The Beatles Are Not Overrated. The Hold Steady Are.

Just what we need, another Beatles post. But...wait! Hear me out.

A friend on Facebook posted the following:

"List 15 Beatles songs that particularly move you."

She also said this:

"OK - this one was a little difficult for me since I'm not a huge fan of the Beatles."

Impulsively, moved by the word "move," I started to think of the heavy shit. "For No One" came to mind 6 out of the 15 times I tried to comply. But, I realized, thanks to the first comment on that Facebook page...

"You like the pretty songs!"

...that, being "moved," didn't necessarily mean, moved to tears. So, my mind raced a bit more. First thought from racing mind: "And Your Bird Can Sing." Man, everything about that song moves me. Next thought: it would be more difficult to come up with 15 Beatles' songs that didn't move me.

Anytime anyone comments about not being a "huge fan" of The Beatles, or as one person once said, "They were completely overrated," my body stops working, as if a bucket of water was thrown into my electrical works. When I look at such legendary artists as The Stones, The Who, The Beach Boys, Jimi Hendrix, Bruce Springsteen, etc., artists I absolutely lurve, I understand comments like "not a huge fan," or "overrated." I don't agree, but I get it. The Beatles, though? That's like saying, "I don't like oxygen."


That being said, I thought I'd offer my list of least favorite Beatles' moments. For years, when asked what Beatles' song I liked the least, my answer would always be "Get Back." What I heard was muddy production, no patented harmonies, and silly lyrics. I got over it.


I'm not including snippets such as "Dig It," "Her Majesty," or "Wild Honey Pie." They come and go too quickly to get all twitchy. I've also paid no mind to "Revolution 9." It was a one shot deal. These are songs that, though I've never hit "skip" on my CD player or iPod, or lifted the tone-arm off of my turntable, I don't need to hear again...except when they come on, of course.



15 LEAST FAVORITE BEATLES' SONGS

15. Michelle
14. Run For Your Life
13. Misery
12. Matchbox
11. Yellow Submarine
10. P.S. I Love You
9. Flying
8. Maxwell's Silver Hammer
7. The Continuing Story Of Bungalow Bill
6. Octopus' Garden
5. Ob-La-di-Ob-La-Da
4. A Taste Of Honey
3. Don't Pass Me By
2. All Together Now
1. Good Night

BONUS TREATS

GET BACK (REHEARSAL)


FOR NO ONE (DEMO)

The Kit Kats

In honor of my finding a nice, mono copy of the Kit Kats album for $5.00 at the Ponderosa Stomp Record Hop last weekend, please enjoy these Philly popsters with a respectable cover of the Beach Boys' "You're So Good To Me."

If you don't know The Kit Kats, it's time you got acquainted. Here's a little of what AMG has to say:

The Kits Kats had several big hits in the Philadelphia area in the mid-to-late 1960s, and were also a very popular live attraction in their native region, but never broke out nationally, although a few of their singles nibbled at Billboard’s Hot Hundred.

Their harmonies were in a league with the Four Seasons, the Happenings, the Tokens, and, more distantly, the Zombies and the sunshine pop of the Beach Boys and the Association.

Although some of their recordings were pedestrian period pop, their best ones had an ambitious complexity, though their innocuous name and square, clean-cut image ensured that listeners of the time, and historical critics, have largely overlooked and undervalued their work.

And if you like this, when you're through here, go over to Power Pop HERE, and get a taste of two more, including the gorgeous single "That's The Way," which I'm still not convinced isn't Cher backed by Phil Spector's Wall Of Sound.



YOU'RE SO GOOD TO ME

If It's Tuesday, It Must Be Street Date: 9/28/10

THE POSIES- BLOOD/CANDY

Seattle's kings of power pop are back with their first release since 2005's "Every Kind Of Light," and I am asking you to trust me when I say, "Blood/Candy" is one of the finest records of its kind, and the strongest release since the band's sophomore release "Dear 23."

