Burning Wood

If It's Tuesday, It Must Be Street Date: 1/31/12

2012-01-31T05:20:00.000-08:00

RINGO STARR- 2012

Jazz legend Charlie Haden, Van Dyke Parks, Benmont Tench, and Ringo's brother-in-law Joe Walsh all help Richie out on his 17th solo release. What can I say? It's what you think it sounds like, love it or leave it. He's a Beatle and I'm happy he's still making music, even if it isn't very good. And "Ringo 2012" isn't.

It's HERE

SOUL REBELS- UNLOCK YOUR MIND

The Soul Rebels were one of the very first bands I saw live on my very first trip to the New Orleans' Jazz Fest. That may have something to do with why I love them so much. It was one of those "only in New Orleans" experiences.

I had been watching and enjoying the band when their roadie/manager, a gentleman no less frail than Gorilla Monsoon, thought I should be dancing a little bit more than my self-conscious head bob, so he picked me in a painful bear hug and started dancing, holding me in his arms like Cheetah. He finally let go and dropped me to the ground when my face turned the color of a Satsuma plum. The crowd roared and everyone continued moving and smiling for the remaining 30 minutes of their set.

Without that in your pocket, you might just hear another funky brass band, whooping it up New Orleans style...which is still all right by me. This is a really fine record. One of the Rebels best, with help from Trombone Shorty, Cyril Neville, Leo Nocentelli and Galactic's Ben Ellman.

AMAZON DOWNLOAD ONLY $5.99 HERE

It's still January, so worthy new releases are on the light side. There is a new Leonard Cohen CD, "Old Ideas," which I have yet to hear. But I'll confess to having no plans to listen. His "genius" has eluded me my whole life, and I'd rather not stir the pot with something unpleasant.

And Lana Del Rey's "thing" has also been released. The only thing positive about this is the title.

Finally...

Back in July, ACE UK released Lesley Gore's "Magic Colors." This was a record planned for release in 1967, but then canceled when the first single and title cut flopped. Newly remastered and bolstered with other singles from the era, "Magic Colors" shows Gore growing up a bit, and abandoning her teenage party-crying pop for the sunshine pop sound, more reminiscent of The Association and Harpers Bizarre.

Not everything works, and it makes sense that Mercury Records didn't want to let it out, but there are some interesting moments, especially the covers which include a medley of Spanky & Our Gang's "Lazy Day" and one hit wonder Keith's "98.6." There is also a version of "To Sir With Love," which Gore delivers a bit like Barbra Streisand...it doesn't work...and what Mojo mag calls "arguably the definitive version of How Can I Be Sure." You be the judge on that one. I'll take The Rascals.

It's HERE

And speaking of "definitive," here's one of my fave things ever, Lesley Gore on The TAMI Show.

Making Peace With A Record Store

2012-01-30T05:51:00.000-08:00

I made a long overdue visit to the soon-to-be defunct Bleecker Bob's record shop this past weekend. You can read more about the closing HERE.

Friends had been sharing stories of this legendary hangout and I felt a bit left out. Most of their stories had been positive, yet all of mine had been terrorizing. One of the most memorable days of humiliation, though in retrospect, I probably deserved it, was when I had asked for the 12" remix of Nena's 80's novelty "99 Luftballoons." I had been DJing the Circle Line booze cruises at the time, and well, you needed the hits. Bob himself sold it to me, but not before shouting out in front of a packed house:

"Could we get a 99 Luftballoons 12 inch so this guy can put it up his ass?"

Really. I kid you not.

Another visit, less humiliating, but more aggravating, was when I had come in search of both LPs by East L.A. punkers The Plugz. Those records had gone out of print very quickly, and were not that easy to come by. Bob had both, on his wall, priced at $50 a pop. This was 1986. I wanted them, and you know when you want something....

I asked if he would take $80 for both and he agreed without incident. I left happy and continued east for more record shopping. I hit Sounds on St. Mark's Place, where I found both Plugz LPs priced at $5.99 and also at Free Being, around the block on Second Avenue, for $7.99. Of course, I stormed back to Bob's, and I was barely ackowledged, nevermind the price discrepancy.

The trip on Saturday was nothing like those days at all. Chris, the manager featured in the New York Times article, was alone behind the counter, and couldn't have been more helpful or pleasant with both regulars and tourists alike. I was suddenly shaken by the thought that still one more slice of the New York I once loved, will now be lost to yet another Starbucks. Not to mention, another record shop biting the dust.

I found a few gems, including a Split Enz record, the first Rickie Lee Jones, a lost soul classic that had been on my want list for ages by Tommy Hunt and a 1998 reissue of John's Children, Marc Bolan's pre-T. Rex band of psychos. All were reasonably priced, and Chris entertained me with very short stories on each, as he wrote me up. A lost art if you ask me.

It was a good visit. I never thought I'd say this but, I just might miss Bleecker Bob's.

In the meantime, this John's Children's album is amazing! Always loved the nugget "Midsummers Night's Scene," but I had no idea just how kooky and melodic the rest of it was.

Comments

2012-01-29T05:55:00.000-08:00

This is my blog.

I want you to feel as if it is your blog, too.

But in light of some recent commentary, I have to set some rules.

Burning Wood is about music. In its 40 months of existence, it has rarely strayed from music. I encourage all of you to participate, to share your thoughts, your ideas and your words....about music. I've been known to shut down on occasion, when I feel like readership is at a low, or when it seems as if comments become light and interaction is down.

THIS IS NOT A FORUM FOR YOUR POLITICS

I allowed some comments out of respect for those involved, but I also see now, that I have fueled a fire that need not be fueled.

I don't mind negativity. I'm the poster boy for Pete's sake. But I try, at least, to keep it about the music, and when I get on something.... a record, an artist, a trend...I try to back up my negativity. I rarely...and you can try to prove me wrong if you have the time...just say, "Aahh this sucks." Your word is not the last word any more than mine is. But boy, do I love a good debate...about music.

RESPECT EACH OTHER

There have been many occasions when readers have left comments that have rubbed me the wrong way. And I've said something. This is my blog. I'm allowed. But I've always been respectful to readers. I may not have shown respect to Eric Clapton or those fuckheads the Fleet Foxes, but I have never been disrespectful to readers. Yet readers, hiding behind the safety of anonymity, have no issue being disrespectful to me and other readers.

IF YOU DON'T LIKE WHAT'S HERE, YOU DON'T HAVE TO KEEP READING.

If you're unhappy with the music I post and the artists I write about, why do you keep coming back here?

There is a lot of music on this blog. There is also a lot of love, for which I am grateful. But I will no longer accept or publish comments that have nothing to do with music.

Again, my apologies to all for not being a very good referee.

"~name this mix~" : THE WEEKEND MIX

2012-01-27T04:47:00.000-08:00

As per me, I've latched on to a handful of songs this past week. And while 5 hours of Dylan covers owned my ears for the last 3 days, I did manage to spin the following 4 songs an obsessive number of times in between "Hattie Carrols."

•Last Glittering Thrill by The Thousand Pities, a band from Montclair, New Jersey whose CD was released back in March but only just found its way to my CD player, is doing all the right things by me. I'm loving the record, "Believe In Sound," but I'm REALLY loving this tune. (And that chorus!)

•I Don't Like It But I've Got To Do It by Pugwash is yet another in what seems like an endless supply of infectious tunes by this pop genius, aka Thomas Walsh from Dublin, who should be as famous as Paul McCartney, or at the very least, Mike McGear.

•Your Closest Friends by John Dunbar hit home like a wrecking ball. It's lyrically clever, and twisted in the very best way. Musically, it's perfect pop candy, like the rest of "Comeuppance, See Me Sometime," the album in which it appears.

•Summer '68 from Pink Floyd's "Atom Heart Mother," has worked its way into my Top 500. (That's not as many as it sounds when we're talking all time.) It's a little masterpiece from Richard Wright and I'm always surprised it's Pink Floyd when I hear it.

It is this quartet of songs that has been in heavy rotation this week, so naturally, I wanted to build a mix around them...and this is what I've got.

A few highlights:

Haven't heard the Eric Matthews cut in ages, and I was reminded of it thanks to the new release (18 years after their debut) from Cardinal, Eric's project with Richard Davies.

I first heard the XTC track on a bootleg of demos, then found out it appeared in finished form on a benefit CD whose name escapes me, then it turned up in a third incarnation on Andy's "Fuzzy Warbles" series. I still like the first version I heard, so that's here.

I can never say enough about Jason Falkner. Here's another guy who deserves to be in the Pop Genius Hall Of Fame, if only for covering Be Bop Deluxe, which is what's here.

Once you unzip and load, you'll notice I gave the mix the title "Pop/Psych/Hooks/Songs," which is a little bit clumsy and a little bit horrible. Maybe you can come up with something better.

As I am wont to say, it sounds good altogether.

ENJOY!

TRACKLIST

Fanfare- Eric Matthews
Forget All About It- Nazz
The EMI Song (Smile For Me)- Alex Chilton
I Don't Like It But I've Got To Do It- Pugwash
Last Glittering Thrill- The Thousand Pities
I Don't Wanna Be Here- XTC
All Around The World- The Jam
Little Billy- The Who
She Sent Me Away- David Werner
I See The Rain- Marmalade
Summer '68- Pink Floyd
Jet Silver & The Dolls Of Venus- Jason Falkner
Without Expression- Terry Reid
Your Closest Friends- John Dunbar
Foxy, Foxy- Mott The Hoople
It's All Over Now, Baby Blue- Bad Religion

zzzzzzzzzzzzzzZIP

Chimes Of Freedom: Parts 2-4

2012-01-26T04:35:00.000-08:00

"Hopefully all the best stuff isn't front-loaded on the first disc."
-The Pop Culturist

About halfway through Disc Two, The Pop Culturist's comment came to mind. There are a lot of clunkers on Disc Two, and I began to doubt that his hopes would ring true. I quickly regrouped when I realized how much music was left, and made the decision to forge ahead and do it all.

"Chimes Of Freedom" is a superb collection of music, by an amazingly diverse roster of artists, singing some of the greatest songs in the history of music. It's $20. You just can't go wrong. Just think of Disc Two as Zeppo or Fredo.

And now....

THE LOSERS

Carly Simon- Just Like A Woman
She makes Dylan's version sound like the "Beer Barrel Polka." This is lifeless, and Carly trying to do Dylan is about as charmless as Kenneth Branagh trying to do Woody in "Celebrity."

Elvis Costello- License To Kill
I'm a fan through and through, right down to "The Juliet Letters" and the Bacharach album. But, old El employs his wheezy falsetto, last heard on his cover of "You've Got To Hide Your Love Away," or maybe more recently than that. I can't recall. I just know, it's my least fave Costello trick in his book and it ruins this version.

Cage The Elephant- The Lonesome Death Of Hattie Carroll
Again, like Silversun Pickups on Disc One, this seems intentionally horrible. I don't understand the entertainment value in songs where the musicians deliberately make the tune unrecognizable or in this case, creepy and annoying. I'm not saying playing it straight is any better. See next entry...

Jackson Browne- Love Minus Zero/No Limit
This neither adds nor subtracts from the original. I guess it really isn't a loser as much as it's a snoozer.

Dave Matthews- All Along The Watchtower
This was recorded live in 1995. I don't like Dave. I never have, but I'll save that rant for another time. The man can't even speak the intro to the song unaffectedly. "Theea son bah bar dealin." (That should read, "This is a song by Bob Dylan.) Putz. Just awful and pretentious.

Ke$ha- Don't Think Twice, It's All Right
Plea$e! Huge mega-pop $tar make$ big mi$take. Unli$tenable. And don't call me old. Thi$'d be awful if I wa$ 23.

There are some artists who simply didn't cut it for me, though I wouldn't necessarily call them losers.

I'm not gonna hate on Lenny Kravitz like so many love to do, but his "Rainy Day Women" seems throwaway at best. It's not that the arrangement is terrible. The New Orleansian horn parts are a nice touch. It's just that you can hear Lenny's boredom loud and clear. (Well, I can.)

I generally love Steve Earle, but his duet with "Treme" co-star Lucia Micarelli is a bit abrasive, and I'll blame that on Steve's delivery. I'm just not digging it. Seal & Jeff Beck both do a fine job with "Like A Rolling Stone," but I think I only ever need to hear Bob's version. Miley Cyrus isn't really a winner, but she does a much better job at feeling her song, "You're Gonna Make Me Lonesome" than some of the veterans on this collection do at feeling theirs, like Bryan Ferry, Neil Finn (who I rarely say anything bad about,) Taj Mahal, and Mick Hucknall. Miley's entry works. I didn't take it off like I did with three of the aforementioned four. (I let Neil's Pajama Club finish since I loved their album so much.

THE WINNERS

Paul Rodgers & Nils Lofgren- Abandoned Love
Hands down, my favorite thing on the collection. As much as I love Airborne Toxic Event's "Boots Of Spanish Leather," these two musical vets really handed in something special. Their voices seem made for each other. The arrangement is breezy and soulful, and it simultaneously tears your heart in two. There has to be an album in the future for Paul and Nils, even if it's the same ten versions of "Abandoned Love."

Joan Baez- Seven Curses
Joan doing Joan, better than ever. It's simple and gorgeous and it works.

Oren Lavie- 4th Time Around
Wow! Who the hell is this guy? Israeli pop singer with one album under his belt, that's who. But what a track! Soft and psychedelic. Dreamy and intense. This is a killer.

Fistful Of Mercy- Buckets Of Mercy
Dhani Harrison, Joseph Arthur and Ben Harper play it safe, but add some life, especially with the George Harrison-inspired slide. Very nice.

Joe Perry- Man Of Peace
Nothing much different than what you'd expect from this hard rock legend, but it works. It's solid, and Perry, who's not known for his singing voice, does a great job both on vocals and with his guitar. Again, it nice to hear some life in this music, and not some moody indie bullshit.

Bad Religion- It's All Over Now, Baby Blue
You need to hear this one to believe it. The energy is insane. It's a thrasher and still, it doesn't disrespect Bob or The Byrds.

Some other really nice takes include Glee alumnus Darren Criss and his brother Chuck on a very Poco-inspired "New Morning," Queens Of The Stone Age and the best thing they've ever done, with "Outlaw Blues," Sinead O'Connor's "Property Of Jesus," which reminds us that she was once someone to pay attention to, and the Carolina Chocolate Drops and their hoedown on "Political World."

That leaves a little more than half I didn't mention at all. Maybe you guys can weigh in with the good and bad of what I missed. I'd love to hear your thoughts.

In the meantime, check this out:

My heart is a-tellin' me I love ya still.

I can see the turning of the key
I've been deceived by the clown inside of me.
I thought that he was righteous but he's vain
Oh, something's a-telling me I wear the ball and chain.

My patron saint is fighting with a ghost
He's always off somewhere when I need him most.
The Spanish moon is rising on the hill
But my heart is tellin' me I love ya still.

I come back to the town from the flaming moon
I see you in the streets, I begin to swoon.
I love to see you dress before the mirror
Won't you let me in your room one time 'fore I finally disappear?

Everybody's wearing a disguise
To hide what they've got left behind their eyes.
But me, I can't cover what I am
Wherever the children go I'll follow them.

I march in the parade of liberty
But as long as I love you I'm not free.
How long must I suffer such abuse
Won't you let me see you smile one time before I turn you loose?

I've given up the game, I've got to leave,
The pot of gold is only make-believe.
The treasure can't be found by men who search
Whose gods are dead and whose queens are in the church.

We sat in an empty theater and we kissed,
I asked ya please to cross me off-a your list.
My head tells me it's time to make a change
But my heart is telling me I love ya but you're strange.

One more time at midnight, near the wall
Take off your heavy make-up and your shawl.
Won't you descend from the throne, from where you sit?
Let me feel your love one more time before I abandon it.

Chimes Of Freedom: Part One

2012-01-25T04:38:00.000-08:00

I don't like Bob Dylan's "Changing Of The Guards," and I really don't like The Gaslight Anthem. Yet, I really like The Gaslight Anthem's version of "Changing Of the Guards" on the new 4 CD Amnesty International collection,"Chimes Of Freedom: The Songs Of Bob Dylan." How's that for a summation of 5 hours of previously unreleased Bob Dylan covers, sprawled over 4 CDs in a delicately packaged boxed set for hardly any money?

And aside from the politics and proceeds, which are good...good...good, this collection seems like a sure thing....so far.

I wish I could tell you I made it through all 4 CDs, but I didn't. Not yet. TNT was running "The Shawshank Redemption" and well...I took the bait...again. (That Morgan Freeman!) But I did give full attention to Disc One.

Let's start with the losers, since there aren't that many.

BAD:

Silversun Pickups- Not Dark Yet
(The textures and mood are simply boring. It's unpleasant.)

Tom Morello- Blind Willie McTell
(I know Bruce loves him, but I don't. He ruins this masterpiece with his affected delivery. It kinda stinks.)

Bettye Lavette- Most Of The Time
(I love her. I love this song. And this version isn't terrible. I just don't like how she plays around with the lyrics. It's not quite sacrilege, but it's enough to change the feeling of a song that was already flawless.)

My Morning Jacket- You're A Big Girl, Now
(This song breaks my back every single time I hear it. Dylan's words and delivery on this "Blood On The Tracks" tour de force, make genuine, personal heartbreak seem manageable. I watched Daryl Hall pull this off on his web show. Jim James tries...but it's a no go. Sorry.)

THE WINNERS:

I really and truly loved everything else on Disc One.

I loved Raphael Saadiq's cool and groovy take on "Leopard-Skin Pill Box Hat." He really gets it.

I loved Ziggy Marley's not-so-reggae folk take on "Blowin' In The Wind." (Cool surprise, Zig.)

I loved Pete Townshend's straight but sweet "Corinna Corinna."

And I absolutely ADORED The Airborne Toxic Event's "Boots Of Spanish Leather." This was the real winner, so far. Smart and respectful. Subtle, yet powerful. Wow.

And there's more...

Even Sting managed to shrink his head a bit with a safe take on "Girl From The North Country."

Mark Knopfler, someone else I never really understood or cared for very much, hands in an emotional "Restless Farewell."

I don't know much about Mariachi El Bronx, but I really enjoyed their version of "Love Sick."

There is so much more to digest and I am serious when I say, I can't wait.

I'll be back with Discs 2-4...as I listen.

But right now, "Chimes Of Freedom" is already a class act, only 1/4 of the way in.

"Low" Turns 35

2012-01-24T05:52:00.000-08:00

Living as a Bowie fan wasn't easy in the seventies and it isn't easy now. The man's ever-changing styles and sounds often left me in the dust. Though the jumps from "Ziggy Stardust" to "Aladdin Sane" and "Pinups" to "Diamond Dogs" weren't so difficult, it was the jump from "Diamond Dogs" to 1974's "David Live" that shred my first nerve.

Years later, what left me cold and heartbroken--plastic soul live versions replete with studio overdubs and gloss--goes down without incident. "David Live" isn't for everyone. It's barely for Bowie fans, especially coming off of a largely underrated gem like "Diamond Dogs," a record most don't realize, finds Bowie playing all the guitar parts. But I've grown to appreciate "David Live," certainly more than I did back then.

Then came "Young Americans," and more faux soul. I didn't like it then. I don't like it much now. Ironically, it gave Bowie his first U.S. #1 with "Fame."

What followed in 1976, was then and is now, what I feel is Bowie's finest hour. "Station To Station" not only took Bowie's entire career so far--the pop crooner, the glam star, the rocker, and the slick soul man--and shaped it into one perfect union, it also planted the seeds for what is arguably, Bowie's most revered set of music, the Berlin Trilogy beginning with 1977's "Low," and continuing with 1978's "Heroes" and 1979's "Lodger," 3 LPs featuring sounds and treatment by Brian Eno.

Hugo Wilcken's account of Bowie during these times, specifically the recording of "Low," is brilliant. If you have any interest in Bowie or this period of his career, I strongly suggest reading "33 1/3." Low." There's nothing I can say here that will be better.

I will offer this. Hearing "Low" for the first time, just a year after hearing what is not only my favorite Bowie album, but one of my favorites of all time, was the hardest leap of all. My initial thoughts, as much as I can recall, were shock and confusion. Songs barely two minutes long, one whole side of instrumental ambient sounds, and some flat and fuzzy production, "Low" was the opposite of "Station To Station," a record containing only 6 songs, most of which were 5 and 6 minutes, and featuring a big, bold sound. At least I thought "Low" was the opposite.

35 years later and many articles, including one in this month's issue of Mojo, as well as Hugo Wilcken's book, all shed some light on what I think I probably already knew. "Low" is a masterwork, best taken whole. Reading and listening all these years, I now hear "Low" as the natural follow-up to "Station To Station."

Looks like David Bowie might be retired for good. No more comebacks or "greatest hits" tours for him. As a longtime fan, it's easier for me to say, he went out on a high note. The recent trilogy, "Hours," "Heathen," and "Reality" stand up for me even more than the Berlin Trilogy. This is mostly because I never latched on to "Lodger." For casual Bowie fans, both trilogies will never be as easy to swallow as "Changes" or "Let's Dance," but I do think "Low" is worth everyone's time.

Here Comes Terry

2012-01-23T05:16:00.000-08:00

I wanted to stay on NRBQ just one more day while I'm still on the high. You know how that can happen after you see a live show?

This is a 3-pack featuring the great Terry Adams.

First up, we have Terry covering Nelson Eddy and Jeanette MacDonald. I mean really, how often does a person get to type that? This brilliant little cover of "Indian Love Call" can be found on Terry's "Holy Tweet" CD, which I think everyone should own.

(Ya ever hear the Q's cover of the Sammy Cahn penned, Mario Lanza staple, "Be My Love?" I mean, these guys really CAN play anything.)

Next, we have "Umbrella," a genius pastiche of early rock and roll and doo-wop, from Terry's solo release, "Rhythm Spell." The New NRBQ played this one last week at Iridium and that was that. I can't get enough of it.

"Umbrella umbrella, oh wella wella wella/can you tell me why/umbrella umbrella, oh wella wella wella/you never keep me dry."

(I'll be checking in at the end of the week to see just how many of you are still singing this one.)

We finish with an NRBQ classic that is just as much about Big Al's solo as it is about Terry's vocals and clavinet. From one of the great records of all time, "Tiddlywinks," we have "Want You To Feel Good Too."

I love this band. Always have. I can't imagine any lovers of music not owning at least 3 or 4 of the Q's records. The stretch of albums beginning with their debut in 1969 to 1983's "Grooves In Orbit," contain some of the finest music this side of the Pecos. And Terry Adams' last few solo projects, the two mentioned here, as well as "Louisville Slugger," a record made with NRBQ's original guitarist, the late great Steve Ferguson, and "Crazy 8's" are all worth exploring. What I'm saying is, BUY THEM ALL!

