Please Sir, May I Have Some Less

"LIMITED EDITION"

If you use Rhino Handmade as a barometer, "limited edition" means, "available at a ridiculously high price for a limited time before we sell the exact same thing, or something similar for a lot less."

Exhibit A:

This 4 CD set, when first issued, was $80. Aretha fans jumped on it. Then, as fast as you can say, "Bill Graham," it was out of print. Gone for good. Right? Private collectors now ask $400 for this, 2 complete performances of the Queen Of Soul with King Curtis.

But there's this-

It's a 2 CD set that features one complete performance with bonus tracks from the other performance. It's almost the same music as the "limited edition," less the King Curtis set. Almost. But it's a much nicer $13.99 from our good friends at Rhino. So far, no problem. Limited run of everything for $80. Regular release for $14.

But, what about that King Curtis set?

HELLOOOO...

$15.99.

Purchase these two sets, and you have a good portion of everything found on the limited set for less than half of the original price and about $360 less than what the limited piece goes for now on the collectors market. 

I understand the process of rereleasing something years after it goes out of print, but the two sets above were released only a year after the limited edition. Where's the fun in that?

Rhino Handmade has taken this practice to new levels, offering most of their "hurry and up and get them NOW or else they'll be gone" releases as both iTunes and Amazon downloads. Sure, that was inevitable with their back catalogue, but was it necessary for the 25-50 "limited" titles?


Take a look at some of what's due:



Here's Elvis Costello's "limited edition."

 

The fanatic inside me seems to be focused on what Elvis Costello is offering for $252, as if anything but 220 dollar bills along with the CD and DVD would make this acceptable. Would I be more forgiving if, like the Grateful Dead and Dick, Elvis offered a complete performance of any one of his "Spectacular Spinning Songbook" shows instead of some truncated representation? Not really, but it seems to be less of a slap in the kisser for the fans.

The price point of $252, from a man who has made it public that he doesn't want to record new music for major labels anymore because they've never treated him right, is a tad offensive and hypocritical.  Not even the DVD in this super-deluxe nonsense, which is technically capable with all its layers to accomodate a director's cut of "Berlin Alexanderplatz," offers more than an incomplete live show.


It's the holiday season so the big boxes are expected.


Here are some numbers:

U2- ACHTUNG BABY- SUPER DELUXE
(6 CDs, 4 DVDs)
$121.95
(2 of the CDs included are "Achtung Baby" and "Zooropa," which are both selling for $0.01 on Amazon, by the way.)

U2- ACHTUNG BABY- UBER DELUXE
(6 CDS, 4DVDS, and a whole lotta other stuff. If you look closely at the picture at the very top, I think you can see one of Larry Mullen Jr.'s fingers.)
$422.99

THE WHO- QUADROPHENIA- DIRECTOR'S CUT
(4 CDS, 1 DVD, 1 7")
$117.99

THE SMITHS COMPLETE
(8 CDS)
$55.99
(This actually makes sense, except I hate The Smiths.)

ROLLING STONES- SOME GIRLS
(2 CDS, 1 DVD)
$128.99

JETHRO TULL- AQUALUNG (40TH ANNIVERSARY)
(3 CDS, 1 LP)
$104.96

PINK FLOYD- WISH YOU WERE HERE (IMMERSION BOX)
(2 CDS, 2 DVDS, 1 BLU-RAY)
$119.99

and

THE BEACH BOYS- THE SMILE SESSIONS
(5 CDS, 2 LPS, 2 45s, 2 posters, 1 hardcover book)
$139.68

At my count, that's 20 CDs, 9 DVDs, 3 LPs, 2 45s, and 1 book, plus some other shit none of us really need like wheels and stickers, and if you include the Pink Floyd, "Dark Side Of The Moon-Immersion Box" in this lot, scarves and marbles, for a grand total of $1200, $1330 with "Dark Side Of The Moon"...and really, only about 5 hours worth of new music. Plus, it's only "new music" for those fans who have never bought a bootleg in their lifetime, as most of the outtakes, demos, and remixes on all of these sets have appeared elsewhere, officially or not, over the years.

I think it's out of hand. 

I see the options. One could just buy the 2 CD version of "Achtung Baby," with features a remastered version of the album proper and a disc of b-sides. That's $20. But the obvious appeal is what's in the big box. The question is, must it be $400? Sure, the middle set is only $100 more, but then you're stuck with 4 DVDs, which for me means nothing. I just want the audio.

