If It's Tuesday, It's Wednesday: New Releases, 9/27/11

WILCO- THE WHOLE LOVE

I'm not hearing the "back to basics," "alt-country" sound that many critics have been hearing. But I don't mind.  Like all Wilco records prior, "The Whole Love" did little for me at the start, but slowly crept up on me and attacked.

There are moments, "Black Moon" comes to mind, that will take you back to "Being There." But this new one is not that record, or any other Wilco record, and this is why I love this band. "The Whole Love" is another step forward for Jeff Tweedy and company. Not a giant step, but a respectable step.

It's not back to basics. It's actually a bit demanding. It takes the subtleties of "YHF," the textures of "Sky Blue Sky," and even a few of the pop sensibilities of "The Album," and delivers a worthy entry to the Wilco catalogue.

I'm counting on this to get better with each visit.

One disappointing note-- the iTunes and vinyl only bonus track is one of the better tracks. 

BUY IT

DARYL HALL- LAUGHING DOWN CRYING

I've been considering a John Oates "Weekend Mix" for some time, but quite frankly, I'm afraid. It'd be a breeze to compile a baker's dozen of H&O tunes, written and sung by John Oates, that should impress the lot of you. And while I have the utmost faith in my readers, I anticipate a phalanx of snidery, not to mention those who will just ante up a big "Not gonna do it" without hearing a note.  (Ah, maybe I'll do it anyway.)

That said, I do prefer Daryl over John. Daryl Hall's solo output has been too infrequent. The Robert Fripp produced "Sacred Songs" is a masterpiece. (Yes, a masterpiece.) "Three Hearts In The Happy Ending Machine" is full of power pop and soul brilliance. "Soul Alone" suffered from over-production, but still had many moments. And his last effort, the elusive "Can't Stop Dreaming" offered, in spades, the white boy soul that has made Daryl a star.

"Laughing Down Crying" builds on all of this, as well as the inspiration of the many guests he has hosted on his genius internet show, "Live From Daryl's House." Really good stuff.


IT'S HERE

MATTHEW SWEET- MODERN ART

I want to love this record, but I don't. I love Matthew Sweet, but "Modern Art" needs more than just "that sound." Harmonies, backwards guitar, 12-string strumming...it's all here. It's just not enough for me.

It's been a while since something solid has come from one of the better singer/songwriter/power pop stars of our time.  1999's "In Reverse" and 2003's "Kimi Ga Suki Raifu" both had a handful of jangly winners, and I do like the two covers collections with Susanna Hoffs. But as uneven as The Thorns record was, that side project with Shawn Mullins and Pete Droge had the last bit of truly memorable music from Mr. Sweet.

(Speaking of Susanna Hoffs, there is also a Matthew Sweet-produced record from The Bangles that hit yesterday.  Haven't heard enough to comment, but their Nazz cover, which I did hear, is just so-so. Still, I love them for doing it.)

SWEET

BANGLES

PINK FLOYD'S BIG TIME, EXPENSIVE RE-RE-RE-RE-REISSUES

"Immersion Boxes," in which you get not only the music, but extra stuff like pashminas sporting the "Dark Side Of The Moon" logo, Richard Wright's recipe for pudding, blu-ray DVDs with 5.1. and maybe even 5.2 and 5.3 mixes of everything, metallic balls of something, lots of foam, and more.

I bought, fool that I am, the new 2011 remasters of "Piper At The Gates Of Dawn" and "A Saucerful Of Secrets," and I will admit on these pages, I WILL buy the "Experience" editions of "Wish You Were Here" and "The Wall," because I love this band, and you know...these new editions just might sound better.

I had the opportunity to listen to the "DSOM" remaster, as well as the unreleased early "Alan Parsons' mix, and I gotta tell ya, it sounded damn good. Still, it's fun to make fun.


IT'S HERE

NIRVANA- NEVERMIND (20TH ANNIVERSARY DELUXE EDITION)

I want to keep this short because it may be a touchy subject.

I love this record. It was a game-changer for a reason. But, a) I don't understand why Kurt Cobain is considered a genius, and b) I still don't hear how "Teen Spirit" and "More Than A Feeling" are the same song.

Sorry.

There's a big, 4 disc set with a rare mix and b-sides and other stuff. Maybe you can tell me why I should consider Kurt Cobain a genius, and how I can hear Boston in "Teen Spirit."

IT'S HERE

STING- 25 YEARS (3 CDS & 1 DVD)

Hey Gordo. Take your $119 boxed set with it's 9 minutes of unreleased audio and 40 minutes of live footage featuring such rarely played chestnuts as "Roxanne" and "Message In A Bottle" and shove it up that stick-filled ass of yours. You and your label have bigger balls than Truck Robinson.

IT'S HERE

"Wilco (The Town Hall Show)"- 10th Anniversary Re-Post

Ten years ago today, a night I'll never forget and a show I almost didn't see.