For Tommy Ardolino...and you

2012-01-21T15:21:00.000-08:00

You're welcome.

"D-Sides" : THE WEEKEND MIX

2012-01-20T17:34:00.000-08:00

As promised, something very Zimmy for you all.

I admit, it's very random.

Back in the days of music retail, my partner and I, on particularly slow release weeks....you know what I'm talking about...the weeks when the biggest record to hit Tuesday was either a budget April Wine compilation or the 504th Wynton Marsalis CD...would create something "new" and quite possibly "wrong," hoping to make rent with something unique. People had stopped buying CDs thanks to the $18.99 list price being slapped on most of the popular CDs and we just couldn't pay the....OKAY! Sorry.

Bad flashback.

Here is something we put together, gathering about 20 of Dylan's stray tracks. Tributes, soundtrack tracks, b-sides, ACCEPTANCE SPEECHES...you name it. We grabbed'em and compiled'em and for a little while, we sold'em. A whole lot of'em.

If nothing else, it's a great listen.

TRACK LIST:

Things Have Changed '99
Lonesome River (w/Ralph Stanley)
Red Cadillac & A Black Mustache
Can't Get You Off My Mind
Return To Me
Ring Of Fire
My Blue-Eyed Jane
Chimes Of Freedom (w/Joan Osborne)
Love Sick (Grammys '98)
Train Of Love (Johnny Cash Tribute)
I Shall Be Released (w/Elvis Costello)
This Old Man
Most Of The Time (single edit)
Got Love If You Want It
Important Years
Shelter From The Storm (alternate version)
Grammy Acceptance Speech
Dignity (orig. vers.)
King Of Kings (w/Ron Wood)

Dylan peeps, please feel free to fill in the blanks. I don't rememeber the sources on everything, so any info would help all of us.

Hope ya dig the zip.

"The Top Ten Project, Part 6: Dylan In The 80s" : THE WEEKEND MIX

2012-01-20T04:40:00.000-08:00

YOUR VOTES ARE IN!

(Did anyone know that the CD above existed? I sure didn't. You can check out what Sony thinks HERE.)

Here's some of what you had to say:

•This is not fair! Dylan might have had some clunkers for albums, but there were a lot of songs that were absolute gems. For instance: Union Sundown - Infidels, talking about a scenario thirty years ago that is front page news today. The Groom's Still Waiting at the Altar - Shot of Love, could have been an outtake from Blonde on Blonde. Trust Yourself - Empire Burlesque - a constant theme of his - "I'm not a leader of a generation or a messiah, do it yourself.

•Everything is Broken from Oh Mercy. Or maybe the entire album...

•Hey Sal, make mine "Foot of Pride". To me, this outtake's exclusion from Infidels is even more baffling than that of "Blind Willie McTell". I can hear what Dylan means about never having quite gotten the killer take of "Willie", but the track of "Foot of Pride" is smoldering, swaggering, every bit the equal of the lyrics' jeremiad. And that lyric is as broad and scathing an indictment of modern society as "It's Alright, Ma" was in its day. Ain't no goin' back.

•This is unfair! So, I'm lodging a protest choice. I'll give you two...uh, three, picks, and leave the choosing up to you. My number-one pick would be "Jokerman" (the outtake) or "The Groom's Still Waiting at the Altar." Choice number 2, er 3, would be "Every Grain of Sand" (the Biograph version.) Sorry, I'm just too indecisive today. But if I absolutely had to pick one, I think I'd go with "Jokerman."

•Sorry Sal, not a fan of 80's Dylan so I really can't think of one. Not being closed minded, I've heard them all, but I just sort of like the 60's early 70's stuff. Maybe I should re-visit. I don't know.

•Most Of The Time from Oh Mercy, probably the only consistently good album of the decade (from Zimmy, that is). I was going to pick Sweetheart Like You, but the 80's drum sound is too hokey.

•Congratulations from Wilburys I....does that count?....I wish I could be part of this discussion but I honestly know so little of Dylan's '80's output...maybe a top ten here will point me towards itunes and possibly also in the right direction....by the way, I'm serious about Congratulations...lovely lovely song and I'm thinking he had little to no help from the others writing it..

My two cents:

I think "Infidels" and "Oh Mercy" rival anything Dylan has released in his career. I also find it interesting that "Empire Burlesque" gets a higher AMG rating than either of them, while "Shot Of Love" gets a weak two-star rating when it includes 4 songs that got voted for more than once.

I was going to post my Top Ten, but it is exactly the same as what you voted for, except for one difference. "Pressing On" made the cut, while I would have chosen "Heart Of Mine."

Here it is, your ten favorite Dylan songs of the 1980s, in ascending order:

Sweetheart Like You
Man In The Long Black Coat
Ring Them Bells
Pressing On
I And I
The Groom's Still Waiting At The Altar
Every Grain Of Sand
Jokerman
Blind Willie McTell
Most Of The Time

"Blind Willie McTell" and "Most Of The Time" ran away with this. Even those who voted for other songs, had disclaimers like, "I'm gonna go with 'Political World,' but 'Blind Willie McTell' is by far the best."

Right about now is where you would grab the zip of the "Weekend Mix," but I must say, I wasn't comfortable with this, seeing as how there is an official disc of virtually the same thing. So, have some patience and tomorrow there will be a special Dylan "Weekend Mix." It's just not ready.

Thanks for playing!

Me & The Q

2012-01-19T05:27:00.000-08:00

Here comes Terry. Here comes Pete. Here comes Scott. Here comes Conrad.

Listening to the New NRBQ perform last night at Iridium was a lot like listening to the old NRBQ, and that is the very best thing I can say. Opening with a swinging take on the Bobby Charles classic, "I Don't Know Why I Love You, But I Do," it took Terry one smack on the piano to transport me back to the heyday and any one of those crazy-good shows at The Bottom Line. In bad light, and maybe if you squint a little, hell, you might even think it really was the old gang, looking svelte and a tad younger. I mean, look at that pic.

There will be skeptics....those missing Big Al and Joey, and now the sad passing of the one and only Tom Ardolino. But trust me on this, you don't want to miss this band.

Terry Adams hasn't lost a beat. His Monk meets Jerry Lee meets Floyd Cramer style is as vital as ever. The man is a true original. Scott Ligon can do Big Al just fine, and his voice his pure gold. The rhythm section of Pete Donnelly and Conrad Choucroun was everything and more. Old faves like "Howard Johnson's Got His Ho-Jo Working," "Magnet" "I Want You Bad," even "Ridin In My Car" sent happy chills right through me.

There were two people behind me at the bar, who walked into the club, not knowing who or what they were about to see. I'm guessing tourists by what I heard the gentleman say to his companion.

"Isn't this great? There's supposed to be good jazz here."

My feeling is they just took a shot, possibly hoping for a quartet playing some bop. They seemed stunned after the second song. About 20 minutes in, they were whooping with the rest of us. That is what NRBQ can still do.

Lou Reed walked in about 30 minutes into the set. No one seemed to care. I was completely shocked at first, but only because I thought it was Eudora Welty.

It was a great night. With a great band. And a great set. I wanna do it again and again.

Go buy the album.
http://www.amazon.com/Keep-This-Love-Goin-Nrbq/dp/B004XEOR6W/ref=sr_1_1?s=music&ie=UTF8&qid=1326978925&sr=1-1

Gotta Serve Somebody

2012-01-18T04:32:00.000-08:00

I'm honoring a Top Ten request. Someone wants to see Bob Dylan's top ten "eighties" songs as part of the ongoing "Top Ten Project" series. Now that doesn't mean songs he wrote about leg warmers or Louis Gossett Jr. It would mean songs he wrote during the eighties.

My idea for the Top Tens was to showcase 10 songs...not necessarily the artist's "best" or the artist's "most beloved"...but ten songs that may not be familiar to music fans who had already made a decision, good or bad, about the artist. Bob Dylan is a special case. I'm feeling like there are no casual Dylan fans. People either love him or hate him, so this "Top Ten" may not persuade any of the non-Dylan people. I hope I'm wrong. So, for this assignment, I am asking for your "favorite."

I can do this myself, pretty easily. But I thought this'd be more fun.

So...you have one choice. ONE!

What is your fave Dylan song from the eighties?

Leave your song as a comment. I won't post the comments. They will be tallied and both my ten and your ten will go up on Friday.

Good news! "Man Gave Names To All The Animals" is from 1979.

(P.S. I've been banned from my own "chat box." I don't know how this happened. I sent an e-mail to support, but I expect no reply, just like with DivShare, which suddenly just stopped working for me and never corrected itself. Still waiting for help to contact me. It's been 7 months. Those leaving CBox messages, I am not ignoring you. Promise.)

"The Infinite Monkey Theorem," Or How I Learned To Stop Worrying And Love "Coverdale • Page"

2012-01-17T04:47:00.000-08:00

To paraphrase...if you put 100 monkeys in a room with 100 instruments, 4 of them will eventually churn out a cliche-ridden, innuendo-filled, riff-heavy hard rock album that almost everyone will mock. And I say that with all...ahem...you know...due respect. Such was the case of Jimmy Page and David Coverdale and their rhythm section of original Montrose drummer Denny Carmassi and Gloria Estefan's bassist...that's right...Jorge Casas in 1993.

And while I will not even begin to defend David Coverdale's hair or any Whitesnake videos with or without Tawny Kitaen, if you know me by now, it shouldn't surprise you that I am here to celebrate and defend 1993's "Coverdale • Page" release, as well as the simple pleasures of a big drum sound and just about anything that sounds like Led Zeppelin."

Here's Stephen Thomas Erlewine's AMG review, which belies the 4 1/2 out of 5 stars the record was given:

Everything about Coverdale/Page, right down to the goofy copping of the Presence artwork, is an attempt to recapture the pompous majesty of Led Zeppelin. It doesn't succeed, of course, but it does leave all of the Zep clones in the dust. Although Jimmy Page plays better here than he has since 1979's In Through the Out Door, there is a conspicuous lack of solos. If you've never liked David Coverdale, his performance will not change your opinion. Both fare better on the rockers; the power ballads tend be slightly tedious. Essentially, Coverdale/Page boils down to a guilty pleasure at its best moments ("Shake My Tree," "Pride and Joy," "Absolution Blues"), but never quite rivals the bold experimentation of Led Zeppelin.

Sounds more like a 2 1/2 -3 star write up to me. Actually, I think the review is dead-on, except I always have trouble with the term "guilty pleasure." I feel no shame when listening to this record. I don't feel guilt when I think something is good... and I think this record is good. Yes, every song is a Led Zeppelin rip off, but so what? Every Zep tune was a rip off of something else anyway, right? (I don't really believe this completely. I'm just attempting some preventive quelling of the LZ Hate Squad.)

"Coverdale • Page" goes to eleven. Hell, it goes to twelve and thirteen. It's pompous and silly. You can hear the hair. It sometimes out taps Spinal Tap. But, all of that is just not enough to dismiss some great playing. Plus, it's got a good beat and you can dance to it. Some of it.

(I love music. I can't help it.)

At the risk of oversimplifying, I can't complain about a record like "Coverdale • Page," even with its shortcomings and smatterings of unintentional laughs. Why? Because people like Lana Del Rey and the members of Coldplay exist. That's why. And I definitely can't help myself, even at my age, when my arms begin to form a very subtle air guitar during "Shake My Tree."

I'll get around to lighting some scented candles, opening up a container of hummus, steeping some green tea, and kicking back all introspective-like with a Nick Drake record. (No, I won't.) For now, gimme a shot and a beer and a record that is much better than most want to remember or admit.

Cosby On Cavett On Drumming

2012-01-16T04:35:00.000-08:00

You don't have to be a drummer, a jazz aficionado, or Jack Benny to appreciate this clip, though the first two might help.

(h/t Bobby S.)

Saturday 6-Pack: #4

2012-01-14T01:00:00.000-08:00

Here is the "Saturday 6-Pack," Volume 4, where I put together a week's worth of musical obsessions into one mini-set for your listening pleasure.

This one's for The Byrds, inspired by, believe it or not, a friend's Facebook post about Keith Jarrett that only appeared yesterday. So, so much for a week's worth of musical obsessions. This all came together rather quickly. But as I always say, it all sounds good together.

(It's not easy being me. Just enjoy the music.)

THE SONGS

THE JANGLING MAN- MARTIN NEWELL

The only connection between Martin Newell and The Byrds is the word "jangling." Doesn't matter. Everyone should own "The Greatest Living Englishman," a masterpiece of British pop thanks in some part to one of the greatest living Englishmen, producer Andy Partridge.

MY BACK PAGES- KEITH JARRETT

Dylan wrote it. The Byrds covered it, and so did Keith Jarrett. This is not your typical entry from the genius hands of jazz legend Jarrett, and that could be why I love it so much.

RAIN- TODD RUNDGREN

No Byrds connection whatsoever, but it sits nicely at the center of this mix, and well...there was a 12-string present on the original, wasn't there? (Ah, just wanted to include it. Get off my back.)

LADY FRIEND- THE POSIES

David Crosby wrote this absolutely gorgeous and rarely touted Byrds single about 40 years before he told me to fuck off. Ken Stringfellow & Jon Auer, two people who never told me to fuck off, at least to my face, deliver a stunning rendition, as The Posies.

UNTIL YOU CAME ALONG- GOLDEN SMOG

More 12-strings and some serious harmonies from the super-ish group featuring members of The Jayhawks, Wilco, and The Replacements.

YOU BOWED DOWN- ROGER MCGUINN

Jimmy, with some help from Elvis, on the Costello original. I guess this is the best Byrds connection of the lot.

ZIP

"Groovy January" : THE WEEKEND MIX

2012-01-13T05:28:00.000-08:00

I've been listening to nothing but Terry Reid for the last 3 days, thanks to Steve over at Power Pop and his inadvertant, weeklong tribute to the great vocalist. I suggest you take a walk over there when you are through here. Naturally, all this Terry Reid (re)discovery has led me to a mix of...what? Some groovy rhythm and blues. (Yeah, I don't get it either, but I'm feeling it nonetheless.)

It's not exclusively R&B, but as I always say, I just love how it all sounds together.

I especially love:

The drum fills in The Funk Brothers' instrumental track that are suddenly in your face without those pesky Four Tops singing over them

Wilco's wonderful opening drone from "Yankee Hotel Foxtrot" getting a soulful reinvention courtesy of fellow Chicagoans JC Brooks and the Uptown Sound

Detroit's Johnnie Burke and his killer, lost soul classic. (They don't make'em like this anymore and no, I have no idea who Jonnie Burke is.)

Also from the "they don't make'em like this anymore" school, Swamp Dogg's "Choking To Death (From The Ties That Bind)

It's all good, or at least I think so.

Feel groovy, baby!

TRACK LIST

Something Inside Me- Ray Charles
I Am Trying To Break Your Heart- JC Brooks & The Uptown Sound
Honky Tonk- Levon & The Hawks
The Ironic Twist- Jimmie Vaughan
Takes A Lot Of Loving- Rosco Gordon
Mine Exclusively- Big Star
Raech Out (I'll Be There)- The Funk Brothers
Choking To Death (From The Ties That Bind)- Swamp Dogg
Matchbox- Ike Turner
Love On A Lease Plan- Johnnie Burke
All Your Goodies Are Gone- The Parliaments
Trick Bag- Earl King
3-F Blues (Find 'Em, Fool 'Em and Forget 'Em)- George Jackson
These Eyes- Jr. Walker & The All-Stars
Mojo Hanna- Tami Lynn

Get Your ZIP On

The Little Willies

2012-01-12T05:36:00.000-08:00

Right before her Blue Note Records debut, Norah Jones was the talk of the town, at least in my town. Everyone carried her around in their pockets like a precious little secret and you were either part of the club or you weren't. I missed the early train. I didn't see the pre-major label performances to audiences of 40 or less. I never got the 6 track, pre-major label E.P.. I just got shoved on at rush hour like everybody else. But I got on.

I've been a fan since "Come Away With Me," her gazillion selling first album. I loved the follow-up, "Feels Like Home," even more. Yes, there are times, especially on the last two records, where you just want to give her a little Kramden-on-Norton shove and say, "Will you come on?!" There's a quality in Norah's voice, as pure and wonderful as it is, that can occasionally lull you to sleep, which would be fantastic if you wanted to go to sleep. But even on the upbeat tunes, which are admittedly few and far between on her first four records, Norah Jones never really belts one out. And I know she can.

This brings me to The Little Willies, one of Jones' many side projects and another reason I love her. She's a star. Like huge, with 800 Grammys and lots of very famous friends, and she'd still rather hang around NYC with her buddies and play covers in tiny downtown clubs. With The Little Willies, her buddies are singer- songwriter Richard Julian, guitarist extraordinaire Jim Campilongo, ex-boyfriend, bassist and producer Lee Alexander and drummer Dan Rieser, and the new record, "For The Good Times," released on January 10th, picks up and takes off where the 2006 debut Little Willies left off.

"For The Good Times" is a blast. With Norah and Richard Julian sharing lead vocal duties, this killer little band parties through country faves by Ralph Stanley, Loretta Lynn, Johnny Cash, Lefty Frizzell and the band's namesake, Willie Nelson. Does Norah Jones belt one out here? Well, not in a Janis Joplin sense, no. But it sure does sound like she's done a little shooter of whiskey or two. She plays it less safe than on her solo records, and the result is fantastic. Looser.

The selecton of covers is great- "Lovesick Blues," "Fist City," "Jolene," and one of my all time faves, Kris Kristofferson's heartbreaking title track. Jim Campilongo's Tele-attack will make your jaw drop. He's a player that should be getting a lot more attention.

Take a look:

I don't want to deceive any of you. The Little Willies aren't some rocking twangers like Southern Culture On The Skids or even Commander Cody's Lost Planet Airmen. The production is warmer than it should be. But, I love both these records nonetheless, and if you only sorta liked Norah Jones, I'd give The Little Willies a go.

1,000

2012-01-11T04:48:00.000-08:00

This is my 1,000th post for Burning Wood.

Ain't that grand?

(And only my 544th where either Todd Rundgren or XTC was referenced.)

I'm taking the day off.

Listen to the above piece of brilliance, courtesy of XTC and Todd Rundgren, and I'll see you all tomorrow.

One thousand umbrellas
Upturned couldn't catch all the rain
That drained out of my head
When you said we were
Over and over I cried
'Til I floated downstream
To a town they call
Misery oh oh misery
Misery oh oh misery

And one million teacups
I bet couldn't hold all the wet
That fell out of my eyes
When you fell out with me
Now I'm crawling the wallpaper
That's looking more like a roadmap
To misery oh oh misery

How can you smile and forecast
Weather's getting better
And you'll soon forget her
If you let the sunshine come through
How can you smile and forecast
Weather's getting better
If you never let a girl rain all over you
And just when I thought that my vista was golden in hue
One thousand umbrellas opened to spoil the view

One million salt seas
Recalled from school atlas
Alas would be filled to the brim
Sunny Jim couldn't jump it
How can I be pleased
When I'm handed the keys
To a town they call Misery
Oh oh Misery

So with a mop and a bucket
I'll just say forget her
And carry on sweeping up
Where I've been weeping
The Jesters will creep in
To strike down the newly crowned Monarch
Of Misery oh oh Misery

How can you smile and forecast
Weather's getting better
And you'll soon forget her
If you let the sunshine come through
How can you smile and forecast
Weather's getting better
If you never let a girl rain all over you
Just when I thought that my skies were a June July blue
One thousand umbrellas opened
Two thousand umbrellas opened
Ten thousand umbrellas opened to spoil the view

"He Wasn't A Friend Of Mine" (Songs 'n' The Hoods Part 12)

2012-01-10T06:07:00.000-08:00

I don't like meeting famous musicians, especially those I've followed and adored. It's never how I want it to be, even if circumstances seem to be ideal, like the night Chris Isaak played the Beacon Theatre. A friend who had directed a few of Isaak's videos found out I was going and said he'd introduce me after the show. (One thing you should know about me---I don't like hanging out after the show. I don't want backstage pictures. I don't want my album signed. I just want a cab.)

I forced a "Sure, sounds great," trying my best to go against type.

I met my friend in the lobby of the theatre, and within minutes began schmoozing with Isaak's drummer and larger than life character Kenny Dale Johnson. This went on for an hour, during which time, the corner of my eye focused on the 63 vacant cabs whizzing north on Broadway without me. It started raining.

Finally, about 90 minutes after "Wicked Game" concluded, and Kenny Dale no longer needed to be polite, we were told to move to the side entrance, along with 20-30 other patient diehards. We did, and as we got there, the door opened, Chris Isaak came out, an assistant holding an umbrella over his head, and mechanically signed some autographs. My friend shouted, "Chris!" Isaak looked up and my friend said, "Great show. This is my friend Sal, with the great record store I told you about." Chris Isaak said, "Oh, hi," got in his limo and drove off. I couldn't get a cab for 15 minutes. It was raining.

I don't blame him. I never do, not any of them. But this is why I just stay away.

I met Todd Rundgren twice. The first was at a Utopia in-store appearance at Tower Records in 1982 or 3. The second was backstage at Pier 82 before a performance. I would never have agreed to the backstage meeting, but again, circumstances.

My band was playing a club downtown called R.T. Firefly. We shared the bill with a band whose drummer was Alex Sulton, Utopia bassist Kasim Sulton's brother. We hit it off and somehow ended up on the same bill two more times at two more clubs. We met at the Pier 82 show before hand, and well...he insisted.

No musician really wants to yuk it up with some fans before a show, or at least that's what I've always heard and this meeting proved me right. Kas was as friendly as ever. (Family, you know.) As for Todd, he just looked at Alex and said, "Little brother," and disappeared. So much for that.

Working in a record store, both on St. Mark's Place and in my own place, the meetings were a little easier. It was my turf. I felt more in control. The Ramones were regulars, and gave me the most pleasure. They were really pinheads in the most adorable ways. My three favorite Ramones moments:

1. Marky storms through the front door and screams, "I need to use yer batroom. I just had 4 expressos at Dojo's and dey go right troo me."

2. Johnny asks, "You have that Judy Collins song, 'I looked at things both ways now."

3. Marky tells me he will be leaving for Europe for a tour. I say, "Bring me back a British Ramones Tour T-shirt." He says, "Sure!" Two months later, Marky walks in and flings a shirt in my face. He laughs. I am very excited, except it's a Motorhead shirt. "Hey Mark, what's this?" Marky, "Oh shit. So stupid."

