It's been a while since I've done a Todd Rundgren post on a Monday. This time, I was inspired by trawling through the library in search of inspiration. I kept stumbling over these odd tracks that I hadn't heard in some time, as well some songs that some of you may not have heard at all. Let's see if you enjoy these as much as I did.
NOT TONIGHT- THE NEW CARS
If you look up "ill-fated" in the dictionary, you will find a picture of The New Cars. The idea was ridiculous, no matter how much of a fan you might be of those involved--Todd Rundgren and Kasim Sulton replacing Ric Ocasek and the late Benjamin Orr for a tour, that had more cancellations than performances. Still, this first single is a killer.
SOMEDAY WE'LL KNOW- HALL, OATES & RUNDGREN
Written by Gregg Alexander, who was the New Radicals, and whose only record was full of the essence of Todd Rundgren, "Someday We'll Know" is another tune that should have been a hit. This version here is performed by Hall & Oates with Todd Rundgren. All involved deliver in spades.
WEAKNESS- CITY WINERY, 4/17/09
A song from Todd's 2008 release "Arena." Met with mixed feelings at the start, this record has gotten better with each listen, and this song in particular ranks among the best of Todd's career. This video was shot by me incidentally, which is why I chose to include this version. A+ performance, with B- audio and video. Sorry, but I never professed to be Michael Ritchie.
AFTERLIFE
2005's critically acclaimed "Liars" sits atop of my all-time list of Rundgren albums. I know some who can't get beyond the electronics to notice the strength of the songwriting and Rundgren's vocals, which are some of his strongest to date. Most of the time, I do prefer something organic. Real drums over drum machines anyday. But "Liars" worked for me on every level. "God Said" and "Living" are the two I gravitate to most often, but this beautiful ballad got me this weekend.
PRETENDING TO CARE- 2005
"Today I am your chariot horse. Tomorrow I'm your albatross."
JEEZ!
Ballads don't come more gorgeous than this, and this version, recorded live, 20 years after the original was for "A Cappella," could be definitive.
JUST ONE VICTORY- 1978
The "Utopian National Anthem" from a 1978 performance in Cleveland, I believe. Someone recently said on these pages, "If you can hear them sing, 'We may be losing now, but we can't stop trying,' without the hair on the back of your neck standing on end, you are officially not human." That's sort of how I feel about this. Heard the studio version from "A Wizard/A True Star" earlier this week while sitting in a friend's car, and it was like hearing it the very first time.
THE WANT OF A NAIL- PRESS RELEASE
A great song and a great video. Joyous, energetic and triumphant. Also includes one of my very favorite exchanges:
Interviewer: What do you have to say about this auspicious occasion?
Come November, the "Quiet Beatle" will have been dead ten years. Crazy, though not as crazy and unacceptable as John Lennon being dead for 30. Also dead, Elvis for 34 years. Somehow that doesn't seem strange or even remotely as fucked up to me. Perspective has an important role here.
When Lennon was killed, Elvis had only been dead 3 years. Did we think that then? I can't remember. I feel like Elvis has been dead forever, yet I still forget occasionally that John Lennon isn't just hanging out somewhere in Central Park. I don't know if I have a point beyond missing John and George. So for today, with what would have been Mr. Harrison's 68th birthday, please enjoy some music.
TRACKLIST
Here Comes The Sun- Paul Simon & George Harrison
(Live on SNL.)
Take Good Care Of My Baby-The Beatles
(Decca Audition)
Don't Bother Me- The Beatles
(Alternate Take)
My Sweet Lord- George Harrison
(Early Acetate--dig that rubberbandy bass)
It Don't Come Easy- George Harrison
(George's demo for Ringo)
Don't Let Me Wait Too Long- George Harrison
(pop brilliance from 'Living In The Material World')
Homeward Bound- Paul Simon & George Harrison
(Live on SNL)
Stuck Inside A Cloud- George Harrison
(telling first single from the wonderful last release "Brainwashed")
Try Some, Buy Some- David Bowie
(Harrison cover from "Reality.")
