Concert Memories #1: Rickie Lee Jones, Pier 84 NYC, 8/10/82

Attending live music is a thing of the past...temporarily, of course. And since I have some time on my hands, I thought I'd revisit some of the most memorable shows I've attended since my very first concert in 1974. I welcome all of you to do the same, if you are so inclined.

RICKIE LEE JONES, 8/10/82

I had not yet been sold on Rickie Lee. Honestly, I didn't like "Chuck E's In Love" at all, and her performance on Saturday Night Live left me cold. What the hell was she singing...or thinking? But, it may have been more my fault. I was caught up in punk, glam, skinny ties and of course, the hard rock now referred to as "classic" that WNEW-FM had been spinning on a regular basis.

Then, one afternoon while record shopping on Bleecker Street, my friend Joe, then working at Disco-Rama, played the first track off Rickie Lee's new album, "Pirates." The rest is history. "We Belong Together" knocked me out. Joe had been a fan long before her debut was released, claiming to be friends with Sal Bernardi, who sang and I believe co-wrote with Miss Jones. I have a vivid memory of Joe performing visual commentary, as I like to call it, as the rest of "Pirates" played. He'd use his hands to conduct the various points of seemingly impossible vocal tricks from Rickie Lee, the sweeping harmony that comes in the third verse of ""Living It Up," the hipster phrases and percussion in "Woody N Dutch." It was beyond entertaining, and truly helpful. Almost 40 years later, I tend to do all of those moves myself whenever I listen to "Pirates," which remains my favorite record of RLJ's.

That summer, the Dr. Pepper Concert Series on Pier 84, was star-studded. Looking at the schedule, it appears that I attended a dozen shows between June 25th and September 1st, double bills that included Duran Duran/Split Enz, Joe Jackson/Marshall Crenshaw, King Crimson/The Alley Cats,  Cheap Trick/Axe (one of the loudest concerts I had ever witnessed and it was outdoors), Elvis Costello/Talk Talk, as well as Todd Rundgren, Weather Report and Miles Davis. But it was Rickie Lee's show that made a lasting impression and it was thanks to Joe and his assisted listening manoeuvres during "Pirates" that sent me there.

The show ran well over two hours. She had a rack of outfits on stage that she would "shop" through and often change behind from song to song. There were covers, "My Funny Valentine," "I Won't Dance," "Walk Away Renee," "I'll Be There," possibly a few more. The band played extended jams, occasionally swinging like the Count Basie Orchestra, and then getting a bit funky like Earth, Wind & Fire. Rickie Lee told jokes and broke hearts. It was nothing like I had seen prior. The show made me a fan for life.

Years later, when I had my shop, if I played Rickie Lee, someone would inevitably strike up a conversation, sometimes heaping praise, and others claiming "I just don't get her." One person was at the same show in 1982 and he remembered it differently, calling it a shambles, saying Rickie Lee seemed out of it and the band phoned it in. Not how I remember it at all. It still ranks high on my list of all time favorites shows.

Forenzics

Original Split Enz members Tim Finn, Eddie Rayner and Noel Crombie, along with Roxy Music guitarist and original Split Enz producer Phil Manzanera started hanging around together after a 40 year layoff. During their catch-up, they managed to form a band and record an album. The band is Forenzics and the first single "Walking" is out now, though as far as I can tell, it is only viewable on Eddie Rayner's Facebook page. I see nothing on YouTube. But I like the song a lot and so I wanted to share the news. If you are a fan of Finn or Phil or the Enz, click on this link and give the song a spin.

h/t hpunch

Songs Of The Week, 2020: 3/21-3/27

Couldn't Love You More- John Martyn
Toy Soldier- Four Seasons
Dreamtime- Daryl Hall
Why- The Byrds
Down On My Knees- Bread
Love Is Not Enough- Nine Inch Nails
Willin'- Little Feat

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Couldn't Love You More- John Martyn
It may be sacrilege to some, but I prefer the Phil Collins produced version of this John Martyn gem, and that's what we have here.

Toy Soldier- Four Seasons
I have a vivid memory of sitting on my Uncle's speedboat which was parked on his lawn in Far Rockaway and hearing this song on WABC through a little transistor. For that reason, this will always be a fave Four Seasons track.

Dreamtime- Daryl Hall
Daryl Hall's second solo record "Three Hearts In The Happy Ending Machine" is a fantastic piece of work. It's power pop, funk and soul with some of Hall's best material, including a gorgeous cameo by Joni Mitchell on "Right As Rain," and this track, the first single, which was covered by Elvis Costello on his 1986 "Spinning Wheel" tour. Yes, the album does suffer a bit from LOUD and HOT 80's production, but the songs are so good, you let Daryl off the hook. It wasn't his fault. It was the decade.

