Best Of 2015: Kamasi Washington, Jeff Lynne, Jon Cleary, FFS and more.

This was no easy task, this year-end list compiling. I joked back in July that midway through 2015, I didn't even like some of my favorite records of the year. Well, here we are at the end of the year, and while I have a few that I like enough to mention, I have fewer that I love.

Some records I enjoyed but admittedly have not spent enough time with...

Dwight Yoakam-Second Hand Heart
Daniel Romano- If I've Only One Time Asking
Ike Reilly-Born On Fire
Whitney Rose- Heartbreaker Of The Year
The Darkness-Last Of Our Kind
David Gilmour-Rattle That Lock

Some records I like a lot, but just don't feel comfortable including on the Best Of The Year list...

Paul Weller-Saturns Pattern
Richard Thompson- Still
Pugwash-Play This Intimately...
Dave & Phil Alvin- Lost Time
The Rails-Australia E.P.


Some records I've yet to listen to...

Emmylou Harris & Rodney Crowell-The Traveling Kind
Chris Isaak-First Comes The Night
Billy Gibbons-Perfectamundo
Tommy Keene-Laugh In The Dark
Donnie Fritts-Oh My Goodness
Jim Lauderdale- Soul Searching
GP & The Rumour-Mystery Glue
Adele-25

Some records you love that I need to listen to...

???????????

But now, in no particular order, are my 10 favorite records of 2015.






SQUEEZE-CRADLE TO THE GRAVE

Early in Glenn Tilbrook's and Chris Difford's career, comparisons were made to John Lennon and Paul McCartney. I would normally jump on a statement like that, but after close to 40 years of making music, together or apart, these two men known as Squeeze have continued, if a tad inconsistently, to release some of the smartest pop music on the planet. While the casual fans recall only the hits, diehards like myself will place some of their lesser known works like 1991's brilliant release "Play" and the truly fantastic "Ridiculous" from 1995, right up there with anyone's best work. And "Cradle To The Grave" is another solid entry in Difford and Tilbrook's very impressive career. It's been a long time coming and maybe a few songs miss the mark, but the title track, "Sunny," "Honeytrap," and "Haywire" are as good as anything these boys have written.

THE LONDON SOULS- HERE COME THE GIRLS

The first time I saw these guys play live, my mind was blown. It was a tiny room, half-filled, and the band attacked the music and assaulted the mini-crowd as if they were Led Zeppelin playing Madison Square Garden. A lot has happened since then. One brilliant, unreleased debut record, one completely different, not bad official debut, an almost life-ending car accident and now "Here Come The Girls." Tash Neal and Chris St. Hilaire write and perform music that comes from the best possible sources, whether it's hard rocking, British blues like the aforementioned Led Zeppelin or Free, or harmony-filled tunes like late period Beatles, or a bit of psychedelic soul like the best tunes from "Axis:Bold As Love," The London Souls manage to stay fresh and never sound retro.







BOZ SCAGGS- A FOOL TO CARE

Sure, it's another album of covers. But Boz and company nail it. Steve Jordan manages to not screw things up the way he screwed up the Keef album, and his band featuring Willie Weeks and Ray Parker Jr. add style and grace to a terrific selection of tunes. There are two Bobby Charles tunes, "Small Town Talk" and the title track, both of which shine in their simplicity. There are absolutely gorgeous takes on the Spinners "Love Don't Love Nobody" and Richard Hawley's "There's A Storm A'Comin'." And there is the unlikely winner in "Full Of Fire," the Al Green song that should have been on Boz's previous covers LP,  "Memphis." The only misstep is the duet on one of my favorite tunes, The Band's "Whispering Pines." Boz should have handled it alone, but instead has Lucinda Williams adding her warbling to the festivities. I love Lu, don't get me wrong. But, she is an earsore here.

KAMASI WASHINGTON- THE EPIC

I rarely write about jazz anymore.  I am no longer out and about catching live performance as I once was and my subscriptions to both Down Beat and JazzTimes ran out years ago.  Plus, my once unlimited access to so much jazz at my shop has obviously ceased. So while I still listen, it is usually to the tried and true and not the young and new. In much simpler terms, I'm out of the loop. But the buzz about Kamasi Washington was so loud that I could not resist. And in the case of the epic, "The Epic," this was one of the very rare times, the result was greater than the buzz.

Kamasi Washington might be familiar to those who love Kendrick Lamar's "To Pimp A Butterfly," a record that will most likely top every critic's list this year. I was more interested in Washington's own playing and composing and no words can properly describe the joy of what happens over the three hours of "The Epic." Washington is a master tenor, and like John Coltrane pushes the envelope to amazing results. I don't care for the term "soul jazz," which is what this record has been labelled, but over the course of the 3 LPs, we get music that is so grand and complex and yet so absolutely musical and soulful, that it seems fruitless to argue the point.

"The Epic" is monumental and so I've posted three songs, two Kamasi Washington originals and a stunning take on Debussy's "Clair de Lune.

