEAD HORSEs- JUNKY STAR

The Oscar-winning, cosmic cowboy behind the music in "Crazy Heart," returns with more of the same. ACT NOW, and the Amazon download is only $3.99.

BUY IT--->http://www.amazon.com/Junky-Star-Ryan-Bingham/dp/B003QTDEQ4/ref=sr_1_1?ie=UTF8&s=music&qid=1283254936&sr=1-1








GOO GOO DOLLS- SOMETHING FOR THE REST OF US

New release from the original, not as cool but more melodic Gaslight Anthem. These guys once kicked my ass with their 'Mats meets the Stones in CBGBs sound. One power ballad in a shit, Hollywood movie later, and every song since sounds like an HBO promo.

BUY IT--->http://www.amazon.com/Something-Rest-Us-Goo-Dolls/dp/B003QM01XU/ref=sr_1_1?ie=UTF8&s=music&qid=1283255015&sr=1-1










HEART- RED VELVET CAR

Always been a fan of the Wilson sisters, but this one is just dull. I do recommend, for those who missed it, Ann's solo release, "Hope & Glory,"(see that HERE,) where she is joined by some high profile guests like k.d. lang, Rufus Wainwright and Shawn Colvin, for a collection of covers that include Pink Floyd, Lucinda Williams, Led Zeppelin and The Youngbloods.

BUY IT--->http://www.amazon.com/Red-Velvet-Car-Heart/dp/B003TTB0GC/ref=sr_1_1?ie=UTF8&s=music&qid=1283255085&sr=1-1-spell









JENNY AND JOHNNY- I'M HAVING FUN NOW

I really enjoyed "She & Him Volume One," and had been looking forward to "Volume Two." But, the novelty wore off very quickly for me. It was all very cute, and I do love Zooey Deschanel's voice, but it seemed as if she, and Him, M. Ward, worked harder on the style than the substance.

Jenny, as in Jenny Lewis and Johnny, as in Johnathan Rice have hit the nail on the head with this excellent release of sunshine pop and jangly rock. "Hey, you and her, this is how it's done."

BUY IT--->http://www.amazon.com/Having-Fun-Now-Jenny-Johnny/dp/B003VSMOZW/ref=sr_1_1?ie=UTF8&s=music&qid=1283255181&sr=1-1










PHILIP SELWAY- FAMILIAL

Radiohead drummer releases a not bad, if a bit mopey, singer-songwriter album. I liked it when I listened to the advance a month ago, but knew as I put it on the shelf, I'd never reach for it again.

BUY IT--->http://www.amazon.com/Familial-Philip-Selway/dp/B003VSMOXY/ref=sr_1_1?ie=UTF8&s=music&qid=1283255252&sr=1-1










RICHARD THOMPSON- DREAM ATTIC

I like this man way too much, so any Richard Thompson release is an event for me. What makes this even more exciting is that it was recorded live, making the guitar possiblities endless. (Sorry if that sounds vague, but I haven't received my copy yet.)


BUY IT--->http://www.amazon.com/Dream-Attic-Richard-Thompson/dp/B003NYVYB4/ref=sr_1_1?ie=UTF8&s=music&qid=1283255283&sr=1-1

There's Something Wrong Here, There Can Be No Denying (Songs 'n' The Hoods Part 6)

My memory has a tendency to bully me around. I have many good memories of places, people and things, it's just that the crappy ones come through in HD detail, often highlighting the one tense moment that made an otherwise pleasant experience, a bane of my existence or fodder for amateur analysts. I've shared those memories with the friends and family who had supporting roles, and most of the time they have no recollection whatsoever, like the time our band Black Dog was rehearsing in Mike's basement.

We had decided to cover Roxy Music's "Out Of The Blue" from their fourth album "Country Life." Both Mike and Al were trying to piece together the lyrics from memory, specifically the chorus where Bryan Ferry explains to the listener what comes out of where.

"Out Of The Blue, love came rushing in. Out of the..."

Mike asked, "Sky, is it? What came out of the sky?" Al replied, "Sun. Out of the sky came the sun. Out of left field came..." I replied, "A lucky day." They both replied, "SHUT UP!"

If they're reading, I'm sure they'll deny this. They already had once before when I told the story over pasta and wine the last time we got together about 10 years ago. Mike seemed embarrassed by the memory, but neither he nor Al owned up to it. That moment in Mike's basement, trifling as it seems, wasn't an isolated incident. They were, and still are 4 years older, and things like this happened often in the late seventies when we were teenagers. When your 15 years old and 19 years old, the 4 years in between might as well be 34.

I wasn't an angel. One of my best friends was a Denver Broncos fan and at the time, I was a Dallas Cowboys fan. The year they met in the Superbowl, a modest little candy store/stationery store on Bleecker Street in Greenwich Village started carrying little tile plaques that stood like picture frames, each sporting a full color replica of a single football helmet of every N.F.L. team. The Monday morning after the Broncos lost to the Cowboys in Super Bowl XII, I stopped by the candy store, purchased the Denver plaque for $2.00, and the minute my friend showed up for school, I spiked it into the concrete of Leroy Street, right at his feet, shattering multi-colored shards all over his Buster Browns. Sammy was a big kid. His biceps were bigger than his thighs. He could have easily crushed me with one blow. (My biceps were a little bigger than my toothbrush.) But, he just shook his head. He wasn't even angry. We walked home from school that day, went back to his place and listened to some Elton John, guaranteed. I'd like to have that day back.

And then there was Leslie. She lived on East 19th Street in Sheepshead Bay, and as I boast about my memory for detail, I can't recall if she lived at the very last house on 19th, or the very first apartment building across the alley. This is significant because, though the distance between the last house before the alley and the first after the alley was no more than 25 feet, if you lived on the other side, you somehow didn't belong. Leslie was riding the cusp regardless, simply because she did things that most on 19th Street couldn't ever imagine, like...listen to The Clash and The Buzzcocks, hang out at the Mudd Club, or go into Manhattan alone to see a movie.




One afternoon, she stopped by Al's basement where we had been listening to "Cat Scratch Fever" and savoring a Schmidt's. She unveiled a new record she had just bought at Zig Zag on Avenue U and East 23rd Street, a record store that doubled as my third, fourth and last class of sophomore year. It was by a band called The Pretenders. That was the first time I had ever heard "Stop Your Sobbing" and "Kid." Such amazing music, and yet I'm sure our reaction was pointlessly offputting. That was our specialty.