Why- The Byrds
I watched "Remember My Name," the David Crosby documentary. (No menton of his horrible visit to my shop in 2004. Idiot.) I quite liked it and of course, needed to hear all the music and artists seen and discussed in the film. Listened to The Byrds and decided to share this one.

Down On My Knees- Bread
Speaking of David Crosby, his "Lady Friend" might just be my favorite Byrds track, which made me think of The Posies who recorded a stunning cover, which brought me to this Bread track, which was covered by Ken Stringfellow of The Posies. (No, I'm okay. Really.)

Love Is Not Enough- Nine Inch Nails
I know many choose soft music, or wordless music, or soothing music to help through difficult times. For me, it doesn't matter. Occasionally, something loud, throbbing and aggressive does the trick, as well. "With Teeth" is my favorite Nine Inch Nails, and one of my favorite albums of the last 20 years. Give the album a try, if you are up for it.

Willin'- Little Feat
One of the greatest songs ever written. I needed to hear it.

Deep Cut Six Pack Volume Twelve: New Orleans Edition

Needless to say, a lot has been cancelled, including both French Quarter Fest and the New Orleans Jazz & Heritage Festival. I don't want to get into the bad news. We know it. We are here for the music. So, with New Orleans on my mind, I offer up a Deep Cut Six Pack.

Keep the spirit.

Laissez le bons temps rouler.

And wash those damn hands.

TRACKLIST
Immigrant Song- Tin Men
Poor Boy Got To Move- Allen Toussaint & The Stokes
Southern Man- John Boutte
Okemah- The Iguanas
When The Party's Over- Jon Cleary
Grow Too Old- Bobby Charles

zip 

Oh...and here's a new Bob Dylan song.

Discuss It

Assuming You Love "Caroline, No"

My favorite Beach Boys song changes weekly. But, more often than not, my immediately reply is "It's a tie between Don't Worry Baby and Caroline, No."

If anyone reading loves "Caroline, No" as much as I do, can you offer a few words on just why those last seconds with the dog barking, presumably running after the train, is so affective?

The song is a stunner, an absolutely gorgeous two plus minutes, yet it's as if I just want to get to the end, hear that train and that dog, and marvel at its inclusion. A tidalwave of nostalgia, of longing for the old days on the farm, an innocent time, and yet I've never been anywhere near a farm. And the closest I've lived to a train was the D line in Sheepshead Bay.

I get this way when I watch certain episodes of The Simpsons. The jokes are so brilliant, I stop laughing and just sit in wonder.

2.5cc

Graham Gouldman, rock legend, the man behind "Bus Stop," "For Your Love," "Heart Full Of Soul" and "Look Through Any Window, 1/4 of 10cc and a recent member of Ringo's All-Starr Band, quietly released a new solo album in February titled "Modesty Forbids."

I love the first four 10cc records as much as I love anything in my collection. Wild and wacky, courtesy of Godley and Creme. Melodic and mellifluous, courtesy of Gouldman & Stewart. Together, 10cc created some of the most unique and intense records of the 70's, so I was a little more than excited to read about this surprising new release.

"Modesty Forbids' is a pretty straight forward affair, as if Gouldman decided he's finally grown up and out of the wild and wacky. This is not a bad thing. His voice hasn't changed and he still can write a fantastic pop tune. The opener "Standing Next To Me" is a Beatle-esque song about getting the call from Ringo to join the All-Starrs, and features Mr. Starkey himself on drums. "What Time Won't Heal" could have been written for either The Hollies or 10cc.

"Modesty Forbids" plays really well. It is not overwhelming, but it certainly does not disappoint. It is a sharp record from a pop hero at the late stages of a long career and I will take that any day.

For The Record #3: Dusty In Memphis

I've had the pleasure (?) of purchasing at least a half dozen versions of "Dusty In Memphis." For years, the original US Monarch pressing was the way to go. Then of course, I needed the remaster on CD which featured MONO bonus tracks of the album. In 2017, Rhino released a stellar sounding vinyl edition as part of their "Summer Of Love-1967" series. But then I fell hook, line and sinker for the 2019 Abbey Road half-speed master from the U.K.. I was completely satisfied with that version...until Run Out Groove's just released two-LP version.

I promise, this new edition is the way to go!

