"YOU GOT IT" - Official Video - Roy Orbison

Friends Of The Junkyard: Concert Report

The ever faithful Veniche Gueverra has done me the honor of commenting on a great act she caught in Santa Barbara. None other than Steve Earles son, Justin Townes Earle.

JTE has been at it for a short while now(his middle name "Townes" is after the great Townes Van Zandt, an idol of Steve's), but in 2010 he released his third album, Harlem River Blues which in my opinion was his best effort to date. The title track is a happy-go-lucky suicide song, and if you can't tap you're foot to it, you must be paralyzed ( listen here ). The album is full of strong folk tunes, and his inebriating voice is a far cry from the scratch and wine of his fathers. His most recent album from 2012, Nothing's Gonna Change the Way You Feel About Me Now, was mostly a fine effort, with a more bluesy feel to it.

But enough of my ramblings, lets see what Veniche has to say about the concert:

Justin Townes Earle

Soho Santa Barbara, 12/11/12

I went into this intimate performance blind. I had heard of Justin Townes Earle before but was rather unfamiliar with his music. Knowing of my brother's fondness of both Steve Earle (whom I also love), and JTE I decided to go check him out.  I had read somewhere that Earle was a "master songsmith at work" and aint that the truth!  Earle is sensational.  He has a confident and raw sound; a dynamic musician channeling multiple influences and musical styles.  He is an amazing guitarist with an authentic and engaging voice  One of those voices that really gets down to the bottom of it.  He expressed a realness and honestly in his music, performance and interaction with the audience.  Earle is quirky and interesting, creating a curiosity in his listeners.  There is no falsified image while he performs, its just him, his guitar and some repair tools on stage.  

I am definitely hooked, already listening to his music "on the regular!" 

V 

Part of me thinks she should be writing this blog... Thanks for the awesome input Ven.

You can also catch Steve Earle and JTE together, on the HBO show Treme (Season 2)

SOD: Charlie Hunter "Fine Corinthian Leather"

I know, it's been a while. So I've got some catching up to do.

Charlie Hunter is an amazing cat. The six-string wasn't enough for him, so he created his own 7-string guitar (originally 8, but he downsized due to small hands). It consists of 3 bass strings (currently tuned G-C-F) and 4 guitar strings (tuned C-F-A#-D). The frets on the guitar are spaced out very interestingly as such, to help guide his hands into some of the wackiest patterns I've ever seen. Thus he holds a bass line that is divergent from the rhythm and melody (solos) he plays on the guitar strings. Already, his brain is tasked three different ways to accomplish that, but Charlie has said that before every song, he creates the drum beat in his head. Apparently that is what drives every piece. So if you count that, it's four things going on upstairs at once.

The Stalloners, myself, and friends all saw Charlie play three years ago at Equifunk. We were blown away.  To see this one man band live, is really something else. As you would imagine, he's incredibly concentrated, and his ability to create such an amazingly full sound all by his lonesome is something I've seen only one other performer do. That would be the great jazzman, Pat Metheny (who built a 42 string guitar which is completely different in sound and style to what Hunter has though). He's a one-of-a-kind guy, and what makes him so special is he's decided to step out of the confines of his trade. He wanted a different sound, and instead of trying to create it with what was out there, he chose to redraw the lines. I have an incredible amount of respect for that, because it takes so much more work to go that route.

 The more I read about this guy, the more he surprises me. First, I was struck to learn that an early pedagogue of his was the great Joe Satriani. It's not surprising I suppose seeing as Satriani has mentored many guitar virtuoso's of jazz, rock, and metal. But the Hunter I have heard, is quite different from Satriani. I must confess though, I've not even heard a third of the 17 solo albums Hunter has released. I was also quite surprised to learn that besides jazz, Hunter was at one point very intrigued by hip-hop, being that it was a newly created form of music which he thought had a lot of potential. Fifteen years ago, he was even quoted as saying that he wished A Tribe Called Quest would sample some of his stuff. That warmed my heart quite a bit, because of all the hip-hop acts out there, past and present, Tribe is my most respected.

But Hunter is not confined by anything, least of all genre. He's played and collaborated with acts from every walk of life, and every style of music. That's the least surprising of all the things I've seen and read about him. His quest for knowledge and interest to learn is insatiable. Now I'm certainly no expert on this guy, but there is one thing I can say confidently; if there were more musicians out there like him, the art form would be progressing a lot more than it has recently. Then again, there's a reason why there aren't any other musicians like him out there. I'll leave it at that.

This oddly named piece from 2008 is not indicative of the grittier blues and jazz he has been playing more recently. I chose it however, because I stumbled upon it looking for music Bundell would enjoy. And so i've included it as SOD today, because I know she will. 

