Tuesday, July 31, 2012

We Don't Take Requests




While listening to "The Who Sell Out" yet again, and becoming weak and useless during "Sunrise" yet again, I thought, "If I can only see Pete Townshend perform this song just once."

I've seen Todd Rundgren live, with and without Utopia somewhere in the low hundreds, and have always wished he'd perform "Fade Away" from 1978's "The Hermit Of Mink Hollow." Never happened.

So that's where this started.

Years of attending concerts, seeing favorite artists numerous times, always wishing for that radical set list change, is there one (or more) artists you've seen a number of times, just hoping to hear that one special tune that just never comes?

As our pal Steve Simels is wont to say, there are no arbitrary rules. So for example, if you've never seen Jimi Hendrix but own a fair amount of live performances, none of which contain a live performance of the song "Little Miss Lover," that's okay. I had always wished Bruce Springsteen had played "Valentine's Day" from "Tunnel Of Love" any one of the many times I had been there. It just didn't happen. Or in the case of bands like Led Zeppelin and Queen, with all of the bootlegs I've acquired over the years, neither "The Rover" from "Physical Graffiti" or a full-on "March Of The Black Queen" from "Queen II" has ever been attempted.

I'm keeping my Top 5 to bands I've seen a bunch and who tend to go deep with their catalogue.


Here are my 5:























Monday, July 30, 2012

Some Things You Just Take For Granted



I had something planned for today, another list of sorts that I found interesting and thought you might, too. But it has to wait.






Yesterday, I found two records in a box marked "Various Artists." They were volumes one and two of a series called "Tamla Motown Presents 20 Mod Classics," each containing original mono mixes of all our favorite Motown hits. But this isn't another music geek "mono is better/vinyl rules" post." It's about "Heat Wave."





This Martha & The Vandellas track has become so ingrained in our lives, if we hear it on a car radio or TV commercial, it seems to just pass through us like the sound of planes flying overhead.  But yesterday, as "Heat Wave" filled my living room, I was thwacked into a surprise state of euphoria.


We know all about Motown, the hit-making machine that was the Funk Brothers, and the songs that have become the soundtrack of our lives. But how many of us at this point, really pay attention to these hits and their structure, and the intricacies of the rhythm tracks or the percussion or the background vocals? We all know Martha. But damn, listen to those Vandellas! Miss Reeves is pretty damn smitten by this boy she's going on about, but he must really be something else, because Rosalind Ashford and Annette Beard are egging her on, and its their vocals that push Martha and this song to a fever pitch. At one point, you could almost feel the Vandellas jealousy.

"GO AHEAD GIRL! WELL IT'S ALRIGHT GIRL! DON'T PASS UP THIS CHANCE!"

(Yeah, because if you don't go for it, one of us will!)


This song kicks off like a gun shot and never lets up. Every player in the opening 30 second intro can be heard--drums, guitars, handclaps, bass, baritone sax, piano--it's all so precise and all so very hot.

It's genius record-making.

It's very easy for me to slip into a rant about then versus now. I've done it many times before and I know I have it in me to do it again. (And I will, do not worry yourselves.) But I will hold back that urge and just say, don't take these 40 and 50 year old hits for granted. Many of these songs have lost their edge thanks to over-exposure in bad places, like romantic comedies starring Katherine Heigl. But these songs, like "Heat Wave," have so much happening in less than 3 minutes, I can't help but feel that "making a hit record" is a lost art.


 

Saturday, July 28, 2012

Songs Of The Week: 7/21-7/26



The Words Of Aaron- The Move
God Said- Todd Rundgren
Past- Todd Rundgren
What's Going On- Taste
St. James Infirmary- Van Morrison
Going Places-Paul Weller
Frankie & Albert- Charley Patton

zip

Friday, July 27, 2012

"Fuggets" : THE WEEKEND MIX



Remember that record collection I purchased about a month ago? Well, as Smokey once expressed, it's really got a hold on me. This week, I've been dipping my ears in the psych and pop waters of the 60s and 70s and realizing that there are people out there who will sacrifice their first born for a vinyl copy of Twink's solo debut. Sadly, I'm starting to understand.

That Twink record, along with some other fine gems like the Blossom Toes, a record called "Ultra Violet's Hot Parts" which is essentially The Left Banke, and Steve Howe's first band Tomorrow, put me in this "Nuggets" kind of mood.

So that is why and this is this because.

SOME QUICK THOUGHTS:

"Piper At The Gates Of Dawn" may not be what you think of when you think Pink, but it is essential and yes, my favorite Pink Floyd record.

In keeping with yesterday's post, how about Fairport Convention? That first album with Judy Dyble is almost boogie. And how about that psych version of "Chelsea Morning?" In comes Sandy Denny, quite possibly the most beautiful voice ever, and BOOM...sea shanties and Celtic workouts.

I wish I could find the interview, but I am pretty sure when Andy Partridge was asked if there were any songs he wished he had written, he said, "Autumn Almanac" by Ray Davies and "I Can't Let Maggie Go" by The Honeybus. Trust me.