The album proper sounds superb. It's a clean pressing, quiet and full of body. Truly the best stereo LP I've heard. The bonus tracks are all over the place, running from good to excellent. They include tracks recorded around the time of "Dusty In Memphis," tracks recorded with Tom Dowd but left off of the follow-up "A Brand New Me," and tracks recorded with Jeff Barry, including a version of "You've Got A Friend," which came before James Taylor's but stayed unreleased until after he got the hit. Many surfaced as singles and as b-sides, but they all fall together nicely on LP #2.

This edition looks and sounds great with a wealth of liner notes. If you're a fan of this record, this is the version you need.

Packaging- 10/10, a beautiful, glossy tip on gatefold
Audio Quality- 10/10
Content- 9/10

Songs Of The Week, 2020: 3/14-3/20

All Around The World- Little Willie John
Making Believe- Emmylou Harris
Listen To Me- Baby Huey
Her Mind Is Gone- Professor Longhair
Dick Around- Sparks
Unloved Children- Todd Rundgren
Joy Inside My Tears- Stevie Wonder

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All Around The World- Little Willie John
"Grits ain't groceries, eggs ain't poultry, and Mona Lisa was a man."
Eggs ain't poultry. Still a favorite of mine.

Making Believe- Emmylou Harris
Whether singing this Kitty Wells via Jimmy Work hit, or the phone book, Miss Emmylou Harris never fails to hit the spot.

Listen To Me- Baby Huey
350 pounds of psychedelic soul courtesy of Curtis Mayfield, and the late great James Ramey aka Baby Huey. This track has one of my favorite intros. It's a groove I could listen to on a loop for...well... a little while longer, at least.

Her Mind Is Gone- Professor Longhair
I knew it was coming, but the official announcement of the New Orleans Jazz Fest cancellation happened this week and I was both sad and relieved. This track was the first that came to mind.

Dick Around- Sparks
Doing a lot of this lately and hopefully not for too long going forward.

Unloved Children- Todd Rundgren
I'm sure you have seen these god awful lists that get tossed around on the internet, usually from Pitchfork or Stereogum--50 Best Who Songs Ranked, 20 Worst Rick Wakeman Album Covers Ranked, etc.--awful click bait at best.  And the word "ranked" gets under my skin, as well. Well, I have been wanting to write a buyer's guide to Todd Rundgren for years. I figure I am capable and trustworthy and I know a little more than a bit about the subject. I might get started this week, since I have the time, if you know what I am saying. This track is from "Nearly Human," Rundgren's 1989 release and a record that would probably "rank" as #6 on my list of "best Todd" records.

Joy Inside My Tears- Stevie Wonder
This was the first song I heard from "Songs In The Key of Life" way back when. On WNEW-FM! How great was FM radio in the 70's? This one felt good following Todd and closing things out.

Stay clean and safe. I'll be here, doing business as usual. Hope you will be, too.

"Backwards Compatible"; A Journey Through Heavy Melody With Chris Church

Chris Church is an unabashed fan of all music. I became a fan of Chris Church after seeing him perform a solo acoustic version of the Hall & Oates hit "How Does It Feel To Be Back" which was an unexpected joy and nothing short of sublime. Next stop for me was his 2017 release "Limitations Of Source Tape," an album heavy on hooks and heavy on melody. Imagine my surprise when I found out that Mr. Church had been releasing albums since 1992. I had some homework to do.

In the last year I've learned a bit about his taste in music through his social media posts.  I am happy to report, it is a lot like mine. He is unafraid to proclaim unironic love for everything from hair bands and prog rock to the aforementioned Hall & Oates, and most of all, to Todd Rundgren. He also likes to use the term "heavy melody" to describe music that is not quite heavy metal, but a bit more aggressive than power pop. After a few walks around the block with his new Spyderpop release, "Backwards Compatible," Church will get no argument from me. "Heavy melody" was the inspiration behind this new collection of songs and it is just as he described.

He is unafraid to belt one out, like on "Begin Again," a killer track with Todd Rundgren chord changes, crunchy Raspberries guitars and heavenly background harmonies from Samantha Morgan and Lindsey Murray. It's a formula that gets tweaked from song to song and miraculously works every time.

Church doesn't wear his love for Todd Rundgren on his sleeve, but it's hard to ignore the "wizard's" presence on "Backwards Compatible." Both "Dumb It Up" and "These Daze" sound like great lost Utopia tracks after they shortened the length of their songs from 15 to 4 minutes and their lineup from 8 to 4 members. There are a number of songs on this record that evoke those great guitar and melody heavy tracks from prime-era MTV. The opener "Someday's Coming Fast" brings Sammy Hagar to mind with some fine guitar playing to boot. "You Are The Thunder," to my ears, is Kiss meets Def Leppard. It is loaded with heart and soul, again with some Rundgren-esque harmonies, but light on the synthetics, makeup and hairspray.