Far East Man- Ronnie Wood
(Harrison cover from "I've Got My Own Album To Do")
Mama, You've Been On My Mind- George Harrison
(Dylan cover from the "Let It Be" sessions)
Maxine- Traveling Wilburys
(unreleased track, or at least I think so)
All I Have To Is Dream- Bob Dylan & George Harrison
(sessions from Woodstock, 1968)
While My Guitar Gently Weeps- Todd Rundgren
(from "Songs In The Material World: A Tribute To George Harrison")
What Is Life - George Harrison
(Early acetate)
Absolutely Sweet Marie- George Harrison
(Live from the Bob Dylan 30th Anniversary concert)
About "Something"- George Harrison
(George speaks)
Something- Paul McCartney & Eric Clapton
(Live from the "Concert For George")
Here's what AMG had to say about "Camera Obscura," the album from which this little gem comes from.
"Paul Melancon has managed to pull off something rather extraordinary with the aptly titled Camera Obscura. Indeed, he offers listeners a series of pop music snapshots, each having a unique allusion to something that is not at all obvious to the naked ear. As enjoyable as this record is as background or driving ambience, you really need to listen closely and thoughtfully to get the full scope of Melancon's talent and really understand the twists and turns of his characters and stories. You see, the running theme of this particular work is a fictitious California amusement park and the star-crossed lovers therein. Again, you really need to pay attention here, lest the indelible melodies fool you into thinking there's a happy ending awaiting your arrival. And how "Jeff Lynne" fits into the scheme of things is yours for the figuring. As far as the songwriting goes, Michael Penn and Neil Finn are the closest approximations, just to give you a ballpark reference, though sonically Melancon has something slightly different going on. It's impossible to set the parameters of his sound and work, but it will remind you of something somewhere that was pleasant. Atlanta has had the privilege of enjoying Melancon's previous work. Thank goodness Amy Ray and her Daemon Records saw fit to share this one with everyone else."
I've had this track for some time as part of a power pop compilation. But now I think I may have to dig deeper and check out "Camera Obscura," since he also covers "You're So Good To Me," a Beach Boys' song that never stops giving.
Gaga's got her "Little Monsters," Justin his "Beliebers," but I have just experienced first hand insanity from some I'd like to call "Radioheadcases."
My Radiohead review is not going over well at The Huffington Post. I expected a bit of a backlash, but jeezaloo!
Many commenters just chalked it up to my "conservative" taste in music. Some said that I should just listen to pop music. A few said I was "missing out." One person said I took a "cheap shot" at Radiohead. I don't think that even makes sense, especially since she was defending the band.
I like this one the best.
"I never understand how people like this reviewer can call themselves music fans. He sounds like a generic Sinatra fan in the 1960's complaining about the noise and repetitive rhythm of that new rock and roll music. His inability to hear melody unless it comes in the obvious and recognizable verse-chorus form makes me sad for the limited amount of music he will experience. Everyone is entitled to an opinion, but why would I want to hear the opinion of someone with such a limited scope? Do I ask the regular at Mcdonalds which new restaurant to try out? It's not like these Radiohead albums are avant-garde or experimental considering the range of music made in the last 50 years. The whole "straining to find melody" comment is more embarrassing for him than it is a competent assessment of music. Radiohead's music has always been thoroughly melodically driven. Also, calling the musicians pretentious and then complaining about the arrangement when I'm unsure that the meaning of melody or arrangement is fully grasped by the writer makes me squirm. Usually the typical Radiohead argument comes in a related but more self-aware and honest form which says, "they used to rock but after The Bends they used electronic sounds that I don't like." Personally I think his brain has sabotaged his ears. Perhaps the reviewer would be more comfortable with the pop-vocal section of his local chain store for some safe music that doesn't get too textured."
I think he may be right. I am a "generic Sinatra fan in the 60s"
And I still think Radiohead is in need of a good talking to.
Do you ever feel like sometimes you are just not in on the joke? The way I loved Radiohead's "OK Computer" is not unlike having that best friend that you shadowed 24-7. The friend you wanted to do everything with, and go everywhere with. Then one day, he just wants no part of you. You ask him why, but he just laughs and makes you look the fool. (See "Hail To The Thief,""Amnesiac, "Kid A," and "In Rainbows.")
I admit there are moments on Radiohead's last release, "In Rainbows" that don't make me want to punch them, but I don't think I'd be unreasonable if I asked them, "What did I ever do to you? I was your friend."
Even more frustrating is the continued loyalty from both critics and fans over music, that for the last ten years has become less and less accessible, and more like some selfish experiments gone awry.