For more on Charlie Hunter, check this video out which I posted a couple weeks ago. Thanks to Matty for the find.

http://www.youtube.com/watch?feature=player_embedded&v=Mq1IiSaetV4

Charlie Hunter - Fine Corinthean Leather

SOD: The Wood Brothers "Angel Band"

I have consistently spoken very highly of these guys, and they're well deserving of the praise. I heard them open for the Tedeschi Trucks Band at the Beacon, and they were simply incredible. Though they are only a duo (guitar and bass with a percussionist at times), their sound is equally as good on stage, as it is through a nice sound system. There were points in their performance when they were able to get as musically grandiose as they wanted to, yet still retain their distinct stripped down feel. Musically, these guys are as good as it gets.

As good and authentic as the music is, it's matched by Oliver Wood's voice. It's so unique and identifiable. Though it's not warm, there is something so seasoned and experienced about it, that you almost feel like you're being told a story, passed down through the generations. The whole package is obviously what makes these brothers the real deal, but Oliver's vocals are standout in my opinion. He sings how I only wish I could.

"Angel Band" is a great example of the flavor these guys encompass. Old traditionals given a signature of their own is a trademark of theirs. I especially like this song, and their version of "Lil Liza Jane" is noteworthy as well. Their original songs also have an authenticity to them that could convince even the most trained ear that these songs were written ages ago. The two albums that hooked me for life with these guys were Ways Not To Lose and Loaded. I guarantee, you won't be disappointed.

The Wood Brothers - Angel Band (Sleepover Shows)

SOD: Preservation Hall Jazz Band "Lil Liza Jane"

A New Orleans Brass Band tradition, this song has been covered in a multitude of genres, by an ever growing number of entertainers. Though the words may change from version to version, the feel and heart of it is everlasting.

This song reminds me of the HBO show "Treme." Being an avid fan of "The Wire," it seemed only fitting to check out David Simon and Eric Overmeyers' next project. I can tell you without pause that Treme is an incredible show, with remarkable writing, acting, and directing. Like it's predecesor, this show took me a few episodes to get into as well. We're so bogged down by typical surface television these days that when something authentic actually comes along, it takes a bit for us to catch on. The lingo, the music, the flavor, is all New Orleans. Just as The Wire took some getting used to (Police lingo and politics set on the streets of Baltimore), Treme too will force the best viewer out of you. By time you get to the third season though, you'll feel like you understand a whole new lifestyle and culture, inside out. It's not to be missed.

As such, the show plays as much New Orleans music as one can probably stand in a 60-minute period. It's absolutely mind blowing how much of it is out there, and how much of it the show actually represents. "Lil Liza Jane" is one of the best, and it's been covered by some of my favorite artists such as Nina Simone, The Band ("Go Go Liza Jane"), The Wood Brothers, and more. The original song dates back to the 1910's if not further, and it soon came to be known as a Southern dialect song. It's further noted that it's similarity to the ever famous "Camptown Races" song may date this song even further back. Regardless, it doesn't seem like it will be forgotten anytime soon.  

Preservation Hall Jazz Band - Little Liza Jane (2004)

SOD: The Rolling Stones "Plundered My Soul"

Yea, I know. It's a lot of The Stones on SOD these days. But I couldn't pass this one up.

An extremely knowledgable buddy of mine (DCV), gets all the props on this one though. He sent this track over first thing this morning, commenting that he found it on the Exile on Main Street Deluxe addition album. It's interesting how things like this surface, though I'm 2+ years behind the ball apparently. As Rob Sheffield commented in Rolling Stone (April 17, 2010):

"The whole idea of an unreleased tune from the Exile on Main Street sessions is like hearing somebody dug up video footage of Jesus skateboarding."

Yea, that about sums it up. But this track goes beyond merely digging up an old could-have-been classic. What really interest me is that in addition to Mick Jaggers vocal overdubs, Mick Taylor did guitar overdubs on this in 2010 as well. Now I know the camp is split, but in my mind there is no question that Mick Taylor was The Stones best (and at least most diverse) guitarist. My old man would probably disagree, but it's not really a point worth arguing. Like all art, the critics and fans can tell you what to like and what to think, but in the end your heart and mind are going to decide in their own way.

Mick Taylor gave The Stones a prettier sound in my opinion. He gave Jagger something to work off of that none of the other guitarists could. Songs like "Sway," "Tumbling Dice," "Torn and Frayed," "Can't You Hear Me Knocking," etc. would not really exist without him (significantly, any slide parts). The best description I've ever heard of Taylor came from New York Times music critic, Robert Palmer. He said:

"Taylor is the most accomplished technician who ever served as a Stone. A blues guitarist with a jazzman's flair for melodic invention, Taylor was never a rock and roller and never a showman."