The Brooklyn group was never blatantly mean to Leslie, but I don't think they ever said hello or goodbye to her, whether she was approaching or departing, without giggling or whispering among themselves. I noticed, so she must have. She was tall, and certainly the odd girl out on the block for the reasons I just pointed out. But she was just as smart and in some ways, friendlier.




(Leslie. Scan provided by Lisa Ann Volpe.)


I had already been listening to The Clash and The Buzzcocks, not to mention Elvis Costello and XTC, thanks to Michael and Manny and Joe, three of the best record store guys in the Village, so my interest in what Leslie was carrying in her brown album bags was not unfounded. These were bands that were a laugh riot to the diehard Sabbath & Rush fans of Brooklyn, so any attempt she and I had made at casual conversation would quickly morph into panic once the bomber jackets came into focus.

She'd show me her new punk singles and tell me about some band she was going to see at CBGBs, like a ticket scalper or drug dealer, trying to complete the transaction before the heat took notice. Then, as the front doors opened and the "real people" emerged onto the stoops of East 19th Street, Leslie and I would scatter with that phony non-chalance, pretending as if one had just asked the other for the time. "Ok then stranger. Have a good day now. That's right, it's 4:30."

Another afternoon, Leslie asked if I wanted to go into the city to see "The Kids Are Alright," The Who movie which had just opened at the long gone Plaza Theatre, near the Plaza Hotel. Boy, did I. I said yes, and she was thrilled. We put our tokens into the turnstiles at the Sheepshead Bay Road station, and headed into Manhattan. Leslie seemed unfazed by the activity, while I felt like Papillon, catching that perfect wave off of the rock. We had a blast in a half-empty theatre, and talked rock and roll for the entire D-train ride back to Sheepshead Bay. Once we hit the block and noticed the peering eyeballs from the various stoops and windows, she started walking a bit faster, I a bit slower, and that was that.

A few weeks later, Leslie invited me somewhere else. This time, it was to see a concert at the old Academy Of Music on East 14th Street, which by then had turned into the Palladium. It was a triple bill of XTC, The Buzzocks, & The Fall. (On certain days, I remember it being The Buzzcocks, X-Ray Spex & The Fall. Other days, it's The Buzzocks, Gang Of Four & The Fall.) I said yes immediately, but as the evening got closer, I started to panic.

It was a combination of fear---what would I be missing if I didn't hang on the block for one Friday night--- and fear---what are all my friends going to say if I cross the tracks and hang with Leslie...again? I didn't go, which could explain why I can't recall the exact lineup. Even worse, I broke the news to her as she walked up to my cousin's house to pick me up. No warning, no real excuse, and not a bit of sensitivity for this person's feelings. I just said, "I'm not going." I remember her looking at me, but not for very long. She just started walking away. I don't ever recall her talking to me again. (There's that damn memory again.) I'd like to have that night back.

That night, while The Buzzcocks surely kicked some ass at the Palladium, I sat on a stoop and most likely listened to "Cat Scratch Fever," while someone most likely teased me about something.


PREVIOUS INSTALLMENTS

PART ONE:
PEOPLE & THINGS THAT WENT BEFORE
http://burnwoodtonite.blogspot.com/2010/07/people-and-things-that-went-before.html

PART TWO:
THEY DROVE YOU,OR YOU DROVE THEM CRAZY
http://burnwoodtonite.blogspot.com/2010/07/they-drove-you-or-you-drove-them-crazy.html

PART THREE:
EAST 19TH STREET,BROOKLYN: "IT GOES INTO YOUR MIND"
http://burnwoodtonite.blogspot.com/2010/08/east-19th-street-brooklyn-it-goes-into.html

PART FOUR:
I SAW LED ZEPPELIN TWICE. THEY SUCKED ONCE.
http://burnwoodtonite.blogspot.com/2010/08/i-saw-led-zeppelin-twice-they-sucked.html

PART FIVE:
HEAR MY SONG. PEOPLE WON'T YOU LISTEN NOW...
http://burnwoodtonite.blogspot.com/2010/08/hear-my-song-people-wont-you-listen-now.html

Sunday Night Covers #7: Bob Dylan Does Bruce Springsteen

Hold on to your downbeat!

DANCING IN THE DARK

"You Can't Drown Soul, Baby" : Remembering Katrina

I had been struggling for a couple of weeks with what I wanted to do for tomorrow's 5th anniversary of Hurricane Katrina. Then, it was just handed to me, without notice, like so many moments in the great city of New Orleans.

The following was written by a good friend.


I must admit that the barrage of media coverage regarding the 5th anniversary of Katrina has given me serious PTSD. I have been struggling with how to commemorate the day,(attend the interfaith service, lay in bed with the covers over my head until Aug.30th??).

As is so with many of life's questions, the answers can often be found in the words of a song, (especially if playing on WWOZ). Was tuned in this A.M. when a song was played called "Come On Home To The Dancing Ground." Made shortly after Katrina, it was a plea for all citizens to return to the city they love.

"Ain't nobody here on their knees with their heads bowed down, we all up and dancing on the dancing ground."

After the song was played, they were interviewing the Indian Chief who wrote and performed the tune. He invited everyone to the "Katrina Crawl" on Sunday August 29th in a way that only a true New Orleanian could.

"I want to invite everyone to the Katrina Crawl on Sunday. We gonna have the Indians, the Treme Brass band and maybe even the Big Easy Roller Derby Ladies. Nah, it's gonna be an open parade so that means anybody can come. It don't matter who you are, what color you are, what sex you are, even Obama can come if he wants to. Bring yourself, a human companion, canine companion, feline companion, even your bovine companion. So we gonna be starting down on Rampart by the little church, right there where Gendusa's used to be, and parade up to the HI-HO lounge, that's not too far from Elysian Fields on St. Claude and if you get to St Roch you gone too far. When asked what time it was starting he said, "somewhere between 4:00-6:00pm, but come early because the earlier you come, the more fun you gonna have."

So while others may choose to ring bells, hang black wreaths or just bide time until the day is over, I think you will find me at the Katrina crawl, because that is the essence of New Orleans and why I chose to stay. As the chief said, "You can't drown soul baby."

Thanks to all who chose to stay, chooses to visit or gets this great complex, maddeningly, wonderful place called New Orleans.





Here's my contribution. Let's not forget the great people of New Orleans.