RICKIE LEE JONES-THE OTHER SIDE OF DESIRE

The move to New Orleans helped Rickie Lee get her mojo back and this new record, featuring the cream of the Crescent City's crop of musicians is the best thing she's done since 1982's "Pirates." No more dabbling in trip-hop or the avant-garde. No more covers of standards. This is RLJ swingin' it up, telling her stories and breaking your heart. For fans of New Orleans and its musicians, the following names will mean something to you: James Singleton, Jon Cleary, Matt Perrine, Doug Belote, David Torkanowsky and the Lost Bayou Ramblers. For those unfamiliar, trust me. These are the guys you want playing on your record. While songs like the Cajun beauty "Valtz de Mon Pere," the Fats Domino swamp of "J'ai Connais Pas" and "Christmas In New Orleans," have an obvious nod to the city, "TOSOD" is not all waltzing and second-lining. The opener "Jimmy Choos" is the obvious single, having an upbeat, pop-feel like Rickie's first single "Chuck E's In Love." But it is the trio of songs, "Infinity," "Haunted" and "Feet On The Ground" that stand-out. The latter, a naked and soulful hymn, with help from Jon Cleary on vocals, is worth the price of admission alone.





JON CLEARY-GOGO JUICE

And speaking of Jon Cleary... Born In England, Cleary finally settled for good in New Orleans over 25 years ago and has been the foundation of so much of the music we love to listen to from that city. His 2015 release, "GoGo Juice," is one of those perfect New Orleans records. It doesn't pander to the NOLA passers-by, with obvious nods to Bourbon Street and gumbo. This record is solid funk and R&B, with soulful vocals and arrangements, and all of the sounds and nuances that keep it, unmistakably, New Orleans made.






ORANGE HUMBLE BAND- DEPRESSING BEAUTY

Darryl Mather, formerly of the Lime Spiders, formed the Orange Humble Band in 1995 with the help of some friends that included indie songwriter/producer extraordinaire Mitch Easter, Ken Stringfellow of The Posies and Big Star's Jody Stephens.  Two records, one in 1997 and one in 2001, had their moments of pop brilliance, with 2001's "Humblin' (Across America)" often referred to as one of the greatest power pop records of all time. I like that record, but I don't love it. I do love "Depressing Beauty," the new Orange Humble Band record and their first in almost 15 years. Aided once again by Mitch Easter, Jody Stephens and Ken Stringfellow, Darryl Mather also employs Dwight Twilley, Susan Cowsill, Jon Auer (Stringfellow's partner in Posies crime) and Muscle Shoals legend Spooner Oldham for the ride and recording at the legendary Ardent Studios. One of my biggest complaints about new music is that I can never remember any of it. There is always something lacking, usually a hook or melody, and I rarely want to go back. First pass through "Depressing Beauty" and I immediately wanted to go back. So much jumped out at me. Maybe you'll feel the same.






JOE JACKSON-FAST FORWARD

"Fast Forward" is worth your time. Joe Jackson continues to impress with his love of all music, his ability to wear many different hats convincingly, and his unique working combination of creating music that satisfies both his fans and himself. Unlike so many other rock legends who desperately try to stay current by throwing their antes in games they have no business playing, Joe Jackson's records, whether paying tribute to heroes like Duke Ellington or Louis Jordan, or taking a stab at classical music, never feel misguided. They don't all work, but I'm convinced that Joe's intent was heartfelt. There is integrity in Joe Jackson's work and this is why I will continue to be a fan, see him live and jump on new music as long as he sticks around. "Fast Forward" works as 4 separate EPs, with each side recorded in a different city with musicians from that city.  New York, Amsterdam, Berlin and New Orleans are represented, and while not every song in every city works, JJ's "Fast Forward," as a whole, works as one of his very best. Some standouts include the brilliant N.Y. take on Television's "See No Evil," "If I Could See Your Face," from Germany and really, all of the New Orleans side, which includes the band Galactic and "Big Chief" Donald Harrison.

FFS-FFS

Sparks has had a long and interesting career. They lost me a bit somewhere between their first six outstanding albums and their last few, equally amazing records. The 80s and 90s found the Mael Brothers releasing some very uneven records, but they have always been worth paying attention to. Franz Ferdinand has made a name for themselves, as well, though I can't say I loved anything they've released. Honestly, they are another one of those bands whose music I liked enough not to turn off, but couldn't hum a single note if I was being threatened with a Ginsu. Together, Sparks and Franz Ferdinand have created one of the best and most unique records of the year in "FFS." It is a perfect marriage of what these two bands do best. Bold, hilarious, musical. It even has a good beat and you can dance to it.

JEFF LYNNE'S ELO-ALONE IN THE UNIVERSE

It's right in my wheelhouse, what can I say?  I can't and won't split hairs about "Alone In The Universe." I don't care about what it should have been, or why it took so long, or why he likes the drum sounds he's been using for the last 25 years. This is a near-perfect half hour of hooks, melodies, harmonies. It's Jeff Lynne, unashamedly showing his influences and it is my favorite record of the year.

Songs Of The Week 9.0: 11/21-11/27

33% God- The Beastie Boys
Nobody- Johnny "Guitar" Watson & Larry Williams with Kaleidoscope
Heathen Town- Elvis Costello
Her Eyes Are A Blue Million Miles- Captain Beefheart
Stuck In The Middle- Eagles Of Death Metal
Jigsaw Puzzle Blues- Fleetwood Mac
This One's From The Heart- Tom Waits & Crystal Gayle

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Weekend Mix: Truckers Etc

This is me, performing as Baby Jesus, with my country rock band,The Crack, in Wilmington, North Carolina, during our 25 year reunion, December 2012. I'm singing the song I always sang, "You Don't Miss Your Water" as done by The Byrds with Gram Parsons on "Sweetheart Of The Rodeo".
That's how much I love this music.