As one friend put it, when finding out Radiohead was about to release "The King Of Limbs": "I love the way they've made their own world and they live it in."
I agree and completely admire the band for doing what they want, both on the business end of matters and with the music. But what about that music?
"The King Of Limbs," continues to travel on that same convoluted path of blips, squeaks, textures, drones and gibberish that has made one of the great bands of all time seem more like a bunch of pretentious wankers taking the piss on everyone in their way.
I've listened to "King Of Limbs" three times, uninterrupted. And like each of the aformentioned post-"Ok Computer" records, I find myself straining to find melody, or something small to hang onto for any period of time. I want to love this record. Hell, I'd be happy to not mind this record. But again, Radiohead has handed us a collection of songs that sound like outtakes or b-sides.
Songs like "Bloom" and "Feral" are the type of nerve-shredders Brian Eno used to compose in his sleep, only underneath the random sounds of chaos, Eno also offered a melody, that on its own, would usually break your heart. I am also tired of the programmed drumming that sounds like a drunken Amtrak train. Even when the band stumbles onto something worthwhile like "Lotus Flower" or "Separator," the songs are immediately sabotaged by arrangements that draw more attention to the fact that just maybe this band has run out of songwriting gas.
And please, for all of you Radiohead fans who want to disagree with me, or show me a thing or two, or tell me what I'm not hearing, I ask that you please refrain from one thing. Find something other than the hackneyed "you're living in the past" excuse. I loved this band. There's nothing wrong with wanting songs on a new album.
"Dear Lord take the time. I believed your story, now you believe mine."
I've been wanting to do this for a long time.
This is not the "definitive" Thin Lizzy set. Nor is it a compilation of hits and rarities. My goal here is to highlight Phil Lynott, his brilliant wordplay, his often heartbreaking and confessional storytelling, his unique vocal phrasing, his ability to rock and have a good time, as well as the stellar musicians that formed one of my favorite bands of all time.
Thin Lizzy.
I chose these songs for various reasons. There are some obvious omissions, like say... "the hits." And I'm sure, even some die-hards will question my choices. But this is just a smattering of what I love.
Thin Lizzy too often get pigeonholed as a glam band, thanks to "The Boys Are Back In Town," or some metal has-beens. (My observation) Phil Lynott deserves more.
In a recent BBC documentary, "Bad Reputation," Bob Geldof refers to Thin Lizzy as the "academy of great guitarists." Starting with Eric Bell and continuing with Scott Gorham, Brian Robertson, Midge Ure, Snowy White, John Sykes and the recently departed Gary Moore, these players have consistently merged the fist-pumping fire and chops that make teenage boys want to play rock and roll, without ever abandoning a melody for the sake of showing off. With the exception of Gary Moore, these guys never get mentioned when talking about the great guitarists in rock and roll.
Some notes:
"Little Darling" is an early single that features Gary Moore, and is what I consider one of the most exciting rockers ever put to wax.
"Please Don't Leave Me" was a solo single released by John Sykes, a member of Lizzy in its final days, and of course, guitarist for Whitesnake. This is a better than average power ballad made special by Phil's vocals and Sykes' guitar solo.
"Don't Believe A Word" is a live BBC recording that combines both the slow version which found it's way onto Gary Moore's solo LP "Back On The Streets" and the fast version found on Lizzy's 1976 release, "Johnny The Fox."
"Hollywood" and "No One Told Him" is the 1-2 punch that begins Side Two of 1982's "Renegade" LP. These two songs have it all. Melody, harmony, and Lizzy's legendary guitar playing.
"The Sun Goes Down" is a live version from 1983, and what I think just may be "definitive" Thin Lizzy. Lynott's pleading, and the guitar work from both John Sykes and Scott Gorham say it all.
The version of "Still In Love With You" included here is an unedited and undoctored version of what ended up on "Live & Dangerous," a record with a storied history. It was Lizzy's biggest selling record, yet has the distinction of being "cleaned up" in the studio, more than the band members cared to admit. This song, which features my two favorite guitar solos of all time---THAT'S RIGHT---courtesy of Scott Gorham and Brian Robertson, includes the Scott Gorham "clam" that he insisted on fixing, which came about after Phil insisted on fixing some bass parts. Before all was said and done, everyone wanted to fix something. Leave it to the drummer, Brian Downey, to proclaim in the documentary, "Well, everything I played was live." Downey was that good, so I believe him.