Peter Buck, Ian McKellen, Vernon Reid, Rosanne Cash, Jules Shear, Marshall Crenshaw, the late Bruno Kirby who was a huge Nilsson fan, Marianne Faithful, and even Ray Davies...all wonderful people in my store. Would any of them have been as sweet and gracious and thankful on their turf? I guess it's possible, but so far, my experiences have said otherwise.

Al Kooper would come in, occasionally with Jimmy Vivino, take over the store and the stereo, tell amazing stories, insult me and then leave. Thankfully, Al is a friend. I wouldn't have taken that shit otherwise.

Mel Torme set a record for shortest stay in my store. He walked in, held his ears to prevent himself from hearing even a second of the "racket" that was coming out of the speakers, and asked, "No classical?" I said, "No, I'm sorry." And that was that.

The best night was when long time friend of the shop, Eddie G. gave me a call to find out how busy it was. He wanted to bring in someone special to shop, but was hoping it wasn't too crowded. About 30 minutes to closing time, Eddie walked in with a slight man in a trenchcoat, sunglasses at night and a hat. The store was empty. Eddie said, "Sal. This is my friend Billy. Take good care of him. Billy, Sal's a good guy. He'll help you."

Billy quietly replied, "Sorry. Give me a minute." He unbuttoned the first few buttons of his coat, and proceeded to pull out his long, red beard. Here was Billy Gibbons from Z.Z. Top, extending his hand, "Nice to meet you, Sal." He shopped, I helped, we chatted. One of the sweetest gentleman I have ever met. And he paid with an Elvis Presley credit card.

One last story. This was one of the worst encounters, so I will not mention those involved.

A Grammy winning singer-songwriter became not only a regular, but a friend. I'd go to his house and we'd hang, listen to CDs and talk about New Orleans. He even liked some of my mixes so much, he asked me to put one together so he could take it on the road and play it as his walk-on music before each show.

One afternoon he walks in with a friend. Of all the people I've mentioned, it was this person that really blew my mind. I don't really know why. There are so many factors. I was and still am a huge fan. He's legendary, for so many reasons. He's one of the great voices of all time. And it's a wonder he is still with us.

My friend introduced us, and this icon nodded and grunted a "How ya doin," turned and walked away. He picked up several different CDs and had nasty commentary for each.

"I should have been on this session."

"I never got paid for this."

"Why do people like this record?"

This went on for 30 minutes, and my mouth was agape the entire time. I couldn't accept that this person was in my store, right in front of me. It was surreal.

He finally came back to the counter to check out, and hit me with, "Why the hell don't you have my new CD in stock?"

What was I going to say? I couldn't stock everything, and in actuality, I think I did. It was in the 99 cent bin. (Even legends end up in the 99 cent once in a while.)

I cowered and simply said, "We DO stock it. I'm sure it sold out."

My big mistake was the following:

"It's such a pleasure to meet you. What do I charge such a legend?"

(How very namby-pamby of me...but, it was HIM!)

He slammed the CDs down hard on the counter and barked, "JUST CHARGE ME WHAT THEY COST SO I CAN GET THE FUCK OUT OF HERE!"

I did just that as quickly as possible. My friend looked at me and mouthed, "I'm sorry," and they both left.

If I would have had immediate access to my record and CD collection, every note I owned by this legend would have been tossed into the first greasey dumpster I found. Thankfully, I cooled off.

I've always been satisfied with just listening, though if any one of the aforementioned artists wanted to take me to lunch, I would accept. But my friend's friend would have to apologize first.

PREVIOUS INSTALLMENTS

PART ONE
http://burnwoodtonite.blogspot.com/2010/07/people-and-things-that-went-before.html

PART TWO
http://burnwoodtonite.blogspot.com/2010/07/they-drove-you-or-you-drove-them-crazy.html

PART THREE
http://burnwoodtonite.blogspot.com/2010/08/east-19th-street-brooklyn-it-goes-into.html

PART FOUR
http://burnwoodtonite.blogspot.com/2010/08/i-saw-led-zeppelin-twice-they-sucked.html

PART FIVE
http://burnwoodtonite.blogspot.com/2010/08/hear-my-song-people-wont-you-listen-now.html

PART SIX
http://burnwoodtonite.blogspot.com/2010/08/theres-something-wrong-here-there-can.html

PART SEVEN
http://burnwoodtonite.blogspot.com/2010/09/all-things-must-pass-songs-n-hoods-part.html

PART EIGHT
http://burnwoodtonite.blogspot.com/2010/10/tim-vega-songs-n-hoods-part-8.html

PART NINE
http://burnwoodtonite.blogspot.com/2010/11/all-accessfor-some-songs-n-hoods-part-9.html

PART TEN
http://burnwoodtonite.blogspot.com/2011/03/scuse-me-while-idisappear-songs-n-hoods.html

PART ELEVEN
http://burnwoodtonite.blogspot.com/2011/10/old-records-die-hard-songs-n-hoods-part.html

Glen Campbell, David Bowie, Jimmy Page and Elvis Presley: It's Monday Madness!

2012-01-08T16:21:00.000-08:00

Yesterday was Elvis Presley's birthday. I have nothing prepared. I'll just say this. 1956 Elvis, G.I. Elvis, Elvis movies..."Clambake" and "Change Of Habit" included...fat Elvis, Vegas Elvis, druggy Elvis, peanut butter and bacon Elvis, country Elvis, and especially '68 "Comeback" Elvis... it's all great Elvis. Why? 'Cause he's fucking Elvis. So, Happy Birthday, Elvis Aron Presley. Just about everyone wants to be you, whether or not they say so. (Except maybe Josh Groban.)

And while I've got you, how come nobody named Elvis before Elvis did anything to make the world refer to him as just Elvis?

Saw Glen Campbell on Saturday night. The "Goodbye Tour" hit NYC's Town Hall. I was there.

PROS:

I saw Glen Campbell.

"Wichita Lineman."

His guitar playing was off the hook. Not just flashy, but tasty and creative. He knew exactly what he was doing

"Wichita Lineman."

Got a ride home.

His voice, near perfect.

"Wichita Lineman."

CONS:

The band, which consisted of Glen's kids, shouldn't have been the band. I'm sure there was a reason, as Ashley, his 20-something year-old daughter kept a keen eye on him, and helped him plenty, guiding him, cueing lyrics, and just reminding him who and where he was, throughout what was probably a difficult night...like most nights, I assume...for a man in his condition. My friend referred to them as "functional." I guess that's fair. I believe Glen deserved better for his farewell tour. Am I being petty?

Aside from that, I've got nothing.

WRAP:

I wouldn't have missed it for the world. A fantastic night. He had me at "Gentle On My Mind," an opening that I will never forget. It was hard to ignore the Alzheimer's. At times, Glen's behavior left you squirming to find a way to help. We can only imagine what he's feeling.

Jimmy Page turns 68 today. I won't bore you with another 50 words on why the mighty Zep is important or why there's more to this band than just their first two records, or how brilliant their improvisational skills were when performing live. No. I won't waste 50 words on stuff you already know just because it's Jimmy's birthday. It's not like he's reading. Instead, take a listen to the short piece music above from the otherwise forgettable "Death Wish II" soundtrack. I've always loved his playing on this.

Speaking of birthdays...The Dame, Miss David Bowie, turned 65 yesterday. I won't begin to expound on just what kind of Bowie fan I am. The photo below should give you an idea of how he affected me in the late 70s. My gift to you.

There is a lengthy Bowie post in our future. Until then, here is a monster performance from October of 2002, one of my very favorites. Just look at this set list. I mean, the fucking "Bewlay Brothers."

It's a long show, so it's broken into 3 zips.

Have fun.

TRACK LIST:

Life On Mars
Ashes To Ashes
Look Back In Anger
Survive
Breaking Glass
Cactus
China Girl
Slip Away
Absolute Beginners
Alabama Song
Speed Of Life
Be My Wife
Fame
I'm Afraid Of Americans
5:15 The Angels Have Gone
I've Been Waiting For You
Afraid
Fashion
Rebel Rebel
Heroes
Heathen (The Rays)
Sunday
I Would Be Your Slave
Moonage Dayream
Changes
Starman
A New Career In A New Town
Everyone Says "Hi"
The Bewlay Brothers
Sound & Vision
Hallo Spaceboy
Let's Dance
Ziggy Stardust

DB1

DB2

DB3

"The Top Ten Project, Parts 4-5" : THE WEEKEND MIX(ES)

2012-01-05T18:00:00.000-08:00

The Not-So-Obvious Top Tens continue with two artists; a band I promised last week and a challenge from a reader.

The point here is to hopefully introduce some songs that may have gotten lost in the shadows of the often inferior hit recordings by major acts. Here's the link for the original post if you'd like some background.
http://burnwoodtonite.blogspot.com/2011/12/sals-self-indulgent-but-hopefully.html

Queen is a hard sell, but I love this band, and I've made it an ongoing mission to get "We Will Rock You" and "Bohemian Rhapsody" and "Another One Bites The Dust" and...okay, "Radio Ga Ga" out of the collective craws of the Queen haters. (I have little hope.)

The challenge from one reader was a Top Ten of post-"Diamonds & Pearls" Prince tunes, implying that the man hasn't made a good record in 20 years. Well, at the risk of ruffling some purple feathers, aside from 1995's "The Gold Experience" and 1997's "Emancipation," two albums I'll put up against anything in Prince's catalogue, he hasn't. But there have been a handful of killer tracks. My 10 faves are below.

If you're fans of either Prince or Queen, the songs will be familiar. If you're not, maybe these selections will change your mind just a bit.

Chaos & Disorder
The Work Pt. 1
Supercute
Sweet Baby
When I Lay My Hands On U
The Holy River
When Will We B Paid
U Make My Sun Shine
The Love We Make
Gold

Long Away
Tenement Funster
Hammer To Fall
The Millionaire Waltz
It's Late
'39
She Makes Me
The March Of The Black Queen
Funny How Love Is
Seven Seas Of Rhye

PRINCE

QUEEN

Todd Rundgren And The Five Stages Of Grief

2012-01-04T18:49:00.000-08:00

Picture this:

Four guys in New York Yankees gear, sitting in upper boxes right behind home plate in Yankee Stadium, drinking beer and being "those" guys. It was 1987, and Rickey Henderson was leading off in the bottom of the first inning. The jeers were brutal. The game didn't even start...really. Lots of "you sucks," and "your dones" before anything really began. This display of appalling behavior grew more visceral with each of Rickey's at bats.

Nine innings might as well be 40 years, when your team can't seem to hit that homerun when you need it. I can't recall the actual set up in the 9th, but for innings one, three, and seven, Rickey's whiffs and poofs made the stank of the Bronx River Avenue subway station almost fruity. The 9th was a fairy tale. I don't remember details, but you can set it up yourself. Anything will do. Rickey's up for one last time, and those guys...drunker...continue.

"You're finished Rickey!" "Its over!" "MARY!"

(Yeah. "Mary." I heard it. I swear. Probably, a few more "you sucks," too. I can't confirm.)

SMACK!

Rickey won the game. One of the 4 guys went berserk. He removed his Yankees windbreaker to reveal an official Rickey Henderson, Oakland A's jersey. He was screaming and flailing so hard, he almost spilled his 6th beer. It was tough love for the first 3 at bats. It was true love and respect in the end.

And then there's Todd Rundgren.

I think I've finally and satisfyingly made it through the "five stages" of Todd Rundgren Grief.

DENIAL: "No World Order"

This 1993 foray into electronica, rap, and interactive entertainment had its moments of pure Todd. But no matter how many faithful stabs I made at trying to embrace this music, I couldn't. I always found myself thinking, "I guess 'Bang On The Drum All Day' isn't that bad." Innovative? Maybe. Unpleasant? Most definitely.

ANGER: "The Individualist"

More rap and more frustrating. There were spectacular songs here, sabotaged again by something the man wasn't born to do. Rap.

FYI: I really don't want to hear The Beastie Boys doing Philly soul ballads either. It's not about rap, which I enjoy. It's about Todd Rundgren rapping, which I don't.

BARGAINING: "Live From Daryl's House"

Two episodes of Daryl Hall's groundbreaking webcast found two old Philly friends wearing very comfortable shoes. The result was some of the best music either artist had produced in years. Sure, it was old material, but it was inspired. I'd give anything to hear a new collaboration.

DEPRESSION: "reProductions"

The nadir of my hero's output. Soulless and uninspired techo-takes on songs the man had produced for others. This might have worked with a band and some guidance and...well...a record label that cared. I don't blame the man so much. We work because we need to work. But I still don't like it. Actually, I don't don't like it. I hate it. Like, it really makes me miserable. That type of don't like.

ACCEPTANCE: Todd Rundgren. A Wizard. A True Star. A man that has inspired me in more ways than I could or should divulge.

Todd Rundgren is 63 years old. He has paid his dues and I'm happy that he still makes music. Any music. The Utopia reunion shows of 2011 were a dream come true for the late, great Moogy Klingman, not to mention so many fans. I saw two of them. One with Moog and sadly, one without. I'm critical. And sometimes, I'm an asshole. But like Rickey Henderson's fans at Yankee Stadium, I just wanted what I knew was there. I just wanted to not only be reminded, but see up close and in person, why I loved Todd Rundgren in the first place.

Then there's this:

From 9/24/11, this is Todd Rundgren with the Metropole Orkest.

WAILING WALL
http://www.divshare.com/download/16514665-30e

40 years after its intial release, "Wailing Wall" from Todd's second album, "The Ballad Of Todd Rundgren," gets a Bacharach makeover. I'll keep to myself just what it did to me on the first listen. (Second listen, too.) It may not be perfect, but it is what it is. I think that's what is most satisfying.

I do hope Todd Rundgren happens upon something to inspire a new record of original material. 2005's "Liars" was a critical success, and a personal fave. Whatever's next, I am ready. I'm retiring from giving the man a hard time.

"You can say what you will about me
talk is cheap and I don't mind
When you lay your life down in them grooves
you know you're bound to get scratched up sometime"

"But Maybe Everything That Dies, Someday Comes Back."

2012-01-03T18:44:00.000-08:00

30 years ago today was the date that Bruce Springsteen sat down with his guitar, a tape recorder and a head full of things he couldn't live with or live down. The songs he recorded that day became one of the strangest and most powerful albums ever released by a major recording artist-especially at that time. The album was "Nebraska" and to this day it remains a haunting, honest, personal masterpiece. In fact, one of the titles considered for the album was "January 3, 1982".

The tapes were originally just meant as demos for the E Street Band but it soon became clear to everyone involved that they were perfect just the way they were.

That was written by my friend Chris Collins. I'm a day late, I know, but I wanted to get on board with this sentiment that was so masterfully expressed by Chris.

"Nebraska" was hardly the record Bruce Springsteen fans...diehards and fair-weathers alike...wanted as the follow-up to "The River." "Strange" and "powerful" were Chris's memories. Mine seem less romantic, as most of my friends after the first listen, turned "Nebraska" into Odd Job's hat. Now that we've had time to calm down and sock away the initial anger and confusion, "powerful" may be an understatement.

When I was behind the counter at my CD shop, I was "blessed" with the inability to leave at the moment someone would begin to pontificate over the importance of everyone from Sandy Denny to Martin Denny. Unless breaking through my front window and leaving a full body cut-out like a classic Looney Tunes short was an option, my only choice was to smile and nod. It came with the territory and I learned just as much as I loathed.

But the one artist that always brought out the best (read: worst) in people, was Bruce Springsteen. I had one customer who thought, "I wasn't born in Jersey. I never worked in a factory. I don't like cars," was some sort of ace-in-the-hole, when sharing his contempt for "The Boss." If you're reading this, Mr. Regular Customer who only bought Beatles' bootlegs, you're an asshole.

I wasn't born in Jersey. I've never worked in a factory. And I don't drive. I do have a heart, mind, and soul. And I love music more than I love most things. That should be enough to recognize the brilliance and power of the songwriting and performances on "Nebraska."

One last memory, though it's a recent one. A friend and I witnessed Bruce and The ESB's full performance of "The River," at Madison Square Garden in November of 2009. It was a night of "moments." But nothing seemed to hit home for either of us, the way "Atlantic City" did. You see, we didn't expect it. But we knew we wanted it, even on a night devoted to "The River."

It's not as if "Atlantic City" is a concert rarity, like say the piano-only version of "Atlantic City." But it happened to be my friend's favorite Bruce tune, while it sits in my Top 3. I had seen the ESB many times before. This night was my friend's first. The performance of "The River" in its entirety was a gift. The first encore of "Atlantic City" was a miracle.

Thanks Chris for reminding me not only that "Nebraska" is 30 years old, but that few records before and after, can say so much with so little. It's Bruce and a guitar, and sometimes that is all you need.

Well now, ev'rything dies, baby, that's a fact
But maybe ev'rything that dies someday comes back
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic City

Best R&B Album Ever

2012-01-03T04:55:00.000-08:00

Bobby "Blue" Bland's "Two Steps From The Blues" is the best rhythm and blues ever recorded. There, I've said it. Others have said it too, but I'll guess not everyone reading has heard it. You've seen it in record shops or referenced in music bios and magazine articles, or in interviews with musicians the record has influenced. But have you heard it? All of it?

It's time. Maybe the first post of 2012 should have been a more positive one, I just couldn't find any artist who has an album called, "Yay! I've Got A Clear Head." Besides, Burning Wood has always tried to be about great music, and even if not everyone is always two steps from the blues, don't deny yourself one of the greatest records ever made.

Start with these.

CRY CRY CRY

I'M NOT ASHAMED

DON'T CRY NO MORE

Last Thoughts Of 2011

2011-12-31T00:30:00.000-08:00

This is it. The last of 2011. The last of a year that kicked my ass and laughed while doing it. 2011 was a motherfucker.

I remember January 1st, 2011. It was right about 1:PM, give or take a few minutes, and I had just come out of the icy waters of Coney Island with a couple of hundred other "polar bears." As I shivered my way back towards the boardwalk, I thought, "Bring it on!" That sonovabitch 2010 is now a memory, washed away by the waters of my beloved Brooklyn. It seemed perfect. I felt reborn and ready to do it right.

Then a few days later, I got some bad news. A few days after that, more bad news. 2011 was a bust and it was only January. Bad news is a motherfucker.

I learned you can't escape it. Like death, taxes, and another Michael Bolton album, there will always be bad news. But here's a new opportunity... January 1st, 2012. Another in a series of second chances to embrace the fact that whatever makes us feel as bad as we do, could always be worse.

It's the beginning of a new year and a new go at doing it right.

New Year's Eve is a tough night for a lot people. But it is only a day...with a night...and an eventual finish. New Year's Eve is everything and nothing. It could very well be May 21st, if you want it to be.

Be kind. We are all human. We are all trying to make it work. Sometimes, you just need a little help.

You can't always get what you want. But if you try sometimes....well...you know the rest.

You are not alone,
I'm with you
I'm lonely too
What's that song,
Can't be sung by two.
A broken home,
A broken heart,
Isolated and afraid,
Open up this is a raid,
I wanna get it through to you,
You're not alone.

You're not alone,
Every night,
I stand in your place.
Every tear,
On every face,
Tastes the same.
A broken dream,
A broken heart,
Isolated and afraid,
Open up this is a raid,
I'm gonna get it through to you,
You're not alone.

An open hand,
An open heart,
There's no need to be afraid,
Open up this is a raid,
I wanna get it through to you,
You're not alone.
I wanna get it through to you,
You're not alone.
I'm gonna get it through to you,
You're not alone.

HAPPY NEW YEAR, FRIENDS!

See ya, 2011!

"Sal's Self-Indulgent But Hopefully Entertaining Top 10 Project Realized, Parts 1-3" : THE WEEKEND MIX(ES)

2011-12-29T12:46:00.000-08:00

Back when I was a much younger music dork making mixtapes on those sexy Memorex Chromium Dioxide cassettes with the switchblade-style case and that killer, new tape smell, I'd go absolutely mental when a great idea for a theme would come to mind. I couldn't wait to lock myself in my room with a big glass of Hawaiian Punch, a box of Milk Duds, and my air traffic controller-size Koss headphones carefully balanced on my head. Of course, looking back at some of those old tapes, those "great ideas" were mostly just ideas.

"B-Sides." "Girls' Names." "All Instrumental."

Meh.

One theme was a series called "Top 10," where I chose my ten favorites songs by one artist and compiled them in ascending order. Chillingly brilliant, no?

~yawn~

A few years ago, I had a conversation with a friend who was getting rid of almost all of his CD collection. I mean, thousands of CDs, just packed and ready to move. I understand that feeling. I've been there, and am actually there now. (I have about 4,000. I'd like to have about 500. Any interest? Let's talk.) What bothered me about my friend was this statement, "All I need are the 'greatest hits' of everyone." I wanted to slap him with a pike. Suddenly, all these fabulous artists, these brilliant singers and songwriters, these stellar musicians, were no longer necessary to this long time music fanatic. His words, "'I Want You To Want Me' and 'Surrender' are Cheap Trick's only good songs anyway," caused my heart to attack me.

I was so taken by his change of heart about all of his music, I offered to make CDs...an endless supply...each featuring 20 songs that weren't greatest hits by, well...everyone. I just couldn't accept the fact that someone who claimed to love music, could be satisfied with a lone Bob Dylan CD that had ten songs, one of which was "Lay Lady Lay." Or worse, that he passed judgement on bands that I considered my all time faves like Cheap Trick, Queen, and Hall & Oates, based solely on radio hits like "The Flame," "We Will Rock You" and "Maneater."

(You still with me?)

I married these two stories and came up with a project I've been wanting to attack for years. For this "WEEKEND MIX," here are the first three of what I hope to be many, Top Tens, featuring the not so obvious. Maybe the naysayers and the uninterested will find something they never knew existed. And for the fans, maybe you'll just have some fun comparing my fave non-hits with yours.

Up first, David Bowie, Cheap Trick and Hall & Oates. (We'll save Queen for the new year.)

In the case of Bowie, I focused solely on his last 4 albums. Too many people gave up after "Scary Monsters," which is one of my least favorite Bowie records by the way, and didn't even bother after he released such 80's dreck like "Tonight" and "Never Let Me Down." As for Cheap Trick and Hall & Oates, well as I said, I love these people, so it wasn't easy to narrow it down to ten. But I did, keeping your ears and three years of your comments in mind while editing.

Have fun!