I've been listening to this fantastic Bear Family collection since last spring. I whittled it down from 8 CD's to 150 songs. Old favorites, and many surprises by artists I know little or nothing about.

Gram Parsons graces the cover of all 5 volumes, and is represented by three different bands. The title is taken from his "Grievious Angel", and his spirit pervades. I've included a rarity. The 1966 B-side of a single by the International Submarine Band, a version of "Truck Driving Man".

I had a hard time choosing which Kris Kristopherson song, the powerful anti-war "Christian Soldier", or the hilarious "The Best of All Possible Worlds". I picked the latter and let Johnny Cash have the war song with his fairly obscure "Singing in Viet Nam Talking Blues". Both songs remind me why I hate "Faraway Eyes" so much.

I was surprised to realize The Monkees were country rock pioneers, contributing "What Am I Doing Hangin' Round", from 1967, preceding The Byrd's by a nose.

Gene Clark wrote some of that band's best songs. I think he's severely underated as both a singer and songwriter. "Through the Morning, Through the Night" by Dillard and Clark brings me to tears.

And the winners are:

1-Nashville Cats-The Lovin' Spoonful
2-Texas Me-Doug Sahm
3-Hot Rod Lincoln-Commander Cody & His Lost Planet Airmen
4-Henry- Pure Prairie League
5-Dallas-Jimmie Dale Gilmore with The Flat Landers
6-You Just Can't Quit-Ricky Nelson, with James Burton
7-Truck Driving Man-International Submarine Band
8-Through the Morning, Through the Night-Dillard & Clark
9-Honky Tonk Stardust Cowboy-Jonathan Edwards
10-What Am I Doing Hangin' Round-The Monkees
11-Who's Gonna Mow Your Grass-Buck Owens
12-Never Ending Song of Love-Delaney & Bonnie
13-Right Before My Eyes-Moby Grape
14-Hurry Up-Poco
15-Where I Lead Me-Townes Van Zandt
16-Bowling Green-Everly Brothers
17-The Country Boy-Rusty Kershaw
18-Walkin' Bum-David Allan Coe
19-Child's Claim to Fame-Buffalo Springfield
20-Crazy Mama-J J Cale
21-Tumbling Tumbleweeds-Michael Nesmith & the First National Band
22-The Best of All Possible Worlds-Kris Kristopherson
23-Crazy Arms, Crazy Eyes-Brave Belt
24-Ode to Billie-Nashville West-featuring Clarence White
25-Drug Store Truck Driving Man-The Byrds, written by Gram and Roger,featuring Clarence again
26-Singing in Viet Nam Talking Blues-Johnny Cash

My apologies. Mediafire again.

Have a great weekend!

-BBJ

Truckers, Etc

Giving Thanks

I will be taking the next two days off. Tomorrow, for obvious reasons, and today, so I can work a bit on my year-end list of favorite records. But first, I want to wish everyone a very happy and safe Thanksgiving, especially if you are traveling.

I'd also like to say thank you for all of your support. This is a smart bunch of people, who seem to get it most of the time. You've offered great insight, you've sparred well, and you've treated all involved with respect.  Bouts of crankiness aside, I am thankful you exist on the other end.

Our friend BBJ has a terrific playlist lined up for Friday, so stay tuned.

Happy Thanksgiving.

And This

A free set of American Tourister luggage (not really) if you guess why I posted this.

Don't Kill The MEH-ssenger

This is the "raw mic feed" from Adele's SNL performance this weekend.

Here are some quotes I've read about Adele this weekend.

"Stunning."

"She is God."

"She's this generation's Elvis, Beatles and Michael Jackson."

"She is this generation's Streisand."

"Brilliant!"

"Most singers could not pull this off."

"Really? Not sure what I'm missing here. I listened and watched closely. Help me."

And...

"OK...she really is desperately overrated, as a vocalist and writer. Yeah we get it, dumped. Go party, get shagged and get over yourself. You can't build a career on one sad spunkmonkey...."

OH...and this:

"The singer debuted “Hello” and “When You Were Young” on live TV. Needless to say, both performances were impeccable. Her voice was powerful, her presence was commanding, the audience was stunned. Everyone started crying."


Your turn, and please, if your plan is to leave one of those "oh who cares, if you don't like her, don't listen to her, to each his own" type comments, utilize those 18 seconds in another way. Remember, Adele is God.

Songs Of The Week 9.0: 11/14-11/20

Genitalia Of A Fool- Glenn Tilbrook
Make The World Go Away- Bobby Bare Jr.
The Left Hand & The Right Hand- Chuck Prophet
Walk A Thin Line- Fleetwood Mac
Ain't Nobody Home- Howard Tate
Dinosaur- King Crimson
I Wish I Never Saw The Sunshine- Beth Orton

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Weekend Mix: Big Star Stuff

Better late than never?

I have plans for a country rock mix, which I'll have ready for next week.

A couple nights ago I got an email from Sal, wondering if I'd heard The Scruffs, another Ardent band everyone thought was going places, but didn't and fell apart.

I was surpised there was more from that Memphis studio I still hadn't heard.

They were really good, and the record sounds like "Big Star 77". Power pop with a punky edge.