"Hit me with that drum, Brian. Hit me as haaaard as you can!"
"Old Town," a single from Lynott's second solo LP, is a song that still tugs relentlessly at my heartstrings and a song that I think ties this all up nicely.
"This boy is cracking up. This boy has broken down."
TRACK LIST
Little Darling
Please Don't Leave Me
Rosalie
Old Flame
Don't Believe A Word (BBC)
Hollywood
No One Told Him
The Sun Goes Down (Live '83)
Having A Good Time
Borderline
Rockin' On The Stage w/ Roy Wood
Dear Lord
It's Getting Dangerous
Still In Love With You (Live 1978, Unedited)
Old Town
So I sing and play drums in this band. It's on again/off again, and right now we are on again. And it's good. We play covers, and one of my song suggestions was Paul McCartney's "Every Night" from his 1970 solo debut. I've loved this song since day one, and I occasionally fixate on it. Those "Wooo oooo oooo ooooos" make me weak. Lately, it's been bordering on obsession and I felt I just needed to sing and play it.
My bass player...or maybe I'm his drummer, but that's hardly the point...met my suggestion with a mighty cold, "Yeah, I'll do it. But I don't like that song."
"Fwaaa....wha...you...whaaa?!"
This is nothing new. He and I had a similar reaction when our guitar player suggested the Stray Cats' "Rumble In Brighton." (Or, "Stray Cat Strut." Or, "The Knife Feels Sharp Like Cheddar." Or some frigging thing.) And the guitar player and I usually harmonize eye-rolling whenever our bass player suggests some soul/gospel medley of "Mickey's Monkey/His Eye Is On The Sparrow/Chocolate City/Numberless Are The World's Wonders/Hog For You" usually reserved for a 19 piece, R&B, gospel orchestra. But again, this is not my point.
I was a little surprised at my bass player's reaction to "Every Night." I mean, how could anyone not like this perfect piece of pop balladry? And from a Beatle, no less. Well, he was a good sport. (He usually is.) And we did it. It was good, and the "Woooo ooooo ooooos" satisfied all my woo-woo needs.
But this reminded me of a little misunderstanding had between me and my cousin about 7-8 years ago. He loved the Fountains Of Wayne's second album, but really disliked their debut. I didn't see this as a matter of opinion. (My fault) It made no sense...to me. Both albums are identical...to me.
Here's my question.
Is there an artist or a song, that you just cannot grasp another's love or hate for?
It's one thing to lay all your money down on the Vanilla Fudge, and then bitch about a lousy return. But I have a friend, an adult, who thinks The Stone Roses are better than The Beatles. That, I do not forgive.
The husband and wife team of Derek Trucks and Susan Tedeschi will no doubt draw comparisons to Delaney & Bonnie, and that's okay. They pull it off nicely.
I had a special interest in this show thanks to the addition of Maurice Brown on trumpet. He may be a buddy, but even if he wasn't, his trumpet adds more than just color to this sweet, soulful and often hot set of music.
I rarely post full sets this early in the week, especially on Tuesday. But I found this week's new releases doing nothing for me, while this live set has been on repeat for most of the weekend. Recorded on 12/29/10 at the Ruth Eckerd Hall in Clearwater, Florida, check out Derek & Susan & Maurice.
SET LIST
Don't Let Me Slide
Midnight In Harlem
Love Has Something Else To Say
Presence Of The Lord
Don't Drift Away
Bound For Glory
That Did It
Learn How To Love
Leavin' Trunk
Standin' On The Edge Of Love
Comin' Home
Garvey's Ghost
Space Captain
Anyday
~encore break~
Spirit In The Dark
First things first. What the hell happened to Lee Ann Rimes? Is it me, or is she starting to resemble Norman Fell?
My plan was to watch the Grammy Awards, take notes, and offer up some commentary this morning on the winners, losers, and "history-making collaborations" that can only be seen on award shows of this caliber...like....Bruno Mars, Janelle Monae and B.o.B.
By 8:32 P.M., with only one award presented versus 53 notes sung on the word "yeah" during Christina Aguilera's tribute to Aretha, I decided to get up offa that couch....for health reasons...and listen from the other room, so my notes are admittedly all over the place.