Jon Auer and Ken Stringfellow have been making music, together and apart, since they were teenagers, and like some other well-known partners, Lennon/McCartney and Difford/Tilbrook, the boys seem to inspire each other and make the best music when they share a studio.

Unlike The Posies last two studio efforts, the aforementioned "Every Lind Of Light" and 1998's "Success," "Blood/Candy" sounds like a Posies' record, as opposed to individual solo tracks collected into one long player. The patented harmonies are here, there and everywhere. Stringfellow takes the lead on "Take Care Of Yourself" and "She's Coming Down Again," both lyrically powerful and rife with enough hooks to snag a whale. Jon Auer's sweet and perfect voice takes the lead on "So Caroline" and "Cleopatra Street," (with Stringfellow's high harmony on the latter), two more songs with melodies so mellifluous, you'll find yourself grinning like a mental patient.

I strongly advise picking this record up NOW if you have ever listened to Big Star, The Beatles, The Hollies and The Beach Boys. You shouldn't be sorry.

BUY IT--->http://www.amazon.com/Blood-Candy-Posies/dp/B003XF10IK/ref=sr_1_47?ie=UTF8&s=music&qid=1285674006&sr=1-47







DAVID BOWIE- STATION TO STATION (DELUXE EDITION)

Simply put, this is my favorite David Bowie album. I've been waiting for a deluxe upgrade for years and well...here it is.

Coming off the very uneven...and I'm being very polite...plastic soul of "Young Americans" and right before the dark days he spent in Berlin recording the trilogy of records many feel is Bowie's finest hour, "Low," "Heroes," and "Lodger," the "Thin White Duke" delivered 1976's "Station To Station," a 6 song affair that improved greatly on the soul music he faked on "Young Americans," while adding the white noise vibe that dominated the aformentioned trilogy. Few records before or since, sound like "Station To Station."

The record did spawn hit singles in both "Golden Years" and TVC 15," two fine songs, but ironically my least favorites on the record. The epic title track, "Stay," a funk workout with a classic Earl Slick guitar solo, and two of Bowie's most moving vocals, the confessional "Word On A Wing" and a beautiful cover of the 50's standard "Wild Is The Wind" make up the bulk of this masterwork.

The Deluxe Edition has been remastered and now includes an additonal 2 CDs, which features the oft-bootlegged live performance from NYC's Nassau Coliseum in February of '76. An even deluxier edition, which lists at $165.00, has more crap that you really don't need.

BUY IT--->http://www.amazon.com/Station-Deluxe-5CD-DVD-3LP/dp/B003UTUQ3O/ref=sr_1_1?ie=UTF8&qid=1285674105&sr=1-1












NEIL YOUNG- LE NOISE

Here we go again. As my friend, a Neil Young devotee put it, "Poor Daniel Lanois gets to work with one of the greatest of all time, and he shows up and says, 'Okay, here are my ideas..."

"Le Noise" is nothing. It's 38 minutes of demos and they are not very good, and if any of you Neil Young fans want to fight about it, you know where to find me.

BUY IT--->http://www.amazon.com/Noise-Neil-Young/dp/B003ZBJ0ZM/ref=sr_1_1?ie=UTF8&s=music&qid=1285675337&sr=1-1







ERIC CLAPTON- CLAPTON

Fine new release from one of the most exciting rockers to come along in ages.

BUY IT--->http://www.amazon.com/Clapton-Eric/dp/B003XMUFGQ/ref=sr_1_1?ie=UTF8&s=music&qid=1285675411&sr=1-1






RON WOOD-I FEEL LIKE PLAYING

Ronnie Wood's voice sounded weathered 30 years ago, but it had soul and charm. It's gotten weaker and a bit more gnarly, but it hasn't lost that soul, or that charm, and on his new release, he uses it well.

"I Feel Like Playing" is a wonderful new collection of originals that has the all of the qualities you would hope for in a Ron Wood record. Dare I say it, this is the great Stones' record we have been wanting since "Some Girls."