Church's songs are big and meaty, and his secret weapon is taking the music you think you don't like--hair bands, glam rock, heavy metal and such---and delivering it organically. He is a fan of this music and that is a plus. He respects the music. There are no cheap shots here. "Backwards Compatible" manages to cover all I love about music without ever sounding like parody. This record is fantastic. It reminds me of all the right parts of the late 70's and early 80's rock radio. You'll need to hear it and once you do, I'll bet you'd agree, Chris Church is the real thing.

Get "Backwards Compatible"at CD Baby and Spyderpop Records

When (My) Worlds Collide: New Orleans Meets New Zealand

Have a safe, clean and hopeful weekend.

Get Your Whiffs Right Here

I woke up to a message from a friend. It was two words.

"So good!"

There was a link attached and it took me to The Whiffs page on Bandcamp. Some coffee and a half hour later, I'm telling you about it.

The Whiffs are new to me. With one E.P. in 2017 and a full length titled "Another Whiff" in 2019, these Kansas City rockers serve up a healthy dose of harmony and hooks with a punk edge.  There are no bad songs on "Another Whiff." Think Tom Petty meets The MC5. Or, Early Beatles via The Jam.

This was just what I needed this morning, so thanks Mike!

The first vinyl press of "Another Whiff" has sold out, but a second press is available now.

Buy some music!

Musicians (and record dealers😇) need your support now more than ever.

THE WHIFFS ON BANDCAMP

Another Pop Gem From Jeff Matthews

Back in September of 2017, I did a bit of raving about a new E.P. from Jeff Matthews. It began something like this:

"I believe it was my old pal and Burning Wood colleague who recently said, "Supergroups don't always make super music." While that may be true---see Asia, circa 1982---the new E.P. from Jeff Matthews, "Loyal Opposition," says otherwise. Maybe "supergroup" is a bit much, but with a genuine guitar hero named Earl Slick offering up some of his tastiest licks, and madman pop genius Mark Hudson on keys, backing vocals and production duties, super isn't that far of a stretch."

This trio is back with a new E.P., "Mirror Image," and so is Eaglemania drummer Jon Weiswasser, Grammy winning producer Mario McNulty (Bowie and Prince) and new addition on backing vocals, Gary Burr. And "Mirror Image" does not disappoint. The songwriting is smart and the record making is smarter. "Glass Floor" feels like The E Street Band going power pop and "Old Timers Day" would have hit me hard, prior to all this madness we are currently dealing with.

"Mirror Image" is available at all your favorite places to listen and I urge you to listen.

Thank You, Aditya Prakash

Old school record shopping involved more than just hearing a song on the radio and rushing to your favorite shop to buy the album. Sometimes we bought records for the cover art. Other times, we bought records by artists we didn't know because we recognized and were fans of the members in the band, or maybe even the producer. Occasionally, we trusted a label. I know I did. I'd buy records on the Harvest label from the U.K., or more obviously, Blue Note, because their catalogues seemed to be curated with me in mind.  It was around 2001 when I started trusting Ropeadope Records. After a series of releases covering a wonderful cross section of jazz, funk, hip hop, gospel and blues, by artists such as Charlie Hunter, Dirty Dozen Brass Band, Sex Mob, ?uestlove and Christian McBride for starters, I was hooked and looked forward to each new release and whatever surprise was in store.

I mention this because I generally do not listen to Carnatic music. If you are unfamiliar with the term, Carnatic music is a subgenre of classical music from southern India. But on Friday, March 20, Ropeadope will release "Diaspora Kid" by the Aditya Prakash Ensemble, and only because this is from Ropeadope, did I listen.

And my mind was blown.




I am not of the mind that you cannot write about music, that music needs to be heard. I have been writing about music for a good portion of my life. But there are few words that can truly describe what Aditya Prakash and his band have taken on with "Diaspora Kid." The music here on Prakash's third release, is performed with a passion that is just about non-existent in today's pop world. "Diaspora Kid" is a desperately needed jolt of true emotion and depth, as Prakash draws inspiration from his cross-cultural upbringing in Los Angeles. It pounds and rumbles with both joy and sadness. It is both funky and spiritual.  And most important, the ensemble can play! And man, Prakash can sing!

The opener "Greenwood" is a brilliant hybrid of modern jazz with Radiohead chord changes that actually swings! I fell in love within seconds. "Joy" is three minutes of solid fusion, not unlike the Mahavishnu Orchestra, but with Prakash taking over John McLaughlin's guitar lines with his voice. The video above is the first "single" from the record. Now I began with old school record shopping, and I wonder if the old school me would have considered anything off "Diaspora Kid" singleworthy. But you need to listen to it. If you are moved only half as much as I was, on Friday you will have the chance to head full on into something special.