That right there is why I love him. But it's also why he never truly fit the mold of a Rolling Stone. Never a rock and roller, and never a showman. The two things the rest of the stones have always been about (though Charlie Watts has always kept a pretty even keel). And Keith Richards being the bit of a princess he is, could never technically measure up to Taylors stuff, so you know that pissed him off. Jagger's been quoted as saying one of the reasons Mick Taylor left was because he couldn't get on with Keith. Not many can I'd imagine. Ronnie Wood does, but that's because he's content to give Richards the stage, and play the backup man. And I've got nothing but love for Ron Wood, truly. But he's no Mick Taylor.

Mick Taylor went on to have a solo career, and a critically acclaimed one at that. But he never garnered much popularity with the masses, never sold Clapton type numbers. He released his eponymous blues debut album in 1979 which included the song "Broken Hands" (the main riff sounds a bit similar to the Stones tune "Hand of Fate" released in 1976 on Black and Blue). It's certainly worth a listen for anyone interested in the old Mick.

Rolling Stones - Plundered My Soul (official Video)

What Really Happens at Walter's?

http://www.refinery29.com/best-nyc-restaurants/slideshow#slide-3

I know everyone "liked" the Dark & Stormy's, but my favorite line had to be from my man Scotty at the end:

If I can't build in it, I usually don't wear it. 

Just like jesus baby.

Scotty and Hannah, two of the more interesting people I conspire with, tried to sneak this little tidbit of a mush piece past us all. But alas, The Queen caught wind (as she often does), and spread it through the land like wildfire. I'm happy to do my part as well to make sure eyes get on it.

Clearly they're two very smart individuals, doing what they love to do. All of their answers are very astute. Which leads me to believe they're spies. They've got their stories too straight. They're hiding something. "No Comment. She always looks great," says Scotty when asked if there were any fashion faux paus on his better half's track record. "Obejection!" I cry from the bleachers, though I'm not council. There must be something. A pair of Teva's worn on one of those hiking expeditions in Montauk perhaps? And Hannah Dewhirst (which even sounds like a spy name), has this to say about their work together:

We recently worked on a project together, which was amazing. We're both in our best element when we are creating. We've collaborated on a couple of ventures now, and this really pushed our normal ways of working.

Working on what? Murder...

Truth be told though, I'm buying it. These two are completely wooly bully for each other and I can attest to that. So fuck it. If anyone's hungry let's go to Walter's.

Break Room Sessions - Charlie Hunter

SOD: The Rolling Stones "Gimme Shelter"

Marty Scorsese may love the song (Goodfellas, Casino, Departed), but this one's for Amanda today.

Stranded on The Island, unable to return to her home in The City, this girl is on her knees in the rainstorm pleading for someone to, "gimme shelter." Fortunately, she's got parents with a house. But a house ain't home, and home is where she longs to be. Dramatic and fitting, the song was her request and is an apparent favorite often heard during the "cool down" period of her running mix.

Normally, requests aren't fielded. Not that there are any. But hey, this is the Stones. Some may consider this song "popcorn" (a phrase taken from a very lovable baroom character we'll call "Cannon"), but I still enjoy it. It's the ultimate Mick-Richards collaboration. A song truly created by the two of them. It's also my Uncle Louie's favorite Stones song, or was at one point. Oddly enough, I remember things like that.

I get why Marty uses it so much in his films too. His gangster flicks at least. To me, it's the kind of song you want the jukebox to be playing when you walk into the pub with a couple of your boys, and slowly make your way to that familiar spot at the end of the bar. The bartender sees's you come in, gives you a nod, and parallels your walk behind the bar to greet you with a sarcastic remark and a beer you don't pay for.  Ideally, it all happens in slow motion.

The song itself is apocalyptic, and that's why I love it. The music is big, the message is big. It's the Stones at their finest. I grew up to this song, and by college it became that quintessential "get off yer ass and start drinking" anthem. If it was dare played towards the end of the night, something was going to break.

But as much as it's a Rolling Stones song, it's Merry Clayton that seals the deal. The emotional delivery of her parts on this song are unbelievable. A New Orleans native, she was recording as early as fourteen with the likes of Bobby Darin, Ray Charles, and Burt Bacharat. She was also one of the backup singers on Joe Cocker's version of "Feelin' Alright." But this song would be what she was remembered for, and probably the song she most remembered.

She perfectly screams the most intense parts of the song:

"Rape, murder, it's just a shot away, its just a shot away"

You can hear the intensity. Sometimes when I listen to it alone and on Max Volume, I can feel it. Then I read this:

http://articles.latimes.com/1986-03-13/entertainment/ca-19857_1_career-clayton

 She had a miscarriage when she returned home from the recording session. They say the strain of hitting and holding some of those higher notes could have been to blame. Tragic, yes. But it's nobody's fault. She had a job to do, one that she'd been doing very well for quite some time. How was she to know?