It was a little over 2 weeks after the horrific attacks on the USofA, and I don't know if anyone was truly ready to just "go about their business." But many did, as did I.

I remember being uncomfortable, as if someone would see me.

Two very specific memories from this Town Hall show:

1.) The way Jeff Tweedy approached the whole evening. It turned me into a fan for life.

2) I completely lost it during "Reservations."


TRACK LIST

I Am Trying To Break Your Heart
I'm Always In Love
War On War
Pick Up The Change
She's A Jar
Why Would You Wanna LIve
Hesitating Beauty/One By One
Should've Been In Love
A Shot In The Arm
Ashes Of An American Flag
Kamera
I Can't Stand It
I'm the Man Who Loves You
Passenger Side
California Stars
Monday/Outtasite
Reservations/Sunken Treasure
I Got You


ZIP FILE

Wyldlife: The Kids Are Alright

I'm looking at my contenders for the Best Records Of 2011, and the combined age of the artists so far is 5408 years old. It's not as if I have some serious prejudice against the kids. I love the kids. But I will not fall prey to hype, beards, and 5-star reviews...anymore.

In what seemed like months before its release, Jonathan Wilson's "Gentle Spirit" achieved 4 and 5-star status from no less than 3 respectable music rags. Wilson is not necessarily a kid, but still young-ish in his early 30s. He boasts credits behind everyone from Erykah Badu to Elvis Costello.  Jackson Browne loves this dude. Graham Nash loves this dude. Check out one review HERE.

Have you heard the record? It's contrived bullshit from another "genius."

As Neil Young famously said on "4-Way Street," right before debuting then new song, Don't Let It Bring You Down, "It sorta starts out slow, then fizzles out altogether." Big difference between Neil and Jonathan? A sense of humor.  By track 4, which is already 30 minutes into "Gentle Spirit," Wilson's vocals become a whisper, as if we're supposed to feel his pain or experience his "high." This record is a relentless display of pretense. It is dying to be a cult classic. Sorry dude. Records shouldn't be conceived as cult classics. It's supposed to just happen.

Sure, I'm taking it out on this poor shnook instead of the idiots who've been raving about him, but isn't this exactly the problem? Find me a dozen records with rave reviews, by new or newish bands, that really and truly pack a whallop. I mean, a consistent side to side whallop like the classic LPs of old.  Critics are so desperate to discover something special, they toss off 5 star reviews like Shatner goes through hairpieces. It's all hype. And after the initial pass through all of these "amazing new albums by these brilliant new artists," precious little sticks to your ribs.

Now, before the members of Wyldlife start getting all chubby, let me say, I don't think their debut is the Best Record of 2011. But for a little over 30 minutes, a perfect length for an LP by the way, Wyldlife explodes with hook after mouthwatering hook. This is "stick to your ribs" rock and roll.

These kids come out of the box with one of the best songs of the year, a song with a chorus so big, you will be hard-pressed not to whip out your air guitar or bang your head. "City Of Inbreds" which opens Wyldlife's debut release is a monster. It is a song that gets everything right. Even if you're not a fan of The Clash, or The Ramones, or the Dolls, or The Strokes, you must recognize that not only does "City Of Inbreds" have hit written all over it, it also boasts the most properly placed minor chord in the history of rock and roll right at the 1:23 mark.

And the album doesn't let up there.

"(She's Making Me) Nervous," "One Night Only," "Sidewalk Queen"---these songs, in three and a half minutes or less, say more than just about any of the 5-star darlings supposedly changing the world with their epic, aural melodramas.

There is a place for Jonathan Wilson, and a place for 5-star reviews. It just used to be harder to get to.


Wyldlife got me excited. It's a new band with some great young players, writing riffs and hooks and choruses to die for, and I'm loving it to death. But I'm still not slapping 5-stars on it. "Beatles '65" only got 3 1/2 stars, for Pete's sake.

BUY WYLDLIFE BELOW
http://www.amazon.com/Wyldlife-Explicit/dp/B005I4XLCW/ref=sr_1_1?ie=UTF8&qid=1317036898&sr=8-1


Listen to "City Of Inbreds" HERE

"Rainin' Soul" : THE WEEKEND MIX (Late Edition)

Forgive the delay, loyal readers. I'd explain, but it's not worth it.

Enjoy this mix, built around Ann Peebles' greasey "Somebody's On Your Case," which I've been listening to on repeat, thanks to an original pressing on vinyl given to me by my pal Soundsource and inspired by the not so great, recently released biography of Little Willie John.

The crap weather helped a bit too, put me in a deep soul mood. Now I know this "WEEKEND MIX" isn't all "deep soul," but I think you'll find, it will work well with the rain.


Thanks for waiting.

