The General Store

The debut from The General Store has been around for ten years, but I only just discovered it this week, thanks to a heads-up from Burning Wood's extended family member FD13NYC. This band is  essentially one man, Tam Johnstone, son of long time Elton John guitarist Davey Johnstone.

Here's a little more from Jason Damas at ALL MUSIC:

"Johnstone whose father Davey was the longtime guitarist for Elton John, was born in 1970 and spent his childhood years immersed in the easygoing, laid-back vibe of Southern California singer/songwriters and country-tinged acts like The Eagles and Jackson Browne. Local Honey is his attempt to recreate this sound 30 years later -- and, here's the kicker -- it was recorded live to four-track in one prolific week following a bitter breakup. Ouch. But with Local Honey, Johnstone's misery is your joy, since at least his muse didn't leave him. The album is bursting with highlights, from wounded, Eagles-esque country-rock like "Letdown" to more shambolic country-rock like "Airport Breakfast" and soaring, almost Fleetwood Mac-styled pop like on "Coming Down" and gut-wrenching ballads like "Stay.""

I'm all gaga over "Local Honey." This record is killing me. It's as Jason Damas says, but I'd like to throw in a little Buffalo Springfield and Nilsson, as well. And maybe not oddly, Johnstone sounds nothing at all like dad's employer. This record is everything the Fleet Foxes aren't.



Check out "Airport Breakfast" and "Long Way."

If It's Tuesday, It Must Be Street Date, 2/2/8/12

PINK FLOYD- THE WALL: IMMERSION BOX

Like it or not, Roger Waters' epic tale of childhood abandonment, war and insanity, better known as Pink Floyd's "The Wall," is classic for a reason. Today, the last of the "Immersion" boxes--collectible sets with newly remastered music, unreleased demos and live tracks, DVDs, and other stuff that just gets in the way---hits the streets. This package is as over the top as "The Wall" itself. Here's what you get for $120:

DISCS 1&2 – CDs 1&2

The Wall digitally remastered by James Guthrie, 2011

DISCS 3&4 - CDs 3&4

The Wall album demos (previously unreleased)

DISCS 5&6 - CDs 5&6

Is There Anybody Out There: The Wall Live (digitally remastered in 2011 by James Guthrie)

               

DISC 7 - DVD, AUDIO VISUAL

Another Brick In The Wall pt2 promotional video – restored in 2011

Behind The Wall documentary

Gerald Scarfe Interview

Short filmed extract of Earls Court concert featuring animation

44 page 27cm x 27cm booklet designed by Storm Thorgerson

Exclusive photo book

27cm x 27cm Exclusive Storm Thorgerson Art Print

5 x Collectors’ Cards featuring art and comments by Storm Thorgerson

Replica of The Wall Tour Ticket

Replica of The Wall Backstage Pass

Scarf

Prints/Cards of Mark Fisher’s stage drawings

3 x white marbles with design of bricks

9 x Coasters (unique to this box) featuring early Storm Thorgerson design sketches

(I'm a fan of both Pink Floyd and "The Wall, but I'm settling for the $28 4 CD, "Experience" set, which has the remastered album proper, and 2 discs of demos. Sadly, no marbles.)

IT'S HERE 

TODD RUNDGREN- TODD LIVE

In September of 2010. Todd Rundgren performed a handful of fan-requested shows that featured both 1974's  "Todd" and 1980's "Healing" in their entireties. You can see my pics and my review HERE.

The performances from the Keswick Theatre in PA., were recorded and the first of those hits today. "Todd Live" is available as either a DVD or CD HERE, with the "Healing" performance due at a later date. If there was a way for me to explain just how wonderful these sets are without you thinking, "Here he goes again," I would. But there isn't, so I'll just say, these sets are truly wonderful.

THE VENTURES- IN SPACE, SURFIN' AND PLAY TELSTAR & THE LONELY BULL

The Ventures "In Space" was one of Keith Moon's favorite records of all-time. I love it, too. And now the good people of Sundazed have done it up nice, along with two more Ventures classic, "Surfing" and "Play Telstar & The Lonely Bull."  You can find them HERE.

LYLE LOVETT- RELEASE ME

Lyle is back with a mix of covers and originals that cover the usual ground of a Lyle Lovett release. This is not a bad thing, though the duet version of "Baby, It's Cold Outside" with Kat Edmonson is. "Release Me" is far from Lovett's most inspired work, but there is enough here to keep his fans happy.  Get it HERE.

ALSO OUT THIS WEEK:

THE CRANBERRIES- ROSES

(No. I won't. Not a fan. You can't make me. I don't care what you say.  NO. NO. NO) 

CAROLINA CHOCOLATE DROPS- LEAVING EDEN

(The amazing Buddy Miller gets hold of this amazing little band for one amazing little record.) 

AMY RAY- LUNG OF LOVE

(There are few artists that irritate me the way the Indigo Girls irritate me. Mere words cannot express just how awful I think they are. An intrepretive dance may be the way. Now, I don't even have to listen to the music. The title of this solo record alone is making me ill.)



 Happy Tuesday

Todd Rundgren's Unpredictable Evening At City Winery

I saw Todd Rundgren last night. I got home just as Meryl Streep was giving her Best Actress acceptance speech. She joked a bit about how the first thing that came to her mind upon hearing her name called, was how the world would deliver a collective groan and think, "Oh no! Not Her again." Then she shrugged it off and said, "But whatever. This is probably the last time I'll be up here." I guess the older one gets, the opportunities to do what you do best become infrequent, so you might as well revel in the successes as they come.

I haven't yet seen "The Iron Lady," so I don't really know how good Meryl was as Margaret Thatcher. I imagine it was her usual riffing on an accent, which when nailed, is some of the best riffing in the game. But as I was saying....I saw Todd Rundgren last night.

It was Night One of Todd's City Winery residency, which is being called "An Unpredictable Evening With...." For those who have seen Rundgren as many times as I have, beginning as early as 1975, you know "unpredictable" doesn't necessarily mean, "Now I'd like to do Side Two of "Runt." It can, especially in later years, mean 3 songs in a row with flubbed lyrics.

But not last night.

