There was always something about Bob Dylan's minor hit single "Wigwam" that fascinated me. Even as a kid, I found it to be strangely beautiful and haunting. But it was only recently that I heard a version without overdubs found on the bootleg series set "Another Self Portrait." This version is even better. I don't know exactly what it is. Maybe it's because the greatest worsdmith of our time can still be affective without using any.
Plus, his voice is wonderful on this track.
Gone Gone Gone- The Everly Brothers
Beautiful Delilah- Chuck Berry
Satellite- The Replacements
Happy Go Lucky Girl- U Roy
I Want You- Marvin Gaye
West End Blues- Allen Toussaint
Downstairs- Plas Johnson
It's HERE.
Dig it.
Plas Johnson, R.I.P.
You saw this coming.
I tweaked it just a bit from yesterday's tune stack. I've used stereo and mono mixes, as well as a single version or two, and I swapped out "It's Not True" for "Glow Girl."
I listened again last night and I'm loving it.
Hope you will, too.
TRACKLIST
The Kids Are Alright
Our Love Was
Man With Money
Happy Jack
Pictures Of Lily
Much Too Much
Anyway, Anyhow, Anywhere
So Sad About Us
Early Morning Cold Taxi
La-La-La Lies
Glow Girl
I'm Free
I Can't Reach You
Substitute
Disguises
I Can't Explain
Grey De Lisle has eight records under her belt, the first released in 2000. I've seen her name but I've never heard her music.
Les Greene is a new hot shot soul singer with only a few recordings under his belt. I never saw his name or heard a note of his music, but Miss De Lisle was knocked out by Mr. Greene and wanted to collaborate.
Roots rockin' semi-legend James Intveld (Oh! Finally someone I know!) got on board, played all the instruments and produced "Grey & Greene," a truly fantastic blast of an album.
Intveld co-wrote three of the nine originals while De Lisle penned the other six on her own. There is also one cover, a totally lovable take on the "Grease" classic "You're The One That I Want."
The opening track "Homewrecker" would lead you to believe this album would be set in Blasters territory. But as the record progresses, you will feel you are on an audio tour of Memphis, Nashville and New Orleans. Grey & Greene absolutely shine on "Grey & Greene," covering soul, country, swing and good ol' rock and roll. And though Intveld is handling all but a lone guitar solo by Deke Dickerson, these songs sound live and loose.
The one strange thing is the delegation of the songs. "I'm Gonna Let You Call Me Baby" is clearly written as a duet. "You're gonna treat me like a woman/I'm gonna take it like a man," yet it is sung by Les Greene alone. "Back Of Your Hand" is from a woman's point of view- "You ain't so tough, just a big talkin' man/I don't even know you, I only know the back of your hand"-- but again, Grey leaves it solely to Greene. As a matter of fact, the only duet is the John Travolta/Olivia Newton-John cover. It's a small nit to pick, though maybe Grey De Lisle really wanted to showcase Les Greene.
"Grey & Greene" is the most fun I've had a long time. This record is the real deal. It'll remind you of all the greats from Otis and The Reverend Al, to Ray Charles, Patsy Cline and Etta James without ever sounding like a novelty.
(h/t Paul In DK)
The Tom Petty weekend reminded me of something my partner Tony & I had written up for our NYCD newsletter. This came hot on the heels of "Highway Companion" and was sent out to readers in August of 2006.
It still makes me laugh so I thought I'd share it.
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."
Let us know if you know of any songs that utilize all four Petty voices -- also known as a "Tom Petty Grand Slam"
Jealous Lover- Rainbow
Gigantic- Pixies
Crazy Little Thing- Captain Beefheart & The Magic Band
Rivers Of Babylon- The Melodians
Duane- Jo-Ann Campbell
Sabotage- Beastie Boys
Sheik Of Araby- Leon Redbone
It's here.
Enjoy.