I don't like Gaga and I didn't like her new single "Born This Way"...or is it "Born That Way" ...or is it "Express Yourself?"
(Mental note: send nasty letter to those guys that saved Train's career.)
Jeff Beck- Best Rock Album? (He covers "Nessun Dorma" and "Somewhere Over The Rainbow" for Pete's sake. There isn't a rock song on "Emotion & Commotion.")
Was 10cc nominated for anything? David Werner? Moon Martin? NO? See, that's what I'm talkin' 'bout!
Lady Antebellum, as my friend Joel somewhat violently put it, "is NOT country."
It was all so much easier in the 70s. Just give everything to Stevie Wonder and Fleetwood Mac.
It is now 10:21, and Esperanza Spalding just beat out Bieber for Best New Artist. That's cool, right? Does it matter that her first album came out in 2006? And another in 2008?
I'm afraid if I watch Mick Jagger, he'll figure out a way to bill me.
I was impressed with Rihanna and Drake's tribute to Jeanette McDonald & Nelson Eddy.
Ooh na na, what’s my name
Ooh na na, what’s my name
Ooh na na, what’s my name
Ooh na na, what’s my name
Ooh na na, what’s my name
whats my name, whats my name [Drake]
I heard you good with them soft lips
Yeah you know word of mouth
the square root of 69 is 8 something
cuz I’ve been tryna work it out, oooow
good weed, white wine
I come alive in the night time
okay, away we go
only thing we have on is the radio
ooooh, let it play, say you gotta leave
but I know you wanna stay
you just waiting on the traffic jam to finish girl
the things we could do in twenty minutes girl
say my name, say my name
wear it out, its getting hot, crack a window, air it out
I can get you through a mighty long day
Soon as you go, the text that I write is gon say…
I miss Andy Williams.
There is no award show more offensive and disgraceful and neglectful of true artists and talent than the Grammy Awards. It is the most consistent disappointment in music. There, I've said it.
I did enjoy Mumford & Sons, The Avett Brothers, and Bob Dylan. They were up for "Traditional Jazz Album," right?
I also liked Arcade Fire, which was odd, because I hate Arcade Fire. That tells you something.
And if I may echo my friend Joel's words, "Lady F****** Antebellum beats Cee Lo? Good Night!!!"
The Star Mangled Banner- Christina Aguilera
I Never Loved A Man (Demo)- Aretha Franklin
99 1/2- Dorothy Love Coates
It's Too Soon To Know- Irma Thomas
You're No Good- Betty Everett
Piece Of My Heart- Erma Franklin
Not Gon' Cry- Mary J. Blige
A Little Bit Of Soap- Reba Russell
Breaking Up Somebody's Home- Denise LaSalle
I Got You Babe- Etta James
So Will I - Laura Lee
Respect- Aretha Franklin
Christina Aguilera's mangling of the "Star Spangled Banner" last Sunday was in many ways, worse than any previous manglings, including Roseanne Barr's crotch-grabbing rendition. Well, from a musical point of view, anyway. This debacle should not have come as a surprise to anyone. Aguilera, a certified pop star, has made a career out of oversinging or, as legendary producer Jerry Wexler coined it, "oversouling." She is not the the sole offender.
I posted an article by John Eskow on The Huffington Post on my Facebook page. You could read his piece HERE. But one of my friend's comments on my FB struck me. He was addressing the term "melisma," which very simply is "a group of notes sung to one syllable of text."
"Stevie (Wonder) plays with melody but brilliantly....A James Ingram, again, good at it...but Ms. Houston made a cottage industry out of mutilating a song in this fashion....and now we're stuck with this seemingly forever, cross-generationally...."
Remember the scene in "Annie Hall," when Annie and Alvy are waiting on line for a movie, and that "guy" is "pontificating" about Bergman behind them. Alvy pulls Marshall McLuhan out from behind the movie poster, and McLuhan proceeds to tell this putz a thing or two. Woody Allen's character says, "If life were only like this."
Isn't it, at least to some degree, with music? Was there a moment, as far back as Aguilera's first recording session, where she hadn't been "oversouling?" I'd say no, since everything on her debut points to the contrary. My friend also went on to say that this phenomenon is "the absolute destruction of popular music as we know it today, or what seemingly passes for it." Maybe a bit overdramatic, but I don't disagree.