Is your head spinning? Mine is.

Speaking of The Beach Boys "Smile Sessions," tune in tomorrow to find out why this is not only the best of the lot, but one of the best releases of its kind.

"Aerosmith, 3/20/73": THE WEEKEND MIX

Steven Tyler fell again. This time, in a hotel room shower in Paraguay. It is not a relapse, he claims, just dehydration. He felt sick and BAM!

It's not pretty, whatever it was.

I've been a fan of Aerosmith for as long as I can remember. But huge, sober, late-eighties, hit-laden, arena-filling comeback aside, this is one band that I wish would just ride off quietly into the sunset. It's been 15 years since "Nine Lives," which was only a half good release. Since then it's been bad records (one of original material, two live compilations and one horrible record of heavy metal blues covers), worse live dates, American Idol, crappy solo projects, a cringe-making book, and drug relapses. Makes it easy to forget that they are responsible for some of the great rock albums of the 70s, and one of the greatest hard rock albums of all-time, 1976's "Rocks." (That comeback run from "Permanent Vacation" through "Get A Grip" is nothing to shake a stick at either.)

They are also responsible for one of my very favorite live performances. This common bootleg recorded at Pall's Mall in Boston, from 1973, is so early in Aerosmith's career, they haven't had the time to get loud and stupid. The short set list is almost half-filled with cover versions, including a nasty version of James Brown's "Mother Popcorn," here in its entirety. (The commercially released, edited version can be found on "Live Bootleg," the band's mostly crappy live record from 1978.)

Fan or not, don't deny yourself some gritty rock, rhythm & blues, because you think you just don't like this band. Give it a spin before you start lobbing the snarkballs. This cooks.



TRACKLIST

One Way Street
Somebody
Write Me
I Ain't Got You
Mother Popcorn
Movin' Out
Walkin' The Dog
Train Kept A' Rollin'
Mama Kin

aeroZIP

His Aim Is True. Really. It is.

The Return Of The Spectacular Spinning Songbook!!! is a 3-disc (CD, DVD, 10" vinyl EP) live box set, recorded over a 2-night stand at The Wiltern in Los Angeles on May 11 and 12, 2011. Limited to 1500 copies worldwide, each set is individually numbered with a special commemoration card autographed by Elvis Costello. This super deluxe package includes a 40-page hardcover book packed with candid photos, a tour diary of Costello's musings from each tour stop, a 20" x 30" concert tour poster and a limited edition postcard.


The CD was recorded from both nights' performances at the Wiltern, shows which The Los Angeles Times called "the kind of uniquely invigorating experience that warrants a buzzword all its own: inspiring." The DVD is from Costello's show on May 12, 2011, and includes a special guest appearance by the Bangles, plus bonus footage including behind-the-scenes moments captured with the Imposters as well as extra performances not included in the main set of the show. The 10-inch vinyl record features four songs only available in this set.


All this is housed in a lavish box with a working spinning replica of "The Spectacular Spinning Songbook" on the front cover! Only 1500 copies were printed and autographed so don't miss out.


($251.55, and you don't even get a full show. Not even on the DVD. Otherwise, you know....)

The New Tom Waits Record

TOM WAITS- BAD AS ME

Hey, Tom Waits fans. Do you remember the first time you heard "Swordfishtrombones" a little over 30 years ago? I sure do. It wasn't pleasant, but only because the transition from the previous records that featured piano-based, Tin Pan Alley songs about losers and heartbreak, sung by a man whose voice sounded as if he hadn't slept for week to exactly the same thing only clankier and noisier, was less than smooth.  Once I adjusted, maybe two years later, when his masterpiece "Rain Dogs" was released, "Swordfishtrombones" sounded every bit as wonderful as anything I'd ever loved by Tom Waits.

But then things got out of hand. Starting with 1987's "Frank's Wild Years" and continuing on through 2004's "Real Gone," that latter of which threatened to put me off Tom Waits for good, the releases became more unlistenable, with his sandpaper voice now choosing between a moan and a growl if we were lucky, or a megaphone if we weren't, kitchen-sink production, that at times actually used kitchen sinks for drums, and an overall clamor that just made the listening experience not much different than standing next to a traffic jam on the West Side Highway, while construction workers, each armed with jackhammers, tried digging their way to China.

(1999's "Mule Variations" is the exception. A fine record indeed.)