TRACKLIST

New Killer Star
Something In The Air
Slow Burn
Seven Years In Tibet
5:15 The Angels Have Gone
She'll Drive The Big Car
You've Got A Habit Of Leaving
Survive
Fall Dog Bombs The Moon
Everyone Says "Hi"

TRACKLIST

Back 'N Blue
Let Go
Oh, Candy
Everything Works If You Let It
Mandocello
I Don't Love Here Anymore
That Means A Lot
Closer, The Ballad Of Burt & Linda
Heaven's Falling
Southern Girls (Steve Albini Mix)

TRACKLIST

Abandoned Luncheonette
Grounds For Separation
London, Luck, & Love
Someday We'll Know w/Todd Rundgren
Guessing Games
70's Scenario
Head Above Water
August Day
So Close
Some Things Are Better Left Unsaid

DB

CT

HO

The Ox Mix

2011-12-29T05:21:00.000-08:00

I don't know if I trust any comments left on You Tube. Most seem to border on the psychotic. But as I was looking for footage of The Who from 12/31/68, I stumbled upon this. Within seconds, you will notice that it is a kuh-RAZEE mix, like John Entwistle broke into the studio one night after a few pints, got hold of the mixing board and said "Oh yeah, Pete? I'm too loud, you say? Well, how's this?!"

One comment references a single from which this mix originated. I have said single and while it's sounds pretty damn Ox-heavy, it's nothing like this video. It could have been doctored by the uploader. I like it, whatever it is.

Oy, Canada

2011-12-28T04:40:00.000-08:00

I'm not big on New Year's resolutions, but I'm considering making 2012 the year of Chilliwack. I mean, does it get any better than this?

YES! YES IT DOES!

You Thought He Was Good As Clemenza?

2011-12-27T11:36:00.000-08:00

Here's a treat from my friend Mike Sac:

This kid's grandparents had a great store on Bath Ave. in Brooklyn when I was growing up. We all bought a lot of stuff from them. Their son John opened a store around the corner from where I lived in the 70's/80's. I bought a LOT of guitars from HIM.

This is John's son Rich, who plays bass in Blue Oyster Cult. Recently, there was some sort of Queen audition and I think this was his audition tape.

Even if you can't bring yourself to listen to Queen's "Bohemian Rhapsody" ever again, find five minutes for this.

A Little Help For Your Friends

2011-12-26T05:23:00.000-08:00

Recently finding it's way under the radar and into your favorite record shops is a new compilation entitled "Jimmy Page- Playin' Up A Storm," a collection of tunes showcasing JP as sideman. But don't be fooled, all this really is is the Keith De Groot LP from 1968. (Hello? Wait! Come back!)

As Dave Thompson over at AMG says:

Keith De Groot is one of those names that flickers only briefly across the average fan's mind, courtesy of just one performance -- as lead vocalist on one of the manifold superstar jam albums recorded in the U.K. during the late '60s.

None of this very exciting. If you're ready to bail and head over to the Naked Midget Canola Oil Wrestling site, I wouldn't blame you. But, let me just get one more thought in.

When I first saw the title of this release, it was Joe Cocker's version of "Bye Bye Blackbird" that immediately came to mind, and not any one of Jimmy's stellar performances from a little band called Led Zeppelin.

Check it out:

Got to be in the Top 3 Jimmy solos... in my book.

So, I was burning some wood, and aside from Eric Clapton, who we've chinwagged to death on these pages, who else rises to the occasion when someone else is the boss? If you want to get real specfic, is there a guitar player whose best performance appears on a record other than his own?

"Holiday Playlist #3": THE CHRISTMAS WEEKEND MIX

2011-12-22T12:10:00.000-08:00

CHRISTMAS HAIKU:

Did you get a tree
No, it's more like a large plant
But it still has balls

(Thank you)

The idea is simple.

I wanted to mix ten of my absolute favorite tunes to listen to during the Christmas season and ten of my all time favorite tunes to listen to the rest of the year.

I wasn't shooting for cool. Hence, the inclusion of such heavily rotated tracks by Mariah Carey, Mott The Hoople, The Rascals, and The Pogues.

Please enjoy and try not to yack up your egg nog just because Mariah Carey is represented and not the Fleet Foxes.

MERRY CHRISTMAS

God Rest Ye Merry Gentlemen- Jimmy Smith
Everyday Will Be Like A Holiday- Jules Shear
Rain- The Beatles
Sunny- Bobby Hebb
Groovin'- The Young Rascals
Sunset & The Mockingbird- Duke Ellington
The Verb To Love- Todd Rundgren
A Shot In The Arm- Wilco
Driving Home For Christmas- Chris Rea
September Song- Tim Laughlin
The Sun Ain't Gonna Shine Anymore- The Walker Brothers
Thanks For Christmas- XTC
Blackberry Winter- Keith Jarrett
Elenore- The Turtles
All I Want For Christmas Is You- Mariah Carey
All The Young Dudes- Mott The Hoople
A Merry Jingle- The Greedies
Fairytale Of N.Y.C.- The Pogues w/ Kirsty MacColl
Stardust- Hoagy Carmichael
Merry Christmas Baby- Charles Brown

Fa-La-La-La- ZIP-La La La La

On a serious note, Merry Christmas to all of you.

Wilco's Chanukah Gift

2011-12-21T10:03:00.000-08:00

If you're a casual fan or higher, please take my word for this and head over to Wilcoworld.net. Click on the "roadcase" tab and listen to one of the most inspired shows of Wilco's career. It is a full show from the Civic Opera House in Chicago, recorded on 12/12/11, and it is streaming for free.

A killer set list with amazing sound and just a band on fire.

Here's a zip of the encore, if you need a little push.

OUTTA SITE (Holiday Version)
CRUEL TO BE KIND (w/Nick Lowe)
YOU ARE NOT ALONE (w/Mavis Staples)
THE WEIGHT- (w/Nick Lowe and Mavis Staples_

WILCOZIP

Holiday Playlist #2

2011-12-20T06:02:00.000-08:00

I realize I'm not really Kathie Lee Gifford when it comes to spreading Christmas joy. But I'm not all coal and sour grapes either. There is something about the sound of sleigh bells that still makes me get some good shivers going. And though I do have more untraditional Christmas memories than I have jolly ones filled with tree-trimming and mulled cider, there is one great moment that comes to mind every year about this time.

It was December 1983 or 4, and my friend Carl and I were driving out to Jersey somewhere to catch a movie. He worked in Linden and knew of all these theatres that showed first run features for half the price. Plus a good drive with the radio blasting was never a bad idea. Before we hit the Holland Tunnel, he said he wanted to drop some stuff off at the Bowery Mission. I wasn't opposed to the gesture. I was just concerned that it had to happen right then. I didn't want the movie to sell out. (This was before Fandango or Moviefone.) I hadn't a choice in the matter, so of course I went along, harrumphing along the way.

We parked and carried some boxes inside. Carl was donating some old cookware. We handed it off to two men, both looking tired and unkempt. A bunch of other faces of all ages, all a bit disheveled and disoriented, looked our way and lit up a bit at the sight of the boxes. No one knew just yet, what was inside the boxes, but it clearly mattered little. The two men said thank you, and we headed for the door. That's when we heard, "HO! HO! HO! Pots and pans!" We turned around and saw these men admiring a few used crock pots. Happy.

Almost 30 years later and I still can't hear "Ho! Ho! Ho!," without finishing it off with "Pots and pans!"

That was a good Christmas.

Here is Holiday Mix #2 a bit more traditional than the first, but you know...not really.

As always, I put it together because I like the way it sounds. Maybe you will, too.

TRACKLIST

Till The Morning Comes- Neil Young
Poor Old Rudolph- The Bellrays
A Child's Christmas In Wales- John Cale
I Wish It Was Christmas Today- Julian Casablancas
All Things Must Pass- George Harrison
Rosslyn- Smith & Burrows
Let It Snow- Jon Auer
Albatross- Fleetwood Mac
It Came Upon A Midnight Clear- The Fab Four
Fistful Of Mercy- Fistful Of Mercy
Up On The Roof- Laura Nyro
Rumple Minze- Wyldlife
Old Fashioned Christmas- Duke Pearson
Harvest Festival- XTC

Have a holly, jolly ZIPFILE

The Dark And Light Side Of Christmas

2011-12-19T10:24:00.000-08:00

There's a scene early on in Cameron Crowe's modern day classic "Say Anything," where John Cusack and his sister Joan, playing brother and sister in the film, have a short but meaningful bit of an argument. Joan's character seems to be whining and complaining about minor everyday irritations, and continues by taking some of her hostility out on her brother. He asks her, "How hard is it to get in a good mood?" He continues with, "I'm sorry Tim left you, but I am not Tim. You were hilarious once."

How hard is it to get in a good mood? I won't go against type here when I say, a good bouncy version of "Silver Bells" isn't always enough. I have a friend who was "hilarious once." Still is, actually. But not this week. Not any week where Christmas is involved.

Every year I see friends and family getting pushed to the edge while trying desperately to display what we've come to understand as necessary behavior for the Christmas holidays. They try to muster an acceptable attitude, when deep in their hearts, they'd like nothing more than to not be pressured or guilted into spending money, having to be somewhere, or suddenly having to wear some cheek-spraining grin because some Clydesdales are galloping through the snow. This Christmas, I'd love to see those who feel it, to feel it with all their hearts. And those that don't, to be given a free pass. Sometimes, you just don't feel it. It's not a crime, and no one should be made to feel that it is.

I used to have some fantastic Christmases. Most were before I was 25 years old. Most were before I didn't have a care in the world. But as you get older, your responsibilities change. And so do your priorities. And so do your feelings. Christmas is really not the "most wonderful time of the year." It's the most "unforgiving stretch of pressure and must-dos" that inevitably make the broke broker.

What bothers me most is, for the rest of the year, the same friends and family who have such a hard time with the holidays, seem to handle their daily hardships like kings and queens. They live life day to day, and if you forgive the phrase, often make lemonade with their lemons. Why? No one expects as much from others in March or August.

Now the title does say "dark and light side."

I've eaten some great meals on Christmas Eve. I've had some amazing laughs on New Year's Eve. New Year's Day will find me once again, plunging into the ocean with the Polar Bears on Coney Island. I don't hate Christmas music. While I do hate Mariah Carey, there are few Christmas songs that make me as happy as her's does. I love seeing friends and family. It really can be okay. But I've also experienced first hand, family members crying over getting the wrong gift, or saying things like, "Did you really think I'd wear this?"

One year, when asked what I wanted for Christmas, I replied, "I don't care. It's not about that. Whatever. Nothing is fine." I won't reveal who asked me, but this was her reply, "What's wrong with you? Can't you make this easy for me?" To avoid a holiday smackdown, I simply said, "A new Yankees cap. That should be easy enough." Christmas Eve, I opened my box, and it was a Mets cap. I couldn't help my reaction. I'm sure my face changed just a bit, but I said, "Wow. This is great. Thank you." "What's wrong," she asked, "you made a face." "Well," I said, " this is a Mets cap."

"THAT'S WHAT YOU SAID!"

Merry Christmas to me.

Sure, this is one story out of thousands that we all can share in one capacity or another. The crazy Aunt who sends peanut brittle. The sister who hates hoop earrings. But, if we really want to experience Christmas spirit, my wish is to see people left to their own devices. Chances are, all will play out exactly as expected. I just don't find it helpful when I hear stories of people being told, "You have to buy these for my daughter. You said you would." My answer would be, "Buzz off! You have money. YOU buy them for your daughter. I'll buy what I can afford."

The holiday season can be a joyous time. But we should all remember those who may not be feeling as joyous. Their feelings are just as valid.

How hard is it to get in a good mood?

Not hard at all. Just live your life. As long as it's legal, whatever you want to do should be ok. And if you've got siblings, or kids, or close friends, or an aunt and uncle...if they are good people, they'll understand.

Merry Christmas. The music returns tomorrow.

(This was written for a friend, as much as it was written for me and all of you.)

Saturday 6-Pack: #3

2011-12-17T05:17:00.000-08:00

This one created itself.

A new episode of "Live From Daryl's House" premiered on Thursday evening. It was a holiday special that featured guest stars Blind Boys Of Alabama.

I was unaware that Daryl Hall started as a gospel singer. I guess it wouldn't be too difficult to surmise. It seems like so many singers unknowingly began their careers in the church. But listening to Daryl with these gospel legends was something of a revelation. There is a different approach to his singing. With the inspiration of the Blind Boys in the room, Daryl Hall sounds 25 years younger.

This is one set of music that should take the humbug out of the hardest of hearts. You should watch the episode if you have the time, just for Blind Boys' leader Jimmy Carter. The guy must be 133 years old and his voice could move mountains. I hope I can sing like he does when I'm 133.

SET LIST

Take The High Road
Born In Bethlehem
It Came Upon A Midnight Clear
Go Tell It On The Mountain
Can You Give Me A Drink
Last Month Of The Year

THE ZIP

"Holiday Playlist #1": THE WEEKEND MIX

2011-12-15T18:56:00.000-08:00

What we have here is my first holiday mix of the season. Oddly enough, it contains no holiday music. Correction! It contains no "Christmas" music. Personally, I think the 20 songs compiled here are perfect for any holiday.

I thought about a theme, but couldn't find one...except...this hour of music represents what my 10PM-12AM shift would sound like if the gods of radio were courageous enough to offer me my dream DJ job.

WHAT'S WHAT--

I count 4 covers:

Queen via Neko Case
Aerosmith via Lou Ann Barton
Elvis Costello via Nick Lowe
Cole Porter via Sammy Davis Jr.

4 songs by the original artists whose covers you may be more familiar with:

The House That Jack Built (covered by Aretha)
Ice Cream Man (covered by Van Halen)
If Sugar Was As Sweet As You (covered by Rockpile)
WPLJ (covered by The Mothers Of Invention)

1 song by Norah Jones' step-sister:

Red Sun

The mix rounds out with tunes I love, that I hope you will, too.

I get a kick out of sequencing and listening back with the ears of all of you. There's something for everyone...I hope.

Give this mix a ride. You may discover some new faves.

As always, I present this playlist as something that sounds good as one. No skipping.

(I'm watching you.)

TRACKLIST

The Taking Of Pelham 1-2-3- David Shire
Apricot Brandy- Rhinoceros
Bam Balam- The Du Droppers
The House That Jack Built- Thelma Jones
Misdemeanor- Foster Sylvers
I Don't Remember Your Name- The Records
Big Noise From Winnetka- Bob Crosby & His Orchestra
Bread & Butter- The Newbeats
Misfire- Neko Case
Chalk One Up For Albert's Side- Jim Boggia
Ice Cream Man- John Brim
If Sugar Was As Sweet As You- Joe Tex
Girl Talk- Billy May
Red Sun- Anoushkar Shankar
One Way Street- Lou Ann Barton
Working Girl- The Members
WPLJ- The Four Deuces
Alison- Nick Lowe
Waters Of March- Tom Jobim & Elis Regina
Begin The Beguine- Sammy Davis Jr.

IT'S THE MOST WONDERFUL ZIP OF THE YEAR

Led Zeppelin's Forgotten Son

2011-12-15T05:55:00.000-08:00

Good response on both the XTC and Grateful Dead posts. Something came to mind while reading the comments.

The song I posted for the Dead, an instrumental outtake of "Death Don't Have No Mercy," is a song I felt would have been appreciated, even liked, by people who don't like the Dead. I'm wondering how many didn't bother to listen just because of who it was.

Then, my pal ASH made these comments on the XTC post:
"Skylarking is an easy choice for most"

and...

"I defy anyone to make an album as English and original as Big Express. XTC have made better albums, but none as original."

So it got my wood burning.

That first Grateful Dead record seems to strike a chord with many Dead-hating friends of mine, simply because of the 60s, "nuggets-y" feel of both "The Golden Road" and "Cream Puff War," two songs that could be Paul Revere & The Raiders or the 13th Floor Elevators, for Pete's sake.

"Skylarking" had the huge MTV hit "Dear God," and because of it, found a much bigger audience that had been eluding XTC for years, but as ASH said, it's "The Big Express" he makes return trips to.

So combining all these ideas, I decided to show some public love for Led Zeppelin's 7th studio release, 1976's "Presence," an album that was ill-received upon its release, and continues to garner somewhat shakey reviews. And I'll go out on a limb here, but, there's a certain group of Zep fans that will only show love for their first two, and others who have never even bothered to listen to anything after "IV." I've experienced these people first hand---first while standing behind a counter for 15 years, then at various times on the pages of Burning Wood.

"Presence," in many ways, is a Led Zeppelin "Greatest Hits" LP, in that it covers everything the mighty band has successfully attempted on prior releases. There is the monster epic, "Achilles Last Stand," a 10 minute attack that showcases one of the greatest rhythm sections in the history of the world, as well as one of Jimmy Page's finest solos. There is your slow-melting blues number, "Tea For One." Your "Good Times, Bad Times" attempt at a pop single with "Hots On For Nowhere." Your hall of fame riffage, a la "Whole Lotta Love" in "For Your Life," which All Music refers to as the "best song on the album." Your "Bring It On Home," harp-blowing blues workout in "Nobody's Fault But Mine." And two hard rocking tributes to the roots of rock and roll, "Candy Store Rock" and "Royal Orleans."

There was a recent discussion...a discussion that seems to take place once a month....over Jimmy Page and his tendency to steal from the great folk and blues artists that came before him. Our friend, BuzzBabyJesus wrote a brilliant piece on it HERE. But I've tried to never let one's reputation get in the way of the final product. (There are plenty of great Woody Allen movies after "Crimes & Misdemeanors." Honest.) Yes, there are some examples in Buzz's piece that are so blatant, you wish you could just smack Jimmy and ask, "What the hell were you thinking?" But those 3-4 examples are just a small piece of the pie. And if anyone had any interest in LZ at all, I find it astonishing that with such a small catalogue...only 8 studio releases...even one record could go unexplored.

"Presence" is an unsung hero, a massive record by a massive band, and a collection of music, that deserves a second chance, and in many cases, a first chance by those who jumped ship after "Stairway To Heaven."

What would you nomimate as an "unsung hero," or an album that may turn a non-believer into a fan?

You And The Clouds Will Still Be Beautiful

2011-12-14T05:11:00.000-08:00

Yes it that's time. It seems like once a year, I shut off all incoming except for the Partridge Portal. This is a time where I not only listen to XTC exclusively, but I marvel with mouth agape at the genius of not only Mr. Andy Partridge, but co-horts Colin Moulding and Dave Gregory.

Unlike all other favorite music, I listen to XTC the same way I watch "The Simpsons" or "The Godfather." Just as Coppola's masterpiece rises above all other films, and "The Simpsons," after 20 years still leaves me wondering how actual people can write such brilliant material...so brilliant, I sometimes don't laugh, I just say out loud to no one, "Oh my God!"...an XTC song can be layered so precisely, that humming along is not even in the cards. I just hear things, like a lyric or bass line, or one of Andy or Dave's underappreciated guitar solos, and I just smile, or say out loud to no one, "Oh my God."

That said, this is the one that's been leaving round the clock goosebumps this holiday season.

And every morning before I'm awake
I walk around the world
To make sure she's alright
And every evening, 'fore I bolt the door
I give the stars a stir
To make sure they will spin all night

For I see people who will scratch
And spit and kick and fight
And I see nations war about whether
Right is left and whether wrong is right
And I know storms inside your head
Can amplify the plight
But no matter what the weather
You and the clouds will still be beautiful
No matter what the weather
You and the clouds will still be beautiful

And every Troy with wooden horse
I take to peaceful waters
But can't make him drown
And every Bastille
that gets storm troopered
Hail to the chief comes raining raining
Raining down
And I've seen people conduct lightning
Down to a summer's day
And I see nations playfully hurl
Snowballs packed with stones and clay
And I know rain inside your head
Can seriously put a stop to play

But no matter what the weather
You and the clouds will still be beautiful
No matter what the weather
You and the clouds will still be beautiful
So let it rain!

And we see flying saucers
Flying cups and flying plates
And as we trip down lovers lane
We sometimes bump into the gate
And I know thunder in your head
Can still reverberate
But no matter what the weather
You and the clouds will still be beautiful
No matter what the weather
You and the clouds will still be beautiful
No matter what the weather

So let it rain
Just let it rain!

Jerry Christmas

2011-12-13T05:00:00.000-08:00

You know I go hot and cold with the Grateful Dead, which is an improvement over the close-minded kid who showed no respect at all, not even for Jerry. But even on the cold days, their debut is still one of my very favorite records. So as I revisited this gem, a bonus track from the 2003 Rhino reissue jumped out at me. Give a listen to an instrumental version of "Death Don't Have No Mercy." If any longtime Dead fans want to share some info about this, I'd love to hear it. In the meantime, it is Jerry Garcia's guitar playing that has kept me in the game and this track is a prime example of why I stick around.

DEATH DON'T HAVE NO MERCY

Saturday 6-Pack: #2

2011-12-10T00:00:00.000-08:00

Here is the "Saturday 6-Pack" Volume 2, where I put together a week's worth of musical obsessions into one mini-set for your listening pleasure.

THE SONGS

I WISH YOU WOULD- BILLY BOY ARNOLD

A favorite of just about every white boy blues player who matters, as well as some who don't, Billy Boy Arnold's "I Wish You Would" always eluded me. I've listened to The Yardbirds hundreds of times. Same with David Bowie's version. But it took years before I got a hold of the original. Now, it's all I want to hear.

DON'T BURST MY BUBBLE- THE SMALL FACES

2:21 worth of complete and utter sweat and soul from Steve, Ian, Kenny and Ronnie.

COLOR ME TRUE- SLY & THE FAMILY STONE

There is so much more to Sly & The Family than the dozen hits we are all familiar with. This track took me by surprise, like so many do in this age of iPod shuffle. The groove won't let up. It even gets into a bit of Chambers Brothers territory on the refrain. And speaking of the refrain, I just love what the drums are doing.

TRICK OR TREAT- OTIS REDDING

Another song from the repertoire of my old band The Cool Jerks, this not so popular Otis Redding tune sounded pretty damn good on a live performance we did back in 2008, I had to bring myself back to Earth with the Otis original. No one sings like Otis.

YOU DID ME WRONG- JOHNNY SAYLES

There is an "unofficial" collection in limited availability of this Chicago soul screamer called "The Johnny Sayles Story." If you choose to grab it HERE, my feeling is by track 10, you will find yourself mesmerized, as each song seems to outdo the previous. This is as raw as it gets.

CRYSTAL BALL- PRINCE

Back before Larry Graham got a hold of Prince and did a Eugene Landy on his tiny little ass, Prince could do anything. And during that run from 1980-1990, the man was untouchable. There's too much to say about his music, and how I had been obsessed with all of it. I think a Prince piece is on the horizon. For now, we have this epic.