Like Wood's earlier solo albums, "I've Got My Own Album To Do" and "Now Look," this collection offers a bit of everything that has inspired its writer---rock, blues, reggae and soul. Guest appearances from Slash, Flea, Billy Gibbons, and Eddie Vedder do not get in the way.

BUY IT--->http://www.amazon.com/Feel-Like-Playing-Ronnie-Wood/dp/B003YOXIMQ/ref=sr_1_1?ie=UTF8&qid=1285675750&sr=1-1







PHIL COLLINS- GOING BACK

I know I'm supposed to hate this record, but I don't. I'm not saying you should run out and buy it, but it wasn't a bad listen. The material---Motown hits and a few other songs from that era---is great, and Collins, who assembled a soundalike orchestra with some of the musicians who played on the originals, does a better than okay job at singing the songs. If nothing else, it was a lot more fun than either the Clapton or the Neil.

BUY IT--->http://www.amazon.com/Going-Back-Phil-Collins/dp/B003HC8I5M/ref=sr_1_1?ie=UTF8&s=music&qid=1285675971&sr=1-1


ALSO OUT THIS WEEK

KENNEY CHESNEY- HEMINGWAY'S WHISKEY
http://www.amazon.com/Hemingways-Whiskey-Kenny-Chesney/dp/B003TO58YC/ref=sr_1_3?ie=UTF8&s=music&qid=1285676560&sr=1-3

SOUNDGARDEN- TELEPHANTASM
http://www.amazon.com/Telephantasm-2-CD-1-DVD/dp/B003Y3BMFW/ref=sr_1_6?ie=UTF8&s=music&qid=1285676560&sr=1-6

DOOBIE BROTHERS- WORLD GONE CRAZY
http://www.amazon.com/World-Gone-Crazy-Deluxe-Version/dp/B003YBNRHU/ref=sr_1_12?ie=UTF8&s=music&qid=1285676560&sr=1-12

SEAL- 6:COMMITMENT
http://www.amazon.com/6-Commitment-Seal/dp/B003TO5MTI/ref=sr_1_15?ie=UTF8&s=music&qid=1285676677&sr=1-15

BEN FOLDS & NICK HORNBY- LONELY AVENUE
http://www.amazon.com/Lonely-Avenue-Ben-Folds/dp/B003SS9DPY/ref=sr_1_19?ie=UTF8&s=music&qid=1285676677&sr=1-19

GIN BLOSSOMS- NO CHOCOLATE CAKE
http://www.amazon.com/No-Chocolate-Cake-Gin-Blossoms/dp/B003VL3UVQ/ref=sr_1_26?ie=UTF8&s=music&qid=1285676769&sr=1-26

PETE YAWN- PETE YAWN
http://www.amazon.com/Pete-Yorn/dp/B003YKVGK6/ref=sr_1_27?ie=UTF8&s=music&qid=1285676769&sr=1-27

Stompin' At The Ponderosa Stomp, 2010

Night two of the 9th annual Ponderosa Stomp was a well-oiled machine, with Lil' Buck & The Top Cats holding court behind a number of the unsung heroes of rock and roll. I got there in time to see Lazy Lester blow some harmonica, though it was Buck's guitar playing that really impressed during that set. Next up was Roy Head, who pulled out "Treat Her Right" twice in his six song set. (Not bad for a record that sold "about 20 copies.")








Up next, or so the crowd thought, was Barbara Lynn from Beaumont, Texas. This woman never fails to ignite the room. I've seen her a number of times and she has stolen the show each time. But, there was a slight delay, as "Dr. Ike," the Stomp's gracious organizer and MC made an announcement, something about a "surprise," and to "go get drinks," and how it will be "worth it."








And there she was! Ronnie Spector had been announced as a speaker during one of the conferences, and I'm sure most thought it seemed odd to make this trip just to talk for 45 minutes. But, even with the possibility of a performance in everyone's mind, this announcement rocked the house. It was perfect! She didn't take the spotlight from Barbara Lynn. She belted "Baby, I Love You" and "Be My Baby," sounded great, thanked everyone, and left. She only returned for an impromptu birthday duet with Miss Lynn, since it was Dr. Ike's birthday weekend.