One of the songs I recognized as a version fromTommy Hough, Memphis musician and songwriter who contributed vocals to "Big Star's Third". He was also in a short lived project with John Tiven, "producer" of Alex's "Bachs Bottom". They recorded as Prix, and claimed Alex Chilton as a member with Chris Bell's involvement in recordings that never saw the light of day. Until recently.

Big Star Stuff compiles Prix with all the bonus odds n ends to make something like a Big Star experience.
All songs involve Chris, Alex, Andy, and/or Jody.

It starts off with the 45 version of "O My Soul", ripped from a single autographed by and purchased from Andy Hummel, and ends with "I Am The Cosmos", from "Columbia" 1993, and "Dony", from "In Space" (2005). The "stereo" mix of "Got Kinda Lost" was created by me from a bootleg purchased from Sal.

This time, the link is mediafire, sorry about the inconvenience.
Ignore threatening warnings from Chrome.

magic dust

Enjoy!- Buzz Baby Jesus

Not The Best Of 2015

I just read that the upcoming issue of Mojo magazine will include The 50 Best Records of 2015.

50!

I'm struggling to come up with 15. And of those I did come up with, I just about like half of them. That's right, 7.5 of the records on my year-end list are there because I don't hate them, not because I love them.

So many disappointments this year from artists I've always looked forward to hearing.

Dan Auerbach's new project with Richard Swift, The Arcs got old real fast. It's all affected vocals and production. It works on the first tune, but got me twitching by the fifth tune.

Ron Sexsmith's "Carousel One" received favorable reviews when it was released in March and like most of Sexsmith's records contains more than a few fantastic tunes. But, something feels wrong. Sexsmith's delivery has always been melancholy, even on his upbeat tunes. Here, both he and the musicians sound sleepy. It taxis, but never takes off.

And what's the big deal with this new Adele tune? Hasn't the "Hello. It's me. How've ya been? Is your sister Muriel seeing anyone?" thing been done to death? And isn't it musically identical to about 5 other Adele tunes? What am I missing? I don't mind Adele. This isn't that. I just don't see the appeal of this very mediocre new single.

And speaking of "Hello, It's Me," I'm still not over the misery brought on by Todd Rundgren's "Global" and with each review of praise, my head spins and my pressure rises. And I love the man.

Speaking of misery, how about that tossed off piece of wanking from Wilco. Talk about disappointing. "Star Wars" confounds.

And speaking of confounding, how can someone with even a modicum of respect for music, get behind Andra Day? 

This is from Rolling Stone:

Why You Should Pay Attention: Don't be fooled by the images of Andra Day in doo-rags and vintage furs like a post-millennial Billie Holiday. Far from a retro artist, her music spans from "Forever Mine," which is inspired by the Flamingos' doo-wop classic "I Only Have Eyes For You," to the soaring empowerment anthem "Rise Up," which she performed last month on the BET Awards. "I'm not going to put myself in a box," she says. "Whichever chord progressions move me, whether it's rock, jazz, doo-wop or soul, I'm going to put it together and not be worried about whether people can put it in a lane or not."

"Far from a retro artist?" Someone actually wrote that. It must have been based on something, maybe Andra Day said, "I'm far from a retro artist." It is certainly not based on the music because the record "Cheers To The Fall" is nothing but retro. Worse though, it sounds like a Rutles parody of Amy Winehouse. It is a painful listen, not because Andra Day can't sing, or because the people involved--?uestlove, Raphael Saadiq, the Dap Kings--can't play. It is because it's an AMY WINEHOUSE RECORD!

Day even covers Winehouse.

I know. It's me. Blah blah.

The 15 records I like will be coming soon.

The Rails: Australia

The Rails are James Walbourne and Kami Thompson. They are married. James once played with the Pretenders. Kami is still the daughter of Richard and Linda Thompson. I loved their debut album "Fair Warning" so much, it was my favorite record of both of 2013 and 2014, though I didn't realize this until after I posted my year-end lists.

They are back with an acoustic E.P. titled "Australia" featuring originals and covers. One of the covers is "Low Expectations," a song written by Edwyn Collins. Give it a listen. The entire E.P. is fantastic, but this cover really is the one for me.

Jeff Lynne's ELO: Exactly What I Wanted; Possibly What You Didn't

It pays to love the man unconditionally. From the very early days of The Idle Race, through the short-lived genius of The Move, through the hit-making years of the Electric Light Orchestra, and then his production work that made George Harrison listenable again, both alone and with the Traveling Wilburys, not to mention giving Tom Petty the biggest record of his life, Jeff Lynne has had his hand, head and harmonies in some of my favorite music of all time. So what if he ruined Dave Edmunds? Everyone was ruined in 1983.

Now, 15 years after his last record of new music under the ELO moniker, Jeff Lynne returns with "Alone In The Universe." After my first, uninterrupted pass through both sides, I thought, "This took 15 years?" I was still struggling to find a comfortable position on my couch with a fresh beverage and Side One was already over. I thought I missed something.  If this was someone other than Jeff Lynne, I might not have bothered with Side Two.

Now if you're expecting some scathing words to follow, you'd be wrong.  I have now visited with "Alone With The Universe" four times and each time, it thrilled me more. And I'll tell you why.

If I'm going to complain about Todd Rundgren making electronic dance music, and Elvis Costello & Joe Jackson making classical records, and Brian Wilson writing third grade lyrics, and Neil Young and Prince churning out mediocre crap for the last 20 years, how can I fault Jeff Lynne for writing ten songs that sound exactly like Jeff Lynne? I can't and I won't.