My friend Bill just turned me on to a fan-made remaster of the now legendary 1987 release, "Sign O'The Times." Some demented philanthropist took the time to somehow remaster the record, from which source I don't know, and resequence it to include a few other tunes that were recorded around the same time. Whoever this guy is, he did a spectacular job. One of these added tracks is "Crystal Ball." Now you may be familiar with the tune from the "Dream Factory" sessions, or from the "Crystal Ball" box itself, but listening to it in this new context, simply stated, blew my mind.

This song unfolds beautifully, with a barebones opening groove and trance-like delivery that becomes more and more powerful as it takes shape, climaxing with some of Prince's finest guitar playing AND drumming.Yes, Prince on the drums. You need to hear it to believe it.

ZIP

"Rawk!": THE WEEKEND MIX (Update from Oct. '08)

2011-12-08T08:47:00.001-08:00

Has it been a long time since you rocked and rolled? Has it been a long time since you did the stroll?

Let's just say the thrill of the Faces and Small Faces becoming Rock & Roll Hall Of Famers has put me in a rock and roll mood. Though, after further discussion in the "comments" section of yesterday's Ian McLagan post, few of us find any value or legitimacy in the RRHOF. Still, I bet those who get in don't mind as much as the fans do.

The songs on this "Weekend Mix" do not necessarily represent what are traditionally thought of as quintessential rock and roll songs. No "Johnny B. Goode." No "Blue Suede Shoes." This mix is not business, Sonny. It's strictly personal. This mix represents what kicks MY ass!

F'rinstance:

There have been many versions of Eddie Holland's "Leaving Here." An early version by The Who, performed for the BBC is quite the ass-kicker. Even Pearl Jam offered up a respectable take. (I don't like it, but I know many do.) My fave is The Birds, the 60's Brit band that featured a pre-Faces, pre-Stones Ronnie Wood.

A few songs here make me pull out the air guitar just so I can imagine being a part of the band as they lock in. Listen to The Redwalls, Izzy Stradlin, and Ian Hunter & Mick Ronson. You can almost see the sweat flying off their hair as they nod heartily (wasn't he a member of Starcastle?) at that key moment when the band just knows they are onto something. If you're a musician, tell me you wouldn't want to be in the band about 4:15 into "Women's Intuition."

The new Hall Of Famers are represented here with a track from my favorite Faces album "Ooh La La," and a song by The Easybeats, that rocks on its own, but is brought to a higher level thanks to Steve Marriott's hall of fame screech.

The Mighty Zep aren't always a fave of BW readers. But they are a fave of mine. This version of "Celebration Day," from the Maple Leaf Gardens in Toronto from September of 1971, finds Jonesy & Bonzo steering off the road into dangerous territory. It's almost hardcore. And Jimmy Page just unravels in every possible good way. This version is making its 4th appearance on the pages of Burning Wood and that's because it RAWKS!

"1956" by The Rascals and "Stagger Lee" by The McCoys are two songs my late great friend Chris Kelly turned me on to. Of course I knew "Hang On Sloopy," and just about everything by The Rascals except "1956." But it was Kelly's deadpanned delivery one afternoon of the line "I know you like Jules Shear, but these songs rock," that not only made me laugh for an hour, but made me a fan for life of both the songs and Chris.

I would have loved to include one of at least 10 different songs by Motorhead, one of my very favorite bands of all time. But, I've yet to see any love on these pages for Lemmy and the gang. Hell, I've yet to see even a bit of like.

Hopefully you'll enjoy the other winners that round out this mix. But the something that should prove to any pain-in-the-ass Ringo non-believers that Mr. Starkey is still the greatest rock and roll drummer, is this version of "Roll Over Beethoven," Live from Sweden, 1963.

C'mon everybody!

Leaving Here - The Birds
Good Times- The Easybeats
Rock & Roll- The Redwalls
1956 - The Rascals
I'm A Believer- Bram Tchaikovsky
Casino Queen- Wilco
Stagger Lee- The McCoys
Get It Hot - AC/DC
Baby, Don't You Do It- The Who
Tonight- The Mc5
Women's Intuition- Ian Hunter & Mick Ronson
Silver Naked Ladies- Paul Westerberg
Borstal Boys- Faces
You're Doin' It Too Hard- Charlie Sexton
Been A Fix- Izzy Stradlin
Roll Over Beethoven (Live In Stockholm)- The Beatles
Celebration Day (Live In Toronto) -Led Zeppelin
I Wanna Be Your Man (Live In Boston)- Keith Richards & The Expensive Winos

THE ROCKIN' ZIP

Ian McLagan: Nicest Guy In The Rock And Roll Hall Of Fame

2011-12-08T05:16:00.001-08:00

Faces. Small Faces. Hall Of Fame. What does it matter, really?

Well, when you're a fan, it matters a great deal.

So, as both a Faces and Small Faces fan, I thought I'd share this story.

I was in New Orleans for Jazz Fest, 2003. I had a routine. Places I had to go the minute I touched down. Artists I needed to see perform. Food I needed to eat. Records I needed to buy.

First stop after deplaning was usually somewhere low key, a place I could unwind, have a drink or two, and not worry about crowds. Snug Harbor was the place; a jazz club with a cool, comfortable bar, and one of the best burgers in the city.

I walked in and looked around, and there he was, sitting at a table with a young lady, Mr. Ian McLagan.

Now, I am not the person who stays after shows, hoping to get backstage. I was never that guy who wanted to talk to anyone in the band. More power to those who have that ability. My feeling is that, I just don't think the artist needs one more person in his face. So I choose to not be that one more person. I'm satisifed justhearing the music.

But it was Ian McLagan and this seemed too easy.

I walked over and politely interrupted, if there's such a thing.

"Ian. Hi. I'm a long time fan and I just wanted to say hi."

There was some small talk. I told him I owned a record store, and Mr. McLagan was very gracious.

Then he hit me with this:

"You know, we're working on a boxed set of Faces material. Ya know, hits and some rarities. Whattya think?"

What do I think? I just about plotzed. I don't recall exactly what I said. My store was still happening at the time, so I may have said something retail-relatedlike, "The clamshell jewel box is much better than the oversized book-like box...blah, blah, blah."

(Another reason I prefer not meeting my idols. I blather like a bonehead.)

We shook hands and I felt great. What a great way to begin my week in New Orleans.

About 30 minutes later, as I was scarfing down my burger, I hear a soft, British voice."

"Sal? Sal?"

Ian?

""Do you think it's better to have more rarities than album tracks?"

HUH?

"As a fan, what would you suggest? What would you do if you were putting a Faces box together?"

So...recap.

I am in New Orleans. I'm happy. I see one of my musical heroes. And now, he's interrupting my meal, wanting my input on this upcoming Faces project.

I spent the next 20 minutes discussing the ups and downs of CD retail, boxed sets, Faces rarities, Rod Stewart, and New Orleans with Ian McLagan.

It's such a cliche to say, "Only in New Orleans." But...damn!

Only in New Orleans.

As for Ian McLagan and the boxed set he is holding in the photo above, maybe he remembered my suggestions. I sure don't. Or maybe he's just a gentleman and appreciated the enthusiasm of a fan. Either way, I am thrilled he is getting into the Hall Of Fame, and that night at Snug Harbor will always be one of the best memories I have of New Orleans.

Great Minds Think Alike, And So Do We

2011-12-07T06:30:00.001-08:00

My friends Bill in England and Chris in Rutherford had been revisiting Living Colour and their fine output of the late 80s. (Though in the case of Bill, it's less a revisit and more of a "never leaving.") While this was going on, I had been toying around with an idea for the next part in a series I had started writing last year called "Songs 'n' The Hoods," all of which can be found below.
http://burnwoodtonite.blogspot.com/2011/10/old-records-die-hard-songs-n-hoods-part.html

I had been reading the first parts over to see what was covered and where I left off. The following is an excerpt from Part 8, a story about my friend Tim Vega, written back in October of 2010:

The moment that really sealed the friendship was the night we first saw Living Colour at Tramps. The band was unsigned at the time, and we really hadn't seen anything of this caliber before. It was Sly & The Family Stone, Jimi Hendrix, John McLaughlin and the Bad Brains all in one band. Between 1984-1987, Tim & I must have seen these guys 20 times, mostly at CBGBs, where we'd end up sitting on top of a speaker stack to the left of the stage, because that was all the room that was left. Those nights, after gallons of beer and more, found us finishing things up by getting a slice of pizza at St. Mark's Pizza, and sitting in the middle of an empty parking lot on Lafayette Street, eating, and trying to dry up before retiring around 3 A.M.

I guess it's a good time as any to break out this killer show.

Living Colour is not for everybody. But if you were even remotely suckered in by their brilliant hybrid of funk/punk/metal and soul, this early, pre-"Vivid" set from Tramps in NYC is a must.

LIVING COLOUR- TRAMPS, 3/7/87

For Bill, Chris, and Tim

SET

Funny Vibe
Night Life
I Have To Be Myself Tonight
Soldier's Blues
Miles Away
Glamour Boys
I Want To Know
Money Talks

THE ZIP

The Walsher I Play, The Liker I Get

2011-12-06T15:42:00.000-08:00

Some time in the late eighties, I went to see Joe Walsh play a very rare midnight show at NYC's Beacon Theatre. Walsh was dressed in a big floppy hat not unlike something worn by Porthos. He had thigh-high fishing boots and overalls, and seemed only a bit less drunk than Brett Somers on any episode of the Match Game. For every sloppy song the band attempted to play, Joe told a 5-10 minute Myron Cohen joke. It was painfully unpleasant. I couldn't believe the spectacle. It was a horrible experience that put me off Joe for a long time.

Joe Walsh has a reputation for being a bit of a buffoon. Not only that, but he will forever be associated with two of the most odious men in music, Don Henley and Glenn Frey. Now, I happen to be a fan of The Eagles, but I can recognize just why so many people are not. And I'm not just referring to "Life In the Fast Lane." But this is not about Henley & Frey.

I revisited some of Joe Walsh's solo records this weekend, and while I've always enjoyed them, it took this particular go around to realize, just how much I enjoyed them. Both "Barnstorm" and "The Smoker You Drink, The Player You Get" are incredibly unique albums, that cater to not only the classic rock sounds of the day, but showcase both Walsh and Joe Vitale's abilities as both songwriters and arrangers. And I never realized just how often the influence of the Beach Boys turns up.

Like on this track, from "The Smoker You Drink..." This wouldn't have been out of place on "Holland," I don't think.

Or, on this one, from a few albums later, 1981's "There Goes The Neighborhood":

Like many artists who have been around for what seems like forever, the most-popular songs in their catalogue are not always the best representatives. If I never hear "Rocky Mountain Way" again, it will be too soon. But what about "Birdcall Morning," from Walsh's debut?

For everything uncool about The Eagles, there is just as much cool to be found in The James Gang. And while "Funk #49" might be on everyone's "Do Not Play" list by now, "Funk #48" still sounds as fresh as ever. So does, "Take A Look Around." Here are both.

Hope my Joe Walsh appreciation isn't an imposition. Maybe you'll listen and agree, Joe is alright!

Travis Wammack & The Original Mash-Up

2011-12-05T05:05:00.001-08:00

The "mash-up" may have lost some steam these days, but for a good stretch of time, it seemed like you couldn't escape hearing the novelty hybrid of two unrelated pieces of music, digitally manipulated to make one sometimes amazing, and sometimes annoying piece of music.

The first one I remember hearing was "A Stroke Of Genius," featuring the oversinging genius Christina Aguilera happily married to NYC punks, The Strokes. I loved it.

There are thousands of others. I have even featured a few of them here to mostly lukewarm reactions. But, yesterday, I whipped out the 1972 Travis Wammack album recorded at Fame Studios in Muscle Shoals, Alabama, a great southern rock and soul record that all of you need to explore further. One song in particular, his cover of Arthur Alexander's "You Better Move On," happens to be a fave.

Check it out-

Travis and his good ol' boys were mashing things up long before those clever whippersnappers ever got their hands on a data converter. Wammack meets Arthur meets Marvin's "Inner City Blues."

A stroke of genius, indeed.

Saturday 6-Pack: #1

2011-12-02T18:49:00.001-08:00

Here is the first "Saturday 6-Pack" mix, where I put together a week's worth of musical obsessions into one mini-set for your listening pleasure.

THE SONGS:

ON YOUR WAY DOWN- LITTLE FEAT

I've always felt that Little Feat were unnecessarily lumped into a group of bands like the Allman Brothers or the Grateful Dead when they really had a sound like no other, covering all grounds from their own brand of punk to funk, country and soul, R&B and more. This version of Allen Toussaint's classic may just be definitive.

THE THINGS I DO FOR YOU- JR. WALKER & THE ALL-STARS

A little known album cut from the great Motown legend. I first heard this tune when it was brought into the mix by my friend and keyboard player Steven, as a possible addition to my old band's repertoire. If memory serves, I don't think any band members were given the actual tune to learn. We just listened to Steven play, sing and arrange it. I was thrilled beyond belief to find out what it actually sounded like. This is a killer track, a little unlike most of your Motown catalogue.

THE YODEL- GRASSELLA OLIPHANT

This is a tune I had been familiar with as part of New Orleans drummer Stanton Moore's live repertoire. I always thought it was his. Then, while listening to a fantastic boxed set from Rhino Records, "What It Is: Funky Soul & Rare Grooves," I was drawn to a cover of a Meters tune by someone named Grassella Oliphant, a jazz drummer who played with people like Sarah Vaughan, Ahmad Jamal and Bobby Hutcherson. A few eBay clicks later, and I found the LP and the origianl version of "The Yodel."

JUST WALKIN' IN THE RAIN- ERIC CLAPTON & THE IMPRESSIONS

From the Sun Records tribute CD from a few or so years ago, here is the old Prisonaires track with one of ol' Slowhand's very best vocal performances.

A THOUSAND DOLLAR CAR- THE BOTTLE ROCKETS

Only heard this tune for the first time this past Wednesday night, as part of G.E. Smith's mini-set performed at a reception for the release of the new book "The Guitar Collection," with photographs by another friend and band member John Peden. I was smiling so hard at the lyrics to this tune, I think I sprained my ear. Can't say I've ever really loved The Bottle Rockets, but G.E.'s version made me track this down, and now I just might.

21ST CENTURY GYPSY SINGING LOVER MAN- TAJ MAHAL

From one of Taj's later releases, "Senor Blues," this is a tune written by New Orleans native (by way of Australia) Jon Cleary. It has been on heavy rotation for about 6 years now. Just a beautiful melody and arrangement, sung from the gut by Mr. Mahal.

THE ZIP

I was obsessed with a few more tunes this week, but I love how these 6 play together. If you do, we'll see you with Volume 2.

Bayou Maharajah: The Troubled Genius Of James Booker

2011-12-02T11:53:00.001-08:00

As many of you have read on these very pages, I'm a bit obsessed with the late, great James Booker. I've done a few posts here and on The Huffington Post about his genius, as well as offered up more than a few samples of his wizardry on the piano.

I had the pleasure of seeing a rough cut of an upcoming documentary about the man, as well as meeting the filmmaker, Lily Keber. To say I'm excited about this project is a bit of an understatement.

Lily's site has some video previews that I think you'd enjoy.

Please take a look at:
bayoumaharajah.com

And while you are there, get yourself an absolutely fabulous, James Booker t-shirt, straight from the heart of New Orleans.

Tunnel Of Love On Devils And Dust

2011-12-01T04:11:00.001-08:00

2012 U.S. dates for Bruce and the E-Street Band's tour are still about a year away. But that doesn't mean I don't already got the fever. I pulled this out for a spin.

Over several dates of 2005's "Devils & Dust" tour, Bruce managed to play every track from one of my fave albums, "Tunnel Of Love." Here they are in their proper order.

Ain't Got You (Grand Rapids)
Tougher Than The Rest (Asbury Park)
All That Heaven Will Allow (Bridgeport)
Spare Parts (Hamburg)
Cautious Man (Denver)
Walk Like A Man (Stockholm)
Tunnel Of Love (Grand Rapids)
Two Faces (Dallas)
Brilliant Disguise (Rome)
One Step Up (Columbus)
When You're Alone (Buffalo)
Valentine's Day (Columbus)

THE ZIP

The Four Voices Of Tom Petty

2011-11-30T04:53:00.001-08:00

Long before Burning Wood hit the airwaves, my business partner and I sent out a weekly newsletter to our customers. The "NYCD Blog" was an e-mail blast announcing Tuesday's new releases with the same straightforward approach that I used for "If It's Tuesdsay, It Must Be Street Date."

Occasionally, we'd write up an essay. Bottom line, Burning Wood was borne from the ashes of the NYCD Blog.

I found the following. It was written right around the time of Petty's 2006 release, "Highway Companion."

I'm pretty sure this was mostly my partner, Tony Sachs' piece. I may have done some tweaking. I love it. Maybe you will, too.

Tony and I disagreed on many things. Many...many things. But man, did we make each other laugh.

TOM PETTY's excellent new album, Highway Companion, has gotten us listening to a lot of his older material as well. After much deliberation, coupled with boredom brought on by a slow day at the office, we have determined that Tom Petty sings with four separate and distinct voices:

1. THE DRAWL. Used mostly on his earlier recordings, such as "A Woman In Love" -- "Sheeza wowmuh ee-uh laaaaaaahhhhhve." His enunciation seems to have improved over the years, as he rarely employed The Drawl after the mid '80s, although the chorus of "Free Fallin'" is great Late Drawl.

2. THE HIGH-PITCHED QUAVER. As The Drawl was gradually phased out, The High-Pitched Quaver was utilized more and more, although it's in evidence as early as "Here Comes My Girl." The vast majority of his new album is H.P.Q., while the best-known example may be "Into The Great Wide Open."

3. THE QUASI-DYLAN. Not quite singing, not quite speaking, it sounds like Petty's doing a sorta half-assed Bob Dylan impersonation. The quintessential Q.D. is when he sings the title phrase of "Yer So Bad," before switching to High Pitched Quaver on the next line. He employs Quasi-Dylan on many songs, but rarely for more than a line or two. Surprisingly, "Jammin' Me," which Petty co-wrote with Dylan, has more Drawl than Quasi-Dylan.

4. THE PSEUDO-MEXICAN ACCENT. The Drawl taken to the next level. Frequently used on early classics like "A Woman In Love" ("Don' say a wor', don' seh naah-theen") and "Breakdown" ("Issawright if you lahve meh/Ees awrigh' eef you dun'") but rarely, if ever, since then. And that's probably a good thing, in this age of political correctness. Although it would be great to hear him do a cover of "Cuban Pete."

So what are you waiting for? Put on some Petty and find out how many voices you can hear! If you know of any songs that utilize all four Petty voices -- also known as a "Tom Petty Grand Slam" -- email us with the name of the song and at which point he uses each voice, and you'll be entered in a drawing to win a FREE COPY OF HIS NEW ALBUM

The Best Records Of 2011

2011-11-27T05:23:00.001-08:00

Not a bad year for music. I had started compiling my year-end list back in August and assuming there are no stellar December releases, I think this list is pretty final.

There is no order to the following faves, but I did leave my Top Three of the year for the end.

Also, when all is said done, there are some samples of most of what was written about.

OKAY THEN...

BURNING WOOD'S BEST OF 2011

BOOKER T. JONES- THE ROAD FROM MEMPHIS

With ?uestlove from The Roots at the controls and drum kit, the legendary Booker T. delivers an upbeat, funky and organic collection of tunes that could very well be just what his MGs would have recorded if they had still been making music together. Yim Yames of My Morning Jacket handles the lead vocals on "Progress," one of my very fave tracks of the year.

THE CO-OPERATIVE-THE CO-OPERATIVE

80's Brit-pubrockers Nine Below Zero team up with Squeeze leader Glenn Tilbrook for an album that rocks until it can't rock no more. "The Co-Operative" recalls the very best of Rockpile while offering a smattering of perfect pop tunes that would not have seemed out of place on Squeeze classics like "Argybargy" and "East Side Story."

EILEN JEWELL- QUEEN OF THE MINOR KEY

Boston-based, but sounding more like someone raised in a Nashville suburb, Eilen Jewell's follow-up to her superb Loretta Lynn tribute "Butcher Holler" of 2010, is a collection of tunes, some haunting, others purely magical, that pull from all of Jewell's influences. Country-gospel, to the surf sounds of The Ventures, to Hank Williams and Patsy Cline all make an appearance on this very fine record.

JANE'S ADDICTION- THE GREAT ESCAPE ARTIST

I spent most of the last 20 years actively despising Perry Farrell. The sound of his voice, especially on the tune that opens every episode of HBO's "Entourage," is just something my nerves refuse to handle. So how did his band's new record end up on my year-end list? I'm a sucker for classic rock and "The Great Escape Artist" delivers in spades. Riff after riff, rhythm upon rhythm, Jane's Addiction has acquired some focus and for this release, have decided to do away with the long, meandering all-style-no-substance of previous records, and go right for solid and often very melodic rock and roll. Simply put, this is one catchy record.

JOHN HIATT- DIRTY JEANS AND MUDSLIDE HYMNS

John Hiatt's made a lot of good records, though few if any have ever equalled the brilliance of 1987's "Bring The Family." I know plenty of you might disagree, and that's okay. I'm a fan and I recognize Hiatt as one of America's greatest living songwriters.

That said, almost every song on "Dirty Jeans..." is an instant classic. I picked that up after the first run, just as I did when I first heard "Bring The Family." When he offers up heartbreak as he does on "Don't Wanna Leave You Now" and "When New York Had Her Heart Broke," a song written and performed just days after 9/11 but never recorded, few can match Hiatt's emotional delivery. On tunes like "Damn This Town" and "I Love That Girl," Hiatt shows his skill for the hook. If we still had real radio, "I Love That Girl" would be blasting out of every car window for the rest of the summer.

JOHNNY SANSONE- THE LORD IS WAITING, THE DEVIL IS TOO

For years I thought Sansone was New Orleans, born and raised. Boy, was I wrong. This king of the blues harp was born in Orange, New Jersey, but it wasn't until he found work in the Crescent City that he became a bit of a local legend.

Blues records are a dime a dozen, so when you hear one that finds it way out of the cliche-ridden grooves where your "baby left you," you hold on tight. "The Lord Is Waiting..." is that record. With Anders Osborne on guitar as well as producing, and New Orleans' treasure Stanton Moore on drums, Sansone delivers some heavy-duty swamp. Think Led Zeppelin, 1968 but with a little less bombast and a lot more soul.