And speaking of Ray Davies, did you know that he produced The Turtles' album "Turtle Soup?" Did you know that it was a great record that even sounds like The Kinks at times?

Fugget.

Enjoy, I hope.

TRACKLIST

Lucifer Sam (Mono)- Pink Floyd
When I Get My Plane- Nazz
I've Got Something On My Mind- The Left Banke
It's Alright Ma, It's Only Witchcraft- Fairport Convention
My White Bicycle- Tomorrow
Midsummer Night's Scene- John's Children
Susan- The Buckinghams
I Can't Let Maggie Go- The Honeybus
Baby, Your Phrasing Is Bad- Caleb
Maybe The People Would Be The Times Or Between Clark & Hilldale- Love
Little Girl- The Jynx
House On The Hill- The Turtles
My World Fell Down- Sagittarius

PSYCH


Thursday, July 26, 2012

"It Mesmerizes & I Can't Explain"




Mott The Hoople.

They were two bands, really. The pre-Bowie band and the post-Bowie band. I love both, though I prefer the David Bowie glam makeover dudes to the early "Dylan meets metal heaviosity" band that released four records on Atlantic before hitting pay dirt with the Bowie produced "All The Young Dudes."

My goal wasn't to debate which era of Mott The Hoople was better. I really just wanted to share the song "Alice" from 1974's "The Hoople," which I've been playing loud lately. So that's done, up top.

But, it did make me think of this:

Are there artists or bands that started out as one thing and ended up as another and also, what did you like better?

I think the aforementioned Bowie, as well as other chameleons like Todd Rundgren, might not be who I'm looking for, as they changed styles and sounds from record to record.

I'm looking more for one makeover, for better or worse.


Wednesday, July 25, 2012

One (Or Two) More From The Vault



I wrote about as many songs as Ringo did when he was a Beatle and all of mine were worse than "Octopus' Garden." A few did manage to become Pep In The Cat staples, thanks to main songwriters Carl Mealha and Frank DeStefano. I was also afforded the token lead vocal from behind the kit. But first, a little about this P.I.T.C. original.

I scribbled out lyrics to "Settle For The Best" and handed them to Carl with the idea of creating a Motown-style dance number. I even went as far as suggesting "party sounds" on the studio demo, just like the Temps did on "I Can't Get Next To You" and "Psychedelic Shack." The band bought the idea and it was executed. Great demo, but we weren't the Funk Brothers, unless you count our mood swings.

This live version from the same show as yesterday's Prince cover, works much better to my ears. Kind of reminds me of Squeeze, which is a more realistic comparison. I think there is some nice playing by all.

I've also included, thanks to some encouragement from Frank, our cover of Marshall Crenshaw's "Favorite Waste Of Time," with me honking out the lead vocal.

Thanks for letting me indulge.


Settle For The Best







 Favorite Waste Of Time


Tuesday, July 24, 2012

If It's Tuesday, I Probably Should Care More About The Gaslight Anthem



Hello people. Got to admit, its been kinda quiet around here lately. Dog days of summer? Vacation? Busy at work? Or was it Georgie Fame? Something has kept you fine people away. (I bet if I posted more Rush or Todd Rundgren, you'd be all over my ass.)

As for me, I've been doing some summer spring cleaning and I came across a box of cassettes. Memorex Chromium Dioxides with that tricky box and fantastic smell. Found a tape of Pep In The Cat, Live From S.N.A.F.U.. Early and late sets, dated 2/11/84. Hell, I might not have even been legal when I sat behind that drum kit. I'll say this though, this band had balls.

From left to right-

Mike LaGennusa- Lead Guitar and vocals
Carl Mealha- Lead Vocals and keyboards
Frank DeStefano- Lead Vocals and rhythm guitar
Al DeLucia- Bass
Yours Truly- Drums and vocals

I'm pretty sure we started doing this Prince cover long before anyone cared about Prince. It was at least a year before Mitch Ryder's recorded version in 1983, which would have been about two years before the "Purple Rain" explosion.

So since Burning Wood activity has waned, I thought it'd be an okay time to sneak this in. I enjoyed it. Maybe you will too.




When You Were Mine


Monday, July 23, 2012

Georgie Fame & The 5 Coolest Songs I Listened To This Weekend



Georgie Fame's "The Ballad Of Bonnie & Clyde" was one of the very first records I remember owning. This was a novelty record that appealed to me when I was a wee lad, but has not aged well at all. (We have something in common.) An earlier Georgie Fame hit, "Yeh Yeh" was another one that for years, made me run for the hills. The campy sound of his organ and his Mose Allison hipster vocal tone and delivery was made for someone else. But as I am wont to do, I never gave up, taking in "Jo-Jee Femm," as Van Morrison would say, one LP at a time, thanks to some friends who were fans and who pointed me in the right direction.


