Let's see, only three comments on the Songs Of The Week post, three that weren't me on the Martin Belmont post, and three that weren't me on the "West End Blues" post.
Has everyone fled to Canada?
"Show must go on, Sal. Even if it's to an empty house."
"You're right. I know how to get'em back."
HIP HOP!
"Let's take it back to the concrete streets Original beats with real live MC's Playground tactics No rabbit in a hat tricks Just that classic Rap shit from Jurassic"
"West End Blues" has been the subject of countless articles and discussions, and Louis Armstrong's intro is often considered to be one of the defining moments of jazz. I'm not here to offer new insight. I just wanted to share the music.
Among the many musical gems I have relocated on recently found hard drives, were a series of compact discs I had put together for friends called "The Fest Companion." Starting in 2000 and continuing through at least 2008, as far as I can tell, I created a mix of artists that would be appearing at the New Orleans Jazz & Heritage Festival. Then, about a week or so before we were all leaving for New Orleans, I'd mail them out to my select group so they'd have a soundtrack while they packed, prepped and checked their festival cubes. It was something every one looked forward to each year.
One of the Fest Companion's began with Nicholas Payton's version of "West End Blues" and concluded with Louis Armstrong's legendary recording. I enjoyed hearing both, especially comparing Payton's opening cadenza to Armstrong's, as well as the differences in the arrangements, with Louis' mournful dirge-like reading turning into a swinging big band shuffle, almost 75 years later on Payton's "Dear Louis" release.
If by some chance you are unfamiliar with this legendary tune, you are in for a treat, twice.
From a record I haven't thought about since the year of its release, please enjoy the opening track from "The Guest List," Rumour guitarist Martin Belmont's 2009 solo album, which features Nick Lowe, Graham Parker, Sean Tyla, Geraint Watkins, Carlene Carter and on this lovely Louvin Brothers cover, Paul Carrack.
I've been going through old hard drives and finding a treasure trove of music I had long forgotten about. This Martin Belmont record is just one of many. The entire record is a terrific listen, but I've had a soft spot for Paul Carrack ever since I heard Ace's "How Long" blasting out of my cousin's transistor one August day on Coney Island beach in 1974.
Another winner is Belmont's take on one of my favorite Earl King tracks, "Time For The Sun To Rise," featuring vocals by a gentleman named Johnny Nicky, who is "London's best kept secret." I believe it since I know nothing about him. But I do love how he handles the Earl King tune.
One record I can't seem to locate on any of the hard drives is "Known Felons In Drag" by Mud Boy & The Neutrons. I don't believe it was ever released digitally, but most of it can be found on "They Walk Among Us," compilation of the band's first two records. If anyone reading happens to have it and feels like sending it to me via WeTransfer or any file sending service you prefer, I'd be forever grateful.
In the meantime, I may have a few more surprises as the week unfolds. For now, dig these tracks from "The Guest List."
I Want You Still- Dave Clark 5 Shindig City- Dorothy Parker Where Is The Moon- Southern Culture On The Skids Talkin' To Myself- Art Hot Rails To Hell- Blue Oyster Cult Into The Light- Siouxsie & The Banshees Elevator- Grapefruit
I Want You Still- Dave Clark 5 (Is there any one DC5 album that is consistent? I guess if I had to pick one, it would be "American Tour." This is from that.) Shindig City- Dorothy Parker (Dorothy Berry?) (I couldn't find any info on this Dorothy Parker. But an anonymous philanthropist sent me a message that mentions Dorothy Berry's single "Standing On The Corner," which I've featured here before. This makes sense and more likely that the info on my MP3 is incorrect. In other news, Berry has one single and man, do both sides kick ass!) Where Is The Moon- Southern Culture On The Skids (SCOTS recorded this gem twice, once in 2004 and again in 2021. This is the latter.)
Talkin' To Myself- Art (When Gary Wright joined Art, they became Spooky Tooth. Art's only release is a pretty great piece of psychedelia. From 1967, here's one of my faves.) Hot Rails To Hell- Blue Oyster Cult (I've said it before and I'll continue to say it, there is no band like Blue Oyster Cult. Pigeonholed as heavy metal, these guys can play anything. And whatever they play is always uniquely BOC...like this classic from "Tyranny & Mutation.")
Into The Light- Siouxsie & The Banshees (Had a few visits with Siouxsie this week. "Juju" is a favorite, as is this single from that album.) Elevator- Grapefruit (Maybe you know "Dear Delilah." Maybe you don't know "Elevator." It's good, too!)
I don't love the New York Dolls records the way others do. But I dig them just fine. That's the thing about David Johansen. I dug everything he did, however flawed, because he always seemed to be having more fun than anyone else around him.
The Dolls, his excellent solo albums, especially the first two and those two killer live records, not to mention his absolutely hilarious live Buster Poindexter shows, and The Harry Smiths, David Johansen made a lot of people happy.
A quick perusal of past posts (sorry for spitting) shows that I've featured Honeybus in some capacity no less than five times, each of those times, mentioning Andy Partridge's comment on how he wished he had written the band's hit "I Can't Let Maggie Go." That song is a good one, no question. And so is the follow-up "(Do I Figure) In Your Life." But to be honest, I don't know if I had heard much more of the band before yesterday. I've owned the See For Miles collection "Honeybus At Their Best" for years, and it's quite possible the last time I listened to it was back when it was released in 1989.
Honeybus is fantastic! Apologies if this is old news, but it's new to me.
At their best, Honeybus sounds like Badfinger at their best. Or, maybe it's the other way around. The singles on Deram are beautiful and infectious; baroque pop to rival, at times, The Left Banke, with lush harmonies and enough hooks to snag a flounder.
As wonderful as "I Can't Let Maggie Go" might be, there are much stronger tracks scattered about the collection.
Tomorrow, February 28th, will be the first in a series of economic blackouts protesting corporate greed, and companies that have rolled back their diversity, equity and inclusion efforts and Presinot Shitler's efforts to eliminate federal DEI programs. People are encouraged to not spend any money for 24 hours, though from my record sales, it seems like the boycott started in November of 2024.
That said, I am calling February 27th, Small Business Thursday because, well, this small business really needs to pay some bills.
As usual, I have some fine records for sale, priced more often than not, cheaper than any other dealer with an equivalent record.
Take a look at my modest but potent selection over here. Tomorrow's boycott is all about the big names, but supporting the small names is still ok.