The shows are being billed as "semi-acoustic," but there were two electric guitars on stage, an electric bass and a drum kit. The approach was a bit lighter in sound, with the band casually seated, and yet, just as heavy as a classic Rundgren performance can be. The most "unpredictable" thing about the night was Rundgren's demeanor. As my friend Lesley pointed out, "It's been years since I've seen him this relaxed. It was like he really wanted to be there...like he was really having fun." She was right.  That alone made "Night One" an absolute joy.

There were some "unpredictable" tunes, as well. It's been a long time since full (sort of) band versions of Utopia faves like "Lysistrata" and "One World" were played. Same can be said for the cover of ? & The Mysterians "96 Tears," which Utopia covered in the 80s. It was also a nice surprise to see Todd at the piano for near-perfect versions of "Too Far Gone" & "Compassion." Even more of a surprise was just how much I loved the cover of Lorne Greene's "Endless Prairie." Unlike Todd's recent and somewhat relentless setlisting of Red Rider's "Lunatic Fringe," this oddball choice didn't feel forced or lazy. It'd be easy to complain, like some impatient bar patrons behind me, about how that slot would have been better utilized with a "hit." But I can honestly say, seeing our boy enjoy himself with Kas and Jesse and Greg (?) and especially those in attendance, was much more satisfying to me than another take on "Hello It's Me." And given the opportunity, I wouldn't swap the Lorne Greene cover out.

There were some "hits," like the bossa nova version "I Saw The Light," which I  prefer over the pop version only because Todd spares us the maniac cackle after the line, "It's not something that I say in jest." "Black & White" from 1976's "Faithful" rocked while one of the most stunning versions of "I Don't Want To Tie You Down," from "A Wizard/A True Star" made me understand just why I keep coming back time and time again to see this man perform.

Rundgren looked good, younger even, and his voice was about as perfect as you'd want it be, with his falsetto clean, natural and unforced. One more "unpredictable" moment which was also the last, was when Todd Rundgren sat at the piano one more time for a version of "Hawking," a song about Stephen Hawking that has been blowing my mind since it was released on 1989's "Nearly Human" almost 25 years ago. This is a vocal tour de force, and lately Todd has been nailing it while playing the guitar. This was the first time I'd seen him attempt this on solo piano. If not for one hiccup on the last verse, which snapped me out of my euphoria almost long enough to mind, this performance of "Hawking" might have been the most powerful since it's debut.

Like Meryl Streep, I imagine Todd Rundgren has begun to feel mortal. He is human, after all. Maybe he's not sure how much longer he'll be up there. And just maybe, that feeling is the linchpin to a new approach in his career, one where he takes it a day or even a minute at a time. He did point out early on, "Unpredictable could either mean, this will be a night you will relish forever or one you will regret for the rest of your life." I have no regrets about last night. This was Todd Rundgren the way I want him.

Songs Of The Week: 2/18-2/24

You Can Have Watergate, Just Gimme Some Bucks & I'll Be Straight- James Brown
For What It's Worth- The Staple Singers
February's Quiet- Big Star
Club Nitty Gritty- Chuck Berry
Something- Paul McCartney & Eric Clapton
Hammer To Fall- Queen
Think She'd be Good To Me- C.C. Adcock

ZIP

"Reelin'! (And Rockin', Too...I Guess)" : THE WEEKEND MIX

The weather in NYC has been so unseasonably beautiful, I almost forgot to moan about shit.

                                                            (~wink~)

I was tempted to stash away the winter sweaters and unbox the Bermudas, but I played it safe and instead, shelved the Nick Drake and Nico records and whipped out some rocking goodies.

Like, Brenda Lee's fiery take on "What'd I Say," which I had never heard before Mr. Simels over at the indispensible Power Pop paid it some mind.

Like, Tom Jones doing Little Richard proud on "Bama Lama Bama Loo."

Like, the Elton penned, Rod & Elton rocker "Let Me Be Your Car," from back when neither sucked.

Like, Raphael Saadiq taking his fantastic retro-soul style up a notch with the hot hot "Heart Attack."

Like, one of my very favorite Stones songs off of one of my very favorite Stones albums, "Surprise, Surprise" from the underrated gem, "Rolling Stones Now!"

Like, Nick Lowe's rockabilly, Record Store Day exclusive, "(I've Changed My) Wild Mind."

Get in on it!

Enjoy the ZIP!

TRACKLIST

Living In The USA- Wilmer & The Dukes
Him Or Me- Paul Revere & The Raiders
Louie Louie- Richard Berry
Heart Attack- Raphael Saadiq
Sookie Sookie- Steppenwolf
Blue Days, Black Nights- Paul Burch
Pumping- Patti Smith
Daddy Rollin' Stone- Johnny Thunders w/ Phil Lynott & Steve Marriott
(I've Changed My) Wild Mind- Nick Lowe
Held Up Without A Gun- Bruce Springsteen & The E-Street Band
Surprise Surprise- Rolling Stones
Bama Lama Bama Loo- Tom Jones
What'd I Say- Brenda Lee
Let Me Be Your Car- Rod Stewart & Elton John
Money Talks- Mud Boy & The Neutrons

Band Of Skulls: Sour By The Minute, Sweeter By The Hour

There are many things to love about the Band Of Skulls and most of those things can be found in the title track of their sophomore effort, "Sweet Sour." It's Zep-heavy, it's Black Keys hip, and it's got a hooky little refrain with some hooky little harmonies.

The Skulls are from England and they are all the buzz.  I'm loving what I'm hearing, though I do have one complaint. They employ that two-part harmony trick on almost every song. That may not annoy you as much as it does me, but hearing it on the opener knocked me out. It was a great mix of hard rock grit and 60's psychedelia. By track 5, the bloom was off that rose, and it became a bit of a distraction. The Band Of Skulls have serious rocking abilities that seem to get sabotaged with their alt-country, Laurel Canyon singing.

Still, "Sweet Sour," from Band Of Skulls is kind of hot. The title cut and the new single "Bruises" sit below. What do you think?