TRACKLIST

Can I Be Your Main Squeeze- Chuck Carbo & The Soul Finders
Somebody's On Your Case- Ann Peebles
Can't Get Enough- Johnny Sayles
The Girls From Texas- Jimmy Lewis
How Much Can A Man Take- Big John Hamilton
I Know You Got Soul- Bobby Byrd
Temptation 'Bout To Get Me- The Knight Bros.
Storm Warning- The Volcanoes
Get Yourself Another Fool- Sam Cooke
Who Dun It- Monk Higgins
Crumbs Off The Table- Laura Lee
Hard Luck Guy- Eddie Hinton
Wifesitter- Swamp Dogg
All Around The World- Little Willie John

THE ZIP

Please Stand By

Due to a personal matter, "THE WEEKEND MIX" will be postponed for a few hours at the least. Please stand by. It will be here.

Sorry for the inconvenience.

Thank you.

R.E.M. R.I.P.

I'm not that upset.

I came to the party late. It was "Life's Rich Pageant" that made the lasting impression, and not the groundbreaking, 1-2 slap of "Murmur" and "Reckoning," two critically acclaimed records that left me colder than a Tribeca waitress. What followed were more songs that offered style over substance.

"Document' was a weak follow-up.  "Green" bored me, as did the "Green" tour which featured a raccoon-eyed Michael Stipe in an oversized sports coat just pissing me off with his arm swings and pretentious un-rock and roll demeanor.  (Or maybe it was more rock and roll than I'd like to admit. I still don't like "Green.")

And while Peter Buck remains one of the nicest people I have ever met, he and Mike Mills just didn't do it for me on stage. As a matter of fact, if I read one more review that cites Mike Mills' harmonies as anything but adnoidal, I may plotz. I guess that's no longer an issue.

Maybe I'm being a bit harsh, especially since "Out Of Time" and "Automatic For The People" sucked me right back in.  R.E.M. growed up. They growed up real good. They may have lost the core with their big time MTV status, but the music was good, and for me, that comes first. The music MUST come first.

But then came "Monster," a collection of tunes that were glorified rewrites. And thus it began...the decline. The misery.

It was a reverse crossroads. The band sold their mojo to the devil.

And who can forget the great Bill Berry, someone I like to refer to as "Mojo."

(Myth? Fun, though.)

So for the last...what...15 years...we've had to endure the pressure of obligation. We were feeling the need to love this band because Patti Smith loves them...and we love her. But in reality, the music didn't feel like it was coming first. It was lifeless. And "important." Grown up in all the wrong places. R.E.M. threatened us, but we weren't fooled. "This is the one." NO, it wasn't. "THIS is the one." Uh... nope. Once the music hit, we were back on low alert.

It's the end of the....blah blah blah.

It's time.

You guys did enough.

My Morning Revelation

It seems like I can pick any song from any of the last 3-4 My Morning Jacket releases and play it along with a dozen other tunes by various artists, and each time I won't realize I am listening to My Morning Jacket.

I fell in love with "Wordless Chorus," the opening track on their 2005 release "Z." And though I can't say any one of their albums has made a great impression on me as a whole, a number of songs at various times have. When not listening to an MMJ record in its entirety, it seems like I love almost everything. Most recently, it was Jim James' turn on Booker T. Jones' latest that made me swoon and go back into their catalogue.

Here we are again, with another tune popping up at random, and me thinking, "Who is this? Sloan? Jesse Malin?" I truly had no idea.

I'm saying "Uncle." My Morning Jacket is a good band.

Not So Superheavy

This may not be true, but I'm saying it anyway. This is the worst thing I've ever heard.

I'm saying it for two reasons.

One: it's a dumb idea.

Two: the record didn't surprise me. I didn't hit play and think after 5 songs, "Wow. This is really good!"

No. Superheavy sounds as dumb as I thought it would sound.

Factory-setting reggae beats. Mick Jagger doing his best (or worst) Jagger, over-enunciating in that painful, 1994 "Out Of Tears" voice or in that phony Jamaican lilt.  Joss Stone vamping and moaning, mostly in the wrong key. Dave Stewart, a musical conundrum if there ever was one. Friends with everyone and I'm not sure why. The Eurythmics weren't that good. Look at his credits HERE. Unless having the distinction of producing mediocre records for some of your favorite stars is a good thing, I don't get Dave Stewart.


What's next? Superheavy 2? How about Roger Daltrey, Al. B. Sure, Shinehead, Lisa Lisa and Rupert Hine? That's a good idea, no?

New Orleans Magic: #117

  

I've been on a Ry Cooder kick lately. These kicks happen, like it just did with John Cale, when I hear something wonderful and new by a favorite artist. I get sucked in like dirt under an Electro-Lux. Fellow Ry Cooder fanatic and old Brooklyn pal Mike Saccoliti, shared this video and this story with me.