Quite a tale, I know. Maybe not so uplifting, but it's real. She's made her peace with it, and it's another one of those crazy stories behind the music.

The Rolling Stones - Gimme Shelter (1969)

SOD: Chuck Berry "Route 66"

My intent was to get back into the swing of things with my posts today, but alas, catch-up from the hurricane has taken up my time.

Excuses aside, I'll get back into my routine this week for sure, so I figured I'd go with a little staple for today. Gotta love Chuck Berry, and being a Stones fan I appreciate his influence all the more. At heart, I'm a Mick Taylor fan. I still believe he was the Stones most promising guitarist, but being that Keith lasted through the years, the flavor of Chuck has always been one strum away. 

I enjoy the Rolling Stones version of Route 66, I think its a classic take on the song itself. But Chuck Berry's rendition is my favorite, hands down. The song itself was written as a popular R&B standard in 1946 by Bobby Troup, and first recorded by Nat King Cole that same year. Berry covered it in '61, and the Stones in '64. Obviously there are similarities in the Berry's and The Rolling Stones versions, but I like Berry's tempo, and the piano is marvelous, assumedly played by Johnnie Johnson (Berry's piano men through 1973). 

Many artists have covered this song through the years, and I've heard quite a few versions. Depeche Mode even covered it (and they only covered three songs in their entire career), not that their version is really any good. It's a little too...Duran Duran - "Hungry Like The Wolf" for me, which is not what this song needs.  The song is an American staple, and my guess is it will continue to be covered for years to come. However, I think you'll need to reach out to the past to find the best quality versions of this one.

Chuck Berry Route 66

SANDY

I did not see this coming. Shame on me for not filling up the bathtub.

But it's far worse than that. I'm complaining because I can't flush a toilet, take a shower, or charge my phone, but physically I'm ok, and I still made it to work today. Breezy Point practically burned to the ground, hundreds of houses were completely leveled. The Rockaways are devastated as well, and the streets of Long Beach are buried in sand. Fire Island looks like a wave crashed over it's entirety. Parts of NYC are completely flooded, my friends building in Battery Park was nine feet under water, and 14th street and avenue C looked like a swimming pool with stop lights. Ground Zero was flooded with water, creating mini-waterfalls across the area. Residential Hoboken looks like New Orleans post Katrina, the streets are still completely underwater. My co-worker says it's a ghost town, and there are many people still trapped in their apartments because of the standing water. As many as 20,000 in Hoboken alone. The Atlantic City and Jersey Shore boardwalks are no longer, and though I'm glad it stunts Snooki's antics for a spell, I do feel for all the people who lost their livelihoods. 

Though the death toll is only 26 in NYC (56 region wide), that rising figure doesn't represent the devastation. Peoples lives have been upended, and so many are now homeless. There's no way to tally the emotional damage, but there is a way to tally the monetary end of it. There is 20 billion dollars of damage in NYC alone and that figure is rising. To put it into perspective, Hurricane Irene costs $4.3 Billion across multiple sates, and Katrina, the most costly Hurricane in U.S. history, cost $46.59 billion when all was said and done. That already makes Sandy sure to be the second most costly Hurricane in U.S. history, and as the figures really start coming in, we make a run at the title. The financial markets finally opened again today after being closed for two full days. Honestly, when was the last time that happened and it wasn't a holiday? Seriously.

Another problem is travel. It is limited both locally and otherwise. La Guardia is still closed, though Newark and JFK are opening today with limited capcity. The subways are down, the PATH trains are down, as is Metro North and the LIRR. The tunnels going east of the city are also still closed. The Brooklyn-Battery tunnel is 12 feet underwater, so that's certainly going to take some time. Gas is in short supply as well. You can't get any in the city, the closest place is in Brooklyn if you're downtown. If you didn't have food and water saved up and you're in any of the heavily effected areas, you've got a problem. People are turning to red cross and shelters in high numbers. Entire neighborhoods were wiped out, and that means many of these people will be in shelters for weeks if not more. Volunteers are obviously needed, but there's only so much they can do. Fortunately it seems that the response to this crisis has been solid. Nothing like the abandonment New Orleans felt after Katrina.

Then there's always the secondary concerns. I'm wondering about sewage overflow and chances of the bubonic plague rearing it's head again. But seriously, NYC suspended garbage collection and recycling, which put plainly, sucks. There's still over 4 million without power in New York, and no clear determination when we'll get it back. From 39th street down, it's apocalyptic looking at night, pitch black almost everywhere you go. They tell us 3-4 more days until we get power back, best case. In Long Island, that same figure is 7-10 days. And yes, houses burned or washed away, we know that. But in all the footage I've seen (which has been limited), the devastation to vehicles has been massive as well. I've never seen so many cars underwater, under sand, or overturned. Boats too. Granted, these vehicle losses are a distant third to lives and homes, but it's still something to take into consideration. If I lost my home, I'd hope I could jump in the car and drive to a relatives. Especially if I had kids. 