Fame's 1969 release "The Seventh Son" was on heavy rotation this weekend. This is a record that could not have been recorded in any other year but 1969. It is indeed campy and dated, but in the very best ways.  Fame never hung around with bad musicians, and its these guys, and the aforementioned vocal delivery of Fame, that now, all these years later, found my wheelhouse. The hook in "Am I Wasting My Time" is pure genius.  And is there anything cooler than counting off a song with "Guess What It's True" instead of "1-2-3-4," as he does on "Somebody Stole My Thunder?"




Another song that has been blowing me away since the first time I heard it is Fame's four on the floor groove behind his version of James Brown's "Papa's Got A Brand New Bag." Man, this arrangement is BIG! Check out that bass note at 9 seconds and 33 seconds. Badass.

I put together a playlist with 5 songs that took up a good portion of my weekend. The JB cover, three  from "The Seventh Son," and "Time I Moved On" from the LP Fame recorded with Alan Price.

Let me know if what you hear makes you want to hear more, or if you ran for the hills.







Saturday, July 21, 2012

Songs Of The Week: 7/14-7/20


Tonight-Raspberries
Driving Along-Nilsson
New Party-Patti Smith
I Am Waiting-Rolling Stones
Terrapin- Syd Barrett
My Brown Guitar-XTC
I Can Change-LCD Soundsystem

zip

Friday, July 20, 2012

"Golden Smog On XRT": THE WEEKEND MIX



Golden Smog is a loosely connected group of musicians comprised, at various times, of members of Soul Asylum, The Replacements, Wilco, The Jayhawks, Run Westy Run, The Honeydogs and Big Star.

I know I'm not the first to post this show, but so what. It's a good one that I dug out and kept busy with over the last few days. No reason to keep it to myself. Covers of Neil Young, The Faces, David Bowie, Brian Wilson and Eddie & the Hot Rods, plus some Smog staples.

Enjoy.



GOLDEN SMOG - CHICAGO, 2/23/96

TRACKLIST

V
Walk Where He Walks
Glad & Sorry
Ill Fated
On The Beach
Pecan Pie
Red-Headed Step Child
Seven Year Ache
Love & Mercy
Nowhere Bound
She Don't Have To See You
Do Anything You Wanna Do
Won't Be Coming Home
Radio King
Five Years

zip

Thursday, July 19, 2012

"Sacred Songs": The Unsung Genius Of Hall & Fripp




There are records we play and play until the sounds that thrill us become an annoyance. We love these records to death, and in two personal instances, that death might have been my own.

My friend, the late great Chris Kelly, once threatened me with a flying, full 32 ounce bottle of tonic water when I suggested listening to "Exile On Main Street." He had had enough of the Stones classic by the late 70s, and placed a moratorium on all things "Exile-related" in 1982. I listened to XTC's "Skylarking" on torture-method repeat the week it came out in 1987. My roommate Rich, who rarely if ever bothered me when my door was closed, knocked on my door and in his best Bob Hope asked, "You like this album, don't you?" It was funny, until you saw the look in his eyes. He had had enough of "Skylarking."

Then there are those lost vinyl creatures that fail to impress on day one, so they are shoved onto the shelf until something or someone prompts a reevaluation. For me, this applies to Daryl Hall's 1980 piece of genius with the great Robert Fripp, "Sacred Songs."

Briefly:

The duo met. They worked together in 1977 and delivered "Sacred Songs." RCA refused to release the album, finding it far less commercial than they believed the growing population of H&O fans were looking for and quickly shelved it...until 1980. Part of an unofficial Robert Fripp-produced trilogy that also includes Fripp's own "Exposure," which Daryl Hall appears on, and Peter Gabriel's sophomore solo release, "Sacred Songs" is not only the best of the three, it might be Daryl Hall's finest hour.

This record was not what I wanted it to be, though it's hard to say all these years later exactly what I was expecting, having been a fan of King Crimson and Hall & Oates. It certainly has elements of both, but it is incredibly unique in that nothing, not even the most commercial tunes, such as the title track and first single, or the gorgeous Philly-soul of "Why Was It So Easy" simply flow from beginning to end. Robert Fripp's use of his then "new" invention Frippertronics works in ways no Hall & Oates fan could have ever imagined for the pop duos own material.

"Sacred Songs" has a subtle beauty to it, and when it's ready, can beat you up. I've played this record a lot less than I should have over the last 30 years. It still has that "new car smell," which is a good thing. I pulled it out last night and it may have been a peak listen.

One vivid memory I have about listening to "Sacred Songs" back in 1980, was how displeased I was with the sound of the record. It is mastered so low, the bass and drums were just too flat for my tastes. That was not a good thing for a youngster accustomed to cranking out Led Zeppelin records on 10. Subsequent CD reissues sound much better, with a bit more punch, but actually, I listened to the vinyl last night, and it didn't bother me one bit.

Daryl, Robert, if you're reading, consider a brief East Coast tour playing both "Sacred Songs" and "Exposure" in their entireties. You'd get me off the couch for that one.