"The About Face" : A Mid-Week Reflection (Or Something)

I had a friend who teased me occasionally. It mostly had to do with my complete u-turns regarding records and artists. I could be an ardent non-supporter of Clammy & The Half-Shells for most of 1983, then one afternoon, after reading an article or having a discussion with a Clammy fan, I would suddenly hear the music in a different way and become a devotee. My friend would attempt a lame impersonation of me, saying things like, "You know, I was mowing my lawn, and putting a new door on the tool shed while listening to Vikki Carr's Tribute To Connie Stevens, and you know...it really is good!" It was funny...to a point.

Recently, thanks to reader Robin, I went from dismissing the new Paul McCartney record as nothing more than a rest stop, to placing it in heavy rotation, completely absorbed by his phrasing and the beauty of his falsetto. "Kisses On The Bottom" has become quite the record for me. It may not have, if Robin wasn't so passionate about it.

Yesterday I tossed off "Shackled & Drawn," the third track off of Bruce's upcoming release, calling it samey, or something like that. I didn't say I disliked it. I just found it less compelling than the rest of the record, and I blamed it on sequencing. Some friends who I respect, called "Shackled & Drawn" their favorite track on "Wrecking Ball." I decided to go back in and just listen to it, away from the rest of the album. It's a killer, alright!

My enthusiasm, whether for or against something, seems to either amuse people, which doesn't really amuse me, or piss people off. One afternoon, while minding the counter at my now defunct CD retail shop, a regular customer came in and asked me what I thought of the Costello/Bacharach CD. The memory is vivid, unfortunately. As I gushed about the song "God Give Me Strength," he gave me "the hand" and said, "Ok. Ok. Relax."

Boy, did I feel stupid. (I also secretly wished he'd grow a boil on his neck.)

Music isn't just music. It can't be.

If I can write something that enlightens, or simply helps someone hear something differently, I've been successful. I welcome any and all opinions, especially if they'd help foster further listening and appreciation of something I may be missing.  I hope you feel the same.

Bring On Your Wrecking Ball

"The verses are the blues, the chorus is the gospel," Bruce Springsteen once said in an interview. He might have been talking about his then release "The Rising" specifically, but that statement could apply to any one of the man's songs. "Wrecking Ball" hits officially in a couple of weeks, but I spent the last two days becoming very close to this fantastic piece of work.

To paraphrase a friend, judge art by what it's trying to be and what it is, not on what you want it to be.

I think it's safe to say, there isn't a Bruce Springsteen fan who didn't want "Wrecking Ball" to be the new "Darkness On The Edge Of Town." (Isn't that the hope with every release?) Some might have even settled for another collection of tight, radio-friendly songs like the ones found on "Magic." But once you accept the fact that our hero is no longer the man he was 5 years ago, let alone the man he was in 1978, Bruce's "gospel" continues to be very compelling, and "Wrecking Ball" is Bruce Springsteen's gospel record.

Almost all of the songs here are stark, first-person narratives about the will to live and the constant struggle of so many during hard times. The sound of "Wrecking Ball" might be closer to the roots music found on "The Seeger Sessions," with horns, strings and even pennywhistles taking over the musical arrangements, but at its heart, "Wrecking Ball" rips into the soul like "Nebraska."

"Jack Of All Trades" is the centerpiece here, with its hymn-like cadence and story of a man who promises, "Honey, we'll be alright," as he accepts whatever God hands him, good or mostly bad. It's a monster of a song, much-like "Racing In The Street" was the first time we heard it. "This Depression," another ballad with a very heavy plea, is just as powerful, as the drone of a Robert Fripp-like guitar and a distant chorus underscores Bruce confessing as a man who's never felt so weak. "I need your heart, in this depression."

Two songs originally made their debut in concert, "Land Of Hope & Dreams" and the title track. I know many who groaned when they saw the early tracklist a few months ago, feeling as if the space for two new songs had been taken by two that had been previously heard. But just as Bruce can take a song to new heights in concert, The Boss has managed to take two "live" songs to an even higher level in the studio. "Hope & Dreams" and "Wrecking Ball" are a joy; two jolts of inspiration that kick the record into that place you thought was only attainable at an E-Street Band concert.

Though "Wrecking Ball" is a powerhouse, not everything works. "You've Got It" is weak. It's a lyrical speed bumb with a melody on the verses ripped right from "All Or Nothing At All," a song found on not everyone's favorite "Human Touch." "Shackled & Drawn" works on its own, but in this case, it follows "Easy Money," a song very similar in sound, so for me, it gets lost in a haze of sameness. A minor quibble.


The E-Street Band has changed, first with the loss of Danny, then the Big Man. Life is about change. That's an odd thing for someone like me to admit. I've spent many words on these pages pining over the good ol' days when music was "better." But when someone as important as Bruce Springsteen has something to say, the message takes precedence over how it gets delivered. I don't need "Jungleland" any more. Or "Sherry Darling." Or, "Kitty's Back." I know I'll get those in concert, at least once in a while.

I love "Wrecking Ball." I hope you will, too.


1. We Take Care of Our Own
2. Easy Money
3. Shackled and Drawn
4. Jack of All Trades
5. Death to My Hometown
6. This Depression
7. Wrecking Ball
8. You’ve Got It
9. Rocky Ground
10. Land of Hope and Dreams
11. We Are Alive

Ringo's All-Starrs?

It's been 20 years since I last attended a Ringo's "All-Starrs" concert, but I think I went out on a very high note. Joining the Beatle on the 1992 tour were Todd Rundgren, Dave Edmunds, Joe Walsh, Burton Cummings, Timothy B. Schmit and Nils Lofgren. This year's "All Starr Band," includes Gregg Rolie, Steve Lukather, Richard Page (of Mr. Mister), Mark Rivera, Gregg Bissonette, and once again, Mr, Rundgren.

Meh.

I have a friend who swears by all of these shows, and I'm sure he's been to every one since the first in 1988. I won't dispute the fun factor. But, hearing the '92 guys harmonize on songs like The Guess Who's "No Time" and Poco's "Keep On Tryin'" is a tough card to trump with with 2012's line-up. Does it matter really who harmonizes on "Broken Wings?" And as great as it was to hear Toto's "Hold The Line" on the radio, it wasn't Steve Lukather who sang it.