Though it's a pain in the ass to descend, and then unfortunately ascend 21 flights when I need to come and go from my apartment, it's nothing compared to the work our maintenance guys have been going through in my building. I feel the need to give them a shout out because they've got families, they've got lives, and yet they work 18 and even 24-hour shifts to make sure that we are taken care of as best as possible. It looks like we're even getting our generator up and running so at least we'll get some water (albiet cold water) in the apartments. 

There's still an extreme amount of water that needs to be removed from New York and New Jersey. And that must happen before power can be restored to many areas. And once the power is on, many of us can get back to our day to day lives, but so many others will only then be able to truly assess the damage that has been brought upon them. I am truly lucky that I'm ok, and my family and friends all seem to be alright as well. But all you have to do is turn on the news (if you have power), to see how bad others have it. I only hope that the government can help them quickly, and obviously does a better job than they have in the past (ahem, Katrina). But that's another story altogether. But this is New York, and protecting this state and city is a much higher priority for the government, as wrong as that is. And shame on us for letting that be ok. It's a different administration at the helm as well.

Friends of the Junkyard: Concert Report

Enthusiasm is what it's all about. At risk of sounding like Robert DeNiro (who played Al Capone) in The Untouchables, I'll repeat myself: Enthusiasms.

Music makes me enthusiastic, I don't know what I'd do without it. Quite a few people I know share that enthusiasm, but a man or woman can be enthusiastic about almost anything. The point is, that they are in fact enthusiastic and live with enthusiasm. Likewise, it's always easy to spot someone who's heart is not in it. In the music world, that takes away from the experience. Music can't be forced, it has to be felt. You can tell when an artist is "mailing it in," as opposed to giving it everything they've got, and leaving it all up on stage. In fairness, we can't all be on at every moment, for every performance. Sometimes you're just not going to be 100%. The idea though, is that those instances are few and far between.

I'm always overjoyed when someone shares the same enthusiasm for something as me. Having a collaborator or even just another brain to pick and share similar interest with is what it's all about for me. Matty, Johnny, Nick, my family, Kimi, PK, Mike, Garvey (and on and on), these people are all collaborators in life for me. Part of the reason I started the Junkyard Farmer, was to create a forum for all of us to share and discuss our thoughts. Not just on music, though that was my personal focus. I encourage people to constantly send me anything they find interesting, and I've posted a lot of that stuff over the past few months. I even offered to post any essays or articles that one of my "collaborators" may write on a given topic. The more the merrier, I say.

So it is within this vein that I post the Junkyard's very first concert report from the 'other' coast, submitted by V & J.

Bob Dylan and his band & Mark Knopler

Santa Barbara Bowl, Monday October 22nd 2012 6:30pm

Sitting under the trees, bathed in the glow from the homes hovering above, we sat and listened to living legends of the music world.

Mark Knopler was instrumentally magical.  He teased us with licks from classic Dire Straits tunes, and exposed us to what I would call a type of  “Celtic Rock 'n' Roll.” The Knopf’s classic baritone voice was set to the backing of an Irish folk ensemble, including Irish pipes, violins, accordion, mandolin, double bass, and acoustic guitars. It was unlike anything we'd seen before. Genre of music aside, the musicianship was absolutely top tier.

Then came Bob Dylan, otherwise known as “B” (as one audience member kept yelling throughout the show). While his age (71 years young) is relevant to his performance abilities these days, B is still a musician who commands an incredible amount of respect when he's up there in the spotlight. He's simply a powerhouse at stimulating thought and emotion.  He made his way around the stage and onto the keys. He sang with that same throaty rasp that he's always been known for, performing eclectic renditions of "All Along the Watchtower," "Blowing in the Wind," "Like a Rolling Stone," and V's personal favorite, "Man in the Long Black Coat."  While each of these songs included new elements, their familiarity still shown through, maintaining their exceptional musical quality and uniqueness.  At times, B deviated from the bands tempo and sound, going on tangents and spontaneous explorations.  Such deviations appeared to be part of an overall plan or vision he was trying to achieve, which I believe he was successful in.  However, I found myself wondering at times, maybe we just like to think his planning is that meticulous...? It's a question I have to ask, even though in my heart I believe the answer is that he's as meticulous today as he always was.

Overall it was a tremendous show, not just because of who played, but because of the talent that is still very much existent in both frontmen and the amazing performers they've amassed around them. It's a show that both of us are glad we ponied up the money for, because missing it would have been a real disappointment,.