I think the first really BIG act to melisma their way to stardom was Boyz II Men. Do you think Jerry Wexler would have allowed this if he had been at the recording session? Those Boyz barely sung in key. Listen to their hits. They sound like a 45 you had to try and center on your turntable because you lost your adapter. It was all downhill, with everyone from Mariah Carey to Whitney to the bane of my existence, Mary J. Blige, a singer who flings notes like shit against a wall, and hopes that some of it sticks.
I give credit to Whitney Houston. Her performance of "The National Anthem" was straight. And very moving, albeit pre-recorded. Marvin Gaye did the same. Even Seattle power-popsters delivered a remarkable version, in harmony. It was simple and made its point. Listen here:
THE POSIES
It's too late now, but it's hard to blame Christina Aguilera for what people have been unfathomably praising for so long. It should have been stopped with MTV. We, the music buying public, should have said no from day one.
I was going to say, "As promised, here is the audio rip from the big Utopia reunion pay per view filmed at the Highline Ballroom in NYC, on January 30th, 2011," but I don't remember promising anything. So instead, here is the audio rip from the big Utopia reunion pay per view filmed at the Highline Ballroom in NYC, on January 30th, 2011.
I realize this may be a hard sell to some not quite as insane as I am, but I know you crazies are out there. This is for you. As for the rest of you wonderful people, there are more than a few moments worth your time. I promise. It is indeed, not without flaws, but as reunions go, no one on that stage needs to hide their heads.
Don't forget to say hi to Moogy. I mean, that's the whole point.
TRACKLIST
Never Never Land
Crying in the Sunshine
Lady Face
Dust in the Wind
Utopia Theme
Freak Parade
Another Life
The Ikon
Heavy Metal Kids
Set Me Free
Th' Sweel
Do Ya
The Last Ride
Freedom Fighters
Just One Victory
Sons of 1984
Friends
What makes Jersey girl Nicole Atkins stand out from other singer-songwriters is her ability to create great records out of good songs. She's got a powerful voice and puts a powerful sound behind it. I rediscovered her first record, "Neptune City," at the encouragement of my friend Joe Eskenazi, who is a big Atkins supporter. As he said, "The new one is a total departure from Neptune City. Neptune City was a cheery record and Mondo is pretty dark and aggressive. Her vocals are still amazing and the album tells a story about a break up of relationships and break away from her record company."
I am never bored when I listen to her. "Mondo Amore" is her first release in 3 years, and it's a strong one. There's a bit of Neko Case and believe it or not, more than a bit of Edith Piaf in her phrasing...if...you know... she had spent more time in Rumson instead of Paris. (Listen to it, and you'll see I am not out of mind.)
As one friend put it, "Motorhead is not like a box of chocolates. You know exactly what you're getting." That may be so, but is that a bad thing? Of course, you need to like Lemmy and his brand of rock and roll in the first place, which is essentially loud, fast and hard. The formula works and I stand behind "The World Is Yours."
OVER THE RHINE- LONG SURRENDER
(as told by friend and fan, Harry Greenberger)
Aside from bearing the stamp of Joe Henry's production (always interesting for percussion choices and overall atmosphere) Over The Rhine deliver an album much like all their others. I'm one of their biggest fans and supporters (full disclosure: I donated to help pay for the making of this record, and my name is on it in incredibly tiny print), but like all of their previous records and even their live shows, it's a mix of one third tedious, sometimes mediocre songwriting, another third average, listenable background music, and one third stunning, sublime beauty, truly well worth the wait.
Karin Berquist's voice still mostly carries off even the worst moments, but on the strongest material she sounds like an unknown legend. All of their other records have 1-3 transcendent songs hidden among them that I carry with me for years after, forgetting how weak the rest of the record was. On this one, it's "Oh Yeah, By The Way," achingly beautiful, even though the demo was better. (sending Sal the demo in case he wants to post it) Karin's voice here is the captivating instrument it always is when the material is worthy of her, like Gillian Welch or Allison Krauss trying to sing a baby to sleep.
At their best, they sound magical, but that's usually only for a song at a time. At their worst they sound like a quiet night at a classy piano bar, pleasant, easy listening. Their albums always seem to have one major cringe moment.