Jazz Fest, last day, first weekend, looking like rain all day. Was there with my friend Joan. It's about 4.30, it's looking really dark. Staple Singers are at the gospel tent at 5. We make an early beeline for the tent just as the skies open up. We are in the gospel tent for an amazing Staples set and stay dry. The rain stops. Many people bail. Cooder and Lindley are on at 6 at the big stage. We walk over in the mud, right to the front of the stage and hear this. Check out Cooder at about the 5 min. mark. He seems to be having an out of body experience. 

I remember going to Tipitina's that night to see The Meters and meeting some young kids who kept on buying me drinks. Trying to keep up with them, I got REALLY drunk. Early flight out the next day, and there at the airport was Cooder, Lindley and the rest of the band at my terminal. I was so hung over I couldn't say a word. Just looked at them while I groaned into my coffee cup.

"September Songs" : THE WEEKEND MIX

It started as a not-so-random selection of tunes that popped up in a week's worth of iPod shuffle, turned into a possible mix of pop tunes with "strings," floated a bit in a "rarities" mode, made a right turn into a John Cale thing, (thanks to "ME" and his brilliant link in the chat box), but is now "September Songs," which is a little of everything.

I like it.

I guess I'll find out soon enough if you do.

Some notes:

The Macca track is one of six "Chaos & Creation" b-sides I just got hold of thanks to some fine friends and BW supporters.

The Todd Rundgren cover is from the super-rare Colin Blunstone release "Late Nights In Soho," courtesy of my pal Don over at ASH. Nice to hear the exquisite vocals of one legend covering another without having to shell out $200. 

The Raisins? This was an odd discovery some years ago by my old roommate and current pal Rich. Hailing from Cincinnati, The Raisins turned into The Bears who were Adrian Belew's powerpop with artrock stylings quartet.  Find it HERE, but it ain't cheap. Those savvy will find it "cheaper." Highly recommended.

The Donovan track was a long time obsession. Read about it in Trouser Press many moons ago, and finally found a white label 45 at Downstairs Records in Times Square sometime in the early 80s. Mr. Leitch covers Bowie in a BIG way.

The Cookies. Any opportunity to listen to this perfect piece of pop music, you know? It just brings you back there...even if you were never there. That's good work.

"The Electrician," a super-weird SINGLE (?) from the Walker Brothers' mega-rare "Nite Flights" album that leaves me frozen every time.

The Kinks track is currently my favorite Kinks track ever, taking over at least temporarily for "Scattered," which knocked "Waterloo Sunset" out of the top spot, though that will no doubt change.

Not sure who wrote the Willie & Ryan track, but I love the lyrics.

"Our song will never have
A final verse
Our hearts just finally
Settled back to Earth"

Enjoy. Comments welcome.



TRACKLIST

Mr. Wilson- John Cale
Art School Canteen- Godley & Creme
Strange Things Are Happening- Rings & Things
Mary Jean- Marshall Crenshaw
Summer Of '59- Paul McCartney
Can We Still Be Friends- Colin Blunstone
Get Back In The Line- The Kinks
The Bends- The Raisins
Pretty Girl- The Easybeats
The Land Torments The Sea- Finn Brothers
Even If You Don't- Ween
I Never Dreamed- The Cookies
The Electrician- The Walker Brothers
Rock & Roll With Me- Donovan
Back To Earth- Willie Nelson & Ryan Adams

IT'S ZIPPING

Some Necessary Music From John Cale

I want to thank "ME," who hipped us to new music from John Cale in the chatbox. The 5 -track E.P. is out next week, but you can listen to it all now. If you're a fan, you will love this. Click on it. It is prime Cale.

Coincidence then, that I had been thinking about posting this song since last week. I go on these John Cale binges every couple of years or so, where I listen to nothing but. I hope everyone owns "Paris 1919." If you don't, it is time. It is a baroque pop necessity.

But, the track above, "I Keep A Close Watch," is not from "Paris 1919." (See how I did that?) It happens to be from an album that almost never came out, or at least in the form that we now know. "Helen Of Troy" was unfinished, according to Cale, and released by Island Records without his consent. I am sure there's more to the story, but it's too early for investigative reporting.

I love this track. Listening to the new Glen Campbell album, with its lush production, brought this track to mind. The horns and the strings seem perfectly "finished" to me. Beautiful stuff, me thinks.

Ladies & Germs, Mr. Punky Meadows

I suspect some of you will jump the Burning Wood ship over this, but hear me out.

In a mere 3:33, this band managed to suck me in, no less than five times.

1.) The incredible drum sound

2.) Those monster power chords

3.) The falsetto harmonies on the chorus

4.) The silly, but infectious synthesizer solo on the bridge.

5.) The riding tambourine on the last chorus.

Yes, I know it's going to be a battle to convince all of you that the androgynous, Breck Boys of heavy metal, Angel, has any worth, but I really love this single.