V & J 

SOD: Mark Knopfler "Remembrance Day"

I've always been an avid fan of Mark Knopfler and Dire Straits. He's played on so many albums that I'd say it's impossible you haven't heard him at some point. He even did a stint with Bob Dylan where he played guitar and produced the album Infidels (Jokerman is one of my all time favorite songs) Coincidentally, my sister just saw Knopfler and Dylan play together last night! She promised me a write-up, so I'm looking forward to that.

In addition to Knopfler's incredible accomplishments as a solo artist and with Dire Straits, he has also done a lot of movie soundtrack work. One of the more notable ones is Princess Bride, but he's also worked on Last Exit To Brooklyn, Wag The Dog, and Metroland among others.

The man is as talented a guitarist as they come. He is a renowned fingerstyle guitarist, and he's created one of the most recognizable sounds that I've ever heard. He is so incredibly smooth, he makes some of the most complicated runs and licks sound utterly effortless. I remember when I was just a kid, under ten years old, and Mark Knopfler was by far my favorite guitarist. I had never heard anything like it, his guitar had a voice. I would sing along with his guitar parts when I played my parents Dire Straits vinyl, forget the words! To this day, I still hold him in the highest of esteem.

This particular song is off his 2009 solo album entitled Get Lucky. Overall, I find it to be a strong effort, with a wide breadth of songs. It's a quieter album than anything he did with Dire Straits, and it's subtleties (especially in guitar) are what really make it continually interesting. There's still some rocking tunes like the swampy "Cleaning My Gun." A lot of similarities can be drawn between his solo work and his work with Dire Straits. After all, he was the frontman and lead guitarist, so that's to be expected. But I find his solo work to take on a calmer and less intense sound. It's closer to songs like "Romeo and Juliet" and "Brother In Arms" than it is to "Sultans Of Swing," "Heavy Fuel," or "Money For Nothing." Those harder, more in-your-face rock songs are left to the groups catalog, while Knopfler the solo artists takes a less aggressive approach.

Knopfler released his seventh solo effort Privateering, in September of this year. I have not heard it yet (I know, quite the fan...) but intend on hearing it before the year is through. If anyone has listened to it please, let me know what you think.

Mark Knopfler - Remembrance day

A Junkyard Playlist 10/23/12

A little something I whipped up, as I was in the mood for a change. I'm a firm believer in albums, but like anyone else there are days that a little variety can do us good. Enjoy.


1. We Used to Wait - Arcade Fire

2. Life Is Life - Noah & The Whale

3. Into the Great Wide Open - Tom Petty and The Heartbreakers

4. Little Green Bag - George Baker Selection

5. Wolfman's Brother - Phish

6. Don't Owe You a Thang - Gary Clark Jr.

7. She's A Woman - Jeff Beck

8. Alabama - Neil Young

9. Bad News - Johnny Jenkins

10. Little Kim - Widespread Panic

11. Gimme Danger - Iggy & The Stooges

12. Jolene (live) - The White Stripes

13. Grounds for Divorce - Elbow

14. The Caves of Altamira - Steely Dan

15. Holiday Inn - Elton John

16. Oh! You Pretty Things - David Bowie

17. Don't You Want Me Baby - Sunshiners

18. Kaya - Bob Marley & The Wailers

19. Love Is All - The Tallest Man On Earth

20. Little Wing - Jimi Hendrix

21. That's How Strong My Love Is - Otis Redding


TRT: 79:40

SOD: The Tallest Man On Earth "Love Is All"

I hear some Dylan (a la "Buckets of Rain"). I hear Nick Drake too (especially because he's uses open tunings that Drake was fond of). And I hear Jackson C. Frank as well, in that guitar progression. Clearly Kristian Matsson (aka The Tallest Man On Earth) was influenced by the greats, and that's really what music and art boil down to. It's all about your influences, and not just in the genre you practice. Folk can influence a Rock 'n Roller, and The Blues can influence them all. It can go much further than that even. A musician can be influenced by a writer, and writer by a painter, and so on. If there's one thing I've learned it's that influence and inspiration are everywhere and can be found in everything.

Influences are also what I find most intriguing about the artists I listen to. There are times when you hear a song, and you can blatantly tell who the artists was channeling at that time. Other times, it's quite the opposite, you just can't put your finger on it. But the beauty is, we don't need to rely on the artist for this information, using our ear and own experiences with music, we can discern these things ourselves. Matsson said in an interview, "I don't consider my work to be a part of any tradition. This is how I play. This is how I write songs." I can understand how he feels that way, but I can't validate it. He can consider himself a part or not a part of whatever he wants, but the fact of the matter is he's drawing techniques and patterns from music he is influenced by, and in that vein he is a part of that tradition. And I don't mean that solely in the sense of genre's of music, because I believe genres are becoming more and more useless the more amalgamations of them we create. I mean it more in the fact that if Matsson listens and is influenced by say, Nick Drake, then he is part of the tradition that Nick Drake has created, and the legacy he has left. 

