"Songs Of The Week: 3/24-3/30"

Grapevine (?uestlove Remix)- Gladys Knight & The Pips
Sometimes I Don't Know What To Feel- Todd Rundgren
Old Flame- Thin Lizzy
Imitation Jewelry- The Records
I've Just Been Feeling Bad- Eddie Floyd
Blues & Pants- James Brown
Cajun Waltz- Taj Mahal

Zip

"Shake Your Rum-PAH!" : THE WEEKEND MIX

I had a crap week. I don't care about the sunshine and springtime. I don't care how good God is or how laughter is contagious. I don't care about great things I shouldn't take for granted like a full head of hair, or books. Or for all those things I know I should be grateful, like trees and breathing, and clear skin, and good New York pizza and Mavis Staples and Glide floss. That's all crap when you have a crap week. When you have a crap week, all that other good shit is just shit because the one or two things that made your week crap just make it all crap. Actually, I've had about 9 crap weeks out of the last 12, so considering that piece of reality, I think I'm in a pretty good mood.

That said... let's dance.

Kick out the jams, motherf**kers!

TRACKLIST

Shake Your Rump- The Beastie Boys
Knocker- Stanton Moore Trio
I Get Lifted- George McRae
Pop, Popcorn Children- Eldridge Holmes
Shake- Pintura Fresca
Can't Buy My Love- Barbara Lynn
Weed Bus- The Stairs
Club Nitty Gritty- Chuck Berry
Rock Steady- Areath Franklin
Bustin' Loose Pt. 1- Chuck Brown & the Soul Searchers
Love Is Like An Itching In My Heart- The Supremes
Dizzy Miss Lizzy- Larry Williams
The Things I Do For You- Jr. Walker & The All-Stars
Grow Your Own- Small Faces
Psycho- The Sonics
(She's Making Me) Nervous- Wyldlife
Fire- Jimi Hendrix Experience

PFFFFTTTTT

Joan Osborne: She's Gone & Done It This Time

I witnessed Joan Osborne in bars, not just singing, but creating sweat-filled houses of worship years before her first record was released. She's graced stages in the East Village, Tribeca, and even a thankless slot as the opener on Queen guitarist Brian May's first solo tour at NYC's Beacon Theatre and at each performance, Miss Osborne, as the expression goes, threw down.  So when her major label debut hit, I had mixed feelings. "Relish" was all over MTV and I dug it. But live, Joan Osborne had balls as big as Dan Blocker's. The record did not. Well, except for this:

Many hear Joan Osborne's name and immediately go here--

Not a bad place. As a matter of fact, it's the best place. It's the place that Osborne seems to go every time...except on her records. This is a good time to point out, Joan Osborne hasn't made a bad record. That's because she sings on all of them. But, Joan Osborne has never made a great record, and that's because of everyone else.

Her follow-up to "Relish" was tossed back at her, and what eventually became "Righteous Love" was marred by label screw-ups. So what else is new? Her return was a record of R&B covers which should have been amazing, but wasn't. I blame producer John Leventhal. Usually reliable, Leventhal just didn't get it, as the record sounded more like something James Taylor would put out and just didn't feel dirty enough for Joan's voice.

Four years later, Osborne returns with a country record. At this point I'm thinking, "Why is the best Joan Osborne record a Holmes Brothers record?" In 2001, Osborne produced "Speaking In Tongues" for the brothers, a band that played in the same East Village clubs as she did. She got it. She understood. SHE should have been producing her own records.

Check out their version of The O'Jays "Love Train." It is a thing of beauty.



Another record of covers and a not bad record of originals followed in 2006 and 2008 respectively. Both seemed to be the best work of Joan's career to this point, though, as I said, there has always been a great disparity to what's been put on record versus what she really can do...until now.

"Bring It On Home," Osborne's just released collection of blues covers is Joan, circa 1992. This record feels like what I witnessed at the aformentioned sweaty, beer-soaked downtown clubs. This is the record that translates the guts and the soul that everyone knows Miss Osborne possesses, but somehow always gets left outside of the recording studio.