If It's Tuesday, It Must Be Street Date: 9/13/11

NICK LOWE- THE OLD MAGIC

I recently picked up a copy of Nick's "Party Of One" release on vinyl. I don't think I ever owned this on vinyl. (Remember when we didn't have to say "on vinyl?") I was surprised to see, thanks to the nice big print on the 12" inner sleeve, that it was produced by Dave Edmunds, and pretty much featured the John Hiatt "Bring The Family" dream band. That's right. Ry Cooder, Jim Keltner, John Hiatt. Blah blah. I did not know that.

I also realized that "Party Of One" was the true beginning of the Nick Lowe transformation, and not 1994's "The Impossible Bird," like so many, including yours truly, have been thinking.  "Party Of One" is a bit of a lost classic. It is a near-perfect collection, mixing up the young and restless Nick Lowe with the older/wiser/mellowed Nick Lowe. This is a record where you will find Nick "shting-shtanging," as well as wondering "What's Shakin' On The Hill." "Party Of One" was the sign of things to come.

Today, Nick Lowe releases "The Old Magic," another in a series of absolutely resplendent records, starting with the aforementioned "Party Of One," and continuing on with "The Convincer," "At My Age," and "Dig My Mood," where the rock and roll legend delivers some of the most personal and heartbreaking songs of his career.

I know some will pass on the less is more, melancholy Nick, still holding on to the days of "So It Goes" and "Cruel To Be Kind." (I've always wondered why the artist can age gracefully but the fan cannot.) But songs like "Stoplight Roses," "I Read A Lot," and "Checkout Time" come out of the box as standards. These are songs so perfectly constructed and at times, so brutally honest, you may feel uncomfortable enjoying someone's confession as much as you do. It is still worth your time.

Buy "The Old Magic." Please!

It's below-
http://www.amazon.com/Old-Magic-Nick-Lowe/dp/B0058IA838/ref=sr_1_14?s=music&ie=UTF8&qid=1315875287&sr=1-14

WYNTON MARSALIS & ERIC CLAPTON- PLAY THE BLUES

The pages of Burning Wood have offered their share of Clapton bashing. But it's tough love. Know what I'm saying? I just want the guy to reach his potential. Well, as many of you agreed on earlier posts, "God" works better when he's not leading the way, and this record proves it.

There should be no doubt in anyone's mind about what Wynton Marsalis can do with traditional jazz and blues. The surprise is, how he allows Eric Clapton to let loose. The tone is there. The feel, the soul and the chops. All there! I love this record.  Eric Clapton is on fire.

If you thought like I did, that the 1992, MTV Unplugged version of "Layla" was a musical crime against humanity, here is the absolution. If you don't like New Orleans jazz, leave now. But this pairing of Eric and Wynton does not disappoint.


Get it...
http://www.amazon.com/Wynton-Marsalis-Eric-Clapton-Blues/dp/B005DZMODI/ref=sr_1_2?s=music&ie=UTF8&qid=1315875157&sr=1-2

TODD RUNDGREN- (re)PRODUCTION

Talk about tough love.

Here's what I think happened. Do not quote me, as I am seeing this man perform tonight, and his fans are a relentless bunch. I'd like to make it home bruiseless.

There was a band camp. And people came. And it was supposed to be good.

THE PLAN:
Songs originally produced by Todd Rundgren, now reimagined with the help of fans from all over the world.

Apparently, things didn't go so well.  No one who showed and paid for camp, brought chops good enough to lay down on tape...I think.

So...

The final product is a collection of covers--Meat Loaf, Badfinger, XTC, New York Dolls, Patti Smith, etc.--all programmed as electronica, I'm speculating, by one man who came to the rescue.  If I'm wrong, someone please tell me, because I don't believe what I'm hearing.

Who is this for? Certainly not Todd fans. And all the money in the world could not convince me that this is what our fearless leader wanted to release. (But of course, I could be so, so wrong.)

So...do it for the money? Yes! He is allowed. He is a fucking genius. A rock and roll legend. "Open My Eyes." "I Saw The Light." "Just One Victory." That stuff!! He has paid his dues many times over.

But...

"(re) PRODUCTION" is unlistenable. Simple. Not because it's not "Something/Anything." But because it's just misguided, and sounds tossed together out of desperation.

Todd Rundgren's recent tours have been stellar. He is currently experiencing a renaissance as a guitar player. His voice can still break hearts. But my man needs to get the mojo back.

In the meantime...
http://www.amazon.com/Re-Production-Todd-Rundgren/dp/B002X77DYE/ref=sr_1_44?s=music&ie=UTF8&qid=1315875389&sr=1-44

LAURA MARLING- A CREATURE I DON'T KNOW

The first song on Laura Marling's third release sounded less like the Sandy Denny inspired British folk I had come to love and expect, and more like the Fiona Apple-ish, Lilith Fair drama I've come to loathe. But...that was just the first song.