Here are a few of my faves, though I do believe the record plays better as a whole. I've also included a live of version of "Why Was It So Easy" from a recent episode of "Live From Daryl's House." It features Butch Walker, who nails it.

















Wednesday, July 18, 2012

Oh Well





Coming from Concord Music on 8/14 is this somewhat random collection of Fleetwood Mac covers on a "tribute" to the legendary band. Every time one of these compilations gets released, I think of two things- "The Cannonball Run" movies and the meeting in the label conference room when those in charge decided to sign off on what usually turns out to be a half-assed collection of artists with no possibility of appealing to anyone who is a fan of anyone involved.

Are ZZ Top fans really going to get excited over Lykke Li and Best Coast? Do Marianne Faithful fans listen to Stevie Nicks? Are MGMT fans buying tickets to Antony & The Johnsons?

Listen to it all at the link below.
http://soundcloud.com/concordmusicgroup/sets/just-tell-me-that-you-want-me/

The New Pornographers tracks does kick ass, though.


THINK ABOUT ME

Tuesday, July 17, 2012

Why Do They Come In Threes?







We lost three legends this week. The great bass player and Funk Brother Bob Babbitt, the Queen Of Country Music, Miss Kitty Wells, and rock's king of the Hammond B-3, Deep Purple's Jon Lord.

I don't have a favorite Kitty Wells clip, but I've always loved her music. As for Jon Lord and Bob Babbitt, the two clips below are without question two of my favorite live clips ever.







Everyone must be familiar with the Motown clip by now. But I think we will all become better people if we watch it once a day. The Deep Purple video blows me away. "This is a new song," Ian Gillan tells the crowd, "and it will remain our opener for a long time."  Boy, was he right.








Rest in peace, you three.











Monday, July 16, 2012

Chris Ligon, And How I Hit "Play" And It Hit Me Back



I saw the new NRBQ last week. It was third time this year and if they were playing next week, I'd go again, as well as the week after, and after that too. But I'm not here to talk about the merits of Terry Adams and his new crop of Q...not really.

At all three performances, as different as each set was, the band played a song that simply knocked me out. It's called "Florida," and it was written by guitarist Scott Ligon's brother Chris. It can be found on "Look At The Birdy," one of the most bizarre little records I have ever heard, and I heard a lot of records. I'm not saying I didn't enjoy "Look At The Birdy." It's just that I don't usually sit mouth agape, in a frozen stupor for 33 minutes straight.

I admit I was hoping for an album similar to "Florida," which glides along in a perfect pop way. Instead, I was hijacked. From the opener "Buglight," a song that would not have been out of place on any of Captain Beefheart's classic records to "Baby Books Bossa" and "Dr. Peanut," two songs (?) that make the Bonzo Dog Band sound like The Archies, "Look At The Birdy" was relentless. I couldn't catch my breath.

Some bits, and I say bits because most of the tracks are under two minutes, are just too strange to be fun, like the nerve-shredding "I Don't Die," which is downright scary. But trust me, when Chris Ligon connects, as he does on "Oh What A Day," "A Thousand Pumpkins" and the aforementioned "Florida," he smacks it out of the ballpark.

Then there is the genius of "Frankenstein Just Got Up." Homer & Jethro would be proud. This is a song about a couple who moves into an apartment that the landlord promised would be quiet, only to find out their upstairs neighbor is Frankenstein. I wish I had written these lyrics:

"Frankenstein just got up, he's looking for his keys, he's stompin' around from room to room, I'd wish he'd bend his knees."

"Look At The Birdy" is available on Spotify, eMusic and Amazon. Ligon also has a website, which seems to be under construction, but there is a "shop" and a whopping dozen more CDs for sale. Sadly, no audio samples and some look like he might have been 12 years old when they were recorded, making me wonder if his twisted sense of humor was behind what might not be real releases at all. Can't say for sure. I can say that "Look At The Birdy" is a wildly entertaining 33 minutes, if you're up for a little diversion from your usual playlists.




Sunday, July 15, 2012


Saturday, July 14, 2012

Songs Of The Week: 7/7-/713



Transylvania Boogie- Frank Zappa
Treacherous Cretins- Frank Zappa
Po-Jama People- Frank Zappa
In The City- The Jam
Cindy Lou- Gene Terry
Poor Side Of Town- Nick Lowe
Just How Lonely- Southern Culture On The Skids

zip

Friday, July 13, 2012

"The Smell Of The Crowd" : THE WEEKEND MIX



30 years ago this August. I saw Rickie Lee Jones at Pier 82 in N.Y.C. reduce thousands of people to mush with her heartbreaking version of "My Funny Valentine." That moment became my favorite live moment for a long time.  Then, it was Elvis Costello for 5 nights on Broadway in 1986 which to this day, might still be the greatest live experiences of my concert-going life. I won't ever forget the Black Crowes just 10 days after 9/11, where a packed house at the Beacon Theatre just didn't know if it was alright to be there. (It was.) Or Wilco, just a few days after that at Town Hall, with Jeff Tweedy fighting back tears but still delivering a powerhouse show. But what about Bruce's performance of "The River" in its entirety just a few years ago? Holy moly!