She delivers big time, with versions of songs by Ray Charles, John Mayall, Al Green, Sonny Boy Williamson and Allen Toussaint.

See for yourself over HERE.

It's not just about the songs. It's about the feel of the record, and I give credit to the producers, Jack Petruzzelli and...Joan Osborne.

Check this one out. Please.

The Great Joy And Charm Of The 45: REVISED

Anytime I drive around with my friend Steven, I can be sure to leave the car with some new favorite, previously unheard lost soul classic that he just happened upon. Last week, it was George & Lee's "Nobody But You," a New Orleans deep soul treasure, that we listened to 3 times in a row, dissecting every charming note.

I'd like to thank Ana-B over at the indispensible "The Singing Bones," for getting the following information to me. 

It was long assumed that George & Lee were George Davis [not Russell] and Lee Diamond [who co-wrote "Tell It Like It Is"].....but the man in charge of this session, Tommy Guarino, has said the duo was actually George Perkins ["Cryin' In The Streets"] and Lee Tillman ["All These Things"].

My original post cited George as session guitarist George Russell and Lee Diamond.

This tune is actually an early 70s cover of an older Lil Bob & The Lollipops tune. Lil' Bob and The Lollipops were a band out of Lafayette, whose "I Got Loaded" was a dance hall staple of the 60s, even though it was the b-side of "Nobody But You." You might know the Los Lobos version. Here is the original.



But back to George & Lee.

Steven and I laughed over some key moments, like the harmony that gets away from one of them at about 44 seconds. That harmony gets better at 1:30, and then, taking a different approach by going for the low harmony, it gets nailed at 2:04. There's also a great moment at 1:47 where  the band all seem to be accidentally in sync. The riffing on the guitar at 2:16, also brought out some smiles. We pictured a scenario where, some guy paid for studio time, and just corralled whoever was in sight.

"Hey you! You play the drums? No? Well, you do now. You! Put down that broom and stand behind that mic. We have 3 minutes to lay down this two and a half minute tune."

Through all the flubs and tentativeness, George & Lee's "Nobody But You" has a groove, and improves over Lil' Bob's laid-back, "Teasin' You" groove.

Check it out.

 Below, is Lil' Bob's take, which is fine, but it's no wonder the b-side got more play.

Neurotic Reactions

Is it fair to assume that each of us at least once in our lives, has been somewhere, a club or a party, the mall, heard a song that we did not immediately recognize, and loved it so much that for at least a few of the immediate hours that followed, nothing else seemed to matter?

No? Not once? Come on kids, I thought you were all crazy like me.

Yesterday afternoon, I was at a party in a club, and heard a tune. I had to have it. There was a DJ, so you'd think the mystery would have been solved right then. But alas, the most information I could get from the elusive spinner was "You know, it's that Portuguese band that does the Shadows Of Knight covers."

"NO, I don't know."

"OKAY! Great. Thanks!

Well, it didn't take long, thanks to the internets.

The band is from Argentina. (That's near Portugal, right?) They are Pintura Fresca, and their version of the Shadows Of Knight nugget "Shake" hit me in the right place at the right time.






Even better, I found this.

It was a good day.

It's HERE, if you're interested.

"Songs Of The Week: 3/17-3/23"

Hurt- Tom Petty & The Heartbreakers
Ain't No Way- Aretha Franklin
Every Night (Unplugged)- Paul McCartney
Young Man, Old Man- The Black Crowes
Neighborhood Threat- Iggy Pop
This Will Be Our Year- Foo Fighters
Don't Hang Up- 10cc

zip

Ian Hunter: Live In Philly : "THE WEEKEND MIX"

Our buddy and resident blog supporter ASH, has launched a new place to meet.