This brings me to "Bad As Me," the new Tom Waits record.

We have a winner!

"Bad As Me" sounds like the record that could have come out right after "Rain Dogs." There are still a few songs, like the openers "Talking At The Same Time" and "Raised Right Men," for starters, that employ the bang, screech and growl attack of the post-"Heart Attack & Vine" Waits albums, but what makes "Bad As Me" so much better is that things no longer "go to 11." Everything, including Tom's vocals, has been toned down. Softened, just ever-so-slightly, if you will. And what has returned in spades is the ability to hear the great stories in the lyrics and the melodies that harken back to Waits' best and most musical.

I love this record. It's the record I've been wanting Tom Waits to release for years. Songs like "Kiss Me" and "Last Leaf," the latter sung with Keith Richards, are slow and effective. These are ballads that hit like a right hook. And how about these lyrics from the title track:

You’re the wreath that caught fire
You’re the preach to the choir
You bite down on the sheet
But your teeth have been wired
You skid in the rain
You’re trying to shift
You’re grinding the gears
You’re trying to shift
And you’re the same kind of bad as me

(Just a personal fave. That's all.)



"Bad As Me" is a pretty damn perfect record.

"Old Records Die Hard" (Songs 'n' The Hoods Part 11)

My grandfather and my uncle had reel-to-reel tape recorders that occasionally took over our lives. While my grandfather used his mostly for recording already recorded music, my uncle was, thankfully, a bit more daring, recording not just music but New Year's Eve parties and family poker games, which years later provided record-breaking, family bellylaughs. They knew their machines inside and out.

On certain days, the tape recorders were the bane of my existence. I didn't always want to sing along with Mitch when most of my friends were outside doing the best kind of nothing. But thanks to these two men and their love of all music, I was able to listen to my very first mixtapes.

Technical note: My grandfather always used Scotch. My uncle preferred Shamrock.





These great men bought records, sometimes not knowing exactly who or what they were buying. The purchases were made simply because the records were cheap. Once in a while, they'd inadvertently stumble onto a gem, like Toots & The Maytals' "Funky Kingston" or a promotional box of Bob Dylan picture sleeves, the latter of which I was given permission to sell. I knew what I had was special. I just didn't know how special, and House Of Oldies, a record store still doing business on Bleecker Street, wasn't about to tell me. Sorry, gramps. I think I got copies of "Me & You & A Dog Named Boo" by Lobo and "Make It With You" by Bread in trade. I just didn't care about Dylan when I was 12. 

The best thing about these reel-to-reel mixtapes was that neither man cared about sequencing, or for that matter, what the A-side or B-side of the single was. In the case of my grandfather, he'd pull out a stack of 45s and just start spinning and taping whatever side was face-up. My uncle, on the other hand, knew about all music, including the raves of the day like The Beatles, The Beach Boys, Herman's Hermits, and so much more. He was a musician and loved music and life. My grandfather, in his silent charm, just went with the flow, though he did have his faves; Ray Charles and The Drifters, to name two.

I was reminded of all this as I was putting away some of my own records.  I found and played the Beach Boys' single seen above and remembered that "There's No Other," the Phil Spector-produced song by The Crystals covered by the Boys on their "Party" LP, was on one of my favorite, Grandpa-programmed, reel-to-reel tapes, along with "Mr. Dieingly Sad" by The Critters, "Toy Soldier" by The Four Seasons, and "How Can I Leave Her" by The Cyrkle, the b-side of "Red Rubber Ball."

I listened to "There's No Other," or "No Other (Like My Baby)" as the b-side is listed on the cover, four times this weekend and each time I was magically transported back to someone's living room, either on Broome Street where I was born, places where family and music thrived, like Far Rockaway or Mulberry Street, or Sheepshead Bay, where it all seemed to come together.

Now...like then...I was also impressed and a bit shaken, in a good way...by the music, specifically the song itself, and its layers of harmony. Yeah...it's the Beach Boys, so the harmony is expected. But no one ever mentions this tune. I'm thinking this version of "There's No Other" has enough heart to make it a more common consideration when talking all things Beach Boys.

The idea behind the Beach Boys' "Party," was to create in the studio, a record that sounded like it captured a bunch of friends, getting together to hang and sing and laugh. This was exactly what my grandfather and uncle did for a lot more than one album, and like the Beach Boys, when they got together with their friends and family, the harmony was expected.