I could go on, but why?  I'm sure there are plenty of Mr. Mister, Toto and Gregg Rolie-era Santana fans who would think this year's band is better than '92's. (They'd be wrong, but...)

I'm happy Mr. Starkey continues to go out on the road with friends, but unless he upgrades to a new operating system, his "All Starr Band" will start to resemble the cast of "Cannonball Run 3."

Realistically...who could be part of this 2012 line-up that would equal the '92 line-up? Our favorite legends are getting older...or worse. Think about this. If you could build this roster for a tour, who would your five be...realistically?




KEEP ON TRYIN'




NO TIME

Song Of The Day

My old friend and big time Burning Wood supporter cmealha suggested I implement a new feature. I liked the idea, so ladies and germs, I give you....

"SONG OF THE DAY."

As he suggested-

How about a "Song of the Day" feature where you would tell us what song really made your day or rose above everything else you heard that day.

Simple, really.

There will be no archive. It goes up until the next one goes up.

Situated on the right side of the page, a little more than 1/4 of the way down, you'll see the pic. Click on it and it will take you to the song.

I haven't decided if clicking the pic should bring you to YouTube or a download link. What would you prefer? I can't have both.

"Off The Shelves" : THE WEEKEND MIX

I'm tired of listening to music I don't like.

Can you relate?

Let me explain.

This isn't a case of, "Listen to Bon Iver or we will shoot this puppy." I am not being forced to endure hours of unpleasant music by some rogue hipsters with guns. But, I do find myself wanting to experience the sounds of what's new, what's hot and what's not The Beatles and The Stones. Sadly, a lot of that time is wasted. I'm rarely impressed. And at the risk of sounding like the "Hey you kids, get off my lawn!" guy, I'm not looking for the next Beatles or the next Stones. But damn, sometimes I can't even find the next INXS.

This is not intended to be another rant on the state of music today. But, it is my way of saying that I get more satisfaction out of the same old same old, even when I do stumble onto something new and exciting.  I get so wrapped up in all I "need" to listen to, I forget how much I simply "want" to listen to.

The mix is called "Off The Shelves" for two reasons.

Back in the merry ol' days of retail, my personal CD collection became unruly. I owned everything by everyone because it was easy. Then came the days to weed it all out. I'd find the discs that offered one or two amazing tracks, "record" them, and remove the CDs "off the shelves" permanently.

The other reason?

I have few memories as great as being a kid and pulling records "off the shelves," with that imaginary audience tuning into my own private radio station. That was when I played nothing but what I loved. I only had what I loved. It was easy. That was when music sounded best. My hand dropping the needle on Track 3, Side Two of "Quadrophenia" was never so steady.

Here's a mix of some tunes I pulled "off the shelves." I made a conscious effort to stay away from The Beatles and The Stones, and even The INXS.


SOME NOTES:


I have a very vivid memory of DJ Dan Neer talking about Pete Townshend's "Stop Hurting People." He read the lyrics on the air, but not in that mocking Steve Allen way. He was moved and you heard it.  I love that memory and I love this song.

Most (if any) remember The Bus Boys as the house band in Eddie Murphy's now (and should have been then) unbelievably offensive film "48 Hours." They were a fun band, I think.  But it was this track, an obvious homage to the E-Street Band, or at least the Asbury Jukes, that always knocked me out.

A bit of genius sampling from Rick Springfield on his track "Prayer." You'll recognize it, and maybe you'll even admit to loving it.

People love Australia's You Am I, tossing off names like The Who and The Jam when describing their sound. I wish I heard it. I enjoy them from time to time, but nothing by these well-respected rockers hits me as hard as this track, which is always on heavy rotation.

Remember Sailor? Georg Kajanus? No? Well...that's okay. Whatever reading my cousin Al was doing in the mid-seventies, led him to this band and this tune. I have a vivid memory of seeing them perform "Glass Of Champagne" live on some Brit TV show that aired on Saturday mornings in the U.S. (Al, if you're reading, any idea what show that was?) Not sure if this is glam, or "music hall," as the mateys say, but I've loved it since 1978.

It took years before I found a digital version of The Romantics' "Tell It To Carrie." Yes, it's on their debut. But this is the early, superior single version on Bomp, courtesy of reader and friend, FD13NYC.

Is there a cooler record than "Sally Go 'Round The Roses?" I say...no. There is none more cooler.

I like pop music. I've said so many times...right here.  I will not don nose-glasses and a propeller hat while attempting to enjoy "I Want It That Way" by the Backstreet Boys, and I won't do it for Take That's brilliant single, "Back For Good," which got some additional street cred when used in the Christmas episode of "The Office." (The British version, that is.)


That leaves a dozen more for you to explore.

Have a good weekend mix.


TRACK LIST

Stop Hurting People- Pete Townshend
Minor Byrd- You Am I
It's Time- Elvis Costello
Out Of My Head- 20/20
Last Forever- The Busboys
Glass Of Champagne- Sailor
New Romance- Spider
Tell It To Carrie- The Romantics
Two Different Things- Caitlin Cary & Thad Cockrell
Prayer- Rock Springfield
Mixed-Up, Shook-Up Girl- Patty & The Emblems
Party Down- Little Beaver
Sally Go 'Round The Roses- The Jaynettes
A Knife & A Fork- Kip Anderson
Back For Good- Take That
Always Wanted More- Ron Wood
Stoney End- Beth Nielsen Chapman
Make Me Lose Control- Eric Carmen
So Long- Fischer-Z
Stranger On The Shore- Mr. Acker Bilk

And that's the ZIP on "Off The Shelves."

Richard Thompson's All Request Residency @City Winery, 2012

"If someone comes back to life and then dies, it's only because I got the verses mixed up."

"Donna Summer's 'Hot Stuff?' I'm not culturally equipped to sing those verses."

"This is one of my songs. Thanks for recognizing me."
 

Such is the stuff that made up night one of what I'm sure will be three very special Richard Thompson "all request" shows at NYC's City Winery.