"ASH On The Beat," as he put it, is trying to be "Northern England's version" of Burning Wood. A bit of advice, if you want traffic, keep your Todd Rundgren and New Orleans posts to a minimum and be sure to slag on Eric Clapton and Radiohead as often as you can. That really wads up the collective tighties and is sure to bring on the hits to both the blog and your head.

Please check out The ASH Beat.

I love it already.

And in honor of my pal Don across the ocean, here is "The Weekend Mix."

From one of my all-time faves, here is one of my all-time fave shows.

Ian Hunter, recorded live on March 23, 2005, at Finnegan's Wake in Philadelphia, 7 years ago today.

It's a show that captures the atmosphere of a small, stifling, packed house...perfectly. As for the setlist, well, I couldn't have said it better myself.

Enjoy, please!


SETLIST

Intro
Rest In Peace
Lounge Lizard
Once Bitten, Twice Shy
Twisted Steel
Girl From The North Country>Death Of A Nation
Knees Of My Heart
Wash Us Away
23A Swan Hill
I Wish I Was Your Mother
The Truth, The Whole Truth....
Rollerball
Michael Picasso
Roll Away The Stone
Honaloochie Boogie
Saturday Gigs
All The Young Dudes
The Journey>No Wheels To Ride>You Nearly Did Me In
Dead Man Walking
Just Another Night
All The Way From Memphis
A Nightingale Sang In Berkeley Square

Mott The Zipple (1)
Mott The Zipple (2)

"It's Really Good To See You Rockin' Out & Having Fun!"

Hey kids! Look!

This is rock and roll. Kids playing music and having fun.

I love Wyldlife and I think this song is massive.

Smokey Johnson Invades My Soul

I went to sleep with this playing in my head. I woke up the same way. I can't complain. It could have been "The Wreck Of The Edmund Fitzgerald." For that, I am thankful.

It's All Part Of My Rock & Roll Fantasy: Part Two

On April 3rd, a new Dr. John record will be released. It's called "Locked Down" and it was produced by Dan Auerbach of The Black Keys. You can read more HERE, as well as listen to the very hot first single "Revolution."

Back in September of 2010, I wrote a piece titled "It's All Part Of My Rock & Roll Fantasy." It was a follow-up to one of my Clapton bashing posts written after hearing yet another lousy Clapton record. I somewhat irresponsibly titled that post, "Dear Eric Clapton, Please Stop Making Records." This caused a furor. Who the hell was I to tell ol' "Slowhand" to stop making records? I mean, could I play guitar? What right did I have to an opinion? 

Well, I defended myself, but also changed direction for the follow-up, which was based on this idea:

"If aging rock stars can no longer make the magic of their heyday, what should they be doing?"

Listening to the Dr. John, who I'd like to point out, has maintained a real consistency in his 40-plus year career, I thought, "This is one genius pairing." The raw grit and textures of the Black Keys oeuvre is perfect for "The Night Tripper." If this New Orleans legend was to put out one more "Gris Gris," who better than Dan Auerbach to help him get there?

So, I'm resurrecting the "rock and roll fantasy" for another round?

Since none of my original dream projects have yet to come true, I'm posting the same ones again.


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

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

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

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

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

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

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

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

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

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

What are your dream projects?

Michael Kiwanuka: Believe The Hype

Already out in England and garnering the praise usually reserved for a boy child Manchu Emperor, Michael Kiwanuka's debut "Home Again" just might be all that.

Early reviews and hype put me off. Hype always puts me off. (The "new" Adele?) But I gave in once the record became available to me. I listened and could not stop listening. Too early, I know, to call this my fave of the year, but not too early to say, this will be in my Top Ten.

The comparisons to Bill Withers seem rather lazy. Yes he's an African-American with an acoustic guitar, but that's really about it, at least to my ears. What I'm hearing is Paul Simon, Taj Mahal, Richie Havens and a much more positive Nick Drake.