Everything on this new record is familiar. Every song pays tribute to either something previously released by Jeff Lynne or to one of his heroes, like "I'm Leaving You," an absolutely gorgeous heartbreaker which is basically Roy Orbison's "In Dreams," just sideways, sort of. Or, "Ain't It A Drag," which chugs along like one of those Dylan Wilbury tracks. Or the other eight tunes, all recalling the great chord changes of Lennon & McCartney. This is pop music at its finest.

My friend said, "After all this time, I wanted a masterpiece." He clearly sounded disappointed. I replied, "These songs sound like Jeff Lynne could write them in his sleep," which sounds like I'm tossing them off. But I quickly realized, just because Lynne could write these in his sleep doesn't mean anyone else can or does for that matter. Take "Love & Rain," a simple, mid-tempo groove that, if you can believe, sounds like ELO doing B.B. King, except for what happens at 2:23, a transition so surprising and beautiful, it could only come from the mind of Jeff Lynne. It is exactly these moments which are sprinkled generously throughout the record's 33 minutes, that keep you listening.

My biggest complaint about new artists is "WHERE ARE THE SONGS?' Well, they are here. Ten perfect pop tunes, carefully crafted, beautifully sung. That they may be charted territory doesn't bother me. That there is nothing more thought provoking than a bridge that makes you play "Name That Tune" is alright by me. These songs provide hooks and melodies that will latch onto you and never let go. Is it the long-awaited masterpiece? Not by a long shot, but if you've ever been a fan of Jeff Lynne, I see no reason why some, if not all of "Alone In The Universe" shouldn't make you very happy.

Songs Of The Week 9.0: 11/7-11/13

Duquesne Whistle- Bob Dylan
Steel And Glass- John Lennon
Macbeth- John Cale
Mistress And Maid- Paul McCartney
Yes-McAlmont & Butler
Love Changes- Mark Hudson
Interstate Love Song- Brad Mehldau

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Allen Toussaint: The Weekend Mix

I've read an outpouring of tributes this week. I shouldn't be surprised by how many people were affected by both Allen Toussaint's music and his passing, yet as I listened to song after song, I couldn't help but think, "Man, he did that, too!"

I met the man once. It was my very first trip to New Orleans and I was at Generations Hall for something called "Piano Night." It was all still new to me. I hadn't discovered all the musicians that are now some of my favorite people in the world, including Jon Cleary and David Torkanowsky. I was wandering around in between acts and there was Allen Toussaint, larger than life, doing the same, completely approachable. It's hard to explain what I was feeling. Living in New York City, you bump into celebritites and musicians all the time. Many were regulars at my shop. For me, it seemed more likely to meet a Beatle or a Stone than some mythical giant like Allen Toussaint. But here he was and this is what happened.

Me:
Mr. Toussaint, may I take your picture?

Allen Toussaint:
Well, go ahead son.

I did and that was that. I was speechless for the next half hour or so.

I had to create a mix of the man, the songs he wrote, the songs he produced and the songs he performed. These 21 tunes just scratch the surface of his genius, so I added two more at the top and bottom of the page.

Enjoy.

TRACKLIST 

Yes We Can Can-The Pointer Sisters
Play Something Sweet (Brickyard Blues)- Frankie Miller
Whipped Cream- The Stokes
When The Party's Over- Allen Toussaint
Ruler Of My Heart- Irma Thomas
Shoorah! Shoorah!- Betty Wright
Sneakin' Sally Throiugh The Alley- Lee Dorsey
On Your Way Down- Little Feat
Tell It Like It Is- Aaron Neville
Soul Sister-Allen Toussaint
Lipstick Traces- Benny Spellman
Back In Baby's Arms- Allen Toussaint
Night People- Robert Palmer
The Greatest Love- Elvis Costello & Allen Toussaint
What Do You Want The Girl To Do- Boz Scaggs
Southern Nights- Jon Cleary
Two Trains- Allen Toussaint & Leo Nocentelli
Deep Dark Truthful Mirror (Live)- Elvis Costello & Allen Toussaint
All These Things- Allen Toussaint
American Tune- Elvis Costello & Allen Toussaint
Just A Closer Walk With Thee- Allen Toussaint

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New Record From Emitt Rhodes!

You must go HERE right now and pre-order record. Watch the three minute video if you need to, go to YouTube if you have to, and listen to everything available by Emitt Rhodes, including the Merry-Go-Round record, which is the greatest thing since Mallomars. If this project does not reach its goal, I am blaming all of you. I want this now.

THE BAND:
Jason Falkner
Roger Joseph Manning Jr.
Jon Brion
Aimee Mann
Susanna Hoffs
Nels Cline
Pat Sansone
Nelson Bragg
Bleu

And the man, Emitt Rhodes.

Exclusive new track.

Thank you.

A Different Song Of The Day

I woke up wanting to hear this. That's all.

Allen Toussaint, 1938-2015

I don't know where to begin with this one. I'm at a loss.

The Beatles completely changed my life as a kid. Allen Toussaint changed my life as an adult.

New Orleans...the world... has lost a treasure.