It went like this:

Everyone got a small slip of paper that said something close to, "Dear Richard, would you kindly play this song for me?" There was space for you to jot down the one song you wanted to hear. (My request was "Who Knows Where the Time Goes." It did not get played.") The slips were collected and placed in a giant ice bucket on stage. RT would take 3-4 out at a time, explaining, "I need to pace the show, otherwise we might get 5 wrist-slashers in a row."

(I should say, almost everyone got a small slip of paper. A woman approached my table and asked if anyone had an extra. She hadn't been able to offer her request. It was Richard Thompson's wife, owner of McCabe's Guitar Shop in California. I wondered why she didn't just tell him what she wanted to hear, unless she wasn't requesting a song.)

And so it began.

Opening with The Kinks' "See My Friends," Thompson began night one of three audience-requested sets that also included covers of The Beatles' "I Feel Fine," Britney's "Oops, I Did It Again," which has become a Thompson staple, and Duke Ellington's "Rockin' In Rhythm," the latter of which seemed to amuse him. He told us that when he recorded "Rockin In Rhythm" he had overdubbed three guitars, four horns and percussion, so "thanks for choosing this while I have just one guitar." Then of course, he made that one acoustic guitar sound like three guitars, four horns and percussion, like no one but Richard Thompson can.

A killer "Crawl Back," with some of the most astounding fretwork I have ever seen in my life, a rousing "Tear-Stained Letter," a wrist-slashing "A Love You Can't Survive," one each from Fairport's "Liege & Lief" and "What We Did On Our Holidays," a jaw-dropping "Dimming Of The Day," and of course, thankfully for all in attendance, a flawless and always moving "Vincent Black Lightning" made for one satisfying set of music.

(There were easily another half dozen or more I did not mention.)

The first time I saw Richard Thompson do an all request show, he played the Left Banke's "She Will Call You Up Tonight," and gushed, "I love that album. I can play the whole thing." Knowing that has kept me awake many nights. How about this residency?

"Richard Thompson Plays "Henry The Human Fly" and The Left Banke's "Walk Away Renee/Pretty Ballerina" LPs In Their Entireties."

~sigh~

Well, we did get "Pretty Ballerina" and its "very tricky bridge" last night and it was glorious.

I hope to have the audio from last night, as well the remaining two shows, very soon.

Until then, here's "Night One" of RT's first City Winery "all request" show.

http://burnwoodtonite.blogspot.com/2009/10/richard-thompson-city-winery-night-1.html

I hope some of you are attending this evening or tomorrow evening. (I wish I was.) I don't think I have ever seen a bad Richard Thompson show, but these "all request" shows are stratospheric.

Heaven. I'm In Power Pop Heaven.

Simply put, this is one the greatest power pop records EVER!

After serving some years in out-of-print prison, "Kontiki," by Austin's Cotton Mather gets a nice, lovingly priced, deluxe edition featuring a bonus disc of rarities.

You can buy it HERE

You can listen and swoon below.



MY BEFORE & AFTER

Grammy Recap

My resistence to Adele was not an inability to recognize her talent.  "Rolling In The Deep" is about as good as a pop song gets. "Someone Like You," on the other hand, still sounds like your run of the mill song about heartbreak. I find nothing spectacularly original about it, though I guess everyone has the right to get one of those songs out of their system.

It's not that I don't find "Someone Like You" convincing. I don't even dislike it. It's just that a song like that, simple and emotional, should get kudos for standing apart from the usual studio dreck churned out in painful numbers by the embarrassing roster of nobodies that squat all over the charts. It should not be a song that catapults an artist to uncomfortably high, superstar status, as it did Adele. It's a good song. It's not a great song.

That said, I was charmed and even moved by her live performance at last night's Grammys. But again, is that feeling real? Or am I just happy to not be seeing or hearing the Rihannas, Nicki Minajes and Katy "Fireboobs" Perrys? And when we get right down to it, I wonder if everyone feels the same way. That may not be incredibly fair to Adele, but it isn't such an unreal thought.

As expected, I was blown away by Bruce Springsteen. The song gets better and better, and so does he.  But here's a POV from my friend and frequent contributor, Gene Oberto:

Somehow, based on the release of a new video of the already released single, there is a disconnect between the Bruce who writes and performs and the marketing and image department of Bruce, Inc.

Why the need for the second video? It's obvious that the first one was wrong in every sense of the word. It was a fluff shoot to show that the 61 year old "still has it!" An ego shoot of the Boss. It caused  confusion with the song's point, with most MSM critics missing the message. Hence, the second video (which should have been the original) to hit the uninitiated in the ways of Bruce over the head. THIS is what we really meant.

I really think that Landau has lost the message. He sat in the audience and declared he saw the future of R&R. Now he seems to want to continue keeping the vision frozen. We fell for the Bruce performer/songwriter. That is the only image I need. They would be better keeping the private Bruce private and let the performing dervish loose. They will never be able to correlate the multi-millionaire with the blue collar kid from Freehold. That boat sailed in 1986.

(George Chakiris?)





Another friend made this very simple and oft-heard comment about the awards:


"It's a popularity contest, not a talent contest."


I was a voting member for about 6 years. I've seen the ballots up close. All the singers and songwriters and bands and musicians that we all love are right there for your taking. And all of those fine people who vote, see those names. Yet somehow, the five nominees for "Song Of The Year" were Kanye West (the record came out in 2010), Adele, Mumford & Sons (the record came out in 2009), Bruno Mars (the record came out in 2010) and Bon Iver.


Looking back at the many year-end, "Best of 2011" lists, I find it confounding that so many records that include so many great songs, once again, go unrecognized.

Tom Waits, Ron Sexsmith, John Hiatt, Nick Lowe, Wilco, Lindsey Buckingham, Garland Jeffreys, Marianne Faithful, The Strokes, Jane's Addiction, Laura Marling, Neil Finn, Warren Haynes, kd Lang, Gillian Welch, Teddy Thompson, and Paul Simon.  You mean none of these people wrote a better song than "All Of The Lights" by Kanye West or "Grenade" by Bruno Mars?

What about "Album Of The Year?"

Nominees:
Foo Fighters
Adele
Lady Gaga
Rihanna
Bruno Mars

Is it possible that the majority of Academy thought none of the artists I mentioned made a record as good as these five?