Kiwanuka is wonderfully musical, and the production on "Home Again" is dead-on, recalling mid to late 60's folk and psychedelia. At the risk of gushing to the point of turning YOU off with hype, and doing the opposite of what I am here to do, please just listen to this record. The U.S. release has changed a number of times and it now sits at "unavailable." Amazon says the U.K. edition will be available on 4/3, but they're wrong. It's available now.


Here's a head-start.

Lou Rawls Appreciation Day

What percentage of (older) music fans, upon hearing the name Lou Rawls, instantly dial up that unfortunate night at the 1977 Grammy Awards when Rawls hawked up his spleen during the performance of his then comeback hit, "You'll Never Find Another Love Like Mine?" For those unfamiliar with that evening, it went something like this. Lou was riding high with his first hit in years, a crossover smash. As he began his live performance, he choked on his own saliva, and that was that. It was 4 minutes of hacking while millions watched with mouths agape.


I can think of much better Lou Rawls moments.

Just forget "Lady Love."  Never happened.

Names like Al Green and Marvin Gaye and Teddy Pendergrass and Luther Vandross are consistently and justifiably tossed about when discussing the great voices of R&B. On the unjust side of the coin, the voices of R. Kelly and Usher, also get the nod more often than Mr. Rawls. I'm thinking Lou's curriculum vitae needs a more prudent perusal.

As iPod shuffle once again hit me like a sack of bricks, I found myself lost in the perfection of "You'll Never Find Another Love Like Mine." The dynamics, the lyrics, the sweeping strings, the disco beat. Mostly I just surrendered to the big, soulful sound of honey that is Lou Rawls' voice as he mourns his lost love with shoulders back and confidence high. And though he says he doesn't, he does brag about just what* she will miss when she goes.



I was done in.  I had to listen to more.

"Natural Man" is about the coolest thing I've ever heard and it was co-written by Sandy Baron. SANDY BARON!

You know....

Or, for you youngsters....

....Jerry's father's friend with the astronaut pen.

It's rare when a cover is better than the original. It's even more rare when there are two covers better than the original. I think The Staple Singers own Stephen Stills' "For What It's Worth," and I think Lou's version is a close second. (What's with the Laura Ingalls Wilder video?)

Covered by many, including Boz Scaggs and Bonnie Raitt, the Isaac Hayes/David Porter classic, "Your Good Thing (Is About To End)" was first put to wax by Mable John, sister of the late great Little Willie John.  All fine entries, but I'm calling Lou's version "the one."

Let's not forget how Lou Rawls began his career, singing the gospel alongside Sam Cooke. This one is a killer.

Then of course, there's "Love Is A Hurtin' Thing." Aaah....1966. What 1939 is to movies, 1966 is to music.


If you're really interested in seeing Lou choke his way through "You'll Never Find..," you can look it up yourself.  I'd rather bask in the brilliance of the record, as we know and love it.

One of the best collections----

----is out of print. It's not definitive, as it only serves up the Axelrod years. But those are damn good years. Used copies are available HERE.


This one----

----would be definitive, but it's missing "For What It's Worth."

It's HERE, and in print.



Thank you, Sweet Lou.






 (*His lovin'.)

Songs Of The Week: 3/10-3/16

Get You Back- Mike Viola
You're The Right Kind Of Girl- Lee Fields
Impatience- Elvis Costello
Play Myself Some Music- Jason Falkner
Down River- David Ackles
Dream Girl- Arthur Alexander
The Happening-Herb Alpert & The Tijuana Brass

The ZIP

"Off The Shelves 2" : THE WEEKEND MIX

The first "Off The Shelves" was a hit. You can find it HERE.  For "Volume 2," the mix is a little less arbitrary, but no less inspired. Again, it is based on the idea that sometimes you get so wrapped up in what you think you "need" to listen to, you forget all the great tunes you simply "want" to listen to.

All songs included have spent some hot time in the ol' rotation here at Casa de Madera En Fuego.