LAURA MARLING- A CREATURE I DON'T KNOW

The comparisons are easy to make. Sandy Denny, Joni Mitchell, even Fiona Apple at times, all appear in spirit on Marling's third solo release. But do not think for a minute that this 22 year old phenom is strictly riding on the coattails of the aforementioned trio. Laura Marling is a brilliant songwriter with a voice that is both delicate and intoxicating. The instrumentation on "A Creature I Don't Know" goes a bit further than the mostly acoustic sounds of her previous two. I like that, and because of that, I find this to be her best record yet.

PAUL SANCHEZ & COLMAN DEKAY- NINE LIVES

Based on Dan Baum's best-selling book about nine people whose lives and experience through two major storms in New Orleans intertwine, this brilliant musical adaptation is certainly one of the most important and musically enjoyable releases of the year.

There are few people in the world with a heart the size of Paul Sanchez, and with his writing partner Colman deKay, not to mention every relevant musician from New Orleans along for the ride, he has created a masterwork that will not only play like a greatest hits of New Orleans music, but if you are so inclined to follow the book and story, might just move you to tears.

MEGAFAUN-MEGAFAUN

There is a Bon Iver connection with Megafaun and that should have been enough for me to just keep moving along. If there's one thing that I have not bought into, one thing that I find so completely overhyped, shallow and phony, it's the lifeless and soulless indie-pop and folk scare that has turned such nothing like the Fleet Foxes, Bright Eyes, Jonathan Wilson, St. Vincent and the aforementioned Bon Iver into critics' darlings. I know I'll get a few nasty letters over this, but I'll deal.

Still, there is something about Megafaun that transcends all of this. This record offers more, both in style and substance. What I'm hearing is early Wilco with more than a little bit of Pink Floyd's "Meddle" as an influence. It is a very musical record, which is important. It isn't just breathy vocals and layered harmonies, trying and failing to evoke the sounds of Laurel Canyon. It's much more exciting. And I love it.

PAJAMA CLUB- PAJAMA CLUB

This is a record that took a bit of time. I stayed with it because I love Neil Finn, though a project that started in his basement with his wife on bass and Finn on drums didn't sound promising. But as one friend said, "It's a grower."

"Pajama Club" will not smack you silly like the big pop sound of Split Enz or Crowded House once did, but that doesn't make it any less infectious. Its many layers of sound fit nicely around Finn's inability to write a bad melody. I'd be lying if I said this wasn't a bit experimental, but if you've ever loved anything by Neil Finn, whether in a band or solo, you will find plenty to embrace on the "Pajama Club."

RON SEXSMITH- LONG PLAYER, LATE BLOOMER

Ron Sexsmith is a songwriter's songwriter. Nick Lowe, Elvis Costello and Steve Earle are just a few who have been singing his praises for years. I like the man, but I found most of his records uneven. Plus, he has a very distinctive, love it or hate it voice, that I sometimes love and sometimes hate.

"Long Player, Late Bloomer" is not a masterpiece, but it may be Sexsmith's masterpiece. It's as good as a pop record gets, full of hooks and harmonies. Songs like "Every Time I Follow," "Love Shines" and one of my fave tunes of the year, "Believe It When I See It," beg you to feel good.

TEDESCHI TRUCKS BAND- REVELATOR

Plain and simple, this is Delaney & Bonnie 40 years later, and man...does it work! Susan Tedeschi doesn't quite have Bonnie Bramlett's balls, but hubby Derek Trucks is a master on slide guitar, and this killer band featuring the great Maurice Brown on trumpet is triumphant on just about every track. Southern soul, gospel and blues, as well as some good-old fashioned rock and roll can be found in spades on "Revelator."

WYNTON MARSALIS & ERIC CLAPTON- PLAY THE BLUES

Sure, it's easy to dismiss this as uncool, but you'd just be denying yourself some of the greatest music ever written played by some the greatest musicians who ever lived.

With Marsalis' band behind him, Eric Clapton takes on traditional blues and jazz and as usual, when he's not the leader, he rises to the occasion. The arrangements are fresh. The playing is stellar. And the version of "Layla," reimagined as a New Orleans funeral dirge, is one the greatest things you'll hear all year.

WARREN HAYNES- MAN IN MOTION

Warren Haynes is one of the hardest working men in show business, juggling his time with the Allman Brothers, The Dead, his own band Gov't Mule, not to mention the countless hours of live performing and guest appearances. How he managed to pull this solo record off is a feat in itself? But it's a dandy!

Inspired by one of Haynes' musical idols, Little Milton, and featuring a New Orleans rhythm section of George Porter Jr. and Terrence Higgins, Haynes delivers the perfect combination of Southern R&B, with just a taste of the extended jamming all of his employers are known far. He never takes it too far, and that is what makes "Man In Motion" work.

RY COODER- PULL UP SOME DUST AND SIT DOWN

I'm not sure this record will resonate with everyone, but by song #4 I was hooked, and by the finale, I was mesmerized. "These times," says Ry Cooder, "call for a very different kind of protest song. "Where Have All the Flowers Gone?" We're way down the road from that." Boy, he ain't kidding. Cooder pulls no punches and minces no words, as he pretty much tells off everyone from Dubya to God, on this powerful new release.

Musically, Ry Cooder visits all of the places he likes best from acoustic blues (check out his dead-on John Lee Hooker impersonation on "John Lee Hooker For President") to mariachi and jazz, to pop and folk, and all of it works. Some of it even shocks, like "Christmas Time This Year," a song you won't be playing while stringing tinsel.

"Pull Up Some Dust..." is a keeper. Could be his best record since "Boomer's Story."

SOME OTHER THINGS I LOVED

The Strokes put out their best record since their debut, but it was the single "Taken For A Fool" that really knocked me out. Here are two versions--the album version and a killer live version with Elvis Costello guesting.

Lindsey Buckingham's "Seeds We Sow," Wilco's "The Whole Love," Buddy Miller's "The Majestic Silver Strings," Garland Jeffreys' "The King Of In Between" and Marianne Faithful's "Horses & High Heels" all made me very happy and are all worth checking out, as is:

V/A- THIS MAY BE THE LAST TIME SINGING: RAW AFRICAN-AMERICAN GOSPEL

This is a fantastic collection of spirituals, raves, sermons, rockers and Pentecostal jams from the people who brought you "Fire In My Bones." You don't need to be religious to appreciate what's happening on these two stellar collections. And the price is right, too. 3 CDs for $28. Or both for $50.
http://www.amazon.com/This-Last-Time-Singing-African-American/dp/B005FLX20E/ref=sr_1_1?s=music&ie=UTF8&qid=1322413702&sr=1-1

THE TOP THREE

3. TOM WAITS- BAD AS ME

Hey, Tom Waits fans. Do you remember the first time you heard "Swordfishtrombones" a little over 30 years ago? I sure do. It wasn't pleasant, but only because the transition from the previous records that featured piano-based, Tin Pan Alley songs about losers and heartbreak, sung by a man whose voice sounded as if he hadn't slept for week to exactly the same thing only clankier and noisier, was less than smooth. Once I adjusted, maybe two years later, when his masterpiece "Rain Dogs" was released, "Swordfishtrombones" sounded every bit as wonderful as anything I'd ever loved by Tom Waits.

But then things got out of hand. Starting with 1987's "Frank's Wild Years" and continuing on through 2004's "Real Gone," that latter of which threatened to put me off Tom Waits for good, the releases became more unlistenable, with his sandpaper voice now choosing between a moan and a growl if we were lucky, or a megaphone if we weren't, kitchen-sink production, that at times actually used kitchen sinks for drums, and an overall clamor that just made the listening experience not much different than standing next to a traffic jam on the West Side Highway, while construction workers, each armed with jackhammers, tried digging their way to China.

(1999's "Mule Variations" is the exception. A fine record indeed.)

This brings me to "Bad As Me," the new Tom Waits record.

We have a winner!

"Bad As Me" sounds like the record that could have come out right after "Rain Dogs." There are still a few songs, like the openers "Talking At The Same Time" and "Raised Right Men," for starters, that employ the bang, screech and growl attack of the post-"Heart Attack & Vine" Waits albums, but what makes "Bad As Me" so much better is that things no longer "go to 11." Everything, including Tom's vocals, has been toned down. Softened, just ever-so-slightly, if you will. And what has returned in spades is the ability to hear the great stories in the lyrics and the melodies that harken back to Waits' best and most musical.

I love this record. It's the record I've been wanting Tom Waits to release for years. Songs like "Kiss Me" and "Last Leaf," the latter sung with Keith Richards, are slow and effective. These are ballads that hit like a right hook. And how about these lyrics from the title track:

You’re the wreath that caught fire
You’re the preach to the choir
You bite down on the sheet
But your teeth have been wired
You skid in the rain
You’re trying to shift
You’re grinding the gears
You’re trying to shift
And you’re the same kind of bad as me

(Just a personal fave. That's all.)

"Bad As Me" is a pretty damn perfect record.

2. NICK LOWE- THE OLD MAGIC

I recently picked up a copy of Nick's "Party Of One" release on vinyl. I don't think I ever owned this on vinyl. (Remember when we didn't have to say "on vinyl?") I was surprised to see, thanks to the nice big print on the 12" inner sleeve, that it was produced by Dave Edmunds, and pretty much featured the John Hiatt "Bring The Family" dream band. That's right. Ry Cooder, Jim Keltner, John Hiatt. Blah blah. I did not know that.

I also realized that "Party Of One" was the true beginning of the Nick Lowe transformation, and not 1994's "The Impossible Bird," like so many, including yours truly, have been thinking. "Party Of One" is a bit of a lost classic. It is a near-perfect collection, mixing up the young and restless Nick Lowe with the older/wiser/mellowed Nick Lowe. This is a record where you will find Nick "shting-shtanging," as well as wondering "What's Shakin' On The Hill." "Party Of One" was the sign of things to come.

Today, Nick Lowe releases "The Old Magic," another in a series of absolutely resplendent records, starting with the aforementioned "Party Of One," and continuing on with "The Convincer," "At My Age," and "Dig My Mood," where the rock and roll legend delivers some of the most personal and heartbreaking songs of his career.

I know some will pass on the less is more, melancholy Nick, still holding on to the days of "So It Goes" and "Cruel To Be Kind." (I've always wondered why the artist can age gracefully but the fan cannot.) But songs like "Stoplight Roses," "I Read A Lot," and "Checkout Time" come out of the box as standards. These are songs so perfectly constructed and at times, so brutally honest, you may feel uncomfortable enjoying someone's confession as much as you do. It is still worth your time.

1. GLEN CAMPBELL- GHOST ON THE CANVAS

It's hard to ignore the back story. Glen Campbell has Alzheimers and he is saying goodbye. If that's not setting a table for the last supper of music, then I don't know what.

With the genius of Julian Raymond's production, and help from such musicians as Jellyfish alum Roger Manning Jr. & Jason Falkner, Chris Isaak, Brian Setzer, Wendy Melvoin, Rick Nielsen and Steve Hunter, Glen Campbell's swansong is impossibly both sad and uplifting.

Every song evokes Campbell's best work that came before "Ghost On The Canvas." Paul Westerberg's title track, Jakob Dylan's "Nothing But The Whole Wide World" and Campbell's own "Strong" and "A Thousand Lifetimes" find Campbell singing in a voice that belies his age and illness. This is a masterwork from a legend, who has accepted what he's been given, and on "A Better Place," sings of how he knows it will all be ok.

We should all be thankful for this truly stunning record.

The Burning Wood Board

2011-11-15T06:57:00.001-08:00

This is from reader and friend Jeff K.:

I was a patron of Sal Nunziato's great Manhattan music shop, NYCD, so I was thrilled when i found his blog on the web and sorry that he's no longer updating it. For months before he shut it down, I'd been pestering Sal to set up a forum like this one, the idea being it would replicate in the cloud, the atmosphere in front of Sal's shop by the tall desk behind the door. There, Sal or his assistant would be sitting, and they'd either smirk at your purchases or congratulate you on your taste, and as they toted up the bill, you'd gaze longingly at the bootleg boxed sets that hung on the wall.

The front of the store was where there'd be a discussion about which Emmit Rhodes album was better, the first or the second, or whether Fleetwood Mac ever recovered from the loss of Peter Green, or maybe it was about a band in town or about how little Sal would pay you for your used cds. I miss that place, and I miss Burning Wood, so maybe we can give it a shot here. Let's talk music, maybe review something new or old, post a few lists and argue a few points. But a few rules. First, keep it clean, no hitting on the breaks. Second, feel free to post a link to any music, but please host it on your server. I didn't buy a lot of space on this forum.

So come on in. the place is open 24 hours.

THE BURNING WOOD BOARD

2011-11-07T18:57:00.000-08:00

I've learned, it doesn't matter just how good something may be, or how much you come to depend on it, when it's time, nothing else seems to matter. Trust me.

It's time.

Burning Wood will be here for you to reminisce. Go grab three years worth of "Weekend Mixes." They're on me.

For now, I'm done.

Please, let's not make too much of this. Disperse. You're free to move on.

Thanks for three years. The most fun I've had...like...ever.

"The Posies Got You Covered" : THE WEEKEND MIX

2011-11-04T05:12:00.000-07:00

Self-explanatory, really.

I was moved to compile this after a random hit on Jon Auer's gorgeous take on Bread's "Games Of Magic," which led me to Ken Stringfellow's splendid redo of Bread's "Down On My Knees."

There's your inspiration.

You may have heard some of these before. I love them all. I've included a few other Jon and Ken solo takes, as well.

Enjoy power pop legends, together and apart, Jon Auer & Ken Stringfellow, The Posies!

TRACK LIST

Star Spangled Banner (Rosanne Barr)
Jailbreak (Thin Lizzy)
Feel (Big Star)
I'm Looking Through You (The Beatles)
Never My Love (The Association)
Games Of Magic (Bread)
Smash It Up (The Damned)
Don't You Want Me (Human League)
Brief Candles (The Zombies)
Lady Friend (The Byrds)
Girls It Ain't Easy (Honey Cone)
Every Christian Lionhearted Man Will Show You (The Bee Gees)
King Midas In Reverse (The Hollies)
Swingin' Party (The Replacements)
Down On My Knees (Bread)
Richie Dagger's Crime (The Germs)
Quicksand (David Bowie)
I Am The Cosmos (Big Star)
Song Of The Baker (Small Faces)
Ooh Child (Five Stairsteps)

THE ZIP

Lost Pop Gems #26

2011-11-02T04:32:00.000-07:00

The Starclub CD was one of literally thousands that passed through my hands during the salad days of music retail. I can't recall why I chose to load this one into the CD player over so many others. Maybe it was the pretty colors on the cover. It certainly wasn't The Beatles' reference Stewart Mason over at AMG mentions below.

First-generation Brit-poppers Starclub should never have named themselves after the Hamburg club where the Beatles made their name. Not only could their fine but not world-beating guitar pop not live up to the reference, but it also created an unrealistic point of comparison, especially for those wanting the second coming of Merseybeat, or at least a second La's album. Singer/guitarist Owen Vyse and guitarist Steve French (oddly, the bassist and drummer aren't identified, although they're shown in photos on the sleeve of the band's sole album, 1993's Starclub) instead favor the rougher side of the '60s, as evinced by name-checking the Pretty Things and British R&B legend Georgie Fame's guest organ on three tracks. The single "Hard to Get" was a minor alternative radio hit, but Starclub split up before a follow-up could be issued. Vyse later became a touring member of the re-formed Echo and the Bunnymen. French moved to New York and became a producer, working with former Gin Blossoms guitarist Robin Wilson's bands the Gas Giants and the Poppin' Wheelies. Two songs meant for Starclub's never-recorded second album ended up on the Poppin' Wheelies' self-titled 2000 debut.

You know what? After reading that again, it still doesn't strike me that the band was making a reference to the Hamburg club where The Beatles made their bones. I know it's there in the title, but it wasn't my first thought and after listening to the CD, it wasn't a thought at all.

Still, the band's one and only CD has some fine, jangly moments, leaning more towards alt-rock than power pop.

"Call My Name" has made guest appearances on many mixes and remains a lost pop gem and my fave cut on the album.

The Smile Sessions

2011-11-01T05:22:00.000-07:00

To the point, The Beach Boys' "Smile Sessions" is worth your time and money. The Beach Boys' "Smile Sessions" might just be the best release of the year.

I'm sure I've mentioned this at some point over the last three years but I'll say it again. As much as I love "Pet Sounds," it is not my favorite Beach Boys' album. That would be "Today." And as much as I love Brian Wilson, I've never loved "Smile." Not in its legendary "lost album" days. Not the stellar sounding reconstructions. And especially not Brian's redo from 2004. Listening to the various versions of "Smile" over the last 30 or so years, I've learned to appreciate Brian Wilson's genius and vision for the project, but I never found it difficult to understand the rest of the band's trepidations or why Brian went nuts. I like parts of "Smile," but I like parts or all of so many other Beach Boys' records more.

With this new collection, anything I've ever felt has been tossed away for good. The sound and detail, the beauty of the melodies, the complexity of the vocals and arrangements, and most of all, Brian Wilson's determination and direction, all sprawled out over 5CDs, make "The Smile Sessions" a listening experience like no other.

A casual fan or listener may find it a bit daunting to see a full 78 minute CD filled with nothing but "Heroes & Villains" takes and snippets and movements. If you were thinking of putting this on your iPod and getting on the treadmill, leave now. But, if you have even a remote interest in Brian Wilson, his brothers Carl & Dennis, and the rest of the men, Mike Love, Al Jardine, Bruce Johnston, Van Dyke Parks, and the brilliant studio musicians behind this storied release, dive right in without fear.

CD 1 is the album proper, gloriously sequenced and remastered. But for me, it wasn't until discs 2 and 3, when, as one reader commented yesterday, I "eavesdropped" on Brian and the gang in session, I began to fully appreciate "Smile" as a whole. The various themes of "Heroes & Villains," the mad scientist conducting, or "conduction," as Brian puts it a number of times, as he whips all involved into the place where they can finally hear what he hears, is all present in an audio documentary that is never, not once, anything but mindblowing.

Coming off a post where I groaned about big boxes, major label greed, and the relentless repackaging of records we've all bought so many times before, I have to say, if you can find the money, this is the best of its kind. The hardcover book with detailed info on each track and its players is worth half the admission alone.

Please Sir, May I Have Some Less

2011-10-31T05:24:00.000-07:00

"LIMITED EDITION"

If you use Rhino Handmade as a barometer, "limited edition" means, "available at a ridiculously high price for a limited time before we sell the exact same thing, or something similar for a lot less."

Exhibit A:

This 4 CD set, when first issued, was $80. Aretha fans jumped on it. Then, as fast as you can say, "Bill Graham," it was out of print. Gone for good. Right? Private collectors now ask $400 for this, 2 complete performances of the Queen Of Soul with King Curtis.

But there's this-

It's a 2 CD set that features one complete performance with bonus tracks from the other performance. It's almost the same music as the "limited edition," less the King Curtis set. Almost. But it's a much nicer $13.99 from our good friends at Rhino. So far, no problem. Limited run of everything for $80. Regular release for $14.

But, what about that King Curtis set?

HELLOOOO...

$15.99.

Purchase these two sets, and you have a good portion of everything found on the limited set for less than half of the original price and about $360 less than what the limited piece goes for now on the collectors market.

I understand the process of rereleasing something years after it goes out of print, but the two sets above were released only a year after the limited edition. Where's the fun in that?

Rhino Handmade has taken this practice to new levels, offering most of their "hurry and up and get them NOW or else they'll be gone" releases as both iTunes and Amazon downloads. Sure, that was inevitable with their back catalogue, but was it necessary for the 25-50 "limited" titles?

Take a look at some of what's due:

Here's Elvis Costello's "limited edition."

The fanatic inside me seems to be focused on what Elvis Costello is offering for $252, as if anything but 220 dollar bills along with the CD and DVD would make this acceptable. Would I be more forgiving if, like the Grateful Dead and Dick, Elvis offered a complete performance of any one of his "Spectacular Spinning Songbook" shows instead of some truncated representation? Not really, but it seems to be less of a slap in the kisser for the fans.

The price point of $252, from a man who has made it public that he doesn't want to record new music for major labels anymore because they've never treated him right, is a tad offensive and hypocritical. Not even the DVD in this super-deluxe nonsense, which is technically capable with all its layers to accomodate a director's cut of "Berlin Alexanderplatz," offers more than an incomplete live show.

It's the holiday season so the big boxes are expected.

Here are some numbers:

U2- ACHTUNG BABY- SUPER DELUXE
(6 CDs, 4 DVDs)
$121.95
(2 of the CDs included are "Achtung Baby" and "Zooropa," which are both selling for $0.01 on Amazon, by the way.)

U2- ACHTUNG BABY- UBER DELUXE
(6 CDS, 4DVDS, and a whole lotta other stuff. If you look closely at the picture at the very top, I think you can see one of Larry Mullen Jr.'s fingers.)
$422.99

THE WHO- QUADROPHENIA- DIRECTOR'S CUT
(4 CDS, 1 DVD, 1 7")
$117.99

THE SMITHS COMPLETE
(8 CDS)
$55.99
(This actually makes sense, except I hate The Smiths.)

ROLLING STONES- SOME GIRLS
(2 CDS, 1 DVD)
$128.99

JETHRO TULL- AQUALUNG (40TH ANNIVERSARY)
(3 CDS, 1 LP)
$104.96

PINK FLOYD- WISH YOU WERE HERE (IMMERSION BOX)
(2 CDS, 2 DVDS, 1 BLU-RAY)
$119.99

and

THE BEACH BOYS- THE SMILE SESSIONS
(5 CDS, 2 LPS, 2 45s, 2 posters, 1 hardcover book)
$139.68

At my count, that's 20 CDs, 9 DVDs, 3 LPs, 2 45s, and 1 book, plus some other shit none of us really need like wheels and stickers, and if you include the Pink Floyd, "Dark Side Of The Moon-Immersion Box" in this lot, scarves and marbles, for a grand total of $1200, $1330 with "Dark Side Of The Moon"...and really, only about 5 hours worth of new music. Plus, it's only "new music" for those fans who have never bought a bootleg in their lifetime, as most of the outtakes, demos, and remixes on all of these sets have appeared elsewhere, officially or not, over the years.

I think it's out of hand.

I see the options. One could just buy the 2 CD version of "Achtung Baby," with features a remastered version of the album proper and a disc of b-sides. That's $20. But the obvious appeal is what's in the big box. The question is, must it be $400? Sure, the middle set is only $100 more, but then you're stuck with 4 DVDs, which for me means nothing. I just want the audio.