I miss the old days, and those two men, who I credit tremendously for how I feel about music. Both of them had more patience for all kinds of sound than any two "old people" I had ever been around when I was a kid. They certainly had more patience than I have now as I become an "old person."

PART ONE
http://burnwoodtonite.blogspot.com/2010/07/people-and-things-that-went-before.html

PART TWO
http://burnwoodtonite.blogspot.com/2010/07/they-drove-you-or-you-drove-them-crazy.html

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

PART FOUR
http://burnwoodtonite.blogspot.com/2010/08/i-saw-led-zeppelin-twice-they-sucked.html

PART FIVE
http://burnwoodtonite.blogspot.com/2010/08/hear-my-song-people-wont-you-listen-now.html

PART SIX
http://burnwoodtonite.blogspot.com/2010/08/theres-something-wrong-here-there-can.html

PART SEVEN
http://burnwoodtonite.blogspot.com/2010/09/all-things-must-pass-songs-n-hoods-part.html

PART EIGHT
http://burnwoodtonite.blogspot.com/2010/10/tim-vega-songs-n-hoods-part-8.html

PART NINE
http://burnwoodtonite.blogspot.com/2010/11/all-accessfor-some-songs-n-hoods-part-9.html 

PART TEN
http://burnwoodtonite.blogspot.com/2011/03/scuse-me-while-idisappear-songs-n-hoods.html

"The Funk(y)" : THE WEEKEND MIX

"There's a fine line between Funk, Disco and Soul."

You are so right, Shriner. So I think I covered my ass with the parenthetical 'y' in the title.

I'm seeing a Part Two in the near-future. Thanks for all the suggestions. I will confess right here and now, I am not a fan of George Clinton. Never got it. I do like Funkadelic more than Parliament, with Parliament's "Chocolate City" being my fave of them all. And I have to also say, seeing Parliament/Funkadelic from the first row at the Apollo Theatre on Thanksgiving Eve in 1989...all 4 hours of it...was one of most surreal concert experiences of my life. Still, not really a fan. 

But I digress.

Until we get to Part 2, here's what I was feeling, with a little help from Bill in the U.K., and some of you.  As usual, there are a few curveballs, as well as one or two that might irritate some of you. But, I love the way it plays, so maybe you will, too.

I'd also like to point out that when James calls out Clyde, and Clyde Stubblefield kicks in...I lose my mind. Now that's funky.

Thank you.

Get "Funk(y)!"

TRACKLIST

Chaos & Disorder- Prince
Funk #48- James Gang
Funky- Ultramagnetic MCs
Uptown- The Chambers Brothers
I Can Understand It- Carlton J. Smith
House Party- Tony! Toni! Tone!
Just Kissed My Baby- The Meters
Do You Like It- B.T. Express
Weak At The Knees- Steve Arrington's Hall Of Fame
Anti Love Song- Betty Davis
You Come Through- Tom Petty
Gimme That Funk- Dennis Coffey
Thank You- Sly & The Family Stone
Chocolate Chip- Miles Davis
Let A Woman Be A Woman- Dyke & The Blazers
Get The Funk Out Ma Face (Live)- The Brothers Johnson
Give It Up Or Turn It Loose- James Brown


ZIP

Do You Have The Funk

Ok, so I'm in a mood, and The Meters put me there. I'm prepping tomorrow's "Weekend Mix." It's an intercontinental collaboration with my dear old pal, a funkmeister if there ever was one, Bill B. in the U.K.

This mix promises to get you up offa that thang. (I'll stop talking like that.)

Now, I know this is last minute, but let's see how it goes.

I have room for 4 more songs. 

Suggestions for the funkiest song?

Send'em in SOON, please.

Feel Like A King

Left to right: Art "Papa Funk" Neville, Zigaboo Modeliste, George Porter Jr. and Leo Nocentelli.

The Meters.

We've heard it before, but it's so worth hearing again...and again. Just be careful. Once you fall into that pocket, it ain't easy getting out.

(And if anybody has that instrumental version, as seen in the pic below, please...get..it... to ME!)

(h/t DerDav for the photo. )

Chris Isaak's Beyond The Sun

It's true! I like another covers record. But, nobody doesn't like Chris Isaak, right? The guy's got a great voice. He's funny. His 1987 debut "Silvertone" was cooler than cool, and really, aside from seeing him lip-syncing "Wicked Game" one Saturday afternoon while someone was ice skating on CBS Sports, there have been few missteps. Even his short-lived Showtime series was off the wall and very entertaining.