THE WEEKEND MIX, PART 3

Sneakin' Sally Through The Alley- Lee Dorsey
Exit To Mystery Street- Paul Sanchez
Handa Wanda- Stanton Moore
Keep It To Yourself- Sansone, Krown, & Fohl
Before I Grow Too Old- Tommy McClain
John The Revelator- Dirty Dozen Brass Band
Dizzy Miss Lizzy- Snooks Eaglin
Liberty Bell- Willie Tee
Croker Courtbullion- Dr.. John
Indian Red- The Golden Eagles
Louisiana 1927- Marcia Ball
My Gang Is Leaving Now- Guardians Of The Flame

ZIP FILE

Buddy Miller & Friends : "THE WEEKEND MIX PART 2"

This was the third show in a series of three honoring Buddy Miller as the Hall of Fame and Museum's Artis In Residence for 2010. Previous honorees include Cowboy Jack Clement (2003), Earl Scruggs (2004), Tom T. Hall (2005), Guy Clark (2006), Kris Kristofferson (2007), Jerry Douglas (2008) and Vince Gill (2009).

The performances were held in the museum's Ford Theater; in their own words an "acoustically pristine", very intimate 213 seat performance hall. The museum's website has some excellent video taken from the three week run available as a fairly high quality stream. All three events were videotaped for the museum archive. This grand venue was nearly lost in the flooding that hit Nashville this past May. It's nice to have it back up and running.



Buddy Miller - vocals, electric and acoustic guitars
Jim Lauderdale - vocals, acoustic guitar
Shawn Colvin - vocals, acoustic guitar
Emmylou Harris - vocals, acoustic guitar
Byron House - bass
Bryan Owens - drums

EXTRA SPECIAL THANKS to Natty, for the tape and information. This is all because of him.


Setlist:


Intro/Accolades - Museum Director Kyle Young
Does My Ring Burn Your Finger
Gasoline And Matches
Chalk
Hold On My Love (w/Jim Lauderdale)
Hole In My Head (w/Jim Lauderdale)
Love In The Ruins (w/Jim Lauderdale)
Don't Wait
That's The Way Love Goes (Shawn Colvin)
Poison Love (w/Shawn Colvin)
Let It Be Me (w/Shawn Colvin)
Keep Your Distance (w/Shawn Colvin)
Diamond In The Rough (w/Shawn Colvin)
Love And Happiness (w/Emmylou Harris & Shawn Colvin)
Wide River To Cross (w/Emmylou Harris)
Burning The Midnight Oil (w/Emmylou Harris)
Heart Of Hearts* (w/Emmylou Harris & Shawn Colvin)
Somewhere Trouble Don't Go
All My Tears

ZIP FILE

Dave Alvin & Cindy Cashdollar : "THE WEEKEND MIX PART 1"

You're good people, you are, so I've got three "Weekend Mixes" lined up, as a small apology for flaking out earlier this week.

The first is a wonderful little show recorded at McCabe's Guitar Shop in Santa Monica just two weeks ago, featuring the great Dave Alvin & Cindy Cashdollar.

Stay tuned...



TRACK LIST

intro
little green pill
king of california
new highway
downey girl
remington ride
evening blues
boss of the blues
out of control
krazy & ignatz
abilene
walls of abilene
dry river
what did the deep sea say

ZIP FILE

60 Teenage Girls Can't Be Wrong: Meet Scala

I'm not a fan of irony, say Paul Anka covering Soundgarden, or some slowed down, singer-songwriter take of a pop hit we orignally paid no mind to. (Though, I will credit John Wesley Harding for being the first to start and also nail this trend with his beautiful version of Madonna's "Like A Prayer.") But I do like a choir, and I am really loving Scala.

Here's what their website says:

"You could be very brief about Scala; a youth choir from Aarschot, Belgium, roughly sixty teenage girls, directed by two talented brothers, and enjoying national and international recognition. That could be it..."

Of course, you could read more at
http://www.scalachoir.com/en/index2.htm







Under the guidance of the Kolacny Brothers (no, I've never heard of them prior to this and even now I am not sure that I have) Scala released "It All Leads To This." This is a spirited collection of songs that I find hard to resist. It may come across as novelty at first, but Scala sucked me in.


TRACK LIST

1. Nothing Else Matters (Metallica song)
2. Viva La Vida (Coldplay)
3. Suzanne (Leonard Cohen)
4. California Dreamin' (The Mamas & The Papas)
5. Ironic (Alanis Morissette)
6. Solsbury Hill (Peter Gabriel)
7. Bad (U2)
8. Champagne Supernova (Oasis)
9. I Feel You (Depeche Mode)
10. Use Somebody (Kings of Leon)
11. Lithium (Nirvana)
12. Evigheden (M. Bojesen)

There will be a U.S. release in the fall, but in the meantime, dig Peter Gabriel's "Solsbury Hill," with just piano and voices in harmony. This is Scala. I hope you love this.

http://soundcloud.com/shore-fire/solsbury-hill-by-scala

And this is just gorgeous.

I May Be Late To The Party With This One...

...and this may get old quickly, but right now....I LOVE THIS.

Ain't Talking 'bout Tuesday

Uh....oops?

Sorry?

My bad?

Let's just say, the way I felt the last two days, I wouldn't wish on anyone except maybe like...two or three people.

Regularly scheduled programming begins right after this brief rundown of yesterday's releases.









ISOBEL CAMPBELL/MARK LANEGAN- HAWK

I read a fab review of this record in last month's Mojo. It made me wanna listen to not only this, but the duos two previous outings. So I did. Sadly, I'll never get those hours back. Lanegan's deep, husky voice and Campbell breathy tweet of a voice just ain't happening for me. I don't find this beautiful. It's brooding crap.

BUY IT--->http://www.amazon.com/Hawk-Isobel-Campbell/dp/B003STL0E0/ref=sr_1_1?ie=UTF8&qid=1282736592&sr=1-1







MARGARET CHO- CHO DEPENDENT

This woman has made a stand-up career out of saying mildly amusing things followed by a Harpo Marx face while she waits for you to laugh. Now, some of my favorite artists, Brendan Benson, Jon Brion, Grant Lee Phillips, and some others I don't mind like Fiona Apple and Ani Difranco help out Cho on a new album of funny songs with titles like "Your Dick," "Lice," "Eat Shit & Die" and the Pete Seeger cover, "Captain Cameltoe."

BUY IT--->http://www.amazon.com/Cho-Dependent-Margaret/dp/B003VQO50G/ref=sr_1_1?ie=UTF8&s=music&qid=1282736631&sr=1-1








EELS- TOMORROW MORNING

Just two albums prior, Mark Everett wowed me with some of the best work of his career on "Hombre Lobo." But I've only just come out of the coma induced by his last release, End Times," so I'm not quite ready for "Tomorrow Morning." I'll get back to you.