Nothing will take the place of being there, but I thought I'd put together a baker's dozen of my favorite live performances anyway. Three have been featured before and one has been featured a few times. (I spared all of you the live version of "Celebration Day" from a 1971 concert by Led Zeppelin. I think I've posted that a Burning Wood record of 7 times. I do love it.)

SOME QUICK NOTES:

Yeah, the Steely Dan kicks ass, but it's all about the intro, courtesy of the band's completely blotto tour bus driver.

The Beatles track from Stockholm, 1964, usually shuts up the annoying snobs who think Ringo wasn't a good drummer.

Bag Of Soup was a one-off, or possibly a three or four-off, that featured Jules Shear, Marshall Crenshaw, and Graham Maby. This cover is from the Victoria Williams Benefit that took place at Tramps in N.Y.C., 1997.

Clapton's track is from MSG, 2007. I have a vivid memory of some friends giving me the asshole because I was excited about seeing Eric live. They had been bored by this point. I was too, but with his records, not his concerts and especially not his guitar playing. I played this for them, and they shut up for a little bit.

The Jeff Buckley cover of one of Elton John's best ballads, might be from a WFMU broadcast. I don't remember.

Bowie is from the BBC, with the great Earl Slick.

"Kitty's Back" is from the historic ESB performance on Conan O'Brien.

Booker is from Montreux. (Truly, my favorite thing ever.)

"Just One Victory" closed out every Todd/Utopia concert from 1973 through 1982 or 1983. It's an anthem and it's big.


Sound quality varies. Sorry. Call Eddie Offord if you can't deal.

At press time, I realized I left out one very important song, "Cumberland Blues" by the Grateful Dead, recorded at Harpur College on 5/2/70. For years I resisted the Dead, partly due to the FM radio onslaught of studio songs like "Casey Jones," "Truckin'," and "Shakedown Street," which even the truest Dead fans will admit, do not represent what this band can do. It also wasn't helpful to be force fed 30 minute long versions of "Dark Star" on cassette tapes that needed to be rewound with a pencil by some of the most obnoxious music fans I have ever come across in my lifetime.  It was only after I heard the acoustic, bluegrass showdown of "Cumberland Blues" that I understood the genius of Garcia's playing. That one song was enough to turn me around. And now I can say, I am a fan.  Here it is. I know most won't even bother to listen, and that's okay. But I feel better that it is here.




You have a fave live moment?



TRACKLIST

Bodhisattva- Steely Dan
Roll Over Beethoven- The Beatles
She May Call You Up Tonight- Richard Thompson
Carrie Anne- The Hollies
The Sun Ain't Gonna Shine Anymore- Bag Of Soup
I Shot The Sheriff- Eric Clapton
We All Fall In Love Sometimes- Jeff Buckley
Poor Elijah/Tribute To Robert Johnson- The Black Crowes
You've Got A Friend- Donny Hathaway
Stay- David Bowie
Kitty's Back- Bruce & The ESB
True- James Booker
Just One Victory- Todd Rundgren's Utopia

zip


Thursday, July 12, 2012

Buddy's Best



Say what you want about the age of technology and the millions who wander around oblivious to their surroundings like George Romero extras, while plugged into their PDAs and portable music gadgets. Is there a greater thrill for a music fan than the iPod Shuffle blindsiding you with something amazing?



I had a "Words Of Love" moment while creeping along the "N" subway line last night. It was two moments, actually, just a few songs apart. The first was "Ummm...Oh Yeah," a song I first heard on the Buddy Holly "Showcase" LP.  A few seconds into the intro, my mind shot back to that day, and in less than two minutes I found myself sitting in my room and listening to this brief but gorgeous tune. At the time, all I knew was The Beatles version of Holly's "Words Of Love," a favorite off a favorite album, "Beatles For Sale." I wasn't quite savvy enough yet to love and appreciate or even know much about Buddy Holly. So, "Ummm...Oh Yeah" was a revelation. Oddly, it's usually referred to as an early version of Holly's "Dearest" even though it clearly sounds like the demo for "Words Of Love." (If anyone can clear that up, please let me know.)


As the next songs played, I thought, I need to make "Words Of Love" tomorrow's Song Of The Day. But then Nick Lowe's "Poor Side Of Town" came on. (Damn, what a beautiful cover.)  Next, the Apple gremlins took over and Patti Smith's absolutely dreamy version of "Words Of Love" queued up.

There you have it.

I think it just might be Buddy's best song and though it is not theirs, The Beatles just might own it.
And once in a while, I think I may love "Ummm...Oh Yeah" most of all, whether or not it truly is "Words Of Love."