Today, Isaak releases "Beyond The Sun," a 2-CD tribute to the Sun Records label and a record he was born to record.  Isaak plays it straight here. There are no curveball arrangements. No funk version of "I Walk The Line." No bossanova version of "My Happiness." It's Isaak doing what he does best to some of the greatest rock and roll music ever recorded.

There are a few Elvis tunes, some Johnny Cash and Roy Orbison, and some Carl Perkins and Jerry Lee. It's a blast from start to finish.

I'm trying to find something cynical to say here, you know, strictly for entertainment value. But I can't. I really like this record.



BUY IT
http://www.amazon.com/Beyond-Sun-2CD-Chris-Isaak/dp/B005KMX866/ref=sr_1_1?s=music&ie=UTF8&qid=1318937474&sr=1-1

"Baby"

The Doc Pomus/Mort Shuman classic, "Save The Last Dance For Me," is hallowed ground.

Agreed?

The Drifters' version is all we need.  It's perfect.

Yet, the Harry Nilsson/John Lennon version from the oft-maligned 1974 release "Pussy Cats," never fails to buckle my knees and tremble my lips.

Buckling and trembling. That's what it's all about.

John Lennon had a lot...or nothing... on his mind during the "lost weekend," but from the sound of "Pussy Cats," Phil Spector was hanging around his pons...somewhere.  Say what you will about the material and the approach, not to mention the early signs of Harry Nilsson's fatiguing vocals, but "Pussy Cats" has more than a few classics, including "Don't Forget Me" and a Plastic Ono Band-inspired "Many Rivers To Cross." Yet, it is "Save The Last Dance For Me" that packs the biggest wallop. I think it's simply gorgeous.

Ben. E. King sings the bittersweet lyrics over a hopeful cha-cha. But Harry Nilsson pleads his case over a desperate march. 

My kinda guy.

"To The Macs" : THE WEEKEND MIX

It seems unlikely that Paul McCartney and Elvis Costello will ever finish what they started some time back in 1987. For those who don't know, The Macs wrote some songs together for a proposed album. You can find those demos HERE. 

Some of those tracks found homes on each of their records.  What I've put together for this "Weekend Mix," is just what that record might have sounded like.

Here are all the finished tracks written by Paul McCartney and Declan MacManus, but recorded separately, with the exception of "You Want Her Too," which is a duet.  I've also included one bonus demo, as it was featured on a commercial Elvis release.

The demos are, quite simply, fantastic. More often than not, Elvis and Paul sound eerily like John & Paul. What I find interesting is how a few of the master takes seem to abandon that Beatlesque vibe, almost as if both parties wanted to "just not go there." This is most noticeable on "The Lovers That Never Were," and even a bit on "My Brave Face." Both demos feature Costello on a low, Lennon-like harmony that Paul just doesn't recreate on his solo versions. Elvis takes "Playboy To A Man" from a harmony-filled demo that wouldn't be out of place on "Beatles For Sale" or "Help," and kitchen sinks it with carnival sounds and affected (and annoying) lead vocals for his solo take.

Still, the finished product culled from Sir Paul's "Flowers In The Dirt" and "Off The Ground" LPs, as well as songs from EC's "Spike," "Mighty Like A Rose," and "All This Useless Beauty" albums, makes for one fine listen.



I hope I didn't forget anything.



TRACK LIST

My Brave Face
Pads, Paws, & Claws
Mistress & Maid
Shallow Grave
You Want Her Too
Back On My Feet
That Day Is Done (EC)
The Lovers That Never Were
So Like Candy
Don't Be Careless Love
Playboy To A Man
That Day Is Done (PM)
Veronica
Mistress & Maid (demo)


ZIP

JD McPherson, And One More "Must Have" Of The Week

First I'd like to thank Jeff K. He asked if I knew who JD McPherson was. I said, "No, who is he?" He told me he had tickets for Nick Lowe and JD was the opener. Wanted to know if he should skip the opener. He did some research. Decided he should not skip the opener. Again. Thanks, Jeff.

The Love We Make

Just watched the Albert Maysles documentary on Sir Paul and the "The Concert For New York." Have you seen it? You should.