"Diaspora Kid" is not for the faint of heart, and I say that in the best possible way. This record demands your attention. You know, old school.

Thank you Ropeadope. Thank you Aditya Prakash.

Songs Of The Week, 2020: 3/7-3/13

Hold Me Closer- The Equals
Melting Pot- The Boris Gardiner Happening
Feel U Up- Prince
Aisling- Shane MacGowan & The Popes
Don't Want To Know- Bryan Ferry
Long Time Woman- Pam Grier
Darlin' One- the Repalcements

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Hold Me Closer- The Equals
I originally opened up this set with "Baby Come Back," but there is some confusion with the track and tagging on my end. Your zip will state, "BCB," but it will play "Hold Me Closer." My apologies.
 

Melting Pot- The Boris Gardiner Happening
Yes, another reggae cover of a soul classic, I know! But I love this stuff.

Feel U Up- Prince/Aisling- Shane MacGowan & The Popes
These two are courtesy of the iPod. A magical bizarro segue, if I ever heard one.

Don't Want To Know- Bryan Ferry
Found an elusive vinyl copy of Ferry's "Mamouna" not too long ago and decided to give it another spin this week. Good album, great opener. And produced by Robin Trower! Talk about strange bedfellows.

Long Time Woman- Pam Grier
I am not a fan of Quentin Tarantino, but we'll leave that discussion for my new blog, "Sal Starts Unnecessary Trouble." Until then, here's a track from the 1971 blaxploitation flick, "The Big Bird Cage," sung by its star, Pam Grier, later used by Tarantino in one of the few movies of his I did like, "Jackie Brown." This groove is badass.

Darlin' One- The Replacements
Might be my fave track from "Don't Tell A Soul." This is the original version, not the recent Matt Wallace fix.

"Something In The Air": THE WEEKEND MIX

In the event that you are quarantined, here's a self-explanatory selection of tunes to keep you company.

Remember, be vigilant and wash your private parts for two full verses of "Zemer Atik."

And for Pete's sake, stop touching your face. 

Hey! STOP! 

STOP TOUCHING IT! 

WHAT'D I JUST SAY? 


Stay clean, friends.

TRACKLIST
Something In the Air- Thunderclap Newman
Ouch!- The Rutles
Wash Us Away- Ian Hunter
Rock N Roll Doctor- Black Sabbath
Cold Sweat (Part 1)- James Brown
Don't Touch Me There- The Tubes
I'm So Tired- The Beatles
Going Down Fast- The Mark Four
Ghost Town- The Specials
Touch Too Much- AC/DC
You Can Look (But You Better Not Touch)- Bruce Springsteen & The ESB
I'm Sick Y'all- Otis Redding
If You Let Me Make Love To You (Why Can't I Touch You)- Ronnie Dyson
Beginning (Of The End)- Todd Rundgren & John Boutte
The Healing Game- Van Morrison
Sick Day- Fountains Of Wayne
Dear Doctor- Rolling Stones
Headache- Frank Black
I'm Not Afraid- Frank Sinatra
Blowin' In The Wind- Bob Dylan
God Give Me Strength- Elvis Costello
Stay Clean- Motorhead


ZIP

Rename That Tune

If you ever woke up thinking, "Gee, I wish there was an upbeat reggae version of 'Ol' Man River' that uses the hook from 'Fortune Teller,' but isn't called 'Ol Man River,' today is your day.

Give a listen to "Bronco" by The Upsetters.

I am well aware that both jazz and reggae are not necessarily everyone's cup of tea. Comments and blog views tell that story. But I get real pleasure from these forty to fifty year old ska and reggae covers. They may seem simple on the surface, but the grooves are unstoppable. And come on, props must be given to the "creative" minds behind some of these recordings.

I am also fascinated by the appropriation of so many songs, a practice that would never fly in any other genre. There are many articles about non-Jamaicans playing reggae--the white boy appropriation--but as far as I can tell after about three minutes of research, nothing that talks about the renaming of and taking credit for pop standards.

How about these gems below? The Skatalites basically covering Georgie Fame's "Yeh Yeh" but opting to call it "President Kennedy!" Or, "Darker Shade Of Black," a song you will find on a number of reggae records, and it's always "Norwegian Wood!"

If anyone knows a real story behind this practice, do tell. Until then, enjoy these classics and if you know of more, serve'em up!