Listen to all, as well as other great versions by Shoes, Paul Burch and Jeff Lynne.





Wednesday, July 11, 2012

They're Baaack! They're Baaaack In The Saddle Again!



I've said it before and I'll say it again, there are few rock and roll records as solid as Aerosmith's "Rocks."  It's legendary for a reason, and comments left on an earlier post (which I cannot find at the moment) proved that a lot of you felt the same.

The string of records released from the debut in 1973 through 1977's slightly off the mark 5th album "Draw The Line," confirmed Aerosmith's place in rock and roll history. And I tell you what, ubiquitous bad power-ballad videos aside, the comeback records from 1987's "Permanent Vacation" through 1997's slightly off the mark 12th album "Nine Lives" had some fantastic music, as well.

Then suddenly, for me at least, Steven Tyler seemed to overstay his welcome. I had been sitting very close to the stage at Madison Square Garden for the "Nine Lives" tour, watching Tyler swing his boa and sashay one too many times from stage left to right and what once worked as fine showmanship began to feel a bit cringeworthy. I wasn't looking for Tyler and Perry to cut their hair, don t-shirts & suede vests, and hit the road as an alt-country duo. I just knew that the circus according to Aerosmith had lost its charm. A few more terrible records with terrible titles like "Honkin' On Bobo," truncated, greatest hits setlists and classic Tyler/Perry in-house bickering didn't help matters.




A new record, "Music From Another Dimension" drops on November 6th. You would think after that last paragraph that I wouldn't care about this, especially after the last few years of Steven Tyler's screeching and preening on "American Idol," not to mention his absolutely horrible autobiography, which angered and embarrassed me enough to fling the book across the room every ten pages until I finally gave up. (He hadn't even formed Aerosmith yet, that's how long I lasted.) But I miss this band and their antics and their classic rock and roll riffing.



What we need right now is the fun and bombast that Tyler, Perry, Whitford, Hamilton and Kramer put into it all. Yes, I know, there are some bands that tried. (If anyone mentions The Darkness, I'll throw the Tyler book at YOU.) But, there was quality rock and roll underneath all of the drugs and drugs and drugs, and until a band comes along that serves it up hot and as consistently as Aerosmith did, I think I'll stay loyal. Aerosmith deserves at least that.

Watching the new video for "Legendary Child," brought a wave of nostalgia over me. It's not a very good song, but it felt good to see the bad boys again. My hopes for "Music From Another Dimension" are not high. But they aren't low either. That's the best I can do these days.



Tuesday, July 10, 2012

The Skinny Singers






I'm late to the party once again.

I dismissed Jackie Greene's records for years based on a few half-assed spins. Not sure what it was I heard that turned me off, but I've since become a fan, courtesy of recurring high praise from my friend Jeff. K. 

But that's not why I'm here. Not really. I'm here because the aforementioned Mr. K. has also piled it on high about The Skinny Singers, Jackie Greene's big fun side project with Tim Bluhm, leader of The Mother Hips, another band that did nothing for me the one or two times I gave an ear.

Together, Greene & Bluhm, (not to be confused with the law firm on Nostrand Avenue), have put together a collection of what they themselves call "garage blues." That's pretty accurate. Call it what you want, the record is a blast. You can listen to some of it over at their My Space page, or all of it on Spotify.

I've been enjoying these two videos from their record release party a few years back especially the fab cover of "Sugaree" with Phil Lesh.







Monday, July 9, 2012

Of Montreal Outtakes?





This isn't about getting on the kids. I'm not in a "Hey You! Get off my lawn!" mood. I was simply doing a bit of investigative journalism, as I woke up thinking, "Gee whiz, Sal. How about writing about or posting some music from this century for a change?" Looking for headlines, I went to Billboard.com. Here are today's "top stories."

  
'IDOL'S' COLTON DIXON UNVEILS ORIGINAL SONG: 'IT'S PERFECT FOR ARENA ROCK'


AMERICAN IDOLS LIVE! TOUR KICKS OFF WITH HIGH-ENERGY DETROIT SHOW


ASK BILLBOARD: NICKI MINAJ TIES HOT 100 RECORD


MCFLY ANNOUNCES FIRST U.S. TOUR DATES


OF MONTREAL TO RELEASE NEW SINGLES & AN OUTTAKES ALBUM THIS FALL


JUSTIN BIEBER CITED FOR 'RECKLESS' FREEWAY DRIVING


"Hey you kids! GET OFF MY LAWN!"



The Of Montreal outtakes album caused a brain-shifting eyeroll. What would be the equivalent of an Of Montreal outtakes album say... in 1969 or 1979?

I thought I'd better find out what a few Of Montreal master takes sounded like first before I got my curmudgeon on.



Funny. They sound like something I would have loved in 1979.

Here's another one.