BUY IT--->http://www.amazon.com/Tomorrow-Morning-Eels/dp/B003VSTBDK/ref=sr_1_1?ie=UTF8&s=music&qid=1282737373&sr=1-1-spell








JP, CHRISSIE & THE FAIRGROUND BOYS- FIDELITY

Miss Hynde has dropped the Pretenders moniker for a collaboration with Welsh singer JP Jones for an album that sounds like a pretty good Pretenders record with occasional vocals by someone other than Chrissie Hynde.

BUY IT--->http://www.amazon.com/Fidelity-JP/dp/B003T05SUK/ref=sr_1_1?ie=UTF8&s=music&qid=1282737849&sr=1-1-spell







ALSO OUT THIS WEEK

!!! (CHK CHK CHK)- STRANGE WEATHER ISN'T IT

MARSALIS FAMILY- MUSIC REDEEMS

CHARLIE MUSSLEWHITE- THE WELL

KATY PERRY- TEENAGE DREAM

Hear My Song. People Won't You Listen Now... (Songs 'n' The Hoods Part 5)

I played in a band or three. I was and still am, a drummer. And of course, there was a band or two in each borough. We had basements and garages beneath and behind the houses on East 19th Street in Sheepshead Bay. In Manhattan, there were phone booth-sized studios in midtown, and basements with phone-booth sized rats on The Bowery. It didn't matter where I played, it always felt as if I was one step away from the big time.

If the two boroughs produced a half-dozen bands out of our group, Mike, Al, Marco and I seemed to be in all of them at one time or another. The rotating singers and material kept us on our feet. The most impressive was Night Flight, a band whose main function was to recreate Led Zeppelin's live show of 1977, with a few adjustments, the most obvious being the addition of non-Zep material.








Marco had the Sunburst Les Paul like Jimmy Page. Mike, who usually played guitar was on bass. Ziggy was on drums and hairbrush. (I'm pretty sure I witnessed him brushing his hair right in the middle of "Rebel, Rebel"). And then there was Bob, whose one and only stint on East 19th was as the singer in Night Flight. He also managed to talk relentlessly about Chuck Berry and his influence on the Stones. It became creepy, and enough to make us all hate rock and roll while we were around him. That quirk aside, Bob was a good guy and possessed the courage that was needed to stand out front and work the crowd.

What Night Flight pulled off in December of 1978 was unprecedented. This wasn't a 30 minute, 7 song set at some "Battle Of The Bands." This band of teenagers with brass ones pieced together an epic, 3 hour set, with guitar solos, drum solos, and even some dead-on mimicry of the bands who inspired its members, with Marco strutting across the stage, step for step, the way Jimmy Page did in the film "The Song Remains The Same."


The gym at the St. Marks School on Avenue Z took on the aura of the big rock concerts we had been attending. It felt like the holy ground that was Madison Square Garden. It was filled with screaming kids, and this band delivered, impossibly, a mostly Zep repertoire, with some Queen, Aerosmith, Black Sabbath and even some Be Bop Deluxe thrown in, to prove they were indeed cooler than you.



I had two duties this evening. The first was running back and forth, pretending I was some important sound guy, throwing up thumb and finger signs throughout the set to indicate when something was "too loud," or if there was "too much bass," or simply to let Ziggy know he should "lose the hairbrush." None of these directives were paid any mind, but I sure felt cool. The second part of my job was to get on stage, take the mic as special guest, and sing the Sid Vicious version of "My Way." (I guess I could sing pretty well, too. I think I did okay. That felt cooler.)


I am little out of focus in this picture, but you can recognize me on the lower right by my Keely Smith haircut and my very rock and roll, lime green, down vest. To my left, dressed like Stanley Kowalski, is my buddy, the other, more popular Sal, a mighty fine musician who did go on to work with many greats, including Peter Frampton and Ringo Starr.








(There was a third Sal, and the three of us we were affectionately known as "The Sals." Somewhere along Nostrand Avenue is some graffiti to prove that. Sal #3 rarely if ever made it to 19th Street.)



Night Flight begat Eruption with Mike back on guitar, Anthony on drums and the other Sal on bass. Eruption begat Black Dog, or was it Whirlwind, with Al on bass, Mike on guitar and me on drums. Then there was a short-lived band with Marco on guitar, Al on bass, me on drums, and Fran on vocals. (This is starting to sound like a Jackie Vernon bit.) Fran lived on East 19th Street and had a powerful singing voice with a personality to match. She challenged us right out of the garage. I don't think this line-up stayed together long enough for a name, but boy did she sing the shit out of Heart's "Barracuda."


Across the river, I was trying something else---original music. First there was The Bandits with Frank on guitar and vocals, and Janet, who gave up a law practice to learn the bass and make it as a punk. Our rehearsal space, lovingly referred to as "The Pit," was shared with many of downtown New York's semi-legends, including John Spacely, Michael O'Donoghue and Cheetah Chrome. We managed a few well-received, if under-attended gigs at CBGBs and Max's Kansas City, playing revved up versions of Elvis, The Searchers, Gerry & The Pacemakers and Gary Lewis & the Playboys, as well as Frank's originals... before the implosion.




Frank & I had gotten to "The Pit" early one evening, poised to discuss and proceed with the termination of Janet. Unfortunately for us, she wasn't too far behind us and with great stealth, remained within earshot as we laughed like idiots and spoke inappropriately about someone who just a few days earlier was our friend. (We learn the hard way when we are young and stupid.) After a tantrum that borrowed sounds and visuals from Regan Macneil, Janet stormed out. The next night I found a broken chair over my drum rack, with little crosses made from the shattered wood, placed upon each drum. (Janet was upset.) I didn't sleep for a week, expecting a dead chicken under my pillow at any time. I would have deserved it, though I still don't know why Frank got off scot-free. (Story of my life.)

Frank's original tunes were quick and melodic, and just a small step ahead of what we had been hearing in clubs. Inevitably, the boroughs collided. Al from Brooklyn, with me and Frank, and now Carl, formed Pep In The Cat, based mostly around Carl's Todd Rundgren-inspired originals, some of Frank's better Bandits leftovers, and some choice covers. We were good, but we needed a lead guitarist, and found one in an East New Yorker named Mike. This guy had the chops.




This was serious stuff. Two rehearsals a week, a budget for recording, regular gigs, t-shirts and a mailing list. Even Marco got into the act, by engineering our first demos at Eras Studios where he had just finished working with Joan Jett and Al Dimeola. Pep In The Cat was, in the words of Lou Canova, "starting to make a little noise." Gigs were plenty, and the fan base was growing. This "noise" lasted for about 3 years before the proverbial band shit hit the fan.