It was Barbara Lynn's turn and she raised the level of this room to new heights. Opening with "Oh Baby! We Got A Good Thing Going," and playing her strat with the intensity of teenager, Miss Lynn's 40 minute set, which included of course, a beautiful reading of "You'll Lose A Good Thing" and a blistering finale of "What'd I Say," was, as they say, worth the price of admission.

THEN



NOW












Next up, Miss Sugar Pie DeSanto, someone I've loved since I first heard "In The Basement, Part 1" many years ago. I always thought Sugar Pie was a cousin of Etta James, but it turns out they were close friends, "sisters," if you will.

I wasn't sure what to expect here. DeSanto was a small woman in 1962, and she seemed even smaller now. Known for her outrageous stage antics which included back flips and some stage banter that would make Redd Foxx blush, DeSanto said in a recent interview, "I'm still feisty." Great article by Geraldine Wyckoff can be found HERE.

Sugar Pie took the stage and the packed house stood, mouths agape, as this diminutive woman, now sporting a long mane of white hair, pretty much went nuts! She kicked off her shoes, another one of her early stage moves, and started to shimmy and shake through "In The Basement," "Soulful Dress," "Rock Me Baby," and Baby, What You Want Me To Do." She pulled some guy up from the audience, jumped into his arms, and wrapped her little legs around his waist, as they slow danced for about 10 seconds. She barked...with a wink...at the band, "This is my show. I don't do what you want me to do. I do what I want to do." She leapt into the crowd and hung from the bannister of the small staircase at the House Of Blues, and pretty much did exactly what she had been doing almost 50 years ago. This woman was feisty, all right.


THEN




NOW




















By now, I had seen enough and though I would have liked to see Duane Eddy, he was still 2 hours or so from taking the stage, and I knew if I left at this point, the memory of the 9th Annual Ponderosa Stomp would be more than adequate.

Another year and another wonderful event from Ira "Dr. Ike" Padnos.

Hey Ike, how about a Nazz reunion next year?

Paul Sanchez, Or How I Should Stop Worrying (Yeah, Right) And Enjoy Life

Paul Sanchez makes you feel good. And it's not like this guy has had an easy go of it. There was of course, a little storm that left him homeless, as well as some recent health issues which led to surgery not too many months ago, and still the man effortlessly spreads positive thoughts to all in his presence. He made me feel good, and as some of you know, that is no easy task.


Last night at Chickie Wah Wah, Mr. Sanchez spread that joy, as he does most Fridays at this warm, little club on the far end of Canal Street in New Orleans, with a 2 hour set of music that felt like a private party for 100 friends. The mood began on a perfect note, as he greeted me with a hug just seconds before taking the stage, where during the course of the night, dedicated not one, but two songs to yours truly.



Joined by Alex McMurray and Matt Perrine, on guitar and sousaphone respectively, and two thirds of New Orleans' Tin Men, this trio created a sound that can...and I offer no apologies for using this somewhat hackneyed phrase...only be found in New Orleans.

While it was Sanchez' show, with a healthy does of original songs from his solo records, as well as a few from his collaborations with John Boutte and Shamarr Allen, he generously handed the mic over to Alex McMurray, who is not only one of America's finest songwriters---his 2009 release "How To Be A Cannonball" made my year end best list---but, as Paul put it, "a stupid guitar player." McMurray seamlessly showed off his fretwork, often sounding like Tal Farlow, occasionally like Marc Ribot, and always melodic through the ever-changing styles of this band's repertoire.

Some of the more-inspired covers of the night included Paul Simon's "American Tune," Cat Stevens' "Father & Son," and of course, "If I Only Had A Brain," all of which had that New Orleans intangible that makes this town and these musicians so special.



As for Matt Perrine, words will not do justice to what this man can do on the sousaphone. I'm sure there are more skeptics than believers, but this isn't some oompah fest. Perrine has mastered this instrument, often moving his body with the music, creating the illusion that he is bending the notes as if playing guitar. And, nowhere else on Earth, will you get a medley of the "Mexican Hat Dance" into the "Washington Post March." Perrine is beyond belief.