This Week In Jazz: George Benson

A quick glance at George Benson's discography shows a mininum of 50 records released since his Prestige debut in 1964. Without thinking too hard, I believe I have heard 3 of them in their entirety, as well as the various pop singles he released in the 80's. I have never doubted his ability to play the guitar. I can't say the same regarding his career decisions. Some of his 90's records were straight up schmaltz, and his most recent release "Walking To New Orleans," caught my eye for obvious reasons but failed to keep me interested beyond the first weak minutes of the first two tracks. Benson is 77 years old, and though his takes on Chuck Berry & Fats Domino failed to move me, I won't be too critical. He's done enough.

All this aside, a copy of his 1970 CTI release "Beyond The Blue Horizon" found its way into my life and I decided to give it a spin after reading a bit about it. This is what All Music had to say:

The payoff is a superb jazz session where Benson rises to the challenge of the turbulent rhythm section of Jack DeJohnette and Ron Carter, with Clarence palner ably manning the organ. Benson is clearly as much at home with DeJohnette's advanced playing as he was in soul/jazz (after all, he did play on some Miles Davis sessions a few years before), and his tone is edgier, with more bite, than it had been for awhile. A must-hear for all aficionados of Benson's guitar. 

I'll admit I knew nothing of George Benson before "Breezin" became a huge smash in 1976. It's an infectious melody with a perfect groove, but not my type of jazz at all. If you have seen and loved the film "All That Jazz, " then you must certainly have a thing for Benson's "On Broadway." But even so, I cannot get behind hits like "The Greatest Love Of All," and most of the smooth R&B and lazily labelled jazz Benson has churned out for so many years...which is why "Beyond The Blue Horizon" surprised me in all the best ways.

His take on the Miles Davis classic "So What" which opens the set, his fresh and funky. And as All Music states, it feels like Benson is "edgier, with more bite" than anything I have heard before.

Granted, long time Benson fans who might be reading could be thinking, "You idiot. His first 10 records are all fantastic!" If that is the case, please say so. Listening to "Blue Horizon" feels like I discovered someone new and not a seasoned veteran, Grammy winner and music legend. I want more of THIS.

Songs Of The Week, 2020: 2/29-3/6

Apple Scruffs- George Harrison
Lightning Strikes (Not Once But Twice)- The Clash
Supermassive Black Hole- Muse
The Trap Door- Jules Shear
Tell It To The World- Robin Zander
Take A Look At The Guy- Izzy Stradlin & The Juju Hounds w/ Ron Wood
The Bends- The Raisins

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Apple Scruffs- George Harrison
I know people who hate this song. I am not one of them. It was the first song that came to mind on the 25th, George's birthday, so I tossed it in the SOTW folder.

Lightning Strikes- The Clash
You don't just listen to "Sandinista," the same way you don't just watch "Lawrence Of Arabia." You need to prepare, and even when I do prepare, I can't do all six sides in one sitting. Last time out, it was Sides Three & Four.

Supermassive Black Hole- Muse
English rock trio? English prog band? English alt rock band? Check. Check. Check. Here, they turn in their best Prince impersonation.

The Trap Door- Jules Shear
The opening track from my favorite Jules Shear album, "The Great Puzzle," a record desperately needing a deluxe vinyl edition.

Tell It To The World- Robin Zander
And speaking of records that desperately need a deluxe vinyl edition, this is from Robin Zander's solo debut, a record that should have been YOOOOGGE, but alas, disappeared without a trace. Thanks Interscope!

Take A Look At The Guy- Izzy Stradlin & The Juju Hounds
From the only Guns N Roses record I love, and one of the best rock and roll records ever, here is Izzy Stradlin and a cover of Ron Wood's classic, with help from the author.

The Bends- The Raisins
Mid 80's, my roommate brings home an album by The Raisins. We had a good laugh at the band name. Not sure why it struck us as funny. I guess George Burns would say, "Raisin is a funny word." But then we listened and we loved it. Produced by Adrian Belew who later joined the band when they renamed themselves The Bears, this is one of a dozen killer songs from that debut.