Last one had their Tom Waits tribute "Waiting For Tom." This one has "Infamous Love Song." She actually uses the line "I sing the Be Bop Apocalypse" Also, Lucinda Williams sings on the track "Undamned," but even that isn't enough to help much. I think she sounds "unnecessary."
PS. I wholeheartedly recommend to anyone who hasn't heard it the "Good Dog Bad Dog" album from these guys. "Latter Days" is as gorgeous a song as I've ever heard from anyone
Getting proper remasters of the Thin Lizzy catalogue released has been an ongoing task from hell. Japanese remasters from 1996 seemed to be the ones to have, until someone from the Lizzy camp said that they weren't. Actually, I've been quite happy with them.
Metal Blade took care of the WB albums, but they were no frills releases. They'll have to do. Through all of this, no one ever bothered to mention 1974's "Night Life." I still don't understand why. The albums before got an upgrade, as did the albums after. Anyone? Gorham? Gorham? Gorham?
So maybe...these new expanded versions of "Jailbreak," "Johnny The Fox," and in the UK only, the legendary "Live & Dangerous" are the real thing. Each gets bonus tracks, studio outtakes, BBC offerings and more, while "L&D" gets a DVD. Joe Elliott is involved...if that means anything.
There is a great piece in yesterday's New York Times about Teddy. You can read it HERE. I agree with most of it, though I do find his records just miss the mark. He is a clever writer with a sweet voice, that at times resembles his dad Richard's, if only by the similar lack of range they both possess. "Bella" is Teddy's most upbeat release so far, and without question deserves more of an audience than what it will ultimately see.
The last two releases of Todd Rundgren and the boys, 1984's "Oblivion" and 1985's "P.O.V." have been long out of print. UK label Esoteric, rights that wrong with new remasters, each with bonus material. "Oblivion" adds a bonus DVD featuring the 1981 Royal Oak concert, once available through Rhino video, while "P.O.V." adds the b-side "Man Of Action," along with the two tracks recorded for the also out of print collection "Trivia," "Fix Your Gaze" and "Monument."
Both of these records are very uneven, though time has been kinder, at least to my ears, to "Oblivion."
Finally, "Utopia Redux: Live In Japan '92" gets the same treatment, as well, with a new remaster that also includes a DVD of this reunion show.
Gary Moore recorded exactly one album with Thin Lizzy, 1979's "Black Rose." And a fine album it was. Yet, Moore's presence, not to mention his fiery fretwork, seemed to be all over all things Lizzy. You couldn't mention the band without mentioning the guitarist.
Moore seemed to abandon all but the blues since the early 90s. But the man played it all, from his early days with Skid Row, to his time with the jazz fusion ensemble Colosseum to of course, his on again/off again romance with Phil Lynott. I never really knew if it was a Billy Martin/George Steinbrenner relationship, or if Moore just came to Lynott's aid when he was in trouble.
I have been wanting to do a Thin Lizzy post or mix since day one. I may this weekend. It's a shame that this was the catalyst.
Not every mix needs to have a theme. Back in the day, I would just record whatever I felt like hearing and BOOM...a new mixtape. I'd give it a nifty title, usually something ridiculous like "Cumin-Scented Pork" or "Janne Shlibovnik's Journey Through Music." (Both actual cassettes I still have somewhere.)
Sometimes songs just sound good together. I think these do, especially Bruce going into Rush going into Alt going into DJ Smash. I also love Phil & Don's take on Martha & The Vandellas. It's a completely different vibe, of course, but there's something Phil Spector-y about it. Miles Nielsen, by the way, is Rick Nielsen of Cheap Trick's son, yet for some reason, he sounds exactly like Robin Zander. "February" isn't such a "nifty title," I know, but this mix just may go over.
Dig it!
TRACK LIST
Ta Bueno Compadre- Flaco Jimenez & The West Side Horns
Dancing In The Street- The Everly Brothers
Blind Love- Tom Waits
Jim Jones- Bob Dylan
Hey Hey Hey- Miles Nielsen
The Angel- Bruce Springsteen & The ESB
Red Barchetta- Rush
Girlfriend Guru- Alt
Bassanova- DJ Smash
Cold Duck Time- Lava & the Hot Rocks
When Am I Coming Down- The Godfathers
Still I Long For Your Kiss- Lucinda Williams
My Michelle- Lover!