Still haven't watched the second part of Marty's Harrison film, but I will. I've been too caught up in all the solo Paul stuff I spent the last decade recklessly trashing. Plus, I had a great "solo Paul" chinwag with a friend, so the time was right. Once I get Mr. McCartney out of my system, I'll have a better head for George. (I just hope Errol Morris doesn't churn out some rare footage of Maureen Starkey over the next few days. I don't need another distraction.)

The film begins exactly a month and a day after the attacks on 9/11, and what we see is Paul McCartney being Paul McCartney in all his "cute one" glory. I don't think he can help it. And that is why I loved this film. That Beatle stuff sucks me right in.

We see rehearsals for, backstage footage from, and interviews prior to the absolutely huge event at NYC's Madison Square Garden, where so many gathered to pay tribute to the city and its heroes. It's an emotional film for most of it's 105 minutes, but it is always entertaining.

Beatles footage, solo or together continues to affect me. Paul pretty much shakes up everyone he comes in contact with, whether it's fans following him on the street, or celebs from Leonard DiCaprio to Access Hollywood's Pat O'Brien, everyone tries to play it cool, but in the end they just can't. Certainly not as cool as Paul is towards everyone from Dan Rather to Howard Stern.

Those that do play it cool are Paul's peers, and the scenes with Pete Townshend and Eric Clapton, though brief, were both slightly uncomfortable and kind of hilarious. Amidst all the sadness and shock of 9/11, business is still business, and Paul is intent on debuting the song "Freedom," which he had written specifically for this event. No one seems to care, as he talks it up, and basically auditions for these rock and roll legends, singing the chorus, playing air guitar, and trying desperately to get a reaction. Everyone is polite, but you can feel just about everyone thnking, "Just play old stuff!" When Paul tells Clapton, "Just play around in G. You don't even have to think about it," Eric deadpans, "No."

As documentaries go, I think it's quite fab. How you feel about Paul McCartney when it's over is worth discussing.

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

PETER GABRIEL- NEW BLOOD

The biggest problem with this collection of re-records, other than being a collection of re-records, is that Peter Gabriel's idea of removing guitars and drums from his past work and creating orchestral versions seems a bit needless. So much of the solo work refurbished here was sort of orchestral to begin with, so you see, why bother? The differences between the old blood and new are just not worth the time. People raise kids in the time it takes Gabriel to put out new music. Now, what do we do for the next 8 years? Listen to Kate Bush's "50 Different Words For Snow?" And what the hell is wrong with guitars and drums? And why doesn't anyone rock anymore?

It's HERE

RYAN ADAMS- ASHES & FIRE

I about gave up on ol' Ry. The poor guy seemed lost. Thankfully, he has found his way back, and "Ashes & Fire" may just be his best record since 2005's "Jacksonville City Nights." The most impressive thing about this record is the quality of his voice. Adams' singing on the opening track and first single "Dirty Rain' is so full of soul, I had to check twice to confirm who I was listening to. There are plenty of winners on this laid-back, somewhat melancholy affair, with "Invisible Riverside" leading the pack as a personal fave. This is Ryan Adams doing what Ryan Adams does best. Dive in.

Get it HERE

MAYER HAWTHORNE- HOW DO YOU DO

I am not drinking the Mayer Hawthorne Kool-Aid. Sorry. No New York Times rave, or friend recommendation will do it. He's ok. That's it. I see what he's trying to do, but he just can't sing. His voice is weak at best, and flat the rest of the time. This new record works better than his indie debut in that it sounds better. But slick, smart production is not enough. You'll hear all your faves---Marvin Gaye, Al Green, Hall & Oates--when the songs start. But, once Mayer kicks in, the novelty wanes. I'm particularly bothered by his Cee-Lo rip, "The Walk." Dude, "Fuck You" is not that old. This isn't tribute. It's theft.

If you must, it's HERE

RICH ROBINSON- THROUGH A CROOKED SON

I've mentioned my love for the Black Crowes on these pages numerous times. What I usually get in return is the internet equivalent of Looney Tunes' crickets. That's alright. I still think they are one of the greatest live bands I have ever seen. Here is brother Rich, with his second solo affair, and it's a knock-out. Chris Robinson was the front man, but Rich's voice can ooze like syrup, and when it leads songs like these, evoking everyone from Otis to Brothers Gregg and Duane, it works in a big way.

It's HERE

More came out today, like something new from Bjork, an artist whose first two CDs delivered something original, accessible (sort of) and groundbreaking. Since then, she's been rowing with one oar, and I've given up. She's just too fucking weird. And speaking of weird, there's also a Radiohead remix thingy that I have no interest in.