Finally, a McCoy Tyner, Spotify Six Pack. Certainly not definitive. I mean, how can you sum up the career of this giant in six songs? But, these are some of my faves and I'm hoping six tracks is not too many for the non-jazz heads reading, to give this a test drive,

R.I.P., Mr. Tyner

McCoy Tyner, 1938-2020

On Monday, I was talking to a friend about years of seeing of live music. We traded stories and performances, best and worst concerts and experiences, etcetera. I was reminded of one particularly awful weekend in the late 90's, training it up to Vermont to spend the weekend at my in-laws. I felt a cold coming on and I wasn't my best, but I didn't want to cancel because on that Saturday, we had tickets to a solo performance by McCoy Tyner at the Van Dyck in Schenectady. I had never seen him live in any capacity and let's face it, he was a giant. By Saturday morning, my throat was just about closed, as if a baseball had been lodged there. And I had the chills. Saturday night, I pressed on and drank a bunch of whiskey, hoping for the best. McCoy Tyner gave a masterful performance to a handful of people. Sunday morning we took a train home, where I shivered and ached for the entire ride. But I crossed McCoy Tyner off my bucklet list. I spent the next week in bed with one of the worst flus I ever had.

On Thursday morning, I thought about this conservation with my friend, and the first thing I wanted to listen to was Tyner's "Tender Moments" record on Blue Note. So I did. "Man From Tanganyika" is a favorite. I realized I did not own physical copies of either "Tender Moments" or Coltrane's "Live At Birdland," a record where Tyner really shines. I purchased both, the former from a record dealer friend and the latter, a cheap reissue, from Amazon.

Friday, Tyner passed.

I'm sure his passing would have affected me somehow anyway. He was a titan in the jazz world, and helped create some of the genre's most inspiring and influential music of our time. But in light of Monday's conversation and this week's mini-binge, this felt just a bit more personal.

Listen to some McCoy Tyner. Both "The Real McCoy" and "Tender Moments" are faves, and Coltrane's "Live At Birdland," especially the opener, "Afro Blue," is essential.

Safe travels, Mr. Tyner.

Bad Kitty Music #16: Hooker N Heat

CANNED HEAT AND JOHN LEE HOOKER - HOOKER 'N HEAT 1971. Sometimes a collaboration that looks good on paper can go horribly wrong (Bowie 'N Jagger, Metallica 'N Reed, Skittles ‘N Scotch, etc.). But every so often, they can come out glorious. Being a backing band playing behind John Lee Hooker must have been like being G.G. Allin's life coach. But Canned Heat did a staggeringly good job of doing the seemingly impossible : backing an elder blues icon who was used to playing alone, and who liked to change chords and tempos whenever the hell he felt like it. The immense respect between the acts is palpable on the recording, and it was a high note for Alan Wilson to leave this realm on. He is on the recording, but was dead by the time the cover photo was taken (hence the framed portrait on the back wall in the pic). If you do not own this, it would be a good idea to come to the WPKN Music Mash in lush and verdant Bridgeport, CT on Saturday and take this LP home. You can then make informed decisions about "Burning Hell", and "Whiskey and Wimmen."

-John G.

Bad Kitty Music #15: Mississippi Fred McDowell

Bad Kitty Music #14: Gram Parsons 

Bad Kitty Music #13: Sleepy Hollow

Bad Kitty Music #12: The Everly Brothers

Bad Kitty Music #11: Albert King/Otis Rush

Bad Kitty Music #10: Uriah Heep

Bad Kitty Music #9: George Thorogood & The Destroyers

Bad Kitty Music #8: Bob(by) Darin

Bad Kitty Music #7: Todd Rundgren

Bad Kitty Music #6: The Rockets

Bad Kitty Music #5: Rush

Bad Kitty Music #4: Dr. John

Bad Kitty Music #3: Terry Reid

Bad Kitty Music #2: Roy Buchanan

Bad Kitty Music #1:  Bobby "Blue"Bland

James Brotörhead

I've waited my whole life for this.

Garden Of Earthly Delights

Even with two of its members dead, I still have more confidence in seeing a Beatles reunion with all four members than I do in a reunion of XTC's two principles. It's been said, "Never say never." I say, "Never." I've been wrong before and I do hope I am wrong again. But until that day, we have one of the most brilliant catalogues in rock history forever astounding us. And it is that brilliant catalogue by authors Andy Partridge and Colin Moulding that is celebrated on Futureman's epic collection, "Garden Of Earthly Delights."

This two-CD set, with additional digital only tracks, is a whopping 49 tracks by some of indie's elite. Like so many tributes, there will be some entries that will make the hair on your arms stand up and shout, and some that will break your heart. That, of course, comes with the territory. You are certain to have your favorites which may not be my favorites, and so the world revolves. But what makes this Futureman collection a cut above the others is that everyone wants to be here! You can feel the love and respect for the honorees in every performance.





I previously shared Chris Price's stunningly gorgeous take on "Peter Pumpkinhead," and on Friday you will get to hear the rest of this wonderful set.  Pete Donnelly, Chris Church, Derrick Anderson, The Anderson Council, Bird Streets, Gretchen's Wheel and featured above, Bertling's Noise Laboratories represent a small sampling of this stellar roster delivering both faithful and redesigned versions of your favorite XTC songs. King Radio's clever dash of The Kinks' "Victoria" in "Mayor Of Simpleton" is particularly delightful.