The Phil Collins Petition Is Amateur Hour

As you might have heard by now, a petition has been launched to stop Phil Collins comeback. This is something I find about as funny as a 35 year old guy wearing an ironic "Bewitched" t-shirt.  It is also something I find as offensive as people calling The Beatles overrated and as naive as those who believe some lo-fi indie garage rock band with musical chops somewhere close to The Shaggs and the New York Dolls is cooler than four guys who can play the shit out of their instruments but have too many hits. Get over it. Ain't nothing wrong with the Dolls and there ain't nothing about Genesis or Phil Collins that deserves the vitriol...except maybe that petition.

A guy manages to be one of the greatest drummers in the history of music, playing progressive rock, jazz fusion, big band, pop and funk all convincingly, takes over as lead singer of his band and makes them more successful, has the ability to switch gears and produce hit records for Eric Clapton and members of Earth, Wind & Fire, write for film, for which he won an Oscar, and Broadway, for which he won a Tony and all this translates to "suffering" for the hipper than thou crowd.

Look, I am not making a case for Genesis or Collins' solo work. This is not about why you should love Phil Collins, but more about why you shouldn't hate Phil Collins. Not sure why playing well and writing solid pop music is more offensive than not? Was it "Sussudio" that did it? Like it or not, I know I wish I wrote it. And the one below, too.


But okay, go sign the petition if you like and then laugh over a few pumpkin ales until Hooton Tennis Club takes the stage at Cake Shop. I'm going to listen to "Selling England By The Pound."

This Was, Bad Company and Some Other S**t

An old friend has been posting something he calls "100 Greatest Albums Over 100 Days" on his Facebook page. Each day, the cover of an album appears with no commentary, leaving the field open for others to weigh in. I've been watching daily and by Day 10, I realized that this list was strictly personal. This wasn't a list of records based on history, sales or influence. It was a list of my friend's history, his past and the records that were important to him. By Day 20, I realized that any comments would be pointless. I love Led Zeppelin, but they had already appeared three times in the first three weeks and all 20 records were from the mid-70's. (I guess I shouldn't pass judgment for another 50 days, or so.)

Day 33 and Bad Company's "Run With The Pack" appeared. I couldn't hold back. I left what I thought was a respectful comment:

I realize this is your list, so I won't rain on it. And even though I think "This Was" and "Stand Up" and "Benefit" are all better than "Aqualung," at least I understand you choosing "Aqualung." But, Bad Company doesn't even like "Run With The Pack."

I was hoping for a bit of a sparring session. I concluded with a "Carry on," and a smiley face because that's what you need to do on Facebook so people don't unfriend you. (And being "unfriended" is only slightly better than not being "unfriended.")

His response was, "And THAT is why they call it MY list." He went on to say he loves the comments and "Y'all keep comin' back now, ya hear?"  Then, he said "This Was? Better than Aqualung? LOL!"

And that's when I removed myself completely from his thread and his posts. I am fine agreeing to disagree, but a condescending laugh is hardly an invitation to participate.

Now I began to overanalyze my comments. 

Was I condescending? Disrespectful? Is everyone who has an opinion obligated to share it? Should I have let my friend enjoy his 100 days without any negativity? One other fleeting thought was, "You're a fucking arrogant putz for laughing at me and my opinion of Jethro Tull's This Was," but I got over that in 7 hours. He is a friend.

BBJ, who is a friend and occasional contributor, once said both to me and to all of you on the comments page, something like "I have finally learned how to comment." And Jeff K, another friend and contributor, once told me privately that every so often my replies to comments can be off-putting. I've taken both those comments to heart and while I am not perfect, I do try to remain respectful, even when I don't agree with someone. I know I have never laughed at anyone. Even when a friend looked me dead in the eyes and said, "The Beatles are overrated. Their music is simple," I did my best to explain why most of us believe that isn't true. I did not laugh, even after he continued with, "I don't know anything about music. I just know I don't like The Beatles," which to me is a completely different statement than what he expressed inititally. Again, the fleeting thought was "Why are you talking about something you know nothing about?" And again, I let it go, out of respect for my friend.

Back to my "100 Albums" friend for a moment. One last thing I had considered asking him was, "When was the last time you listened to Jethro Tull's This Was? The reason is, back in the day, when we were both coming of age to the soundtrack of FM radio, many of us had no idea Tull even existed before Aqualung, or that Pink Floyd existed before Dark Side Of The Moon. I had a gut feeling that the last time my friend had listened to This Was might have been 40 years ago, when our minds couldn't handle any more than "Locomotive Breath." Was HE talking about something he knew nothing about? I chose not to ask because again, I thought my comment might be off-putting. Suddenly, I'm censoring myself, feeling like every opinion is better left unsaid. 

That feeling stinks.

This blog exists because I love music. I love listening to it, buying it, selling it, talking about it, sharing it and criticizing it. I think all of you feel the same, which is why you remain part of the community. Strong opinions are good. Trolls, assholes and the like, are not.

The same friend who doesn't like The Beatles, likes to say, "The Earth will still be spinning in the morning." (He tosses that out whenever someone gets excited about anything he doesn't get excited about.) It's not untrue. Yes, if my friend loves a Bad Company record that I don't, the Earth will continue to spin. Mets lost the World Series? Most of us woke up the next day. If Leon Bridges sells out every show on his tour, the weather will still be the weather. But then, why care about anything? Let's all sit hooked up to an IV and just wait it out.





 

"Loss Leaders": The Weekend Mix

I volunteered to put together a weekend mix for Sal.  Compiled, test driven, researched, and edited by Buzz Baby Jesus, aka BBJ

Throughout the '70's and into the '80's (and apparently into the '90's in cd form) Warner/Reprise had what they called their "Loss Leaders" program.
This consisted of offering, via inner sleeves, Two record set compilations for $2.
The idea, of course was that you'd go out and buy the full albums at full price.