My plan was to report on the Ponderosa Stomp, and I still will. But right now, this is what I'm still thinking about.

Look these guys up and buy the records. You won't be sorry.

Jon Cleary : All By Himself

Of the dozen or so times I was able to catch Jon Cleary perform live, he was always accompanied by the Absolute Monster Gentlemen, his badass band that could play Meters' inspired funk and R&B so dirty, you'd need a Silkwood bath to feel like yourself again. So, last night's solo performance at one of New Orleans' most popular and most annoying venues, D.B.A., was a special occasion.

Starting promptly at 7PM, Jon Cleary went to work with a repertoire of old New Orleans' classics, starting with Professor Longhair's "Tipitina," and continuing with some faves such as "Lipstick Traces," "Those Lonely, Lonely Nights," as well as some truly inspired versions of standards that James Booker used to play on a regular basis, "Until The Real Thing Comes Along" and "On The Sunny Side Of The Street," to name but two.

The vibe was where it needed to be, and Cleary who has recently been playing in much bigger venues, touring with Bonnie Raitt and John Scofield, seemed to feel right at home in this tiny room. This makes sense since this is exactly how Cleary got started when first coming to New Orleans from the U.K., filling in for Booker at the Maple Leaf.



As usual, I am perplexed by the amount of people who need to speak...loudly...about things such as potato salad, airlines, their kids' school grades and a relative who has just been put into a nursing home, all while the performer, who they presumably came to hear, tries to drown THEM out. Admission was free, with Cleary playing for tips, yet I still don't see that as a reason to talk as if the performer was bothering you.

What makes this more than minor offense even more of a bloodboiler is that the venue is split in half, with one side set up for music and the other set up for drinking and socializing, replete with a big screen T.V., tuned to your favorite sporting event. You could just walk ten feet to your right and blab away to your heart's content if the music gets in your way.

Rarely, if ever, have I been in that room where the crowd respected the performer. John Boutte, the New Orleans treasure whose Saturday residency at D.B.A. is one of the clubs most popular events, is repeatedly saddled with this type of behavior. The difference is that John will tell you to shut up, while Cleary just played along.

People come from all over the world to the great city of New Orleans, specifically to see these artists. How difficult would it be to just keep quiet for an hour or so while they did their thing?

Good Morning From Downtown New Orleans

"Can I get a Maker's on the rocks?"

"We're out of Maker's."

"How about a Wild Turkey on the rocks?"

"Um..we're out of Wild Turkey."

"Hmmm...what kind of bourbon do you have?"

"Southern Comfort."


Landed in New Orleans last night for the Ponderosa Stomp, the annual gathering of unsung heroes of rock, soul, country, blues and more.

Performances this year will include The Trashmen, Sugar Pie DeSanto, Duane Eddy, Barbara Lynn, LaLa Brooks, Roy Loney & Cyril Jordan, Thee Midnighters, Young Jessie, Lazy Lester and more.

There is also a film festival, with a sneak preview of "The Bayou Maharajah," Lily Keber's documentary on James Booker, as well as the usual activities that take place on a nightly basis in this great city, including a solo performance by Jon Cleary and last night's very hot performance by America's premier sousaphone, washboard, guitar trio, the Tin Men.

Posting will be sporadic, but I will get up photos and reviews when I can.

Live From Daryl's House, Volume Three: Sharon Jones

I won't have access to my HD for the next few days, so Friday's "Weekend Mix" comes a bit early...and it's a good one.

Now showing over at Live From Daryl's House is this month's episode featuring everyone's favorite, Miss Sharon Jones.

I guarantee you will get more out of this if you go over there and watch it. After you do, you'll want the audio, so here it is.