Everything old is new again. The goal of this post was to vent my frustration, yet again, on the sorry state of music these days. Instead, I just discovered that Of Montreal sounds more than a bit like one of my favorite bands, Sparks. And you know what else Mr. Crankypants discovered this morning? Of Montreal isnt even a new band. They were formed in 1996. 

of Montreal is an American rock band from Athens, Georgia. It was founded by frontman Kevin Barnes in 1996, named after a failed romance with a woman "of Montreal." The band is one of the bands of the Elephant 6 collective. Throughout its existence, of Montreal's musical style has evolved from vaudeville and Beatles influenced psychedelic twee pop to a mixture of electronica, funk, glam, and afrobeat music influenced by Prince and David Bowie.





I'd better get my act together, or tomorrow, you will be reading my high-praise of Nicki Minaj.


Sunday, July 8, 2012

"Uncle" Lionel Batiste: 1931-2012


(Photo by Marc Pell)

Saturday, July 7, 2012

Songs Of The Week: 6/30-7/6



Mini-Skirt Minnie- Wilson Pickett
God Bless The Child- Grant Green
Come Pick Me Up- Ryan Adams
Joni- Julian Velard
Independence Day- Bruce Springsteen & The ESB
It's Your Thing- Dyke & The Blazers
Country Honk- Rolling Stones

zip

Friday, July 6, 2012

"FD's Summer Soul" : THE WEEKEND MIX



Reader FD13NYC and I started making mixed-tapes for each other sometime in the mid-seventies, so when I received this great collection of mostly little known soul gems from him yesterday, it had more than just some good music attached to it. Great stuff and great memories, my friend.

The Candi Staton is a bit of a classic that you might have heard before. But all else was knew to me, and a few, just sent me over the moon, especially "You & Me" by Penny & the Quarters. I love their name. I love their photo. (see above). And that song is a beauty.

Also, Pat & Pam? Who the hell are Pat & Pam and why do they sound so damn good together?

Nancy Wilson's cover of The Fortunes hit was also a pleasant surprise. It almost crosses the camp line, but is patient enough to stay put. Another gem.

Thanks for the effort, FD.

Enjoy everyone.

I'm feeling this mix is perfect to crank up on a sweltering NYC weekend. If you happen to live outside of NYC, where the weather is manageable and the streets don't smell like warmed up chum, you just may enjoy this, too.


TRACKLIST

Send For Me- Chuck Bernard
Wrong Number- Lee Charles
I Love You Yes I Do- Pat & Pam
Just One More Time- JJ Barnes
You & Me- Penny & The Quarters
I'd Rather Be An Old Man's Sweetheart- Candi Staton
Wiilie Knows How- Willie West
You've Come A Long Way, Baby- Flower Shoppe
Don't- Doris
Total Disaster- Gloria Taylor
Please Don't Ket Me Know- Don Covay
You're The One- The Three Degrees
My Man, A Sweet Man- Millie Jackson
You've Got Your Troubles- Nancy Wilson

FD13ZIP

Thursday, July 5, 2012

Current Distraction Part Four: The U.K. Kaleidoscope


Not to be confused with (or I guess, to be confused with) the U.S. Kaleidoscope which featured David Lindley and who backed Larry Williams and Johnny "Guitar" Watson on that brilliant one-off single "Nobody" among other wildly amusing efforts on their own, is the U.K. Kaleidoscope whose two lost psychedelic classics have now been compiled with bonus material on a new and highly recommended and affordable 2 CD set that is making me go apeshit.

The comparisons are easy. Early Floyd comes to mind right away. But there is something much sweeter under the weirdness and occasionally overblown production. It's in the melodies and vocals, which at times reminds me of what Jon Auer & Ken Stringfellow have given us in The Posies or even the Gibb Brothers on the early Bee Gees records.

"Dive Into Yesterday" from their debut "Tangerine Dream" is the one illustrates exactly that. My ears hear The Posies on the verses and Syd Barrett-era Floyd on the choruses and of course production. "Flight From Ashiya" would not have sounded out of place on The Bee Gees debut.









Not everything works, of course. But more than enough of it does, if you like this type of stuff...and I really do...especially the title track off their second and last LP, "Faintly Blowing."