Is your head spinning? Mine is.

Speaking of The Beach Boys "Smile Sessions," tune in tomorrow to find out why this is not only the best of the lot, but one of the best releases of its kind.

"Aerosmith, 3/20/73": THE WEEKEND MIX

2011-10-28T04:55:00.000-07:00

Steven Tyler fell again. This time, in a hotel room shower in Paraguay. It is not a relapse, he claims, just dehydration. He felt sick and BAM!

It's not pretty, whatever it was.

I've been a fan of Aerosmith for as long as I can remember. But huge, sober, late-eighties, hit-laden, arena-filling comeback aside, this is one band that I wish would just ride off quietly into the sunset. It's been 15 years since "Nine Lives," which was only a half good release. Since then it's been bad records (one of original material, two live compilations and one horrible record of heavy metal blues covers), worse live dates, American Idol, crappy solo projects, a cringe-making book, and drug relapses. Makes it easy to forget that they are responsible for some of the great rock albums of the 70s, and one of the greatest hard rock albums of all-time, 1976's "Rocks." (That comeback run from "Permanent Vacation" through "Get A Grip" is nothing to shake a stick at either.)

They are also responsible for one of my very favorite live performances. This common bootleg recorded at Pall's Mall in Boston, from 1973, is so early in Aerosmith's career, they haven't had the time to get loud and stupid. The short set list is almost half-filled with cover versions, including a nasty version of James Brown's "Mother Popcorn," here in its entirety. (The commercially released, edited version can be found on "Live Bootleg," the band's mostly crappy live record from 1978.)

Fan or not, don't deny yourself some gritty rock, rhythm & blues, because you think you just don't like this band. Give it a spin before you start lobbing the snarkballs. This cooks.

TRACKLIST

One Way Street
Somebody
Write Me
I Ain't Got You
Mother Popcorn
Movin' Out
Walkin' The Dog
Train Kept A' Rollin'
Mama Kin

aeroZIP

His Aim Is True. Really. It is.

2011-10-27T06:07:00.000-07:00

The Return Of The Spectacular Spinning Songbook!!! is a 3-disc (CD, DVD, 10" vinyl EP) live box set, recorded over a 2-night stand at The Wiltern in Los Angeles on May 11 and 12, 2011. Limited to 1500 copies worldwide, each set is individually numbered with a special commemoration card autographed by Elvis Costello. This super deluxe package includes a 40-page hardcover book packed with candid photos, a tour diary of Costello's musings from each tour stop, a 20" x 30" concert tour poster and a limited edition postcard.

The CD was recorded from both nights' performances at the Wiltern, shows which The Los Angeles Times called "the kind of uniquely invigorating experience that warrants a buzzword all its own: inspiring." The DVD is from Costello's show on May 12, 2011, and includes a special guest appearance by the Bangles, plus bonus footage including behind-the-scenes moments captured with the Imposters as well as extra performances not included in the main set of the show. The 10-inch vinyl record features four songs only available in this set.

All this is housed in a lavish box with a working spinning replica of "The Spectacular Spinning Songbook" on the front cover! Only 1500 copies were printed and autographed so don't miss out.

($251.55, and you don't even get a full show. Not even on the DVD. Otherwise, you know....)

The New Tom Waits Record

2011-10-25T05:29:00.000-07:00

TOM WAITS- BAD AS ME

Hey, Tom Waits fans. Do you remember the first time you heard "Swordfishtrombones" a little over 30 years ago? I sure do. It wasn't pleasant, but only because the transition from the previous records that featured piano-based, Tin Pan Alley songs about losers and heartbreak, sung by a man whose voice sounded as if he hadn't slept for week to exactly the same thing only clankier and noisier, was less than smooth. Once I adjusted, maybe two years later, when his masterpiece "Rain Dogs" was released, "Swordfishtrombones" sounded every bit as wonderful as anything I'd ever loved by Tom Waits.

But then things got out of hand. Starting with 1987's "Frank's Wild Years" and continuing on through 2004's "Real Gone," that latter of which threatened to put me off Tom Waits for good, the releases became more unlistenable, with his sandpaper voice now choosing between a moan and a growl if we were lucky, or a megaphone if we weren't, kitchen-sink production, that at times actually used kitchen sinks for drums, and an overall clamor that just made the listening experience not much different than standing next to a traffic jam on the West Side Highway, while construction workers, each armed with jackhammers, tried digging their way to China.

(1999's "Mule Variations" is the exception. A fine record indeed.)

This brings me to "Bad As Me," the new Tom Waits record.

We have a winner!

"Bad As Me" sounds like the record that could have come out right after "Rain Dogs." There are still a few songs, like the openers "Talking At The Same Time" and "Raised Right Men," for starters, that employ the bang, screech and growl attack of the post-"Heart Attack & Vine" Waits albums, but what makes "Bad As Me" so much better is that things no longer "go to 11." Everything, including Tom's vocals, has been toned down. Softened, just ever-so-slightly, if you will. And what has returned in spades is the ability to hear the great stories in the lyrics and the melodies that harken back to Waits' best and most musical.

I love this record. It's the record I've been wanting Tom Waits to release for years. Songs like "Kiss Me" and "Last Leaf," the latter sung with Keith Richards, are slow and effective. These are ballads that hit like a right hook. And how about these lyrics from the title track:

You’re the wreath that caught fire
You’re the preach to the choir
You bite down on the sheet
But your teeth have been wired
You skid in the rain
You’re trying to shift
You’re grinding the gears
You’re trying to shift
And you’re the same kind of bad as me

(Just a personal fave. That's all.)

"Bad As Me" is a pretty damn perfect record.

"Old Records Die Hard" (Songs 'n' The Hoods Part 11)

2011-10-24T04:34:00.000-07:00

My grandfather and my uncle had reel-to-reel tape recorders that occasionally took over our lives. While my grandfather used his mostly for recording already recorded music, my uncle was, thankfully, a bit more daring, recording not just music but New Year's Eve parties and family poker games, which years later provided record-breaking, family bellylaughs. They knew their machines inside and out.

On certain days, the tape recorders were the bane of my existence. (I didn't always want to sing along with Mitch when most of my friends were outside whiling away the hours, sitting on the hoods of cars, doing nothing. I mean, come on!)

But thanks to these two men and their love of all music, I was able to listen to my very first mixtapes.

Technical note: My grandfather always used Scotch. My uncle preferred Shamrock.

These great men bought records, sometimes not knowing exactly who or what they were buying. The purchases were made simply because the records were cheap. Once in a while, they'd inadvertently stumble onto a gem, like Toots & The Maytals' "Funky Kingston" or a promotional box of Bob Dylan picture sleeves, the latter of which I was given permission to sell. I took it to the House Of Oldies on Bleecker Street in Greenwich Village, where its snatching from my dirty little, pre-teen mitts resembled an opening sequence from "Kung Fu."

"Ah yes, Grasshopper. One shouldn't worry themselves with Bob Dylan promos. Here, take this new 45 by Gilbert O'Sullivan instead, and....GIMME THAT!"

I knew what I had was special. I just didn't know how special, and House Of Oldies wasn't about to tell me. Sorry, gramps. I think I got copies of "Me & You & A Dog Named Boo" by Lobo and "Make It With You" by Bread in trade. I just didn't care about Zimmy when I was 12.

The best thing about these reel-to-reel mixtapes was that neither man cared about sequencing, or for that matter, what the A-side or B-side of the single was. In the case of my grandfather, he'd pull out a stack of 45s and just start spinning and taping whatever side was face-up. My uncle, on the other hand, knew about all music, including the raves of the day like The Beatles, The Beach Boys, Herman's Hermits, and so much more. He was a musician and loved music and life. My grandfather, in his silent charm, just went with the flow, though he did have his faves; Ray Charles and The Drifters, to name two.

I was reminded of all this as I was putting away some records this weekend. I found and played the Beach Boys' single seen above and remembered that "There's No Other," the Phil Spector-produced song by The Crystals covered by the Boys on their "Party" LP, was on one of my favorite, Grandpa-programmed, reel-to-reel tapes, along with "Mr. Dieingly Sad" by The Critters, "Toy Soldier" by The Four Seasons, and "How Can I Leave Her" by The Cyrkle, the b-side of "Red Rubber Ball."

I listened to "There's No Other," or "No Other (Like My Baby)" as the b-side is listed on the cover, four times this weekend and each time I was magically transported back to someone's living room, either on Broome Street where I was born, places where family and music thrived, like Far Rockaway or Mulberry Street, or Sheepshead Bay, where it all seemed to come together.

Now...like then...I was also impressed and a bit shaken...in a good way...by the music, specifically the song itself, and its layers of harmony. Yeah...it's the Beach Boys, so the harmony is expected. But no one ever mentions this tune. I'm thinking this version of "There's No Other" has enough heart to make it a more common consideration when talking all things Beach Boys.

The idea behind the Beach Boys' "Party," was to create in the studio, a record that sounded like it captured a bunch of friends, getting together to hang and sing and laugh. This was exactly what my grandfather and uncle did for a lot more than one album, and like the Beach Boys, when they got together with their friends and family, the harmony was expected.

I miss the old days, and those two men, who I credit tremendously for how I feel about music. Both of them had more patience for all kinds of sound than any two "old people" I had ever been around when I was a kid. They certainly had more patience than I have now as I become an "old person."

"The Funk(y)" : THE WEEKEND MIX

2011-10-21T04:46:00.000-07:00

"There's a fine line between Funk, Disco and Soul."

You are so right, Shriner. So I think I covered my ass with the parenthetical 'y' in the title.

I'm seeing a Part Two in the near-future. Thanks for all the suggestions. I will confess right here and now, I am not a fan of George Clinton. Never got it. I do like Funkadelic more than Parliament, with Parliament's "Chocolate City" being my fave of them all. And I have to also say, seeing Parliament/Funkadelic from the first row at the Apollo Theatre on Thanksgiving Eve in 1989...all 4 hours of it...was one of most surreal concert experiences of my life. Still, not really a fan.

But I digress.

Until we get to Part 2, here's what I was feeling, with a little help from Bill in the U.K., and some of you. As usual, there are a few curveballs, as well as one or two that might irritate some of you. But, I love the way it plays, so maybe you will, too.

I'd also like to point out that when James calls out Clyde, and Clyde Stubblefield kicks in...I lose my mind. Now that's funky.

Thank you.

Get "Funk(y)!"

TRACKLIST

Chaos & Disorder- Prince
Funk #48- James Gang
Funky- Ultramagnetic MCs
Uptown- The Chambers Brothers
I Can Understand It- Carlton J. Smith
House Party- Tony! Toni! Tone!
Just Kissed My Baby- The Meters
Do You Like It- B.T. Express
Weak At The Knees- Steve Arrington's Hall Of Fame
Anti Love Song- Betty Davis
You Come Through- Tom Petty
Gimme That Funk- Dennis Coffey
Thank You- Sly & The Family Stone
Chocolate Chip- Miles Davis
Let A Woman Be A Woman- Dyke & The Blazers
Get The Funk Out Ma Face (Live)- The Brothers Johnson
Give It Up Or Turn It Loose- James Brown

ZIP

Do You Have The Funk

2011-10-20T05:49:00.000-07:00

Ok, so I'm in a mood, and The Meters put me there. I'm prepping tomorrow's "Weekend Mix." It's an intercontinental collaboration with my dear old pal, a funkmeister if there ever was one, Bill B. in the U.K.

This mix promises to get you up offa that thang. (I'll stop talking like that.)

Now, I know this is last minute, but let's see how it goes.

I have room for 4 more songs.

Suggestions for the funkiest song?

Send'em in SOON, please.

Feel Like A King

2011-10-19T04:36:00.000-07:00

Left to right: Art "Papa Funk" Neville, Zigaboo Modeliste, George Porter Jr. and Leo Nocentelli.

The Meters.

We've heard it before, but it's so worth hearing again...and again. Just be careful. Once you fall into that pocket, it ain't easy getting out.

(And if anybody has that instrumental version, as seen in the pic below, please...get..it... to ME!)

(h/t DerDav for the photo. )

Chris Isaak's Beyond The Sun

2011-10-18T04:59:00.000-07:00

It's true! I like another covers record. But, nobody doesn't like Chris Isaak, right? The guy's got a great voice. He's funny. His 1987 debut "Silvertone" was cooler than cool, and really, aside from seeing him lip-syncing "Wicked Game" one Saturday afternoon while someone was ice skating on CBS Sports, there have been few missteps. Even his short-lived Showtime series was off the wall and very entertaining.

Today, Isaak releases "Beyond The Sun," a 2-CD tribute to the Sun Records label and a record he was born to record. Isaak plays it straight here. There are no curveball arrangements. No funk version of "I Walk The Line." No bossanova version of "My Happiness." It's Isaak doing what he does best to some of the greatest rock and roll music ever recorded.

There are a few Elvis tunes, some Johnny Cash and Roy Orbison, and some Carl Perkins and Jerry Lee. It's a blast from start to finish.

I'm trying to find something cynical to say here, you know, strictly for entertainment value. But I can't. I really like this record.

BUY IT
http://www.amazon.com/Beyond-Sun-2CD-Chris-Isaak/dp/B005KMX866/ref=sr_1_1?s=music&ie=UTF8&qid=1318937474&sr=1-1

"Baby"

2011-10-17T04:28:00.000-07:00

The Doc Pomus/Mort Shuman classic, "Save The Last Dance For Me," is hallowed ground.

Agreed?

The Drifters' version is all we need. It's perfect.

Yet, the Harry Nilsson/John Lennon version from the oft-maligned 1974 release "Pussy Cats," never fails to buckle my knees and tremble my lips.

Buckling and trembling. That's what it's all about.

John Lennon had a lot...or nothing... on his mind during the "lost weekend," but from the sound of "Pussy Cats," Phil Spector was hanging around his pons...somewhere. Say what you will about the material and the approach, not to mention the early signs of Harry Nilsson's fatiguing vocals, but "Pussy Cats" has more than a few classics, including "Don't Forget Me" and a Plastic Ono Band-inspired "Many Rivers To Cross." Yet, it is "Save The Last Dance For Me" that packs the biggest wallop. I think it's simply gorgeous.

Ben. E. King sings the bittersweet lyrics over a hopeful cha-cha. But Harry Nilsson pleads his case over a desperate march.

My kinda guy.

"To The Macs" : THE WEEKEND MIX

2011-10-14T04:42:00.000-07:00

It seems unlikely that Paul McCartney and Elvis Costello will ever finish what they started some time back in 1987. For those who don't know, The Macs wrote some songs together for a proposed album. You can find those demos HERE.

Some of those tracks found homes on each of their records. What I've put together for this "Weekend Mix," is just what that record might have sounded like.

Here are all the finished tracks written by Paul McCartney and Declan MacManus, but recorded separately, with the exception of "You Want Her Too," which is a duet. I've also included one bonus demo, as it was featured on a commercial Elvis release.

The demos are, quite simply, fantastic. More often than not, Elvis and Paul sound eerily like John & Paul. What I find interesting is how a few of the master takes seem to abandon that Beatlesque vibe, almost as if both parties wanted to "just not go there." This is most noticeable on "The Lovers That Never Were," and even a bit on "My Brave Face." Both demos feature Costello on a low, Lennon-like harmony that Paul just doesn't recreate on his solo versions. Elvis takes "Playboy To A Man" from a harmony-filled demo that wouldn't be out of place on "Beatles For Sale" or "Help," and kitchen sinks it with carnival sounds and affected (and annoying) lead vocals for his solo take.

Still, the finished product culled from Sir Paul's "Flowers In The Dirt" and "Off The Ground" LPs, as well as songs from EC's "Spike," "Mighty Like A Rose," and "All This Useless Beauty" albums, makes for one fine listen.

I hope I didn't forget anything.

TRACK LIST

My Brave Face
Pads, Paws, & Claws
Mistress & Maid
Shallow Grave
You Want Her Too
Back On My Feet
That Day Is Done (EC)
The Lovers That Never Were
So Like Candy
Don't Be Careless Love
Playboy To A Man
That Day Is Done (PM)
Veronica
Mistress & Maid (demo)

ZIP

JD McPherson, And One More "Must Have" Of The Week

2011-10-13T04:57:00.000-07:00

First I'd like to thank Jeff K. He asked if I knew who JD McPherson was. I said, "No, who is he?" He told me he had tickets for Nick Lowe and JD was the opener. Wanted to know if he should skip the opener. He did some research. Decided he should not skip the opener. Again. Thanks, Jeff.

The Love We Make

2011-10-12T07:29:00.000-07:00

Just watched the Albert Maysles documentary on Sir Paul and the "The Concert For New York." Have you seen it? You should.

Still haven't watched the second part of Marty's Harrison film, but I will. I've been too caught up in all the solo Paul stuff I spent the last decade recklessly trashing. Plus, I had a great "solo Paul" chinwag with a friend, so the time was right. Once I get Mr. McCartney out of my system, I'll have a better head for George. (I just hope Errol Morris doesn't churn out some rare footage of Maureen Starkey over the next few days. I don't need another distraction.)

The film begins exactly a month and a day after the attacks on 9/11, and what we see is Paul McCartney being Paul McCartney in all his "cute one" glory. I don't think he can help it. And that is why I loved this film. That Beatle stuff sucks me right in.

We see rehearsals for, backstage footage from, and interviews prior to the absolutely huge event at NYC's Madison Square Garden, where so many gathered to pay tribute to the city and its heroes. It's an emotional film for most of it's 105 minutes, but it is always entertaining.

Beatles footage, solo or together continues to affect me. Paul pretty much shakes up everyone he comes in contact with, whether it's fans following him on the street, or celebs from Leonard DiCaprio to Access Hollywood's Pat O'Brien, everyone tries to play it cool, but in the end they just can't. Certainly not as cool as Paul is towards everyone from Dan Rather to Howard Stern.

Those that do play it cool are Paul's peers, and the scenes with Pete Townshend and Eric Clapton, though brief, were both slightly uncomfortable and kind of hilarious. Amidst all the sadness and shock of 9/11, business is still business, and Paul is intent on debuting the song "Freedom," which he had written specifically for this event. No one seems to care, as he talks it up, and basically auditions for these rock and roll legends, singing the chorus, playing air guitar, and trying desperately to get a reaction. Everyone is polite, but you can feel just about everyone thnking, "Just play old stuff!" When Paul tells Clapton, "Just play around in G. You don't even have to think about it," Eric deadpans, "No."

As documentaries go, I think it's quite fab. How you feel about Paul McCartney when it's over is worth discussing.

If It's Tuesday, It Must Be Street Date: 10/11/11

2011-10-11T04:50:00.000-07:00

PETER GABRIEL- NEW BLOOD

The biggest problem with this collection of re-records, other than being a collection of re-records, is that Peter Gabriel's idea of removing guitars and drums from his past work and creating orchestral versions seems a bit needless. So much of the solo work refurbished here was sort of orchestral to begin with, so you see, why bother? The differences between the old blood and new are just not worth the time. People raise kids in the time it takes Gabriel to put out new music. Now, what do we do for the next 8 years? Listen to Kate Bush's "50 Different Words For Snow?" And what the hell is wrong with guitars and drums? And why doesn't anyone rock anymore?

It's HERE

RYAN ADAMS- ASHES & FIRE

I about gave up on ol' Ry. The poor guy seemed lost. Thankfully, he has found his way back, and "Ashes & Fire" may just be his best record since 2005's "Jacksonville City Nights." The most impressive thing about this record is the quality of his voice. Adams' singing on the opening track and first single "Dirty Rain' is so full of soul, I had to check twice to confirm who I was listening to. There are plenty of winners on this laid-back, somewhat melancholy affair, with "Invisible Riverside" leading the pack as a personal fave. This is Ryan Adams doing what Ryan Adams does best. Dive in.

Get it HERE

MAYER HAWTHORNE- HOW DO YOU DO

I am not drinking the Mayer Hawthorne Kool-Aid. Sorry. No New York Times rave, or friend recommendation will do it. He's ok. That's it. I see what he's trying to do, but he just can't sing. His voice is weak at best, and flat the rest of the time. This new record works better than his indie debut in that it sounds better. But slick, smart production is not enough. You'll hear all your faves---Marvin Gaye, Al Green, Hall & Oates--when the songs start. But, once Mayer kicks in, the novelty wanes. I'm particularly bothered by his Cee-Lo rip, "The Walk." Dude, "Fuck You" is not that old. This isn't tribute. It's theft.

If you must, it's HERE

RICH ROBINSON- THROUGH A CROOKED SON

I've mentioned my love for the Black Crowes on these pages numerous times. What I usually get in return is the internet equivalent of Looney Tunes' crickets. That's alright. I still think they are one of the greatest live bands I have ever seen. Here is brother Rich, with his second solo affair, and it's a knock-out. Chris Robinson was the front man, but Rich's voice can ooze like syrup, and when it leads songs like these, evoking everyone from Otis to Brothers Gregg and Duane, it works in a big way.

It's HERE

More came out today, like something new from Bjork, an artist whose first two CDs delivered something original, accessible (sort of) and groundbreaking. Since then, she's been rowing with one oar, and I've given up. She's just too fucking weird. And speaking of weird, there's also a Radiohead remix thingy that I have no interest in.

Joe Henry has a new CD too! Haven't heard it yet, but I look forward to it. And there's also a seriously, not bad record from William Shatner. I mean it. If you didn't appreciate the Ben Folds produced "Has Been" and all its sincerity, then don't pay any mind to "Major Tom," Shatner's new, star-studded release. But if you did, this...well...isn't nearly as good, but still a lot of fun. Guests include Lyle Lovett, Ritchie Blackmore, Brad Paisley, Peter Frampton, John Wetton, Steve Howe, Sandra Dee, Molly Wee and Oscar Homolka.

Finally...THE CO-OPERATIVE!

I wasn't kidding.

Yesterday's post died a quick death. Maybe you were all celebrating Columbus Day, the one day each year Joe Piscopo is asked to be somewhere. Whatever the reason, reaction to what might end up as my fave of the year was weak. Buy this record. Now.

Samples are below.
http://www.amazon.com/The-Co-Operative/dp/B005QTFUR8/ref=tmm_msc_title_0?ie=UTF8&qid=1318299001&sr=1-1

The Co-Operative. You Need It!