TRACK LIST

100 DAYS
TELL ME
IT'S UNCANNY
I LEARNED THE HARD WAY
HOT FUN IN THE SUMMERTIME
DO WHAT YOU WANT, BE WHAT YOU ARE
GOT A THING ON MY MIND


the zip

It's All Part Of My Rock & Roll Fantasy

There were many comments on last week's Clapton post that got me thinking further about the subject of artists no longer living up to the expectations of the fans.

Here are some of them.

"Simply because these people are not living up to your standards doesn't mean they should head to the old folks home."

"I used to be a big Clapton fan, but he seems to be on a certain level of auto-pilot and now just feels the need to keep going back to the well. His inspiration (other than the already mentioned Robert Johnson album) seems long gone and he just keeps putting out variations on the same mediocre album."

"After a couple of decades on the job, do we still come to work with the wild eyed enthusiasm of the "new kid"?"

"One of the upcoming albums I'm looking forward to hearing is the Elton John/Leon Russell disk. I think more of those old-timers should probably do things like that more often. Maybe a Clapton/Beck album would kick a bit more ass on both sides?"


"I don't think any of these people (except Neil, who has a perverse streak) puts out a record as a fuck you to fans or record companies; but I do think their ear, their ability to find the magic, to be in sync with the times, is almost impossible to sustain."


Taking the last comment first, I don't think fans are necessarily looking for their favorite artists to duplicate the magic of yesteryear. The fans don't always need magic. They just don't want to feel abandoned. When an artist releases a soul crushing series of music over the course of 20 years, vaguely reminiscent of the music that built his fan base in the first place, who is he really playing for? If it's only about himself, then why should we care?

Robert Plant, Johnny Cash, Mavis Staples, Solomon Burke and Bettye Lavette, for starters, hooked up with the right producer, someone who also offered advice on material, and the results were as close to magic as it could get. All of these records, even if you don't love them as much as I do, were at least fresh and somewhat inspiring to other artists who have gone on to do the same, though admittedly, not all with the same magical results.

It seems as if Eric Clapton has been releasing the same records for too many years. And it is NOT as if they have been critically acclaimed, or fan favorites. Maybe he has been coming to the same job for too long.

As long as I'm shooting my mouth off about what Clapton should be doing, I thought I'd share this list.

In no particular order, here's a list of some fantasy projects I'd love to see. They must all be possible, if not probable, so dead people can't be involved.


1. Bill Withers with Joe Henry or Rick Rubin producing, an acoustic soul record with no gimmicks. (Though, some may think having Rick Rubin on board is a gimmick.

2. David Bowie dumps Tony Visconti as a producer, and strips everything down for a new record. Visconti and Bowie have been long time collaborators, and I happen to really like the last few Bowie records, especially "Heathen" and "Reality." But, I often wonder how much better those records would be if every inch of tape hadn't been utitlized. Visconti's production is so bombastic, it's hard to discern what's being played by which instrument.

3. The Jules Shear/Marshall Crenshaw record. In the early 90's these two wrote together and played a few rare live dates together. This really was magic. Their voices had an Everlys quality that worked perfectly over their pop tunes.

4. Speaking of duets, how about the Daryl Hall/Todd Rundgren record? Todd's appearance on Daryl's internet program, Live From Daryl's House was the perfect preview of the magic these two can make when in the same room.

5. A Paul McCartney acoustic/ballads record. When looking at the track lists of his last 10 records, it was all the rockers that sucked and all the piano or acoustic based mid-tempo songs that moved me.

6. Speaking of Macca, how about that McCartney/McManus record? Paul and Elvis already have a dozen demos in the can. And they are really good, so...

7. As a new Facebook friend from New Orleans just said, "When I die, don't let Don Was touch any of my records." Huzzah! How about Mick & Keith and Charlie and Darryl, if Bill won't do it, and maybe Mick T. along with Ronnie, just make a country/rock record with no outside producer and no special guests or female vocalists.

8. Roy Wood backed by Cheap Trick. They've covered Roy enough, and Roy's voice can still make you weep. But he needs to ditch the all-girl horn section, and really get the comeback on track.