The reviews have all called "A Creature I Don't Know," Marling's best yet, and I can't argue that. Slowly but surely, the record builds, adding electric guitar and layers not found (and not needed) on her two previous releases.

Laura Marling has chops that seem unthinkable at her age, an annoying 21 years old. But, this is a beautiful record. Give it some love.

Over here...
http://www.amazon.com/Creature-I-Dont-Know/dp/B005DZMNZW/ref=sr_1_26?s=music&ie=UTF8&qid=1315875418&sr=1-26





ALSO OUT THIS WEEK

PAJAMA CLUB- PAJAMA CLUB

I'd like to say more about the Pajama Club, the new project from one of my faves Neil Finn, and his wife Yoko....uh...Sharon, but I've yet to hear anything but the single, which left me cold. I'm too much of a fan to let this die, so stay tuned. The vinyl shipped yesterday.

BUY IT....
http://www.amazon.com/Pajama-Club/dp/B005CAAT90/ref=sr_1_55?s=music&ie=UTF8&qid=1315875457&sr=1-55

 

ALICE COOPER- WELCOME 2 MY NIGHTMARE

I love Alice and I loved "Welcome To My Nightmare," but this "sequel" is sad. It tries too hard. Guest appearances by Steve Hunter, Dennis Dunaway, Michael Bruce and Neal Smith only add to the frustration. BUT....the single, "I'll Bite Your Face Off," is a killer piece of FM radio, circa 1979. If only the whole record was this good.



BUY IT....
http://www.amazon.com/Welcome-My-Nightmare-Alice-Cooper/dp/B005F6NA4W/ref=sr_1_8?s=music&ie=UTF8&qid=1315875514&sr=1-8



PLUS....


NEW RECORDS FROM...


THE GOURDS
(check out my Huffington Post review HERE)
http://www.amazon.com/Old-Mad-Joy-Gourds/dp/B005DTERJ8/ref=sr_1_1?s=music&ie=UTF8&qid=1315875550&sr=1-1

LADY ANTEBELLUM
(Worst song ever, "Need You Now," not included.)
http://www.amazon.com/Own-Night-Lady-Antebellum/dp/B0050CJNJ2/ref=sr_1_1?s=music&ie=UTF8&qid=1315875572&sr=1-1



BLONDIE- PANIC OF GIRLS
http://www.amazon.com/Panic-Girls-Amazon-Exclusive-Blondie/dp/B005E7AOSC/ref=sr_1_1?s=music&ie=UTF8&qid=1315875623&sr=1-1





And finally....

TROMBONE SHORTY- FOR TRUE

I can't say enough about the talent that comes out of the great city of New Orleans. I saw Troy "Trombone Shorty" Andrews play his horn at the Louisiana Music Factory when he was just a little taller than me  ;)

We also shared a terrace for a week or two on the corner of Royal and St. Phillip.

Since then, he has played with the likes of Willie Nelson, Lenny Kravitz, and Jeff Beck for starters, was nominated for a Grammy, and has made his city proud.

Check out the new record...
http://www.amazon.com/True-Trombone-Shorty/dp/B005CAAVVQ/ref=sr_1_1?s=music&ie=UTF8&qid=1315875688&sr=1-1

"For True" has some special guests on it, as if that's a surprise. Kid Rock, Jeff Beck, Lenny Kravitz, Lamont Dozier and Warren Haynes to name but a few.



Word.... 

Nine Twelve

It's safe to assume that every New Yorker can remember in great detail where they were and what they were doing on September 11, 2001. I wonder how many can remember the following day, 9/12, beyond staring helplessly at a television screen. I can remember 4PM vividly.

I thought about this yesterday as I avoided at all costs, all of the televised events surrounding the 10th anniversary and the memorial services in downtown NYC, Washington, and Shanksville. After morning coffee, breakfast and the Times crossword, I turned on the stereo at 10:AM and never looked back. I listened to new records by Eric Clapton & Wynton Marsalis, Chris Isaak, The Horrible Crowes, Jonathan Wilson and Laura Marling. Old records by the Jim Jones Revue, Al Kooper, Emmylou Harris, Be Bop Deluxe, Nick Lowe, and Todd Rundgren. And a live bootleg of Prince.

While this music marathon filled the house, I watched the Eagles vs. the Rams, the Yankees vs. Los Angeles, and the Jets vs. Dallas, sound off, of course. I also checked email and Facebook where I knew I would not be able to avoid the talk and memories of 9/11/01. That's when it hit me.