SOME NOTES:

The Jocelyn Brown tune was a big club hit in the 80s, and all these years later I still get a thrill out of the intro, the power in Miss Brown's voice and that bass line.

Paul Pena's "Jet Airliner" was huge for Steve Miller, but I love his original version and its funkier groove.

The Philadelphia Experiment was a one-off that featured pianist Uri Caine, bassist Christian McBride and Ahmir "?uestlove" Thompson on drums. The record was good, but this version of Elton's hit knocks me out.

I am really not a fan of Quentin "Can You Please Just Shut The Fuck Up" Tarentino's films, but I did really like Jackie Brown. It was that soundtrack where I first heard Pam Grier's super-sexy and badass "Long Time Woman," which, sorry to say, Q.T. simply snagged from Jack Hill's blaxploitation classic, "The Big Doll House," where it works even better.

Big Bill Broonzy's voice on "When Did You Leave Heaven" is a thing of beauty.

And so is Teddy Randazzo's production on The Royalettes hit.

As is Sammy's voice on the final number.


TRACKLIST

Somebody Else's Guy- Jocelyn Brown
Trick Or Treat- Otis Redding
Trouble- Foxy
Bad Boy- Jive Bombers
It's Gonna Take A Miracle- The Royalettes
Tanqueray- Johnnie Johnson
Philadelphia Freedom- The Philadelphia Experiment
Jesus On the Mainline- Tate County Singers featuring Othar Turner
Jungle Jazz- Kool & The Gang
Long Time Woman- Pam Grier
Jet Airliner- Paul Pena
When Did You Leave Heaven- Big Bill Broonzy
Soul Strokes- Sidney Pinchback
Surrender- Terence Trent D'Arby
Gut Bucket- James Brown
Stormy- The Supremes
Let Love Live- The Velvelettes
'Bout The Break Of Day- Junior Wells
X Temporaneous Boogie- Camille Howard
Begin The Beguine- Sammy Davis Jr.

zip

3/15/12

"Open Your Windows & Crank It!" : The Mid-Week Mix

You can thank the mah-velous NYC weather for this pre-weekend "Weekend Mix." There is summer smell in the air. (Not, not that smell. The good smell.) My windows are wide open, the sun feels glorious, and this mix just felt right.

Enjoy your hump day!


TRACKLIST

Somethin' Hot- The Afghan Whigs
Moment Of Truth- Earth, Wind & Fire
Total Destruction To Your Mind- Swamp Dogg
Money- The Everly Brothers
Achin'- The Plugz
Forget All About It- Nazz
Let Me Know- Locksley
Drip Drop- Dion
Joy- Lucinda Williams
My Pledge Of Love- Joe Jeffrey Group
Filipino Box Spring Hog- Tom Waits
Don't Let A Good Thing Go- Ollie & The Nightingales
Baby Jane- Otis Clay
Happy Jack- Southern Culture On The Skids
Bonzo Goes To Bitburg- The Ramones
Wash Us Away- Ian Hunter
Make Your Own Kind Of Music- Paul Westerberg
The E-Street Shuffle (Live) - Bruce Springsteen & The E-Street Bamd with The Roots

It's ZIP-PING

If It's Tuesday, It Must Be Street Date: 3/13/12

LEE FIELDS- FAITHFUL MAN

Lee Fields has been making records for a very long time, first as a James Brown wannabe in the seventies, then years later, he returned singing the blues. He became hipster fashionable when the fine people at Daptone took an interest and in 2009 released "My World," a good but not great collection of retro-soul.

It is Fields' new release "Faithful Man" that really hits the mark. The record, of course, has the sound of a lost 60s soul classic, but it doesn't rest on just that. The songs are strong and Fields delivers them in a big way. The title track is a soulful screamer--think Percy Sledge via James Brown. The first single "You're The Right Kind Of Girl" evokes an early 70s sound and would not be out of place on the Philly International roster. Fields also serves up a cover of the Stones classic "Moonlight Mile" that is simply amazing.