I have a restless ear that needs a constant supply of new music. It's rare I play something to death.
As a kid I never had enough money to buy all the music I craved, nor older siblings to "borrow" from. As soon as my parents left the house for any reason, I'd crank up the Magnavox and go to the right of the dial looking for the free-form FM radio stations.
The DJ's spun a lot of discs without saying too much, so I rarely knew what I was hearing, except it sounded dangerous, and my parents would hate it, saying it was "Acid Rock" played by people on drugs (Turns out they were right about that). As soon as I saw the garage door open off it went before my oppressors caught on to what I was up to. Except the time I forgot to turn the radio back to their regular station. They were not amused when greeted by Frank Zappa and the Mothers lovely "Mudshark" from "Live at Fillmore East 1971”

I might have been at a friend’s house smoking catnip for the first time and looking at his big brother's Black Sabbath album when I noticed the offer on the sleeve. Suddenly big brother burst in and exclaimed, “I know what you’re doing and I’m telling mom!” which was quite the buzz kill, and didn’t help when I showed up to mow the neighbor’s yard a little while later (totally paranoid).

Otherwise I have no idea what album I might have cut out the order form to send off with $3 for “Looney Tunes and Merrie Melodies” a 3 record set filled with the likes of The Grateful Dead, Fleetwood Mac, The Beach Boys, Frank Zappa and the Mothers of Invention, The Faces, Randy Newman, Ry Cooder, Captain Beefheart, Jimi Hendrix, The Kinks, Little Feat, T-Rex, Alice Cooper, The Fugs, Black Sabbath, along with lesser known acts as like Pearls Before Swine, H.P.Lovecraft, and Beaver and Krause.

Waiting six weeks for that sucker to arrive was an eternity. My first  Box set with Elmer Fudd on the cover. Inside were extensive liners with biographies and photos. Eventually I bought six or seven of them. The influence of these records on my development was huge. Sadly I got rid of them during the great Punk purge of 1980, when suddenly everything sounded so tame, and irrelevant. (I'll never do that again) All through college and continuing today I've made compilations similar in concept to these records, although I didn't put this together until fairly recently.

This year, Willard, over at the Wormholes, posted all of them which I greedily downloaded. (http://www.willardswormholes.com/wb-loss-leaders)

Going through them I found 150 songs I liked enough to load into my phone/player, and from that I picked out 22 for this cd compilation. Half the songs are familiar from back in the day, and the others are “new” discoveries. All are fairly obscure.

(Many of them include snippets of dialog etc not on the original albums, but added to Loss Leaders by compiler Dr. Demento.)