Contemporary Folk music (or Folk Revival Music) is traditionally against many musical traditions. Yes, it emerged as a voice of the oppressed and the poor. It was born from hardship, as so much music is. The difference with folk (and one reason I have such an affinity for it), is it doesn't romanticize the light at the end of the tunnel as other forms of music will. It's not a statement that "times are hard, but hold on, life will get better." Instead, it's message is that life itself is hard, and the misery you feel is real. But we're all in this together, and we're all feeling the same pain and disillusionment. The folk musician is a voice of the disenfranchised collective. The blues is similarly positioned in that venture, but there's a difference when it comes to folk. Instead of standing on stage playing to the masses, the folk musician was standing in the middle of the crowd, singing for them, and as one of them. Putting to words the feelings that all of us share, and making a statement on our behalf. At least that's how I always felt about it.

Kristian Matsson is keeping that folk alive, though he doesn't speak for the masses as say Guthrie or earlier Dylan did. Love is certainly a cause, and I think Matsson does a fine job in conveying it, but unfortunately the times have changed, and folk music isn't what it used to be. That doesn't mean I enjoy it any less, but it's a fact of life. Times change man, and so does music. What I like about this music is that regardless of what "The Tallest Man on Earth" thinks, it does keep a tradition of amazing music alive, and with that always comes the possibility of something new.

The Tallest Man on Earth - Love is All

Deer Tick "These Old Shoes"

SOD: Ray LaMontagne "Empty"

There's no flash to this guy. No light show or theatrics. He's stripped down to the bare, acoustic music, and I think we need more of this kind of performer today in the mainstream. The music does the talking, not his outfits or even his mouth, in between songs that is. This is what music is supposed to be about.

Regardless of whether or not you like Ray LaMontagne's music, you have to respect his story. At least I think you do. The youngest of six, Ray grew up very poor and was raised by a single mother. After graduating high school, he moved to Maine to work in a shoe factory. Not quite the glamorous life of a rockstar, but his heart was always with music, he just didn't have a means to the end. Ultimately though he quit his job after being inspired by the Stephen Stills album Manassas, and recorded a 10-song demo that he began playing live around bars in his area. Eventually he was noticed, and he went on to begin his music career at the age of 26.

There's a lot that's interesting about Ray's story, like the fact that you're never too old to start a new career in the arts (look at Steve Earle), and that influences are everything in art. There's very little (if anything) out there that's absolutely brand new. Instead, most of what we tune into is remakes and retakes on old styles and ideas. I mean people like Jack White are still rewriting the blues in their own way, and though it's original material, it's based off of the same stuff that's been around for decades. Because of this, an artists inspirations are really the key to understanding their music. What came before will, to a degree, largely tell you what's to come from a certain artist.

Nick Drake, Stephen Stills, The Band (especially Richard Manuel and Rick Danko), Van Morrison, and Tim Buckley are some of the major influences that Ray LaMontagne has. You can really hear bits and pieces of each of them, while at the same time you notice that Ray does have a style all his own. He's a story teller, much like Van Morrison was, and his lyrics are very visible and organic. He's got a strong grasp on cadence, and this coupled with his well written words, give songs like this one a very powerful edge. Again, you don't have to like the music to at least understand that its honest and genuine and to me, that's first and foremost for a good song or record.

Ray also covers a lot of ground. He has some of these darker folk songs, but as his career progressed he started making use of horn sections, and really built his sound out. Another one of my favorites is "You Are The Best Thing", a feel good song with a simple message and an uplifting chorus. "Three More Days" also has a bigger sound, but is reserved when it needs to be. It highlights his smokey, gravely voice which resonates both ways with people. Some love it, some find it a little too perfectly raspy. I think his voice and the song are a nice blend between the folk and the soul, as I find his albums are as well. Obviously I'm a fan, but you have to make your own call. I would just recommend you listen to as much of the full breadth of his collection as possible, before you make that decision.

Ray LaMontagne- Empty (BBC FOUR Session)

SOD: The New Mastersounds "Flimsy"

It's been a while since I've posted anything, so I figured why not jump right back in with a great tune from one of my all time favorite funk groups. The New Mastersounds have been going strong for over a decade now, but I still feel that they don't get the credit they deserve. I'm not saying they're unknown, but they surely aren't on the tip of many peoples tongues these days. In certain circles of similar music, they've been given their due, and I think that if more people heard them, they'd agree that these guys are worth it. For my money, I put them right up there with greats like Herbie and Funkadelic. They've got a great balance between the jazzy and they funky, that'll keep you on your toes.