Check it all out HERE






ALSO OUT THIS WEEK

There is a new record from Meat Loaf, a live record from The Decemberists and the debut from X-Factor winners One Direction, a British boy band who are apparently the new Beatles, Elvis and Wham all wrapped up in one. There's a new Delta Spirit album, a new Ting-Tings album, and a new release from Impending Doom called "Baptized In Filth."

I'm sticking with the Lee Fields today.

Chuck Prophet's Best Record Yet

It took a month, but I finally got around to Chuck Prophet's new and BEST record, "Temple Beautiful." The thing with Prophet's music is, and I say this in the best possible way, it is all over the place. It's as if the man has released 100 different singles and released them 10 at a time, spread out over 20 years.

This is not to say his albums have no cohesion. They do. But, the man is beyond capable. He could punch out perfect power pop, southern soul, swamp blues and plain ol' rock and roll with a shift of his capo.

"Temple Beautiful," released back in February, works best for me. His words cut, occasionally Dylanesque, and every song is musical, whether U2 moody like "Museum Of Broken Hearts, or the title cut, which sounds a bit like Iggy Pop doing Motown.

This album is killing me. Head to tail.

This is the first single, "Castro Halloween." You're gonna dig ti!

Bruce @ The Apollo

I imagine the difference between being one of the 1,200 inside the Apollo Theatre and one of the hundreds of thousands listening at home via satellite on E-Street Radio is similar to the difference between eating a Peter Luger's steak and reading about one.

I was home, listening and waxing nostalgic. The voice of co-host Meg Griffin, the legendary DJ from WNEW-FM shot me back 30 years to the great days of FM radio, and those incomparable weekends spent on street corners and carhoods with the coolest friends in the best parts of Brooklyn, listening to Meg, or Dennis Elsas, or "The Night Bird" Alison Steele,  as they played the greatest music and introduced such special events as Bruce Springsteen & The E-Street Band Live From The Capitol Theatre In Passaic, New Jersey.

The backstage din and the pre-concert interviews with Meg, Dave Marsh and their special guests added some extra zip and excitement to the anticipation and to my reminiscing.

The concert, which began at 8:20, was pleasing. Running just a bit over two hours, the newfangled E-Street Band, greatly expanded with horns and voices, sounded solid yet tentative.  The setlist seems specifically tailored for both the venue and "special event" distinction.

Bruce and company showcased the new album "Wrecking Ball," by playing 8 of the 11 songs it features, all of which seemed to work as live pieces. Of the remaining 12 tunes, only "Mansion On The Hill"---which was preceded by Bruce saying "On our new record, our motto is dancing and crying. This one is just about crying."---had that "dig deep" setlist feeling. The staples were there, "Badlands," "The Promised Land," as were the speed bumps, "Waitin' On A Sunny Day." The band also acknowledged the history of the legendary Apollo Theatre by playing some choice covers. Both The Temps "The Way You Do The Things You Do" and the "Wicked" Pickett's "634-5789" were highlights.

The real moment of E-Street emotion took place rather early, during a slightly more soulful and uptempo version of "My City Of Ruins." As the band began to vamp about halfway through, Bruce introduced the E-Streeters with a "roll call," and gave each member a brief solo. Then, he threw the bucket of cold water in our faces. "Are we missing anybody?" (My hands are shaking as I type this.) He summoned the crowd again. "Are we missing anybody?" 

Bruce Springsteen acknowledged his lost friends and E-Street Band members Danny Federici and Clarence "Big Man" Clemons with these words, "The only thing I can guarantee tonight...if you're here, and we're here...they're here."

The greatest moment of last night's performance was not musical. 

Meg Griffin said at the top of the broadcast, "Never been to a Bruce show, big or small, where I didn't go in as one person and come out as another." I couldn't have said it better myself. I've been there.  I even felt that way listening to the live broadcasts from The Capitol Theatre in 1978. This is what Bruce can do. 