Al got sick of Mike. Carl got sick of Al. Sal got sick of Carl. Carl got sick of Frank. Frank somehow managed to not mind anyone. Al finally handed in his pick. One of the more uncomfortable moments of Pep In The Cat's career was Al's last gig. He agreed to fulfill one last scheduled show at S.N.A.F.U. on 6th Avenue and 21st Street in Manhattan. Mike invited Al's replacement, his old friend and bass player Richie to the show. Richie introduced himself to Al by extending his hand and asking, "What size shoe do you wear?" (I probably shouldn't have laughed. It's not easy being in a band.)


(Pep In The Cat Redux)



Pep In The Cat continued, making more demos, getting more gigs and even getting that cherished showcase at the legendary Trax on the Upper West Side of Manhattan.






The feuding continued. Carl was getting more serious about his songwriting and in turn, less pleased with what the band was offering. Rehearsals were always work, but now had become the job you hated going to. I had had enough. By the end, Carl was writing my drum parts, hoping to create what he was hearing in his head. I, in turn, starting pounding the kit harder so I could drown out the voices telling me to kill Carl. Finally, I quit, but not before throwing a drumstick with the velocity of a Bob Gibson fastball, right at Carl. I missed, and instead, pierced Frank's Fender Twin Reverb amp. (Story of my life.)


We are almost all talking to each other these days, and fortunately, some of the music still holds up nicely. We could have been contenders. The problem was, everyone of us proved, you don't have to be 5 years old to not know how to play nice.


Here's part of a video that survived from 12/23/83. Pep In The Cat live at S.N.A.F.U..



Here are two demos from 1983 and 1984. You will hear plenty of Todd Rundgren, especially in "Inspiration," which is, as my friend Chris pointed out just the other day,"exactly like Todd's Healing Part 3, only slower."

TOO BAD BABY



INSPIRATION



PREVIOUS INSTALLMENTS:

PART ONE:
PEOPLE & THINGS THAT WENT BEFORE
http://burnwoodtonite.blogspot.com/2010/07/people-and-things-that-went-before.html

PART TWO:
THEY DROVE YOU OR YOU DROVE THEM CRAZY
http://burnwoodtonite.blogspot.com/2010/07/they-drove-you-or-you-drove-them-crazy.html

PART THREE:
EAST 19TH STREET, BROOKLYN
http://burnwoodtonite.blogspot.com/2010/08/east-19th-street-brooklyn-it-goes-into.html

PART FOUR:
I SAW LED ZEPPELIN TWICE. THEY SUCKED ONCE
http://burnwoodtonite.blogspot.com/2010/08/i-saw-led-zeppelin-twice-they-sucked.html

Sunday Night Covers #6:Homer & Jethro Does Harold Arlen

OVER THE RAINBOW

Sunday Night Covers #5: Cheap Trick Does Lennon & McCartney

THAT MEANS A LOT

Roger Waters & David Gilmour: Together For A Cause

Hoping Foundation benefit performance from Hoping Foundation on Vimeo.

If anyone missed it, here is the 26 minute set, which has more than a few moments.

August '10 : "THE WEEKEND MIX"

No real story behind this "Weekend Mix." It's just an old-fashioned mix tape. I like the way it all sounds together, so maybe you will, too.

TRACK LIST

quand rita est arrive- pine leaf boys
standing in the rain- the james gang
rock & roll- the redwalls
minor byrd- you am i
do you love me- kiss
happy jack- pete townshend
there's no other- the beach boys
maybe he'll know- blue angel
mine exclusively- the olympics
i've got a feeling- billy preston
a knife & a fork- kip anderson
poison love- johnnie & jack
sleepwalk- stray cats
cattle call- eddy arnold
justify my love- madonna
johnee jingo- todd rundgren
her eyes are a blue million miles- the black keys
that's the way love ought to be- donnie iris
we don't talk anymore- nancy wallace
follow your bliss- the b-52s
september song- erroll garner
bust a move (instrumental)- young mc

ZIP FILE

The 9th Beach Boy

Tuesday's Brian Wilson release got me thinking about Jeffrey Foskett. For about 2 months in 1997, I thought Jeffrey Foskett was God.

I first came across Foskett's 1997 release "Cool & Gone" while placing an import CD order for NYCD, the old retail outlet my partner and I started in 1993. I knew nothing about him, this Foskett, but was immediately sucked in by the artists he was covering- The Everly Brothers, Marmalade, Ricky Nelson, The Youngbloods and Marshall Crenshaw. My distributor gushed like I would gush. I had to believe him. (I like people that gush.) The CD became of fave, not just of mine, but of the many customers who walked in while I played the crap out of it, day after day.

"Cool & Gone" ("...and Gone," actually) is a whole lot of jangly fun. The type of record Marshall Crenshaw could sleep write. An album Phil & Don would have been proud to make. A record Brian Wilson surely inspired.

It was months or years later, I don't remember, when I found out that Jeffrey Foskett toured with the "Love/Jardine/Stamos" lineup, and then along with the Wondermints, with Brian Wilson. Jeffrey Foskett is also all over Brian's new Gershwin CD. "Cool And Gone...and Gone" is fetching a nice penny these days. Check out this little 3-pack sampler.

It's My Fault

Reflections Of My Life

It's You


ZIP FILE

Speed Bumps & Mood Killers

I was heading into Manhattan on the N train, and as per usual, set the iPod to shuffle. The first song, which lasted for 75% of my subway ride, was "Blues For Allah." I came to the Dead party very late in my musical life. For the record, I now love Jerry Garcia, his guitar playing and his sad and soulful singing voice. But, I still can't deal with Bob Weir or musical water torture like "Blues For Allah."

I know some of you may have just skipped the song and started over, assuming you either hate the Grateful Dead, or at least recognize a mistake when you hear one. But, I also know some of you, like me, would have let it play. (Just one of my many issues. Let's move on.)

I hate the subway. (Issue!) I don't care how far you can go for only $2.25, it's not worth it when the guy sitting across from you is clipping his nails, or the woman to the left of you has a clove of garlic under each armpit. "So get up and move!" (Yeah, but you don't.) The only thing that makes riding the trains bearable is that little pod with so many possibilities, 30,000 on mine. I guess "Blues For Allah" had to pop up at some point.

While this 12:45 piece of...music...played, I sent a text to my friend Harry. It should have been a reply to a question about Bun E. Carlos, legendary drummer for Cheap Trick---"Yes Harry, I do."---but all I could peck out was "I'm on the subway, and the iPod for the entire ride so far has been Blues For Allah. Gonna put my tongue on the third rail, now."

Harry then suggested this for a Burning Wood piece.