01 Needle Drop- I like to start off with this sound and since these are mostly ripped from vinyl seems especially aprropriate.
02 Panama-Rosebud-This is One of my new favorite songs, and comes from Non-Dairy Creamer (1971), featuring Judy Henske and Jerry Yester.
03 Eagle Rock-Daddy Cool. I was in a rental car in New Zealand (August 2005) when this song came on the radio. Immediately recognized as a favorite from The Whole Burbank Catalog (1972), purchased in 1973. Still a favorite song from this Australian band's first album, Daddy Who? Daddy Cool! which I've still never seen. I bought their follow-up, Teenage Heaven which I didn't like. They broke up in 1972 and reformed in 2005. A local told me Eagle Rock  was so overplayed back in the day that he compared it to Hotel California.
04 Bluegreens-William Truckaway was a member of The Sopwith Camel (Hello, Hello). This was recorded in 1969 and failed as a single twice. The arrangement owes a lot to SMiLE era Beach Boys. It was briefly used in a commercial I can’t recall. Also from The Whole Burbank Catalog.
05 Lord Of The Manor-The Everly Brothers is from Song Book (1969). Thoroughly unfamiliar with their “late” period (before the break-up and ‘80’s reunion), I became obsessed with tracking down their 1968 album Roots, an early country rock classic.
06 I Was The Rebel, She Was The Cause-Eric Anderson from The Big Ball (1970). A classic country song recorded in Nashville by an artist I always thought of as a boring folkie.
07 Dancin' Wizard-The Sopwith Camel from All Singing All Talking All Rocking (1973). The group reformed without William Truckaway in 1971. They did however share producer Eric Jacobsen. I had forgotten all about this one which I am so glad to be reacquainted with. So California.
08 Come And See The Show-Tir Na Nog from The Days Of Wine And Vinyl (1972) In the late ‘60’s early 70’s the British folk scene gave us Fairport Convention, Pentangle, Steeleye Span, and Tir Na Nog. This has long been a favorite.
09 Ivy-Savage Grace- from The Big Ball (1970). This Detroit band broke up in 1972. I never heard of them, and find it to be that elusive oxymoronic style I’m always looking for: Smart Hard Rock.
10 Back To My Music-The Good Rats-from Deep Ear (1974). I never heard of them as I grew up on the west coast and they’re Long Island all the way, and apparently still around. Goes well with Savage Grace. Dr. Demento introduces.
11 Thousand Days Of Yesterdays-Captain Beyond- From Burbank (1972) Got your energetic tuneful Prog here. I remember their album covers, but I never heard them until now.
12 Take A Look At The Light-Three Man Army- All Singing All Talking All Rocking (1973). A power trio obviously, and a type of music no longer played. Sensitive hard rock, and not unlike Chris Bell’s Big Star.
13 It Ain't Easy-Long John Baldry-From Hot Platters (1971) The title track from an album produced on one side by Rod Stewart, and the other by Elton John, and of course covered by David bowie on The Rise And fall Of Ziggy Stardust. Even though I love that album, I think this version is better. In 1961 LJB formed Blues Incorporated, which included Charlie Watts and Mick Jagger.
14 Strawberry Flats-Little Feat-from Looney Tunes And Merrie Melodies (1970-) This was my introduction to both Loss Leaders and Little Feat. I’ve been a fan ever since, especially their first two or three albums before drug use got in the way of  Lowell George’s music and participation. This was their first single, and they pack an awful lot into 2:21.
15 Smile As You Go Under-Hard Meat. This song came directly after Strawberry Flats on Looney Tunes And Merrie Melodies. One of the most ill-fitting, and unfortunate band names I know, as this track and the album it came from is basically folk rock .
16 World In Harmony-Fleetwood Mac-from Middle Of The Road (1972). This is a bonus track somewhere now, but in 1972 it was the last unreleased recording by the Peter Green with the group, shortly after Then Play On.
17 What Is Love -The Collectors-from Some Of Our Friends Are (1968). All I can tell you about this lovely folky drone-chant that sounds like it could’ve been made anytime including yesterday, is that it was released in 1968, and that after two albums some of the members became Chilliwack.
18 Subways-Urban Verbs- from Troublemakers (1980). They’re from DC, and I know nothing about them, except the founder was Robbie Frantz, brother of Chris Talking Heads Frantz.
19 Biology II-Halfnelson-Produced by Todd Rundgren, this is Sparks before they were Sparks. From The Whole Burbank Catalog (1972), This song really bothered me in 1972, but now it’s an old favorite.
20 Then I'd Be Satisfied With Life-Tiny Tim. You probably remember the novelty Tiptoe Through The Tulips. Also from Some Of Our Friends Are, this song is fairly straight country.
21 T For Texas-The Everly Brothers- another from Song Book. If there is such a thing as “progressive country”, this arrangement of a Jimmie Rodgers song is it. One of the only times Phil sings lead.
22 The Illiad-Ed Sanders-Formerly of The Fugs, and from The Big Ball, This song shows how little the population of Dumbfuckistan (rednecks) has evolved.
23 Let's Burn Down The Cornfield-Randy Newman-Looney Tunes And Merrie Melodies. From his second album which also includes his original of Mama Told Me Not To Come. This spooky song features Ry Cooder’s slide guitar, in fact, it sounds like something off one of Ry’s albums with a guest vocalist.

Thanks for listening.

zip

I just finished reading Elvis Costello's memoir, "Unfaithful Music & Disappearing Ink." He dies at the end.

Okay, he doesn't.

I liked the book but I didn't love the book and yet I could not put it down. It felt more like a race to see what would come next. The man is a fantastic writer and at no time did I feel bored. I just wish he was as funny as he thinks he is. (As one friend put it, "He was a lot funnier before he wore the hat.") And again, like with the Keith book and the Townshend book, there were specifics I was hoping to find and did not.

Still, I highly recommend this tome to any fan of the man, as you will find out more than you've known before, about his childhood, his lyrics and music in general.

One of the things I learned was that the song "April 5th," originally premiered during a "guitar pull" on the show "Spectacle" that Costello hosted, was written by producer John Leventhal, with each verse written by the vocalist who sings it. In this case it would be Kris Kristofferson, Rosanne Cash and Elvis. According to El, a bunch of songs had been written and recorded by this super trio for a proposed album called KCC, which may still see the light of the day at some point.

This song knocked me flat when I first saw it performed by this trio and now the recorded version appears as part of the accompanying CD soundtrack to the book. I love many things about "April 5th," but I am particularly moved by the Costello's falsetto, which quite frankly, I had no idea he possessed.

Beautifully haunting, "April 5th" is my Song Of The Week.

SPOILER ALERT:
If you plan on reading the book, avoid the comments section.

I've been wanting to post this for years but never seemed to find a presentable version...until now.

Frank Sinatra's version of "Angel Eyes" is untouchable. The great, New Orleans treasure James Booker handed in a stunning instrumental which can be found on his "Classified" record, but no vocalist, no matter how great, ever truly nailed the song the way Sinatra did on his album, "Frank Sings For Only The Lonely."

And then there's Bruce...

Bruce Springsteen's opening tribute to the Chairman Of The Board is something that I always refer to when discussing this performance from Frank's 80th birthday bash. Sharp and funny, the brief speech given by Springsteen is concise and still manages to speak a lifetime. I love it so much, I tend to forget that Bruce sang something, as well.

I freeze in my tracks at both the audacity and the subtle power of his delivery of "Angel Eyes."  I can't think of any other artist who could pull this off, especially with the man sitting 25 feet to his right.

Closed Until Further Notice

Songs Of The Week 8.0: 10/24-10/30

Cat's Squirrel- Jethro Tull
Beating Around The Bush-AC/DC
You & Your Sister- Chris Bell
Come See About Me- The Afghan Whigs
I've Been Waiting For You- Neil Young
In The Wait- The Plugz
I Didn't Know I Was Saying Goodbye- John Dunbar

zip