At 4PM, on 9/12/01, I got up from the couch, where I had been sitting frozen in disbelief for the better part of 6 hours, and shouted out loud, "I can't take this anymore!" I shut the TV, and threw the remote across the room. I poured some whiskey and cracked open a beer, turned on the stereo and put on a Black Crowes bootleg I had brought home from my store a few days earlier. I screamed angrily at the CD player, as if it had anything to do with any of this. "Fuck this! I'm listening to music"

Something wasn't right with me. I couldn't bring myself to turn it up. It felt as if the world was watching me disrespect the entire country. After about 2 minutes into the first song, I shut the stereo off. I wasn't enjoying the music. I was furious. I felt my body tremble and I began to heat up. I threw the CD across the room and the case shattered into pieces. I turned the TV back on and sat down. I remained on the couch, pouring whiskey until I fell asleep sometime after 10PM. 9/12/01 was the first and last day I can remember not wanting to listen to music. The day before, I had been at my store. The music played as the day turned into nightmare.

Everyone has a story. Some need to deal with these events by wrapping every cell in their bodies around every newscast, tribute, and string-laden sad song. Others, want to move on. My friend Gene wrote a wonderful piece that I hope you all take the time to read.  It's HERE. It's what inspired me to write a few words here this morning.

Now, for me, it's time to move on.

"Songwriters In The Round" : THE WEEKEND MIX

Somewhere, I have a copy of Jules Shear singing the bejeebus out of the Jimmy Webb penned/Brooklyn Bridge hit "Worst That Could Happen." It was recorded during one of the many wonderful "In Their Own Words"/"Songwriters In The Round" shows at NYCs Bottom Line. I've been looking for it for 9 years. Still don't know what happened to it. I decided I'd try again. Still NO luck, but I did find this...

Recorded on February 21, 1997, here is Jules Shear, Richard Barone, Susan Cowsill, Peter Holsapple, and Terre Roche, live from The Bottom Line, as part of the "Songwriters In The Round." No version of "Worst That Could Happen" here. But there are plenty of gems, including a take on one of Jules Shear's most intensely beautiful tunes, "The Last In Love," a song recorded as a duet with Paula Cole, and here sung with Terre Roche. Plus, a killer cover of Spirit's "Nature's Way."

Hope you dig it. It's a two-parter, so patience please.



TRACKLIST

Intros
Nobody Knows Me
Nobody's Doing The Job
Pretty Damn Smart
She's In Love Again
Sweet Blue Cage
Men Are Stupid
The Rain Song
How Many Times
Bitter
The Pregnant Pause
Daddy Just Wants It To Rain
All Through The Night
Where The Truth Lies
Everyone Is Good
Spring Day In Ohio
Waltz With You
The Last In Love
Nature's Way
Louie, Louie

DISC ONE


DISC TWO

The Beats Of Philadelphia

I couldn't believe what I was hearing and if you dare to dig in, you won't believe it either, but you WILL thank me.

I stumbled across "The Best Of Melron Records: The Early Philly Sound" while trawling the web for an Inez Foxx record from 1973. I found that Inez Foxx record, but I suddenly didn't care. This jaw-dropping compilation of early rock 'n' roll & rhythm 'n' blues was a much better catch.

The playing is crude. The singing is off key a lot of the time. But I couldn't stop listening. It's raw, and has more soul than a Saturday night fish fry. Speaking of fish, track nine, "Big Butters," is a song by Bobby Eli and Del Rios; an unthinkably 5:31 long tribal chant with narration about a man who loves fishing for butterfish. Seriously, I had to use a car jack to close my mouth.

I mean it when I say, this made my week. Melron even has a web page. It's HERE. You can sample the whole she-bang there, or over at the odious iTunes store.

Take a listen to three of my faves, "Milk That Cow" by Essau Isaacs, "Too Young" by The Sweethearts, and "I Want Another Chance" by Fred Martin.

Then run, don't walk to Amazon and grab this gem for $8.99.
http://www.amazon.com/Best-Melron-Records-Various-Artists/dp/B004KKYDZY/ref=sr_1_1?s=music&ie=UTF8&qid=1315341098&sr=1-1


MILK THAT COW

TOO YOUNG

I WANT ANOTHER CHANCE

On Lindsey & Lenny

I've been listening to the new Lindsey Buckingham, "Seeds We Sow" and really loving it. My first thought about 6 songs in was, "No one makes records like this anymore." But after that thought, I realized that wasn't necessarily true. I guess there are still many artists who stick with what they know and just do it themselves, without paying any mind to changing or trying to stay current. "Seeds We Sow" could have easily been recorded during the fMac "Tusk" sessions of 1979 or the "Go Insane" sessions of the 80s. What I really meant by "No one makes records like this anymore" was "I love this record more than I like so many others."

Then, I thought of a discussion I had with a friend about Lenny Kravitz. I'm not a Lenny hater. I enjoy his records. But my friend is an ardent fan, and didn't take kindly to my comment that I think Lenny makes decent records but is a terrible songwriter. What he hated more was when I said, "He keeps making the same record."

He came back with, "You can say that about every artist, so why do critics hate Lenny but not say, the Red Hot Chili Peppers?"