9. Dwight Twilley backed by Tom Petty & The Heartbreakers. RIGHT? It's time for all involved to make this record.

10. Sadly, after all this, I can't find placement for Eric Clapton. Maybe that's it. Maybe he can't either. Maybe he's as bored as we are. I mean, collaborations with Babyface, Sheryl Crow, and Timbaland could suck the life out of anyone. This picture alone is making me yawn.

Todd On Monday : A Personal Anniversary, So Please Indulge Me

It seems that today's post has written itself.

I was putting away some towels in a linen closet that mostly houses old cassettes, videos, books and other crap not made of linen. As I shoved the towels onto the top shelf, some cassettes fell into my face. One of them was my band, Pep In The Cat, live at the Bitter End, dated 9/20/85. Really and truly, honest to goodness.




I had no idea I owned this music. I shipped it out to our fearless leader, singer and keyboard player and he converted the files and shipped them (via e-mail, of course) right back to me.

I'm pretty sure this cover of Todd Rundgren's "A Dream Goes On Forever" was the one and only time we performed it. How perfect that it comes hot on the heels of Todd's triumphant performances of the entire "Todd" album, as well as "Healing," this past week in Philly and Jersey, and more importantly, that it should fall into my cheek and cut skin on its 25th anniversary.

There is a tape flip, so forgive the gap, and of course, forgive anything that may not sound like Todd Rundgren.

I've also included Todd's version from last week's show at the Keswick Theatre in Glenside, PA. so you can see just what he stole from us. (ahem)

A DREAM GOES ON FOREVER (PITC)


A DREAM GOES ON FOREVER (TODD)

Sunday Night Covers #8: Beagle Does Edison Lighthouse

That's right. Beagle does Edison Lighthouse.



LOVE GROWS (WHERE MY ROSEMARY GOES)

"Eric Clapton. Just Sayin'..." : THE WEEKEND MIX

So how 'bout that Clapton post, eh? I was coddled and compared to a Nazi both in one day. The latter comment was wisely set aside for future use.

In the meantime, here are some of my very favorite Eric Clapton moments. I didn't bother with Cream, because...well...that's too easy.

The selections here are not just about the guitar playing, but the overall vibe, something that seems to gnaw at me more than a lot of you, when talking about "God's" latter day output.

The three tracks I've included from "Me & Mr. Johnson" are NOT from the CD, but from the bonus DVD of the band live in the studio, which to me is a perfect example of what E.C. can do when he's not thinking and just letting her rip. "Little Queen Of Spades" is hot shit.

The Bluesbreakers track is a b-side and is really what Clapton is all about, no?

The version of "I Shot The Sheriff" is from a 2004 Madison Square Garden appearance, a performance I tried to get my friend to accompany me to, but instead, got a bored harrumph. (Do you blame him?) This is one of the solos he missed and admitted regretting, when I sent him the track.

Two George Harrison tracks, one from the "Concert For George," the other from a Japanese show in September of 2009.

You know The Yardbirds.

The Beck/Clapton duet is from "Crossroads."

The Buddy Guy/Clapton duet is from the outstanding "Concert For New York" in 2001.

TRACK LIST

I Ain't Got You
Telephone Blues
Hoochie Coochie Man
Hell Hound On My Trail
Little Queen Of Spades
Love In Vain (Take 2)
Isn't It A Pity
Cause We've Ended As Lovers
Something
I Shot The Sheriff

ZIP FILE

The Last Ride

Audio gets better after I realized my thumb was blocking the mic.

(May cause motion sickness)

Todd Rundgren: "Todd/Healing" Finale in Jersey

As he did last year with "A Wizard/A True Star," Todd Rundgren listened to his fans and performed this year's requested albums, "Todd" from 1974 and 1981's "Healing," back to back, in their entirety, for five shows, with the finale being last night in Morristown, New Jersey.

Words fail me, actually. It was a performance that lacked nothing. Rundgren's voice and guitar playing evoked his classic performances of the seventies, when he wore his heart on his sleeve and gave all he had to give. This was one very special night.