"Song that stops an otherwise going-along-great album in its tracks."

Well..."BLUES FOR ALLAH," for one.

But, I'd also like to vote for "A Quick One, While He's Away."




At almost ten minutes, Pete Townshend tested the rock opera waters on an almost perfect rock and roll record, where it just doesn't seem to fit. He is NOT forgiven. (Ok, he is, but...I couldn't resist.)



Okay, your turn.


But first, in case you're curious, this is the exact Dead song that turned me around and kept me going sometime in the mid-nineties.

If It's Tuesday, It Must Be Street Date: 8/17/10

DAVID GRAY- FOUNDLING

New, two-record set from the critically acclaimed, British folky. I dozed off during disc one, so I can't be fair with this review.

BUY IT--->http://www.amazon.com/Foundling-David-Gray/dp/B003TL0IRM/ref=sr_1_1?ie=UTF8&s=music&qid=1282044109&sr=1-1







RAY LAMONTAGNE & PARIAH DOGS- GOD WILLIN' AND THE CREEK DON'T RISE

The Pariah Dogs are Jay Bellerose (drums), Jennifer Condos (bass), Patrick Warren (keyboard), Eric Heywood (guitar) and Greg Leisz (pedal steel guitar). There is a lot of music under those belts, and Lamontagne's songwriting is strong as always, but few songs if any, get above a moody stroll. Probably best taken in a little at a time, where each song could sneak up on you. Too much at once is just too much at once. Know what I mean?

BUY IT--->http://www.amazon.com/God-Willin-Creek-Dont-Rise/dp/B003QCCS36/ref=sr_1_1?ie=UTF8&s=music&qid=1282044133&sr=1-1








JOHN MAYALL & THE BLUESBREAKERS- SO MANY ROADS (4 CD BOXED SET)

"2010 four CD anthology from the British Blues legend. This lavish box set contains 74 tracks, all newly remastered from the original master tapes, including five tracks released in Europe, on CD for the first time. The 40-page booklet features sleevenotes by Mark Powell with rare and previously unseen photographs. Universal."

TRACK LIST

Disc: 1

1. Crawling Up A Hill - John Mayall & The Bluesbreakers
2. Mr. James - John Mayall & The Bluesbreakers
3. When I'm Gone - John Mayall & The Bluesbreakers
4. R&B Time - John Mayall & The Bluesbreakers
5. Runaway - John Mayall & The Bluesbreakers
6. What's The Matter With You - John Mayall & The Bluesbreakers
7. Crocodile Walk - John Mayall & The Bluesbreakers
8. Blues City Shake Down - John Mayall & The Bluesbreakers
9. I'm Your Witchdoctor - John Mayall & The Bluesbreakers
10. Telephone Blues - John Mayall & The Bluesbreakers
11. On Top Of The World - John Mayall & The Bluesbreakers
12. They Call It Stormy Monday - John Mayall's Bluesbreakers
13. Have You Ever Loved A Woman - John Mayall & The Bluesbreakers
14. All Your Love - John Mayall & The Bluesbreakers, Eric Clapton
15. Double Crossing Time - John Mayall & The Bluesbreakers, Eric Clapton
16. Steppin' Out - John Mayall & The Bluesbreakers, Eric Clapton
17. What'd I Say - John Mayall & The Bluesbreakers, Eric Clapton
18. Key To Love - John Mayall & The Bluesbreakers, Eric Clapton
19. Parchman Farm - John Mayall & The Bluesbreakers, Eric Clapton
20. Looking Back - John Mayall & The Bluesbreakers
21. So Many Roads - John Mayall & The Bluesbreakers
22. Long Night - John Mayall, Steve Anglo
23. Dust My Blues - John Mayall & The Bluesbreakers
24. The Stumble - John Mayall & The Bluesbreakers

Disc: 2

1. You Don't Love Me - John Mayall & The Bluesbreakers
2. It's Over - John Mayall & The Bluesbreakers
3. The Super-Natural - John Mayall & The Bluesbreakers
4. Sitting In The Rain - John Mayall & The Bluesbreakers
5. Ridin' On The L And N - John Mayall & The Bluesbreakers
6. All My Life - John Mayall & The Bluesbreakers
7. Double Trouble - John Mayall & The Bluesbreakers
8. Suspicions - John Mayall & The Bluesbreakers
9. Oh Pretty Woman - John Mayall & The Bluesbreakers
10. Snowy Wood - John Mayall & The Bluesbreakers
11. Checkin' Up On My Baby - John Mayall & The Bluesbreakers
12. No More Tears - John Mayall
13. Brand New Start - John Mayall
14. Picture On The Wall - John Mayall & The Bluesbreakers
15. Look In The Mirror - John Mayall & The Bluesbreakers
16. No Reply - John Mayall & The Bluesbreakers
17. Hartley Quits - John Mayall & The Bluesbreakers
18. 2401 - John Mayall & The Bluesbreakers
19. Walking On Sunset - John Mayall & The Bluesbreakers
20. Medicine Man - John Mayall & The Bluesbreakers
21. Miss James - John Mayall & The Bluesbreakers
22. Fly Tomorrow - John Mayall & The Bluesbreakers

Disc: 3

1. The Laws Must Change - John Mayall
2. California - John Mayall
3. Room To Move - John Mayall
4. Sleeping By Her Side - John Mayall
5. Don't Waste My Time - John Mayall
6. Something New - John Mayall
7. Waiting For The Right Time - John Mayall
8. Counting The Days - John Mayall
9. Off The Road - John Mayall
10. Crying - John Mayall
11. Nature's Disappearing - John Mayall
12. Accidental Suicide - John Mayall
13. Prisons On The Road - John Mayall
14. Unanswered Questions - John Mayall

Disc: 4
1. Television Eye - John Mayall
2. Memories - John Mayall
3. Nobody Cares - John Mayall
4. Good Times Boogie - John Mayall
5. Got To Be This Way - John Mayall
6. Mess Around - John Mayall
7. Country Road - John Mayall
8. Moving On - John Mayall
9. Things Go Wrong - John Mayall
10. High Pressure Living - John Mayall
11. Driving Till The Break Of Day - John Mayall
12. Burning Sun - John Mayall
13. Little Kitten - John Mayall
14. Gasoline Blues - John Mayall

BUY IT--->http://www.amazon.com/Many-Roads-John-Mayall-Bluesbreakers/dp/B003LJNNZ6/ref=sr_1_1?ie=UTF8&s=music&qid=1282044159&sr=1-1









JOHN MELLENCAMP- NO BETTER THAN THIS

The story here is that Mellencamp, producer T-Bone Burnett and band traveled to various legendary locations--Sun Studios, a hotel room where Robert Johnson sang, a diner where Billy Boy Arnold once ordered jello---and recorded these tunes in the primitive way Elvis recorded, in mono, one microphone, guitarist positioned like Scotty Moore, blah, blah. It all sounds like a very nice time, but this is still another, semi-acoustic, cliche-ridden, just okay Mellencamp record.