He could have said anyone, I think. I just said it (kind of) about Lindsey Buckingham. I then sent him this, part of a review of the new Lenny Kravitz in the new Mojo:

"Perhaps Lenny might be more lovable if he didn't sound so damn smug whe imbuing his Curtis Mayfield-pastiches with cracker barrel sapience. No one expects a fabulously wealthy, devilishly handsome, 35-million-album-selling artist to have the blues exactly, but the vainglorious self-righteousness displayed, can be hard for mere mortals to swallow."

My friend thought Mojo got personal. Maybe he's right.

Lenny Kravitz and Lindsey Buckingham have both been around the block. Neither has strayed far from their sound from album to album. And I don't think Lindsey's so much deeper lyrically than Lenny. And wasn't Lenny Kravitz' debut "Let Love Rule" a five-star record upon its release in 1987? It's not as if L.K. followed it with a twee folk record? So what makes the occasionally arrogant and aloof Lindsey Buckingham a critic's darling and the occasionally arrogant and aloof Lenny Kravitz a critic's punching bag? It can't just be retro-rock & soul versus L.A. pop rock?

Why does "Seeds We Sow" sound so amazing to me and "Black & White America" bore me to tears? Both are records by artists doing what they do best, sticking with formulas that made them huge stars.

Why is no one saying "Seeds We Sow" sounds like the last 4 Lindsey Buckingham records?

My friend may have a point.

"Love's Labour's Lost" : THE WEEKEND MIX

This is a stupid "holiday." I've hated it since first grade. No one wants to celebrate the end of summer, especially two weeks before summer actually ends. And NO ONE is gonna tell me I can't wear white starting Tuesday.

As you piece together your weekend, your BBQs and weather forecasts, and your hours wasted in your car getting to that ideal spot for one last breath of the ocean...a few weeks before summer actually ends... please enjoy this collection of demos, outtakes, and b-sides; some labors of love that have gotten lost.


LABOR DAY WEEKEND MIX!


 

TRACK LIST

She's Not Mine Anymore- Marshall Crenshaw
(This found an official home thanks to Robert Gordon who recorded it and released it on "Are You Gonna Be The One," the same record that is home to his versions of 2 other Marshall tunes, "Someday, Someway" and "But, But.")

Promisin'- Wilco
(This is an "A.M." demo.)

Sad To Be Aware- Jon Auer
(This is a solo demo of a b-side from The Posies' "Amazing Disgrace" sessions.)

Don't Worry Baby- Susan Cowsill
(Demo of the Beach Boys classic left off of Susan's first solo album.)

This Could Be The Night- Nilsson
(One of Nilsson's many demos for The Monkees.)

Something So Strong- Neil Finn
(2 demo versions (pieced together) of what became a hit for Crowded House.)

Attitude- Todd Rundgren
(A song written for but not used in "Fast Times At Ridgemont High.")

Man We Was Lonely- World Party
(One of Karl Walllinger's many Beatles or Beatles-related covers found on one his many UK singles.)

Cut My Hair- Pete Townshend
(From the "Quadrophenia" demos)

I Witnessed A Crime- Johnny Cash & Billy Gibbons
(There is a 5 CD boxed set, for Pete's sake, featuring all of Johnny's American Outtakes...except this one.)

Drift Away- The Rolling Stones
(The oft-booted Dobie Gray hit, originally recorded for "It's Only Rock & Roll"...I think.)

I'll Give You All Night To Stop- Nick Lowe
(An "Impossible Bird" outtake from 1995)

Strangers In The Night- Cake
(One of Cake's many oddball cover versions.)

Instant Karma- Paul Weller
(This may have been recorded for the BBC, but I'm pretty sure it's from around the time of Weller's first solo album. Don, if you're reading? You would know. You're the Weller entusiast. You would know?)


THE HOLIDAY ZIP

Running With The Packy

The name Charles "Packy" Axton may not hold the same level of prestige as Steve Cropper or Booker T., but Packy was there right at the beginning. His mother Estelle co-founded Stax Records and Packy may have gotten to play on a few more hits than The Mar-Keys' "Last Night" if he kept his partying to a respectable level and didn't piss off so many involved.

Light In The Attic has just released "Late Late Party, 1965-1967," a collection of rare sides featuring saxman, Packy. This is one greasey collection of tunes, covering everything from Memphis soul to doo-wop. It even includes some tracks by The Packers and The Pac-Keys, both early incarnations of what became Booker T. & The MGs. Many of these tunes are raw, sort of a garage band version of the early Stax sound, but for me, that is the appeal.

Give a listen to "Stone Fox" by the Pac-Keys and "I'm A Fool (In Love)" by L.H. & The Memphis Sounds. Then, go check the whole thing out over HERE.


STONE FOX

I'M A FOOL (IN LOVE)