I'm sure, or at least hoping, last night's setlist and performance was strictly last night's setlist and performance. It was the first show of the tour and it was indeed a special event, but it was not a "special" show, not from my seats. Chalk it up to first night jitters, or the millions of extra ears tuning in, but as much fun as it was to dial up the live broadcast, I came out exactly the way I went in.  I'm thinking even from 7th row center, the Apollo show was missing just a little bit more than Danny & The "Big Man."  We will soon find out. The Boss said so himself.

"Hold on! We're coming!"

I'm holding, Bruce. I'm holding.

Setlist:
We Take Care of Our Own
Wrecking Ball
Badlands
Death to My Hometown
My City of Ruins
The E Street Shuffle
Jack of All Trades
Shackled and Drawn
Waitin' on a Sunny Day
The Promised Land
Mansion on the Hill
The Way You Do The Things You Do
634-5789
The Rising
We Are Alive
Thunder Road
* * *
Rocky Ground (with Michelle Moore)
Land of Hope and Dreams/People Get Ready
Tenth Avenue Freeze-Out
Hold On, I'm Comin'

Songs Of The Week: 3/3-3/9

You Told Me- The Monkees
Ellis County- Buddy & Julie Miller
Not Where It's At- Del Amitri
Couldn't Love You (Anymore Than I Do)- Nick Lowe
Jane Is A Groupie- Sly & The Family Stone
Old Town- Phil Lynott
Sunrise- Eric Carmen

ZIP

"Pete @ Shepherd's Bush" : THE WEEKEND MIX

Who's obsessed? It seems like a few of us.

I was about to fill a request by posting the full Pete Townshend "Fillmore '96" show I talked about earlier this week, until I noticed it was available at Wolfgang's Vault. I know Bill Graham is dead, but I still don't trust him. I'm playing it safely.

This show is just as wonderful.


TRACKLIST

On The Road Again
A Little Is Enough
Pinball Wizard
Drowned
Anyway, Anyhow, Anywhere
You Better You Bet
Behind Blue Eyes
Baby, Don't You Do It
English Boy
Three Steps To Heaven
Mary Anne With The Shaky Hand
Sheraton Gibson
Substitute
I Am An Animal
North Country Girl
(She's A) Sensation
A Friend Is A Friend
Now & Then
Let Me Love Open The Door
Who Are You
The Kids Are Alright
The Acid Queen
Won't Get Fooled Again
Magic Bus
I'm One

Part 1

Part 2

"Songs Of The Week" manana.

Enjoy the weekend!

The Fab Feh

(h/t Peter Carlin)

Re-Make/Re-Model

Whenever I listen to one of my favorite Glenn Tilbrook/Chris Difford tunes, "Slightly Drunk" from Squeeze's sophomore release "Cool For Cats," my first thoughts are always the same, "Man, that keyboard and drum intro is just terrible." It was the 80s after all. But at the heart of the dated production, and maybe one or two other missteps, is a song with great lyrics, great harmonies, and a chorus melody to die for.

I often think, if "Slightly Drunk" was played a bit more straight, maybe a tad slower, employing an acoustic piano instead of the cheesy synth, would it be a better song?



SLIGHTLY DRUNK





It's a silly notion. It is what it is. But, I know I'm not the only person to feel this way. Heck, Difford and Tilbrook reimagined their quirky and mechanical hit single "Goodbye Girl" as a speedy, guitar-driven rocker for some live performances.


GOODBYE GIRL (LIVE)



Bruce Springsteen once said, "Yeah that one really got away from me in the studio." He was referring to "Real World" from the album "Human Touch." Listen to the the studio version and then a live version from the Christic Benefit in 1990. It's easy to toss the studio version of "Real World" aside, thanks to the horrible production. For me, the barebones live version hits harder.