Joe Henry has a new CD too!  Haven't heard it yet, but I look forward to it. And there's also a seriously, not bad record from William Shatner.  I mean it. If you didn't appreciate the Ben Folds produced "Has Been" and all its sincerity, then don't pay any mind to "Major Tom," Shatner's new, star-studded release. But if you did, this...well...isn't nearly as good, but still a lot of fun. Guests include Lyle Lovett, Ritchie Blackmore, Brad Paisley, Peter Frampton, John Wetton, Steve Howe, Sandra Dee, Molly Wee and Oscar Homolka.




Finally...THE CO-OPERATIVE!

I wasn't kidding.

Yesterday's post died a quick death. Maybe you were all celebrating Columbus Day, the one day each year Joe Piscopo is asked to be somewhere. Whatever the reason, reaction to what might end up as my fave of the year was weak.  Buy this record. Now.

Samples are below.
http://www.amazon.com/The-Co-Operative/dp/B005QTFUR8/ref=tmm_msc_title_0?ie=UTF8&qid=1318299001&sr=1-1

The Co-Operative. You Need It!

Do you know anything about Nine Below Zero? I really didn't. But take a look at what Bruce Eder has to say about them over at All Music:


Nine Below Zero started life in South London during 1977, in the midst of the punk rock boom in England -- but their sound and inspiration were so totally counterintuitive to what was going on in punk rock that they scarcely seemed to be part of that movement, apart from their extremely energetic attack on their instruments. Rather than noise for its own sake or auto-destruction, their inspiration lay in classic Chicago blues (though John Mayall's early music and that of the Who and the Kinks from early in their careers also figured into their sound). Dennis Greaves (lead vocals, guitar), Peter Clark (bass), and Kenny Bradley (drums) -- soon joined by Mark Feltham (who actually replaced a teacher of theirs who had sat in on the early gigs) on vocals and harmonica -- were schoolmates and friends who shared a love of blues; all had all come into the world in the early '60s, and might well have resigned themselves to having missed the boat for the British blues revival by virtue of having been born in the midst of it. Instead, they reached back to that era and found themselves pegged as part of the "mod revival" in the midst of the punk era. 

By 1980, they'd been signed to A&M Records' British division and took the bold step of making their major-label debut a live album from the Marquee Club in London -- to judge from the results, one heartily wished that some of the earlier bands that inspired them had displayed similar daring. Live at the Marquee, recorded on June 16, 1980 -- by which time Stix Burkey had replaced Bradley on the drums -- was a success and led to their follow-up album. For their sophomore effort, Don't Point Your Finger, they were determined to translate their live energy into the studio and turned to no less a producer than Glyn Johns, who had worked with the Rolling Stones and the Who in their respective best years. The resulting record reached number 56 on the British charts.


There's more, if you want it. But that's enough for now. I bring them up because they have just made a record with Glenn Tilbrook. It's called "The Co-Operative." It comes out on 10/24, or you can order it now over HERE. I suggest that you do.

My friend handed me copy, winked and said, "I think you'll dig this." This was the understatement of the year.

This record has been playing non-stop since I got my dirty little mitts on it this past Friday. It's the best Squeeze album since "Argybargy." It's Rockpile meets The Flying Burrito Brothers. It's blue-eyed soul meets white boy blues. It's The Beatles at The Cavern.

Yes.

I KNOW!

I can't help it.


Buy this record.

Trust me.

The cool cover below is also on the album, but it's hardly the best track. It ain't bad, but it's not what I'm pushing, and it certainly is not the best representation of just how amazing this record is. It's just all I could find on You Tube.  The cover of Johnny Paycheck's "Satin Sheets" is one to push. Or the opener, "Chat Line Harry." (I can't remember when a song made me smile so hard.) Or "Because," which another friend called "the best pop song of the year," and just happens to precede "You Never Give Me Your Money." Get it?

"Occupy Wall Street" : THE WEEKEND MIX

 "Fair's got nothing to do with it. Fair's where you go when you wanna see the pigs race."
--Jim Dickinson




Boy, am I kicking myself for not including Motorhead's "Eat The Rich" on this Weekend Mix. Or at least, Robert Palmer's killer cover.

Ah well...

You'll get the idea with what's here.

As always, enjoy.