Not even Glen Campbell? Even the MPAA is smart enough to give Oscars to those who might be dying, or even dead. How does a record like "Ghost On The Canvas" get zero mention?

You'd think that I'd get it by now. But I don't.

I was thrilled...over the moon actually that the Rebirth Brass Band picked up the first ever Grammy for "Regional Roots" record.

And...my friend Maurice Brown got his first Grammy as part of the Tedeschi Trucks Band, when they picked up "Best Blues Album." It was one of my faves of 2011, even though it's not a blues album. But... oh well.

Finally, it wouldn't be a Burning Wood post if I didn't make an about face on at least one record. I paid some attention to what reader "Robin" had to say about Sir Paul's 'Kisses On The Bottom." Now, I didn't trash the record. Not even close. I just wasn't moved by it...then. I've stayed with it and Robin, you are so right.

Paul McCartney is Paul McCartney for a reason. Last night's live performance of his original "My Valentine" was sublime. Moreover, if "My Valentine" was slapped on to the end of any one of Macca's pop albums, every fan would be reduced to mush. It's an absolutely gorgeous tune, with hints of "And I Love Her" and just about all of the legendary Paul ballads, and I'm afraid not many will notice that, as it sits aside a repertoire of songs you think you don't want to hear.

"The Top Ten Project, Part 7: Post-"Moving Pictures" Rush" : THE WEEKEND MIX

JP has left a new comment on your post: 

"Here's a top 10 list challenge: top 10 Rush songs since Moving Pictures."

Challenge accepted, though I needed to hand this off to my good friend, bassist for one of my very favorite bands, The Electric Mess (check them out HERE please), and Rush aficionado, Derek Davidson.

You see, I too stopped digging Rush right after "Moving Pictures." But after listening to this collection, curated by Mr. D., I realized I'd been missing some great music.

Let me turn this over to Derek.

"Even if you hated Rush in the 80's and 90's, now you gotta give it up for them...otherwise you're just being an old d*ck head"

That is a paraphrase from Matt Stone, co-creator of "South Park" (and also the Tony winning "The Book of Mormon" in case I lost you at "South Park") from the terrific film "Beyond the Lighted Stage," a feature length, award-winning documentary on the rock band Rush.  Whether you like Rush or not, or used to like Rush or not, or even if you've always hated them, it's about time you at least paid them a little mind as they might be better than you think

RUSH POST-MOVING PICTURES TOP 10

1. "Subdivisions" (1982) - the first song off of Signals, their first album post-Moving Pictures. Notable for it's heavy use of keyboards, perhaps a foreshadowing of things to come throughout the 80's, but still great band interplay as Geddy deftly switches from keys to bass.  Also, one of their most memorable videos.

2. "The Enemy Within" (1984) - From Grace Under Pressure. Rush adds ska elements into their ever expanding sound, and skinny ties & Capezios into their wardrobe.  For Rush fans, this is Part 1 of the "Fear" trilogy (preceded by, in reverse order, Part Two: "The Weapon" (Signals) and Part Three "Witch Hunt (Moving Pictures).

3. "Marathon" (1985) - From Power Windows.  Geddy's bass drives this song.  Really nice vocal melody, and great odd-time signature break starting at around 2:55.  There are a lot of keys, but tastefully done, and rousing finale.  Great live number.

4. "Time Stand Still" (1987) - A great pop song, Rush-style, featuring Aimee Mann on background vocals and seriously high vocals from Geddy.  A much thinner, more compressed sound on this track from Hold Your Fire, their 12th album.  Check out the very cheesy video.

5. "The Pass" (1989) - from Presto.  Just a real nice song, with thoughtful lyrics about teen suicide.  Another great live song, and the keys are already quite diminished by this point, though still audible.

6. "Roll the Bones" (1991) - title track from their 14th album.  Love it or hate it (I hated it for a long time), it's a more streamlined, even funky (for Rush) sound than before, with a nice chorus, tasty guitar solo, and even a "rap" by Geddy (this is where you can love it or hate it), but admittedly it's tongue in cheek. Must be included in a Top 10 as Rush played it almost every tour since its release, dropping it in the late 2000s, Roll the Bones became Rush's first US Top 5 album since 1981's  peaking at #3 on the Billboard 200, and eventually went Double Platinum. It also gained them a new, younger audience that would sustain them through the 90's and beyond. "Where's My Thing?" from this album would be nominated for a Grammy for Best Instrumental.

7.  "Animate" (1993) - From Counterparts, Rush's fifteenth album, it became Rush's highest charting album in the US, peaking at #2 on the Billboard 200 (only behind Pearl Jam's vs), it went Platinum. Note: only pointing out charts stats to show that Rush was still a vital, best selling band even into the 1990's, more than 10 years after Moving Pictures.

8. "Far Cry" (2007) - From Snakes & Arrows, their 18th studio album.  Has an old school Rush feel to it, like something off "A Farewell to Kings" or "Hemispheres," at least to this writer.  The album debuted at #3 on the The Billboard 200 chart where it remained for 14 weeks.

9. "How It Is" (2002) - From their Vapor Trails album, their first after a 6 year lay off due to the death of both Neil Peart's wife and daughter within the same year, the lyrics take on a more personal bent overall. Shades of "Lakeside Park" and "Fly By Night" almost 30 years later.

10. "Digital Man" (1982) - also from Signals, a tight, snappy rocker, with great playing throughout, and displaying some of their great reggae chops (also in evidence on Permanent Waves, eg. "The Spirit Of Radio"), influenced no doubt by The Police, who Neil Peart has cited as "one of the new bands that had inspired them.



If the fact that Rush are third behind The Beatles and The Rolling Stones for the most consecutive gold or platinum studio albums by a rock band doesn't impress you, it should.  You'd be hard pressed to find another rock band whose first album came out in 1974, who possesses 24 gold records and 14 platinum (3 multi-platinum) records, and still tours to packed houses around the world if the last good album they released was in 1981 and their average fan age was 48.  Rush is still being discovered and re-discovered by people of all ages. Maybe that's you.