2011-10-10T04:09:00.000-07:00

Do you know anything about Nine Below Zero? I really didn't. But take a look at what Bruce Eder has to say about them over at All Music:

Nine Below Zero started life in South London during 1977, in the midst of the punk rock boom in England -- but their sound and inspiration were so totally counterintuitive to what was going on in punk rock that they scarcely seemed to be part of that movement, apart from their extremely energetic attack on their instruments. Rather than noise for its own sake or auto-destruction, their inspiration lay in classic Chicago blues (though John Mayall's early music and that of the Who and the Kinks from early in their careers also figured into their sound). Dennis Greaves (lead vocals, guitar), Peter Clark (bass), and Kenny Bradley (drums) -- soon joined by Mark Feltham (who actually replaced a teacher of theirs who had sat in on the early gigs) on vocals and harmonica -- were schoolmates and friends who shared a love of blues; all had all come into the world in the early '60s, and might well have resigned themselves to having missed the boat for the British blues revival by virtue of having been born in the midst of it. Instead, they reached back to that era and found themselves pegged as part of the "mod revival" in the midst of the punk era.

By 1980, they'd been signed to A&M Records' British division and took the bold step of making their major-label debut a live album from the Marquee Club in London -- to judge from the results, one heartily wished that some of the earlier bands that inspired them had displayed similar daring. Live at the Marquee, recorded on June 16, 1980 -- by which time Stix Burkey had replaced Bradley on the drums -- was a success and led to their follow-up album. For their sophomore effort, Don't Point Your Finger, they were determined to translate their live energy into the studio and turned to no less a producer than Glyn Johns, who had worked with the Rolling Stones and the Who in their respective best years. The resulting record reached number 56 on the British charts.

There's more, if you want it. But that's enough for now. I bring them up because they have just made a record with Glenn Tilbrook. It's called "The Co-Operative." It comes out on 10/24, or you can order it now over HERE. I suggest that you do.

My friend handed me copy, winked and said, "I think you'll dig this." This was the understatement of the year.

This record has been playing non-stop since I got my dirty little mitts on it this past Friday. It's the best Squeeze album since "Argybargy." It's Rockpile meets The Flying Burrito Brothers. It's blue-eyed soul meets white boy blues. It's The Beatles at The Cavern.

Yes.

I KNOW!

I can't help it.

Buy this record.

Trust me.

The cool cover below is also on the album, but it's hardly the best track. It ain't bad, but it's not what I'm pushing, and it certainly is not the best representation of just how amazing this record is. It's just all I could find on You Tube. The cover of Johnny Paycheck's "Satin Sheets" is one to push. Or the opener, "Chat Line Harry." (I can't remember when a song made me smile so hard.) Or "Because," which another friend called "the best pop song of the year," and just happens to precede "You Never Give Me Your Money." Get it?

"Occupy Wall Street" : THE WEEKEND MIX

2011-10-07T04:17:00.000-07:00

"Fair's got nothing to do with it. Fair's where you go when you wanna see the pigs race."
--Jim Dickinson

Boy, am I kicking myself for not including Motorhead's "Eat The Rich" on this Weekend Mix. Or at least, Robert Palmer's killer cover.

Ah well...

You'll get the idea with what's here.

As always, enjoy.

TRACK LIST

The Wall Street Shuffle- 10cc
Luck Be A Lady- Frank Sinatra
For The Love Of Money- The O'Jays
The Payback- James Brown
I (Who Have Nothing)- Little Milton
Ain't Got No Money- Frankie Miller
Broke Down & Busted- Todd Rundgren
Man With Money- The Who
Payday- Jesse Winchester
Eveything Goes To Hell- Tom Waits
Gotta Have Money- The Balham Alligators
Money Changes Everything (Orig. Single Version)- The Brains
Money Talks- Mud Boy & The Neutrons
How Can A Poor Man Stand Such Times And Live- Bruce Springsteen & The Seeger Sessions Band

IT'S ZIPPING

The Lost Notebooks Of Hank Williams (Senior, relax.)

2011-10-06T05:33:00.000-07:00

12 new musical compositions set to 12 previously unheard Hank Williams lyrics is what we have here and there really isn't one misstep. I'm sure there will be a few eye rolls and groans from the purists at the sight of Norah Jones and Sheryl Crow on the roster, but they just happen to deliver two of the stronger entries here.

As I said, it's all good. Thankfully, no one strays from the Hank Williams formula, though I just don't care for Jack White or Jakob Dylan. They do here what they do always. Jack sounding like Jack, skittish and grating. Jakob sounding like Jakob, snoozy and in need of a good noseblow. But I'm a fan of neither, so those two tracks are the least appealing.

Alan Jackson, Patty Loveless, and Bob Dylan deliver my other three faves, on this mostly solid and smart release.

GET IT BELOW
http://www.amazon.com/Lost-Notebooks-Hank-Williams/dp/B005F23NMK/ref=sr_1_1?s=music&ie=UTF8&qid=1317903630&sr=1-1

First time I heard the Norah Jones track was probably where most of you did, on an episode of Elvis Costello's Spectacle. I loved it then and I love it now.

Tommy...Tommy...Tommy....Tommy.....

2011-10-05T04:37:00.000-07:00

Tommy Keene's been making records for a really long time. Some have been better than others, but none have been bad. Two, 1986's "Songs From The Film" and 1989's "Based On Happy Times" are legendary in the power pop world, the latter featuring "When Our Vows Break," a duet with Jules Shear that over 20 years later, still remains in heavy rotation here at Casa de Quack.

Keene's releases over the last decade though have suffered from being a bit same-y. I hear the same problem on "Isolation Party," "Crashing The Ether," and "In The Late Bright," three records released from 1999-2009, that I hear with Matthew Sweet's last few. The records sound like they should, but it seems like they were built around the sound and not the songs. Sweet's newest, "Modern Art" continues that frustrating trend, but Keene's most recent "Behind The Parade," released in August, breaks it.

This is Keene's best record since the aforementioned "Based On Happy Times."

It's all here! The big guitars, the hooks, the harmonies...and, best of all...the songs.

This is by far one of the best power pop records I've heard in a very long time. The first single, "Deep Six Saturday" which opens the records is a monster. That will reel you right in. But "Behind The Parade" doesn't let up. It may throw you a bit when you get to track 5, "La Castana," an instrumental that sounds more like Brian Eno meets Brian Wilson than what Keene had just handed us in tracks 1-4. But when it was over, I wanted to play it over again. It's a perfect curve ball that sets up the second half of this fantastic record.

"Deep Six Saturday" is below. Give it a listen.

Wendy Just Got A Whole Lot Better

2011-10-04T04:56:00.000-07:00

Come down a bit on the reverb and vocals and turn up the bass, guitar and drums a tad higher, and what you have here may be one of the very first power pop songs. I've listened to "Wendy" countless times, but it was always a "fly-over" tune, never a Beach Boys destination for me. Now suddenly, I actually "hear" it and I can't stop. The magic of music.

Truckload Of You Know What

2011-10-03T04:16:00.000-07:00

Produced by Clarence Reid, or as some of you more daring readers may know him, Blowfly, "The Babysitter," Betty Wright's 1972 Top 50 hit, is the song that finally snapped me out my malaise. The rhythm section alone is enough to make even the sourest puss crack a smile and shake a little boo-TAY. I didn't, but you know, you might. ;)

"The Babysitter," is not quite as big as Wright's chart-topper and oft-sampled "Clean-Up Woman," but boy, is this one cookin' record. Again, just listen to the bass and drums...and those horns!

The first time I was made aware of "The Babysitter" was in one of Vanity Fair's music issues. It was, I believe, the first time Elvis Costello wrote about his 500 (?) favorite records. This was one of them.

(That issue cost me about $483, by the way. I wish I still had it. I may have to give EC's list another pass.)

If It's Tuesday, It's Wednesday: New Releases, 9/27/11

2011-09-28T04:49:00.000-07:00

WILCO- THE WHOLE LOVE

I'm not hearing the "back to basics," "alt-country" sound that many critics have been hearing. But I don't mind. Like all Wilco records prior, "The Whole Love" did little for me at the start, but slowly crept up on me and attacked.

There are moments, "Black Moon" comes to mind, that will take you back to "Being There." But this new one is not that record, or any other Wilco record, and this is why I love this band. "The Whole Love" is another step forward for Jeff Tweedy and company. Not a giant step, but a respectable step.

It's not back to basics. It's actually a bit demanding. It takes the subtleties of "YHF," the textures of "Sky Blue Sky," and even a few of the pop sensibilities of "The Album," and delivers a worthy entry to the Wilco catalogue.

I'm counting on this to get better with each visit.

One disappointing note-- the iTunes and vinyl only bonus track is one of the better tracks.

BUY IT

DARYL HALL- LAUGHING DOWN CRYING

I've been considering a John Oates "Weekend Mix" for some time, but quite frankly, I'm afraid. It'd be a breeze to compile a baker's dozen of H&O tunes, written and sung by John Oates, that should impress the lot of you. And while I have the utmost faith in my readers, I anticipate a phalanx of snidery, not to mention those who will just ante up a big "Not gonna do it" without hearing a note. (Ah, maybe I'll do it anyway.)

That said, I do prefer Daryl over John. Daryl Hall's solo output has been too infrequent. The Robert Fripp produced "Sacred Songs" is a masterpiece. (Yes, a masterpiece.) "Three Hearts In The Happy Ending Machine" is full of power pop and soul brilliance. "Soul Alone" suffered from over-production, but still had many moments. And his last effort, the elusive "Can't Stop Dreaming" offered, in spades, the white boy soul that has made Daryl a star.

"Laughing Down Crying" builds on all of this, as well as the inspiration of the many guests he has hosted on his genius internet show, "Live From Daryl's House." Really good stuff.

IT'S HERE

MATTHEW SWEET- MODERN ART

I want to love this record, but I don't. I love Matthew Sweet, but "Modern Art" needs more than just "that sound." Harmonies, backwards guitar, 12-string strumming...it's all here. It's just not enough for me.

It's been a while since something solid has come from one of the better singer/songwriter/power pop stars of our time. 1999's "In Reverse" and 2003's "Kimi Ga Suki Raifu" both had a handful of jangly winners, and I do like the two covers collections with Susanna Hoffs. But as uneven as The Thorns record was, that side project with Shawn Mullins and Pete Droge had the last bit of truly memorable music from Mr. Sweet.

(Speaking of Susanna Hoffs, there is also a Matthew Sweet-produced record from The Bangles that hit yesterday. Haven't heard enough to comment, but their Nazz cover, which I did hear, is just so-so. Still, I love them for doing it.)

SWEET

BANGLES

PINK FLOYD'S BIG TIME, EXPENSIVE RE-RE-RE-RE-REISSUES

"Immersion Boxes," in which you get not only the music, but extra stuff like pashminas sporting the "Dark Side Of The Moon" logo, Richard Wright's recipe for pudding, blu-ray DVDs with 5.1. and maybe even 5.2 and 5.3 mixes of everything, metallic balls of something, lots of foam, and more.

I bought, fool that I am, the new 2011 remasters of "Piper At The Gates Of Dawn" and "A Saucerful Of Secrets," and I will admit on these pages, I WILL buy the "Experience" editions of "Wish You Were Here" and "The Wall," because I love this band, and you know...these new editions just might sound better.

I had the opportunity to listen to the "DSOM" remaster, as well as the unreleased early "Alan Parsons' mix, and I gotta tell ya, it sounded damn good. Still, it's fun to make fun.

IT'S HERE

NIRVANA- NEVERMIND (20TH ANNIVERSARY DELUXE EDITION)

I want to keep this short because it may be a touchy subject.

I love this record. It was a game-changer for a reason. But, a) I don't understand why Kurt Cobain is considered a genius, and b) I still don't hear how "Teen Spirit" and "More Than A Feeling" are the same song.

Sorry.

There's a big, 4 disc set with a rare mix and b-sides and other stuff. Maybe you can tell me why I should consider Kurt Cobain a genius, and how I can hear Boston in "Teen Spirit."

IT'S HERE

STING- 25 YEARS (3 CDS & 1 DVD)

Hey Gordo. Take your $119 boxed set with it's 9 minutes of unreleased audio and 40 minutes of live footage featuring such rarely played chestnuts as "Roxanne" and "Message In A Bottle" and shove it up that stick-filled ass of yours. You and your label have bigger balls than Truck Robinson.

IT'S HERE

"Wilco (The Town Hall Show)"- 10th Anniversary Re-Post

2011-09-27T00:30:00.000-07:00

Ten years ago today, a night I'll never forget and a show I almost didn't see.

It was a little over 2 weeks after the horrific attacks on the USofA, and I don't know if anyone was truly ready to just "go about their business." But many did, as did I.

I remember being uncomfortable, as if someone would see me.

Two very specific memories from this Town Hall show:

1.) The way Jeff Tweedy approached the whole evening. It turned me into a fan for life.

2) I completely lost it during "Reservations."

TRACK LIST

I Am Trying To Break Your Heart
I'm Always In Love
War On War
Pick Up The Change
She's A Jar
Why Would You Wanna LIve
Hesitating Beauty/One By One
Should've Been In Love
A Shot In The Arm
Ashes Of An American Flag
Kamera
I Can't Stand It
I'm the Man Who Loves You
Passenger Side
California Stars
Monday/Outtasite
Reservations/Sunken Treasure
I Got You

ZIP FILE

Wyldlife: The Kids Are Alright

2011-09-26T07:29:00.000-07:00

I'm looking at my contenders for the Best Records Of 2011, and the combined age of the artists so far is 5408 years old. It's not as if I have some serious prejudice against the kids. I love the kids. But I will not fall prey to hype, beards, and 5-star reviews...anymore.

In what seemed like months before its release, Jonathan Wilson's "Gentle Spirit" achieved 4 and 5-star status from no less than 3 respectable music rags. Wilson is not necessarily a kid, but still young-ish in his early 30s. He boasts credits behind everyone from Erykah Badu to Elvis Costello. Jackson Browne loves this dude. Graham Nash loves this dude. Check out one review HERE.

Have you heard the record? It's contrived bullshit from another "genius."

As Neil Young famously said on "4-Way Street," right before debuting then new song, Don't Let It Bring You Down, "It sorta starts out slow, then fizzles out altogether." Big difference between Neil and Jonathan? A sense of humor. By track 4, which is already 30 minutes into "Gentle Spirit," Wilson's vocals become a whisper, as if we're supposed to feel his pain or experience his "high." This record is a relentless display of pretense. It is dying to be a cult classic. Sorry dude. Records shouldn't be conceived as cult classics. It's supposed to just happen.

Sure, I'm taking it out on this poor shnook instead of the idiots who've been raving about him, but isn't this exactly the problem? Find me a dozen records with rave reviews, by new or newish bands, that really and truly pack a whallop. I mean, a consistent side to side whallop like the classic LPs of old. Critics are so desperate to discover something special, they toss off 5 star reviews like Shatner goes through hairpieces. It's all hype. And after the initial pass through all of these "amazing new albums by these brilliant new artists," precious little sticks to your ribs.

Now, before the members of Wyldlife start getting all chubby, let me say, I don't think their debut is the Best Record of 2011. But for a little over 30 minutes, a perfect length for an LP by the way, Wyldlife explodes with hook after mouthwatering hook. This is "stick to your ribs" rock and roll.

These kids come out of the box with one of the best songs of the year, a song with a chorus so big, you will be hard-pressed not to whip out your air guitar or bang your head. "City Of Inbreds" which opens Wyldlife's debut release is a monster. It is a song that gets everything right. Even if you're not a fan of The Clash, or The Ramones, or the Dolls, or The Strokes, you must recognize that not only does "City Of Inbreds" have hit written all over it, it also boasts the most properly placed minor chord in the history of rock and roll right at the 1:23 mark.

And the album doesn't let up there.

"(She's Making Me) Nervous," "One Night Only," "Sidewalk Queen"---these songs, in three and a half minutes or less, say more than just about any of the 5-star darlings supposedly changing the world with their epic, aural melodramas.

There is a place for Jonathan Wilson, and a place for 5-star reviews. It just used to be harder to get to.

Wyldlife got me excited. It's a new band with some great young players, writing riffs and hooks and choruses to die for, and I'm loving it to death. But I'm still not slapping 5-stars on it. "Beatles '65" only got 3 1/2 stars, for Pete's sake.

BUY WYLDLIFE BELOW
http://www.amazon.com/Wyldlife-Explicit/dp/B005I4XLCW/ref=sr_1_1?ie=UTF8&qid=1317036898&sr=8-1

Listen to "City Of Inbreds" HERE

"Rainin' Soul" : THE WEEKEND MIX (Late Edition)

2011-09-23T12:01:00.000-07:00

Forgive the delay, loyal readers. I'd explain, but it's not worth it.

Enjoy this mix, built around Ann Peebles' greasey "Somebody's On Your Case," which I've been listening to on repeat, thanks to an original pressing on vinyl given to me by my pal Soundsource and inspired by the not so great, recently released biography of Little Willie John.

The crap weather helped a bit too, put me in a deep soul mood. Now I know this "WEEKEND MIX" isn't all "deep soul," but I think you'll find, it will work well with the rain.

Thanks for waiting.

TRACKLIST

Can I Be Your Main Squeeze- Chuck Carbo & The Soul Finders
Somebody's On Your Case- Ann Peebles
Can't Get Enough- Johnny Sayles
The Girls From Texas- Jimmy Lewis
How Much Can A Man Take- Big John Hamilton
I Know You Got Soul- Bobby Byrd
Temptation 'Bout To Get Me- The Knight Bros.
Storm Warning- The Volcanoes
Get Yourself Another Fool- Sam Cooke
Who Dun It- Monk Higgins
Crumbs Off The Table- Laura Lee
Hard Luck Guy- Eddie Hinton
Wifesitter- Swamp Dogg
All Around The World- Little Willie John

THE ZIP

Please Stand By

2011-09-23T04:43:00.000-07:00

Due to a personal matter, "THE WEEKEND MIX" will be postponed for a few hours at the least. Please stand by. It will be here.

Sorry for the inconvenience.

Thank you.

R.E.M. R.I.P.

2011-09-22T00:30:00.000-07:00

I'm not that upset.

I came to the party late. It was "Life's Rich Pageant" that made the lasting impression, and not the groundbreaking, 1-2 slap of "Murmur" and "Reckoning," two critically acclaimed records that left me colder than a Tribeca waitress. What followed were more songs that offered style over substance.

"Document' was a weak follow-up. "Green" bored me, as did the "Green" tour which featured a raccoon-eyed Michael Stipe in an oversized sports coat just pissing me off with his arm swings and pretentious un-rock and roll demeanor. (Or maybe it was more rock and roll than I'd like to admit. I still don't like "Green.")

And while Peter Buck remains one of the nicest people I have ever met, he and Mike Mills just didn't do it for me on stage. As a matter of fact, if I read one more review that cites Mike Mills' harmonies as anything but adnoidal, I may plotz. I guess that's no longer an issue.

Maybe I'm being a bit harsh, especially since "Out Of Time" and "Automatic For The People" sucked me right back in. R.E.M. growed up. They growed up real good. They may have lost the core with their big time MTV status, but the music was good, and for me, that comes first. The music MUST come first.

But then came "Monster," a collection of tunes that were glorified rewrites. And thus it began...the decline. The misery.

It was a reverse crossroads. The band sold their mojo to the devil.

And who can forget the great Bill Berry, someone I like to refer to as "Mojo."

(Myth? Fun, though.)

So for the last...what...15 years...we've had to endure the pressure of obligation. We were feeling the need to love this band because Patti Smith loves them...and we love her. But in reality, the music didn't feel like it was coming first. It was lifeless. And "important." Grown up in all the wrong places. R.E.M. threatened us, but we weren't fooled. "This is the one." NO, it wasn't. "THIS is the one." Uh... nope. Once the music hit, we were back on low alert.

It's the end of the....blah blah blah.

It's time.

You guys did enough.

My Morning Revelation

2011-09-21T06:42:00.000-07:00

It seems like I can pick any song from any of the last 3-4 My Morning Jacket releases and play it along with a dozen other tunes by various artists, and each time I won't realize I am listening to My Morning Jacket.

I fell in love with "Wordless Chorus," the opening track on their 2005 release "Z." And though I can't say any one of their albums has made a great impression on me as a whole, a number of songs at various times have. When not listening to an MMJ record in its entirety, it seems like I love almost everything. Most recently, it was Jim James' turn on Booker T. Jones' latest that made me swoon and go back into their catalogue.

Here we are again, with another tune popping up at random, and me thinking, "Who is this? Sloan? Jesse Malin?" I truly had no idea.

I'm saying "Uncle." My Morning Jacket is a good band.

Not So Superheavy

2011-09-20T04:48:00.000-07:00

This may not be true, but I'm saying it anyway. This is the worst thing I've ever heard.

I'm saying it for two reasons.

One: it's a dumb idea.

Two: the record didn't surprise me. I didn't hit play and think after 5 songs, "Wow. This is really good!"

No. Superheavy sounds as dumb as I thought it would sound.

Factory-setting reggae beats. Mick Jagger doing his best (or worst) Jagger, over-enunciating in that painful, 1994 "Out Of Tears" voice or in that phony Jamaican lilt. Joss Stone vamping and moaning, mostly in the wrong key. Dave Stewart, a musical conundrum if there ever was one. Friends with everyone and I'm not sure why. The Eurythmics weren't that good. Look at his credits HERE. Unless having the distinction of producing mediocre records for some of your favorite stars is a good thing, I don't get Dave Stewart.

What's next? Superheavy 2? How about Roger Daltrey, Al. B. Sure, Shinehead, Lisa Lisa and Rupert Hine? That's a good idea, no?

New Orleans Magic: #117

2011-09-19T04:21:00.000-07:00

I've been on a Ry Cooder kick lately. These kicks happen, like it just did with John Cale, when I hear something wonderful and new by a favorite artist. I get sucked in like dirt under an Electro-Lux. Fellow Ry Cooder fanatic and old Brooklyn pal Mike Saccoliti, shared this video and this story with me.

Jazz Fest, last day, first weekend, looking like rain all day. Was there with my friend Joan. It's about 4.30, it's looking really dark. Staple Singers are at the gospel tent at 5. We make an early beeline for the tent just as the skies open up. We are in the gospel tent for an amazing Staples set and stay dry. The rain stops. Many people bail. Cooder and Lindley are on at 6 at the big stage. We walk over in the mud, right to the front of the stage and hear this. Check out Cooder at about the 5 min. mark. He seems to be having an out of body experience.

I remember going to Tipitina's that night to see The Meters and meeting some young kids who kept on buying me drinks. Trying to keep up with them, I got REALLY drunk. Early flight out the next day, and there at the airport was Cooder, Lindley and the rest of the band at my terminal. I was so hung over I couldn't say a word. Just looked at them while I groaned into my coffee cup.