Little Games- The Yardbirds
Cornet Chop Suey- Louis Armstrong
We've all heard plenty of Todd Rundgren's productions over the years. From Grand Funk, the New York Dolls and Badfinger, to Meatloaf, XTC, Patti Smith and the Psychedelic Furs, Todd, for better or worse, has a tendency to make the artists he's working with sound less like themselves and more like himself. The stories have become legendary. Badfinger hated him. So did XTC, but they came around. Yet, there is no denying Rundgren's genius in the control room, creating hits for established artists in need of a spark.
Paul Myers' book, "A Wizard/A True Star: Todd Rundgren In The Studio" is an excellent document that gets inside the artist as producer and features exclusive interviews with many of the aforementioned people. But one record that gets nothing but a roll call mention, is Rundgren's very first as producer, 1969's American Dream.
I know nothing about this Philly band, except that member Nick Jameson went on to play with Foghat, and I have Steve Simels over at the indispensible Power Pop to thank for that, courtesy of a November post. As a matter of fact, I only recently discovered that "Great Speckled Bird," Ian, Sylvia and Amos Garrett's 1970 release was NOT Todd's first production.
Let's cut to the chase. I love the American Dream. The record sounds more than a bit like Nazz, with elements of the Airplane, the Dead, and as Steve mentions in his piece, Moby Grape. It's not a lost masterpiece by any stretch, but it is more than a curiousity. The band could sing and play, and Todd Rundgren's production debut is certainly worthy of repeated listens. The guy was only 21, for Pete's sake.
I can't recall just where this version of the Beach Boys' classic comes from, but I do love it. There's something about the instrumental vibe that I find a bit melancholy, a feeling I don't get when listening to the familiar version on "Holland." Also, depending on my frame of my mind, I can also picture a horrible pre-date, "let's try on clothes" montage featuring Katherine Heigl with this as the soundtrack. I prefer the melancholy.
For as long as I've been going to New Orleans, Bourbon Street has been something of an eye sore, and sadly, a shadow of the place where jazz resounded from every doorfront. Spending as much time as I have in this wonderful city, you live and learn, and you come to realize, a tourist strip aimed at those whose main goal is to get drunk and puke is not what New Orleans is all about. Anytime I hear from someone who made their first pilgrimage to the Crescent City, only to say "it's not all that," I usually find out seconds later, they spent most of their time on Bourbon Street. Still, it remains a curiousity, with it's bright lights and almost constant activity. But for those who long for the riches of New Orleans' culture and music, Bourbon Street is no more rewarding than the Mall Of America.
Just a short walk from the French Quarter in a hood called The Marigny, there is a strip which is no longer a secret; a place with a history...Jelly Roll Morton lived there...a street where you can hear the sounds of New Orleans, traditional jazz, deep Southern soul, country blues, and big bold brass emanating from any one of the many clubs along its stretch. This is Frenchmen Street.
Mystery Street Records has just released a fantastic new collection, showcasing some of the finest artists New Orleans has to offer. These artists have made Frenchmen Street "the" place to be for music in New Orleans.
You know I love this city, and you have seen plenty of New Orleans mixes offered here. But "Sounds Of New Orleans: Frenchmen Street," the first in hopefully a long line of themed CDs from Mystery Street" is hard to top. There is no filler on this collection. (John Boutte's live version of Randy Newman's "Louisiana 1927," which is exclusive to this CD, is reason enough to dive in.)
TRACK LIST
Meet Me on Frenchmen Street – Shamarr Allen
You’ve Got To Be Crazy to Live in This Town – Alex McMurray
When The Hoodoo Come Down – Jesse Moore
Dumaine Street Blues – Glen David Andrews
Alright Alright – New Orleans Nightcrawlers
Mardi Gras Carnival – Margie Perez & the King Cake Babies
Exit To Mystery Street – Paul Sanchez
Shake Your Rugalator – Craig Klein
Down at the Jazzfest – Holley Bendtsen & Amasa Miller
Stew Called New Orleans – John Boutté & Paul Sanchez
Sougouya – Matt Perrine & Sunflower City
Louisiana 1927 – John Boutté*
(LIVE FROM THE 2006 Jazz & Heritrage Festival)