Some fans have argued that they were better in the 70's and early 80's before all the "keyboards took over" (as if they were invaded by Martians), and depending on your tastes it might be true - but that is the purpose of this post: to show that Rush still had plenty to offer past "Moving Pictures" from 1981, arguably their peak album, on which you will find the modern rock classics "Tom Sawyer," "Red Barchetta," "YYZ," and "Limelight" - and that is just side one!

Rush were just restless enough and inspired enough by what was going on around them, for better or worse (rather than still churning out side long prog-rock epics and "working man" guitar riffs as many "fans" would have preferred); a band who created music that was still relevant to the time they lived in, up to a point of course: they're still Rush!   Over 30 years have elapsed since "Moving Pictures," as well as ten studio albums, and they are still going strong with a new album due this year.  

This mix is made up mostly of deeper album cuts that your casual Rush fan may not know, though some songs are just too big to leave out of a Top 10 mix.  For the non-Rush fan, you may like some of these songs, you might like none of them, but if you don't at least listen, you're "just being an old d*ck head...



yyzip

James Gadson...Funky

The first time I saw this clip of Bill Withers on The Old Grey Whistle Test, I knew it wouldn't be the last. I knew this because of drummer, James Gadson. If there is a more perfect example of  being "in the pocket," I don't know what it is. I can't stop looking at him. That shit-eating grin tells me, he knew exactly how funky bad he was. 

 

I only just came across the Beat Club clip below, thanks to the great New Orleans guitarist and funk man, Billy Iuso. Again, James Gadson lays it down like a cool machine. I could watch him play this groove all day.

Dig it!

So Much For First Impressions...

When "Gentle Spirit" was released, the occasionally irresponsible British music rags talked up Jonathan Wilson as if he was the second coming of Mungo Jerry.  Both Mojo and Uncut gave the record 4 star reviews, and it ended up at #4 on Mojo's Best of 2011.

I took the bait, not just because of the reviews, but because of the kudos given by some artists I respect, like Elvis Costello and Chris Robinson of the Black Crowes. Also, I love Pink Floyd and David Crosby's "If I Could Only Remember My Name," both of which get name-checked as comparisons.

Popped the CD in the player and was immediately turned off by its 78 minute running time.

Actually, check out what I had originally wrote about it:

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."  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. 

WHOA! Slow down there, Tex. I think I may have had one too many Jolt Colas before writing that brief review.


Well, it's almost 6 months later, and as I am wont to do, I kept at it, chomping away a little at a time, sometimes in shuffle mode on the iPod.  I've come around. I still think the record should be half as long, but whatever hype seeped into my tiny brain and caused an automatic dislike has left my system, and I now feel like Wilson's "Gentle Spirit" has a lot to offer. It is very musical and often jammy, especially the second half, which you'll eventually get to. And the Floyd/Crosby link is dead-on.

If It's Tuesday, It Must Be Street Date: 2/7/12

 PAUL MCCARTNEY- KISSES ON THE BOTTOM

"If not now, when?" 

This is Paul McCartney's reasoning behind releasing "Kisses On The Bottom," a mostly harmless and straightforward...and super bland... reading of the Great American Songbook. Recorded with Diana Krall and her band, and produced by...yaaaawnn...Tommy LiPuma, "Kisses On The Bottom" is so safely presented, you'll question whether you actually heard it when it's through playing.

Paul's voice shows its age a bit, as he allows his falsetto to take over. It is both frail and occasionally charming, especially on "Bye Bye Blackbird" and a surprisingly Beatle-like take on "The Inch Worm." Problem is, who really wants to here "The Inch Worm," unless it's Coltrane. I would have been more interested in hearing Paul's band with Rusty Anderson and Abe Laboriel Jr. tackle this repertoire. That might have made for a more interesting experience. This is mostly just another standards record, with nothing special to talk about, other than it's from a Beatle. (But, maybe hanging with Diana Krall opened up talks for that long-awaited McCartney-McManus album.)




It's HERE.

VAN HALEN- A DIFFERENT KIND OF TRUTH

Whose idea was it to release "Tattoo" as the first single, Sammy Hagar? As one friend put it, "Even by Van Halen party-song standards, that song is shit."

Well, the single isn't great, that's for sure. But "A Different Kind Of Truth" really is.

If you've never been a Van Halen fan, there's little I can say about this record to get you on board. But if those first 4 classic albums were on heavy rotation back in the day, this comeback will tickle you.  Eddie and the boys manage to crank out some vintage VH sounds without sounding like parodies of themselves.


David Lee Roth sounds older, but just as stupid, and I mean that in the best possible way. These boys are having fun and as usual, Eddie's playing is still off the hook.


My picks: "China Town," "Honeybabysweetiedoll" and "Stay Frosty."


It's HERE



FAIR WARNING! THE FOLLOWING MAY BORE  NON-RUNDGREN FANS.

TODD RUNDGREN- A CAPPELLA/NEARLY HUMAN/SECOND WIND

Yet another Todd Rundgren reissue campaign has gotten underway in the UK. This time, it claims to be "definitive." It isn't.

I started with the first release, which is both "Runt" and "The Ballad Of Todd Rundgren" in one package. Making it all the more appealing, was the inclusion of the never-before-released on CD alternate takes from "Runt," as well as some live tracks originally found on the Japanese rarities collection, "Somewhere/Anywhere?"

It's hard to go wrong with this package, as it is priced at $8. But, these new reissues are not remastered, as they claim to be.  And if they are, why doesn't it say so anywhere in the packaging? (And why are they $8?)

Released today in the US, is the most interesting of the lot. This package contains Rundgren's three releases from his time spent at Warner Brothers.

"A Cappella" is Todd at his most creative, making music and sounds with nothing but his voice. It's not the easiest record to embrace if you're just stopping by, but it does contain some fan favorites, including "Pretending To Care" and "Lost Horizon," and it remains a personal favorite of mine.


"Nearly Human" should have put the man back on top. This was a brilliant return to Philly pop and soul, with a big band and some of Rundgren's best material, and remains one of my all time favorite releases.


"Second Wind" was recorded in front of a live audience over a series of performances in Los Angeles. It continues where "Nearly Human" left off, with big arrangements, but sadly weaker material.