Wednesday, July 4, 2012

IN CONGRESS, JULY 4, 1776
The unanimous Declaration of the thirteen united States of America
When in the Course of human events it becomes necessary for one people to dissolve the political bands which have connected them with another and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn that mankind are more disposed to suffer, while evils are sufferable than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security. — Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.
He has refused his Assent to Laws, the most wholesome and necessary for the public good.
He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.
He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.
He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their Public Records, for the sole purpose of fatiguing them into compliance with his measures.
He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.
He has refused for a long time, after such dissolutions, to cause others to be elected, whereby the Legislative Powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.
He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.
He has obstructed the Administration of Justice by refusing his Assent to Laws for establishing Judiciary Powers.
He has made Judges dependent on his Will alone for the tenure of their offices, and the amount and payment of their salaries.
He has erected a multitude of New Offices, and sent hither swarms of Officers to harass our people and eat out their substance.
He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.
He has affected to render the Military independent of and superior to the Civil Power.
He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:
For quartering large bodies of armed troops among us:
For protecting them, by a mock Trial from punishment for any Murders which they should commit on the Inhabitants of these States:
For cutting off our Trade with all parts of the world:
For imposing Taxes on us without our Consent:
For depriving us in many cases, of the benefit of Trial by Jury:
For transporting us beyond Seas to be tried for pretended offences:
For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies
For taking away our Charters, abolishing our most valuable Laws and altering fundamentally the Forms of our Governments:
For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.
He has abdicated Government here, by declaring us out of his Protection and waging War against us.
He has plundered our seas, ravaged our coasts, burnt our towns, and destroyed the lives of our people.
He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation, and tyranny, already begun with circumstances of Cruelty & Perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.
He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.
He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.
In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince, whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.
Nor have We been wanting in attentions to our British brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.
We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these united Colonies are, and of Right ought to be Free and Independent States, that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. — And for the support of this Declaration, with a firm reliance on the protection of Divine Providence, we mutually pledge to each other our Lives, our Fortunes, and our sacred Honor.
New Hampshire:
Josiah Bartlett, William Whipple, Matthew Thornton
Massachusetts:
John Hancock, Samuel Adams, John Adams, Robert Treat Paine, Elbridge Gerry
Rhode Island:
Stephen Hopkins, William Ellery
Connecticut:
Roger Sherman, Samuel Huntington, William Williams, Oliver Wolcott
New York:
William Floyd, Philip Livingston, Francis Lewis, Lewis Morris
New Jersey:
Richard Stockton, John Witherspoon, Francis Hopkinson, John Hart, Abraham Clark
Pennsylvania:
Robert Morris, Benjamin Rush, Benjamin Franklin, John Morton, George Clymer, James Smith, George Taylor, James Wilson, George Ross
Delaware:
Caesar Rodney, George Read, Thomas McKean
Maryland:
Samuel Chase, William Paca, Thomas Stone, Charles Carroll of Carrollton
Virginia:
George Wythe, Richard Henry Lee, Thomas Jefferson, Benjamin Harrison, Thomas Nelson, Jr., Francis Lightfoot Lee, Carter Braxton
North Carolina:
William Hooper, Joseph Hewes, John Penn
South Carolina:
Edward Rutledge, Thomas Heyward, Jr., Thomas Lynch, Jr., Arthur Middleton
Georgia:
Button Gwinnett, Lyman Hall, George Walton

Tuesday, July 3, 2012

Twin Sons Of Different Mothers




I can't hear one without thinking of the other and I can't hear either without thinking about summer.



















Monday, July 2, 2012

I Love You Just The Way You Were



Last week I wrote a positive review of Joe Jackson's new tribute to Duke Ellington. This past weekend I spent some time listening to King Crimson, specifically "In The Wake Of Poseidon," their second LP and last with Greg Lake and "Red" their third and last LP with John Wetton. It made me think of Joe Jackson again.

Jackson, since his debut, has dabbled in pop, punk, jazz, rock, classical, Latin and swing, and with each release, has left his fans in the wake of his whimsy. Diehards take to it all with grace. Casual fans, not so much. Not everything worked, but J.J.'s arrogance aside, none of the records sounded slapped together. The records were smart, whether you liked the result or not.

King Crimson, up until 2003, has been a constant. Well, at least founder Robert Fripp has. Since their debut, KC has not only shifted gears as much as Joe Jackson, releasing records covering genres such as prog rock, jazz, heavy metal, industrial, new wave and folk, but they have had as many line changes as a pro hockey team. If King Crimson was a man and each line-up was a job, this man hasn't kept a job longer than 4 years. (2000-2003 seems like the longest stretch with the same band members and the same sound.)

Many would argue that King Crimson is not a band, but an aggregation. People come and go, simply to act out Robert Fripp's musical fantasies and whims. I would imagine there are just as many fans of both as there are fans of neither. But what strikes me is the way KC (Fripp) has jumped from ship to ship, leaving employees in his wake, and has seemlessly created a career that for the most part, is unblemished, with a fanbase, for the most part, wholly satisfied.

I'm not comparing the artists. Nor am I creating a case for Joe Jackson. This is a curiosity. Is it simply the music? Does the free-form attack of King Crimson allow for the not-so-subtle changes in what they've delivered from LP to LP? What it is about pop artists that gets them less leeway in their creativity?

Another artist that comes to mind of course is Todd Rundgren. Many gave up on this poor guy 40 years ago, the second he followed the pop masterpiece "Something/Anything?" with the psych/prog/metal/soul/pop/funk of "A Wizard/A True Star." Or how about David Bowie? Poseur or visionary? Personally, I think Bowie's been one step ahead of everyone since 1970's "The Man Who Sold The World."

Any thoughts on artists or bands who have been musical chameleons for bad or worse?

In the meantime, here are two fave KC moments--one from each of the records I mentioned earlier.