"Garden Of Earthly Delights" is never boring. As a matter of fact, it's a treasure trove of marvelous surprises. I am almost certain that if you have previously only dabbled in "Making Plans For Nigel" and "Dear God," this collection will pique your interest and unleash your heretofore unknown love for this band. The 2 CD set will available on Friday through Bandcamp. 32 tracks on CD, with 17 more ready for download with purchase.

This is pop, damnit! So, don't delay.

For The Record #2: Who's Next

In 2003, Universal released a deluxe edition of "Who's Next," both as a 2-CD set and a 3-LP edition. The package boasts remastering from the original tapes by both Andy Macpherson and Jon Astley. This is not the selling point for me, as I believe the original U.S. pressing on Decca, those with matrices ending in "W1-2 and W1 X" remain the strongest sounding versions of this classic. (For those who are still reading after that obnoxious bit of record dorkity, I thank you.)

The selling point of this set is what has been added as bonus tracks. You get both the alternate and unreleased tracks from the New York Record Plant sessions, which include the blistering 8 minute "Baby Don't You Do It," a real showcase for Mr. Moon, as well as the live set from "The Young Vic" in '71, which is not only a killer set to rival any Who performance, but one of the greatest set lists the band has ever put together.

Sounds great, no?

Well, here's the thing:

For reasons that are not quite clear, some manoeuvering has been done, like slapping "Getting In Tune" at the end of Side One. Now, "Song Is Over" does not close out the first side and "Going Mobile" begins Side Two. I guess that isn't so terrible if your plan is to listen to "Who's Next" in its entirety. You will now have five extra minutes before having to flip the record over. BUT...the label slapped "Baby Don't You Do It" at the end of Side Two so "Won't Get Fooled Again" is no longer the last track on "Who's Next" and THAT I find offensive.

I realize that all of this may seem like a complete waste of time to the many who have long given up on physical product. But I believe in sequencing. I think it could make or break a record.

I love having this package, but I also feel in some ways, it could have been a homerun, and is instead a bloop single. The casual Who fan will not be buying an umpteenth version of "Who's Next." The diehard and vinyl guy, will be, and that should have been the target for this set.

The sound on the album proper is fine. Maybe a bit too fine. The Decca original has balls, while this new master is a bit too sterile. But as I said above, you want this for Discs Two & Three, and the live mix from The Vic is superb. It's just that the sequencing seems very slapdash. It is not an expensive set, considering it's a three-LP set from the U.K..I know I would have shelled out the $35 for just the bonus studio tracks and live set. I just don't get going through this trouble without having one person in The Who camp questioning the sequencing. I am sure the labels have an answer. They always do.


Packaging- 6/10 (No frills, three LPs in one double gatefold)
Audio Quality- "Who's Next"- 7/10, Bonus Material- 9/10
Content- 10/10

Songs Of The Week, 2020: 2/22-2/28

Take'Em As They Come- Bruce Springsteen
You Touched Me Too- David Johansen
I Could Spend The Day- The Zombies
I Know An Ending When It Comes- Merle Haggard
Cosmic Dancer- T. Rex
Lonely Boy- Andrew Gold
On Track- Tame Impala

zip

Take'Em As They Come- Bruce Springsteen
I found unused tickets from a 2003 Bruce show at Shea Stadium. I went to all three nights and couldn't understand why I had 4 unused tickets. I finally figured it out...a story for another time...but while doing so, thought of this "River" outtake, which I swore he opened with one of the nights. But alas, he did not. So I am opening with it.

You Touched Me Too- David Johansen
This was a leftover from my Mick Ronson post on 2/14. Listened to "In Style," a great DavidJo album produced by Mick and this one stood out.

I Could Spend The Day-The Zombies
The Zombies have more amazing songs that were left in the can than most bands have in a twenty five year career.

I Know An Ending When It Comes- Merle Haggard
Just one of 300 great tracks from Bear Family's 10 CD "Bakersfield" box. This one popped up on the iPod.

Cosmic Dancer- T. Rex
I was reminded of this gem when my friend's daughter played it on her college radio show a few weeks ago.

Lonely Boy- Andrew Gold
Never gets old. And sleigh bells, too!

On Track- Tame Impala
I've been trying to like this guy since Todd Rundgren gave him a thumbs up, but it mostly just comes and goes...until this one off the new one. I quite like this one. This one came and stayed.