TRACK LIST

The Wall Street Shuffle- 10cc
Luck Be A Lady- Frank Sinatra
For The Love Of Money- The O'Jays
The Payback- James Brown
I (Who Have Nothing)- Little Milton
Ain't Got No Money- Frankie Miller
Broke Down & Busted- Todd Rundgren
Man With Money- The Who
Payday- Jesse Winchester
Eveything Goes To Hell- Tom Waits
Gotta Have Money- The Balham Alligators
Money Changes Everything (Orig. Single Version)- The Brains
Money Talks- Mud Boy & The Neutrons
How Can A Poor Man Stand Such Times And Live- Bruce Springsteen & The Seeger Sessions Band

IT'S ZIPPING

The Lost Notebooks Of Hank Williams (Senior, relax.)

12 new musical compositions set to 12 previously unheard Hank Williams lyrics is what we have here and there really isn't one misstep. I'm sure there will be a few eye rolls and groans from the purists at the sight of Norah Jones and Sheryl Crow on the roster, but they just happen to deliver two of the stronger entries here.

As I said, it's all good. Thankfully, no one strays from the Hank Williams formula, though I just don't care for Jack White or Jakob Dylan. They do here what they do always. Jack sounding like Jack, skittish and grating. Jakob sounding like Jakob, snoozy and in need of a good noseblow. But I'm a fan of neither, so those two tracks are the least appealing.

Alan Jackson, Patty Loveless, and Bob Dylan deliver my other three faves, on this mostly solid and smart release.

GET IT BELOW
http://www.amazon.com/Lost-Notebooks-Hank-Williams/dp/B005F23NMK/ref=sr_1_1?s=music&ie=UTF8&qid=1317903630&sr=1-1

First time I heard the Norah Jones track was probably where most of you did, on an episode of Elvis Costello's Spectacle. I loved it then and I love it now.

Tommy...Tommy...Tommy....Tommy.....

Tommy Keene's been making records for a really long time. Some have been better than others, but none have been bad. Two, 1986's "Songs From The Film" and 1989's "Based On Happy Times" are legendary in the power pop world, the latter featuring "When Our Vows Break," a duet with Jules Shear that over 20 years later, still remains in heavy rotation here at Casa de Quack.

Keene's releases over the last decade though have suffered from being a bit same-y. I hear the same problem on "Isolation Party," "Crashing The Ether," and "In The Late Bright," three records released from 1999-2009, that I hear with Matthew Sweet's last few. The records sound like they should, but it seems like they were built around the sound and not the songs. Sweet's newest, "Modern Art" continues that frustrating trend, but Keene's most recent "Behind The Parade," released in August, breaks it.

This is Keene's best record since the aforementioned "Based On Happy Times."

It's all here! The big guitars, the hooks, the harmonies...and, best of all...the songs.

This is by far one of the best power pop records I've heard in a very long time. The first single, "Deep Six Saturday" which opens the records is a monster. That will reel you right in. But "Behind The Parade" doesn't let up. It may throw you a bit when you get to track 5, "La Castana," an instrumental that sounds more like Brian Eno meets Brian Wilson than what Keene had just handed us in tracks 1-4. But when it was over, I wanted to play it over again. It's a perfect curve ball that sets up the second half of this fantastic record.

"Deep Six Saturday" is below. Give it a listen.

Wendy Just Got A Whole Lot Better

Come down a bit on the reverb and vocals and turn up the bass, guitar and drums a tad higher, and what you have here may be one of the very first power pop songs. I've listened to "Wendy" countless times, but it was always a "fly-over" tune, never a Beach Boys destination for me. Now suddenly, I actually "hear" it and I can't stop.  The magic of music.

Truckload Of You Know What

Produced by Clarence Reid, or as some of you more daring readers may know him, Blowfly, "The Babysitter," Betty Wright's 1972 Top 50 hit, is the song that finally snapped me out my malaise. The rhythm section alone is enough to make even the sourest puss crack a smile and shake a little boo-TAY.   I didn't, but you know, you might.  ;)

"The Babysitter," is not quite as big as Wright's chart-topper and oft-sampled "Clean-Up Woman," but boy, is this one cookin' record. Again, just listen to the bass and drums...and those horns!

The first time I was made aware of "The Babysitter" was in one of Vanity Fair's music issues. It was, I believe, the first time Elvis Costello wrote about his 500 (?) favorite records. This was one of them.

(That issue cost me about $483, by the way. I wish I still had it. I may have to give EC's list another pass.)