REAL WORLD



REAL WORLD (LIVE)



I always loved Madonna's record, "Like A Prayer." But it took John Wesley Harding's acoustic reading for me to truly appreciate the song.  The shuffle of Led Zeppelin's last hit, "Fool In The Rain," was a departure for sure, but it worked...except Jimmy's synthesized guitar-solo, which to my ears, sabotages the tune. His playing is great. His choice of sound takes the tune down a notch.


It's a fantasy, of course, to be able to remodel songs to fit our precise musical needs, but if you could, what songs would you tweak?  Which song would be just perfect if it wasn't for.....

Pure & Not So Easy

A friend just said this to me about Burning Wood-

"The reason I go there everyday is because of your uncensored obsession."

When I hear the word "obsession," my first thoughts aren't good thoughts.  But here, in the context of music and writing, I'm okay with it, because it happens to be true.

Todays' obsession:

Pete Townshend and his live version of "The Shout."

I was unfamiliar with this song before yesterday. A studio version can be found on "Another Scoop," the second of three collections featuring Pete demos. I have all three collections, but remember little about any of them. I had been listening to a live concert recorded at The Fillmore in 1996, and two or three songs in, Townshend begins talking about how he doesn't like to write love songs but prefers to write about "something higher." He then launched into "The Shout."

Quite simply, I felt as if I was smacked with a bag of nickels.

Oh, oh
Oh, oh
I miss you, I miss you
I remember lying by your side
Up in the eerie waters of paradise
N' then one day you walked out
Now I have nothing to do but shout

And I want my voice
To cut over mountains
And I want my soul
To gush up like fountains
To where you reside


That's it. Those are the lyrics. Pure and simple. But it's Pete's delivery that turns this simple poem into the powerhouse it is. It is honest. It is primal. It's a Pete Townshend love song and I am currently obsessed with it. Not the studio version. This live version.

It is Pete Townshend uncensored and obsessed. I hope you feel it.

Josh Ritter, Ricky Nelson, and 12,000 Pieces Of Paper

There are worse ways to wake up on a Monday morning. I want to thank Ken D. for giving me the heads-up on what may end up as my favorite song of the week, not to mention its absolutely stunning accompanying video.

Josh Ritter's inner Ricky Nelson rises to the top for this perfect little piece of music called "Love Is Making Its Way Back Home." But it's the accompanying video, which you should read all about HERE, that is nothing short of mind-blowing. It was created using 12,000 pieces of paper. That's it. NO special effects. NO Tawny Kitaen.

Songs Of The Week: 2/25-3/2

(I Wonder) Where Our Love Has Gone- Junior Parker
Where Are We Going- Marvin Gaye
T.N.K.- 801
Couldn't I Just Tell You- Todd Rundgren
I Need You- The Wonders
Treat Her Like A Lady- Cornelius Brothers and Sister Rose
ELT- Wilco

ZIP

A TASTE OF HEAVEN: The Heartbreak Life Of Raymond Myles

Anyone with a spirtual connection to New Orleans knows of Raymond Myles. Those who don't, I offer you an opportunity.

Most of the time, one visit to the Crescent City is enough to change a person. My first visit changed me. I heard music differently. I saw people differently. I learned to appreciate gospel music in ways I never thought possible. It's unfortunate that I never had a chance to see Raymond perform. His life was cut short way too soon. But the minute I step foot on the Fairgrounds at the New Orleans Jazz & Heritage Festival in New Orleans, the spirit of Raymond Myles takes over.

My friend Leo Sacks had an idea and I know many New Orleans devotees would love to see this idea come to life. Please take a look at the trailer for "A TASTE OF HEAVEN: The Heartbreak Life Of Raymond Myles," and pass it on if you are so inspired.



More info can be found below:
http://www.kickstarter.com/projects/1296003998/a-taste-of-heaven-the-heartbreak-life-of-raymond-m

Gospel music scares people. But, as Bob Dylan said, "You don't have to be a junkie to enjoy Heroin by The Velvet Underground.