BUY IT--->http://www.amazon.com/gp/product/B003NWS5DQ/ref=s9_simh_gw_p15_i2?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=0FM2VB35TZFEKHG44B00&pf_rd_t=101&pf_rd_p=470938631&pf_rd_i=507846








BRIAN WILSON- REIMAGINES GEORGE GERSHWIN

I couldn't imagine listening to this, let alone enjoying it.

Brian Wilson has nothing left to prove. The man is a genius, and if he left us nothing but "The Warmth Of The Sun," that would have been more than enough for a lifetime. But I couldn't get on board any of his solo records, not even the critically acclaimed debut or the reconstruction of "Smile." And it was for one reason only. Brian couldn't sing anymore. His sweet falsetto of the sixties sounded more like a struggling caveman these days, and for me, it was just too painful. He is a musical hero of mine, and I just couldn't deal with the spotty and often embarrassing output.

So quite frankly, I am shocked by how much I love "Brian Wilson Reimagines George Gershwin." It doesn't look good on paper, but it thankfully made sense to Brian Wilson.

First and foremost is Brian's voice. Nowhere in the last 30 years has Brian sounded so inspired and so young. There are moments when Brian is singing like it's 1967. Sure, not on every song, but on many. And if you think classic Beach Boys'arrangements of these Gershwin standards is a mistake, think again.

The instrumental take of "I Got Plenty O' Nuttin'," tipping its hat to both "Help Me, Rhonda" and the title song from "Pet Sounds," is worth the price of admission alone. Then there is the "Little Saint Nick" take of "They Can't Take That Away From Me." Just fantastic. Even the odd choice of "I Loves You, Porgy" over the gender-appropriate "Bess, You Is My Woman" is a success, though Stephen Holden in yesterday's NYT called it an "embarrassing, low point." I couldn't agree less. Brian is crooning and selling it.

This record is something you don't have to feel obligated to love out of pity for Brian Wilson and his sad life. It's a genuine success. The material is timeless and me thinks Brian Wilson has made the best record of his solo career.

BUY IT--->http://www.amazon.com/Brian-Wilson-Reimagines-Gershwin/dp/B002RWKSII/ref=sr_1_1?ie=UTF8&s=music&qid=1282044186&sr=1-1

Todd On Monday : All The Children Sing, Or At Least The Ones With $4,999

SACRAMENTO, Calif. and NEW YORK, July 20 /PRNewswire/ -- Gigatone Entertainment, a next generation entertainment company based in Sacramento and Hollywood announced the signing of famed artist, producer, composer, and digital pioneer Todd Rundgren to its label. Rundgren will be recording a new 15-track album and will invite fans into the studio to participate in the project via Gigatone's myRecordFantasy three-day fantasy camp.

Rundgren's new album project will be the subject of a new myRecordFantasy event where he will be in the studio along with fans participating in the studio. Held at The Track Shack Studios in Sacramento, Rundgren will lead a once-in-a-lifetime event for his most devoted fans to see and live the experience of a rock star making a new album. These fans will be the lucky few that not only live it, but also have the opportunity to perform on the album.




Of course, my first reaction to this bit of tid was a perfunctory eyeroll, a snort, and a couple of "Oh Jeezes." I just want a new Todd Rundgren record with new songs and a band consisting of musicians, not Mickie and Margaret from Ho-Ho-Kus, banging away with a modicum of rhythm, on a drum all day. I want to hear some rockers, and ballads with some harmonies and lyrics that make me shudder. You know, a Todd Rundgren record.


I did feel a bit better a week or so after reading this press release, realizing that this new project would at least take my mind off of the imminent Robert Johnson tribute that Todd has recorded. As I may have mentioned on these pages, I am looking forward to this Johnson tribute record about as much as a walking tour of Staten Island.



Then I saw this:


"Get into The Track Shack Studios in Sacramento, CA for what will be a life-changing event with Todd Rundgren through myRecordFantasy. Todd will lead a once-in-a-lifetime event for his most devoted fans to see and live the experience of a rock star making a new album. These fans will be the lucky few that not only live it, but also have the opportunity to perform on the album. This project is the ultimate Todd super fan experience during a 3 day studio recording event, giving you the behind the scenes look at how his genius works and being a part of the final product, a brand new album!"

No Experience Necessary!
(IS THAT GOOD NEWS?)


Jan 17-19, 2011
Location: The Track Shack Studios, Sacramento, CA

Hurry, Space Is Limited and Early Bird Pricing Ends 12/17/10!
Three Days Deluxe 1/17-1/19 – $4,999.00 (Best Value – Save $1,000!)
(LIFE CHANGING, INDEED!)
One Day – Mon 1/17 – $2,100.00 (Save $300!)
(IF THAT'S THE DAY THE DRUMMER HAS TO HIT HIS RIGHT TOM 851 TIMES, SOMEONE'S GONNA BE PISSED.)
One Day – Tue 1/18 – $2,100.00 (Save $300!)
One Day – Wed 1/19 – $2,500.00 (Save $400!)
Regular Pricing:
Three Days Deluxe 1/17-1/19 – $6,000.00
One Day – Mon 1/17 – $2,400.00
One Day – Tue 1/18 – $2,400.00
One Day – Wed 1/19 – $2,900.00
Register Now!
(COMING! JUST NEED TO SCRAPE UP ANOTHER $4800)


Here’s a closer look at what myRecordFantasy packages include.

Search: Packages 3-Day 1-Day
Autographed Guitar
(DO THEY SAY WHOSE?)
Co-Star in Reality Show
("America's Next Larry Tagg")

Attend Finale Concert Day 3 Only
Autographed Hardbound mRF Memoir Book
myRecordFantasy VIP Concert Satin Patch Day 3 Only
(HMMMM....SATIN.)
Experience the artist Recording


Audition to perform on album
Sneak Peek Listening
Preview
(I'D PAY $35 TO KNOW THE DIFFERENCE BETWEEN "SNEAK PEEK" AND "PREVIEW.")
*Special Friends* Credit On Album
Daily Breakfast
Transportation to and from all
camp events
Autographed Drumhead
Surprise Guest
(IF IT'S DOUG HOWARD, I MAY RETHINK ALL OF THIS.)
Appearances
Meet and Greet with the Band
Artist-Fan Adventure
Activities
Meals and Drinks
(SEE BELOW)
Collectable Prizes and
Giveaways
Daily Lunch
(SEE ABOVE)
Swag Bag on
Arrival
myRecordFantasy T-Shirt
myRecordFantasy
Cap
myRecordFantasy Commemorative Picture
Frame
myRecordFantasy Shot Glass
myRecordFantasy Coffee
Mug
Daily Dinner
Evening
Activities
Pre-Release CD
Autographed
Photo
Photo with artist
myRecordFantasy Laminate
Pass
myRecordFantasy DVD Highlight
Video
Autographed DVD upon Release
Free Copies of Album"

~PHEW~

I have a question.