The reason I love this particular package is because it is the first time these records have received any sort of upgrade since their initial release. Friday Music did put out "Second Wind" a few years back, but again, to my ears, there was no sonic upgrade.


My other minor quibble is, if these are indeed "definitive," why does "A Cappella" include the bonus remix of "Something To Fall Back On," but "Second Wind" does not include the ever-elusive, cassette-only track, "Jesse?

The whole campaign is questionable, but at least the catalogue is readily available at a decent price. For me, the 2006, 20K remasters from Japan are still the definitive versions, even without new notes and new bonus tracks.




They are all HERE

The Other Guitar Heroes

A friend recently posted a live Tom Petty video with the comment "Such an underrated guitar player." Of course, I can't find the video now. I'm not even sure just what he was referring to. But it did make me think of Andy Partridge. 

I'm feeling we may have had this discussion before, so forgive me for bringing it up again. I don't want to make this about "the usual suspects." I think we can all agree, even if our favorites differ, that Jeff Beck, Jimi Hendrix, Jimmy Page, and Eric Clapton sit at the very top of the "best guitarist" list.

I was thinking more about people who never get mentioned in this discussion. Two others that immediately come to mind are Glenn Tilbrook of Squeeze and Marshall Crenshaw.

Guitar solos are rare in pop tunes, but when Marshall and Tilbrook let one rip, it's usually one of taste and style. And it really isn't just about the solo. Check out Crenshaw's playing throughout the entire performance of "Fantastic Planet Of Love."

There are many other, better quality versions of this song, but I love this for one reason. Tilbrook, even in a solo acoustic setting, still rips out one of his most famous solos.

One more name I'd like to mention is Earl Slick. When people talk of Davd Bowie, they seem to almost always mention Mick Ronson and Robert Fripp...and with good reason. But Earl Slick has put in more time than either and his guitar work on Bowie's "Station To Station" alone is a reason to be cheerful.

I do have a few more guitar heroes, and I'd be remiss not to mention the Thin Lizzy team of Scott Gorham and Brian Robertson. How I wish more people would get beyond "The Boys Are Back In Town" and "Jailbreak" and discover these gentlemen.

But for now, I'd like to highlight XTC's Andy Partridge. As Red Buttons would have said, "The great Andy Partridge...never got a dinner."

I've included two versions of "Books Are Burning." The studio version includes Dave Gregory and Andy trading fours. The live version is just Andy. Also here, "Church Of Women," from "Wasp Star." This is my kind of guitar playing.

Who would you like to nominate for unlikely guitar hero? Please include an example and maybe we'll mix it up for the weekend.

"Radio On" : THE WEEKEND MIX

Here's how this one went down.

I read a review in Uncut about a 40th anniversary, Manfred Mann's Earth Band boxed set. The writer used some words I would never have associated with MMEB: New Orleans, rhythm and blues, gospel.

I was intrigued.

I headed over to AMG and read a bit more. I was surprised to find out just how many of these records received 3 and 4 star reviews, not to mention how many came out before "The Roaring Silence," the record that included their biggest hit, "Blinded By The Light," and the album I somehow came to believe was this line-up's debut.

Before I proceeded further into my exploration, I made a pitstop at my computer and dialed up  "Blinded By The Light." It still kills me after 35 years. And I still like it better than Bruce Springsteen's own version. But I digress.

The wave of nostalgia was immediate. "Blinded By The Light" brought me right back to Brooklyn, rock radio, and those enormous boom boxes that everyone seemed to own. I thought of the summers sitting on stoops, or the rocks at Manhattan Beach, listening to all those great songs that are now part of the oft-maligned "classic rock" genre.*

Manfred Mann would have to wait. I tossed aside Uncut and began compiling the songs that seemed to be coming out of everyone's box, as well as a few that only came out of mine, courtesy of some very early "weekend mixes."

I admit, this mix is for me as much as it is for you. But it really doesn't have to be Brooklyn and beach rocks. It could be front lawns in Farmingdale or convertibles in Kalamazoo. Everyone has their summer soundtrack. The real fanatics have one for every year of their existence. Don't we?

Here's one of them. I'm thinking this could be one of my TDK- SA-60s, circa 1979.


TRACK LIST

Riff Raff- AC/DC
(Far and away, my fave AC/DC tune. It's a two hour, heavy metal Broadway show in a neat 4 minutes.)

I Got The Fire- Montrose
(Before Sammy Hagar became a schmuck.)

Might Just Take Your Life- Deep Purple
(From "Burn," one of the two albums, the other being "Stormbringer," that pushed Blackmore to quit. Personally, I loved the new direction of the band.)

Rosalie- Thin Lizzy
(Listen to the handclaps. You can never go wrong with handclaps.)

Beyond & Before- Yes
(From the debut. Yes in the 60s! A criminally underrated record.)

Serenade- Steve Miller Band
(Probably not the best way to sell this tune, but I always loved how it sounded off-center. Like trying to play a 45 without an adapter.)

Teacher, I Need You- Elton John
(From "Don't Shoot Me, I'm Only The Piano Player," THE record. NOT "Goodbye Yellow Brick Road."

Got Enough Love- Detective
(Jimmy Page signed'em. I'm guessing because they sounded like Zep. One of my fave no-hit wonders.)

Custard Pie- Led Zeppelin
(The real thing.)

30 Days In The Hole- Humble Pie
(Is there a more Spinal Tap moment than the intro?)

Blinded By The Light- Manfred Mann's Earth Band
(See above)

I Know I'm Not Wrong- Fleetwood Mac
(Props must be given to "Tusk." It's dense and wonderful and complicated and beautiful and melodic and haunting and rocking, too. Still paying off after 33 years.)

Everytime I Think Of You- The Babys
(Pop perfection, as well as a spine-tingling use of strings. Chills.)

Heart To Hang Onto- Pete Townshend & Ronnie Lane
(Sometimes "Rough Mix" is my favorite Who record, and I blame Ronnie Lane.)

Let It Rock- Bob Seger
(My ol' pal Chris Kelly's fave version of this Chuck Berry tune. He had a point.)

The Zip

*One of the best things about the old days is that no one used the word "genre."