Is this the only way our fearless leader, legendary singer-songwriter, famed producer, pioneering video artist, and one of the greatest voices in pop music, Todd Rundgren, can get an album made and released?

Like Robert Johnson, Todd made his own deal with the devil in order to get his last record "Arena" released. It included delivering this upcoming blues tribute. He basically could not get distribution for one without completing the other. Now, this genius and innovator has to play organ-grinder monkey, surrounded by distractions, while creating his art?

"Rundgren will be recording a new 15-track album."

Does this mean he's got 15 new songs already in the can? Or is this what he is supposed to have written by January of 2011? Hopefully, it's the former and not the amazing race possibility of the latter.

Of course, I could be wrong here. Rundgren may be thrilled by the challenge of all of this, in which case we should just sit back and have faith in this wizard we have been loyal to for so many years. I'd like to see the good in all of this.

Sunday Night Covers #4: Rickie Lee Jones Does Roger McGuinn (& Jacques Levy)

CHESTNUT MARE

Elvis Costello's National Ransom

FROM ELVIS COSTELLO.COM



Elvis Costello's National Ransom Set For Release October 25th International & November 2nd U.S.A
From Hear Music/Concord Music Group;
Produced By T Bone Burnett

All members of The Imposters and The Sugarcanes feature in a wide variety of groovy new combos with guests Vince Gill, Marc Ribot, Buddy Miller and Leon Russell

"Around the time the killing stopped on Wall St.
You couldn't hold me, baby, with anything but contempt"

The record is led off by the loud electric guitar of Marc Ribot in the left channel and the lap-steel of Jerry Douglas in the right channel. Steve Nieve enters on the Vox Continental organ, while the rhythm section consists of Dennis Crouch on double bass and Pete Thomas on drums. National Ransom (Hear Music/Concord Music Group) is the name of the album and also a rock and roll song, "For the bankrupt times, whenever they may be," as Costello recently described it.

National Ransom, recorded in a total of eleven days at Sound Emporium, Nashville and Village Recorders, Los Angeles was produced by T Bone Burnett and engineered and mixed by Michael Piersante at Electromagetic, Los Angeles.

All of these songs are newly composed by Costello with the exception of "I Lost You," co-written with Jim Lauderdale and "All These Strangers," for which Costello and T Bone Burnett collaborated on the lyrics. Costello and Burnett also provide the lyrics for "My Lovely Jezebel," a Leon Russell rock and roll tune and he leads Thomas/Crouch/Ribot combo from the piano.

"Loose change lonely, not the right amount"

The album’s second track, "Jimmie Standing In The Rain," recalls the misfortunes of a cowboy singer playing the northern English musical halls in 1937. The music owes a little something to that time. The ensemble for this song includes: the acoustic guitar of Marc Ribot, violinist Stuart Duncan, Dennis Crouch on double bass and The Sugarcanes' accordionist Jeff Taylor playing piano. Darrell Leonard adds the trumpet commentary.

"Farewell my little ballyhooo, you broke my heart in two"

"A Slow Drag With Josephine" described by Costello as "rock and roll, as it sounded in 1921" has been a highlight of recent Costello live shows. Mandolinist, Mike Compton sings the close vocal harmony. On "Five Small Words," The Imposters rhythm section – Davey Faragher and Pete Thomas – combine with the twin electric guitars of The Coward Brothers. Howard Coward also plays Farfisa organ, while Mike Compton once again provides the vocal harmony.

“The water came up to the eaves
You’d think that someone had opened a valve
It’s too soon to stay now and too late to leave
So spare your remorse all the way up to Calvary”

“Stations Of The Cross” – in which disasters are regarded from a safe and depraved distance and “Church Underground” – tracing the life of a nightclub singer from obscurity through infamy to a harsh final redemption - are arranged around Steve Nieve’s grand piano with Stuart Duncan’s electric violin or viola, Jerry Douglas' lap-steel and the Crouch/Thomas rhythm section. The latter song also features a four-piece section of flugel horn, trombones and baritone saxophone, arranged by Darrell Leonard.

"Turn up the music just to turn it down.
The trivial secrets buried with the profound"

Despite the presence of lap-steel, mandolin, dobro and fiddle throughout the record, the music probably owes more to the rhythms and harmonies of R&B, or even Gospel music, than to Bluegrass. Vince Gill adds a beautiful vocal harmony part to the chorus of a string-band tune, "Dr. Watson, I Presume," on which the Sugarcanes full instrumental line-up is heard together with Pete Thomas, Marc Ribot and the baritone guitar of Buddy Miller, who also sings on the title cut.

The ballad accompaniments range from a single acoustic guitar and double bass on "Bullets For The New-Born King" - a song in the voice of a regretful assassin - to a hushed 21-piece ensemble for, "You Hung The Moon" - a song about a séance held in 1919 as a family struggle with the loss of a soldier executed for desertion in the First World War.

"Lower the hood on his last lament, dash him down on the cold cement"

"One Bell Ringing," in which a man has dreams of his own interrogation and demise is set in 2007. The song hears Costello's finger-picked guitar and Dennis Crouch's double bass augmented by singer's own arrangement for bass trumpet, alto flute and bass clarinet.

Asked if National Ransom’s songs and their characters were set in specific times and places, Costello said, "Yes but I'd be happy if you imagine them any time you want."

Tony Millionaire once again provides the ink illustration for the cover.

National Ransom Track List
1. National Ransom
2. Jimmie Standing in the Rain
3. Stations of the Cross
4. A Slow Drag With Josephine
5. Five Small Words
6. Church Underground
7. You Hung the Moon
8. Bullets for the New-Born King
9. I Lost You
10. Dr Watson, I Presume
11. One Bell Ringing
12. The Spell That You Cast
13. That's Not The Part of Him You're Leaving
14. My Lovely Jezebel
15. All These Strangers