Based out of Leeds (that's in England people), the group was formed and is led by guitarist Eddie Roberts. I saw Eddie Roberts play with a different lineup at Equifunk one year, and let me tell you, this guy is legit. He's got a very distinct and fluid sound, that's certainly rooted in Jazz. At the age of 18, he studied Jazz at Leeds College of Music and put together his first band then, The Jazz Mailmen, who focused on the music of Art Blakey's Jazz Messengers. That was the beginning of Eddie's career, and here we are today, over twenty years later, and there's absolutely no end in sight.

Clearly there sound has much more than one type of influence ingrained in it. There's some Meters, some James Taylor Quartet (whom I've written about in the past), and of course Jimmy Smith. What organ player isn't influenced by him. But for all the comparisons you can draw, The New Mastersounds have retained and edge and originality that sets them apart. They've got twelve albums, and a slew of singles, but their true identity can only be seen in live performances. Of course they have great chemistry, but you also get to see up close and personal, how diverse their repertoire is. Much like Soulive (another one of my favorites of this "genre"), their skill is unmistakable, but their cool factor is off the charts. These guys are good, and they've "brought it" every time I've seen them play.

Another interesting tidbit about the group, is that since 2003 they've been distributing music through their own label, "One Note Records." I'm always interested in how people choose to play the so-called game, and it's always inspiring to see those that take it in their own hands.

THE NEW MASTERSOUNDS 'Flimsy Lewis' stripped down session @ the Moboog...

AV UNDERCOVER 2012

http://www.avclub.com/articles/the-wood-brothers-cover-michael-jackson,83888/

I probably should've talked about this a while ago. But the good thing is, all the songs have been covered, and you can now have access to every video.

Watch one of the videos (I recommend the Wood Brothers one that I linked), and it will explain the AV Club's mission with this. I think it's a brilliant idea, and I've truly enjoyed it. Last year, Wye Oak did an awesome job with Danzig's "Mother." Then they did an even better cover of the Kinks' "Strangers." It was AV Undercover that turned me onto this group, and I've come to really enjoy what Jenn Wasner and Andy Stack are doing.

Though you won't "like" all the videos, I think this affords a great look at a lot of new and old bands, live, and on the spot. This is no talk show performance.

SOD: Parliament "Mothership Connection"

I saw George Clinton last winter. He played at City Winery as the special guest of 420 Funk Mob. Dr. Funkenstein may not have had his disciples with him, but he gave one hell of a performance. He wasn't donning his usual eclectic hairstyles, robes, and colors, but was a much toned down version of himself. I'd personally never seen him look so plain.

But his performance was full of energy, and the place itself is small and quite intimate. Especially when it's not crowded, which it wasn't. I was right up on the front of the small stage, and exchanged a few "pounds" and "fives" with George as the show progressed, certainly a highlight for me.

But George is older now. He's less audible, less energetic, less Dr. Funkenstein. After all he's 70 and still performing. He's part of a whole cast of musicians born in the forties and fifties, still trying to make a living touring the land. Some of these performers are impossible to watch, they're simply spent. Others are parodies of themselves, mere caricatures of former glory. Some, have kept in shape, and kept their craft maintained. Those acts are always worth seeing. Bruce Springsteen and Mick Jagger (not Keith Richards) come to mind. So does Patti Smith and David Byrne. Even guys like B.B. King are still worth a damn on stage, because the man can still play and sing extremely well! Granted, he can barely walk, but he can still put on a show.

Now George can move, he can even groove. He can sing, though his voice seems to be hurting. But compared to what he was back with Parliament and Funkadelic, well it's night and day. Parliament was an influential band, the beginning of a sound. They fused soul, funk, psychedelic rock and even some jazz into a sound that you wanted to (even needed to) dance to. A sound that largely changed the direction that kind of music would take. They were an amalgam of so many different styles and themes, that they became something completely different. The album Mothership Connection perhaps best represents this.

Hailed as one of the all-time greats (album wise), Mothership Connection had a lot of players. Stacked with 17 vocalists (including Clinton and Bootsy Collins), 6 horns (with Maceo Parker and Fred Wesley who had just left James Brown's band), 4 Guitarists, 2 Bassists, 4 drummers and a keyboard, Parliament achieved a huge sound. The album has also been heavily sampled in the years since it's release, with Dr. Dre relying on it heavily to create his blockbuster album The Chronic. "Mothership Connection" the song, was the third single to come from the album, and introduces "Star Child" to the world. This is George Clintons alien alter-ego that has come to earth to bring Funk (with a capital "F") to humanity. It's all written in the P-Funk mythology, much of which is quite entertaining. It turns out George was a bit of a Star Trekkie, so he loved the idea of somehow incorporating the final frontier into his music. I'm sure glad he did.

Parliament - Mothership Connection

SOD: ZZ Top "Hot, Blue, and Righteous"

This is ZZ Top? That was the question I asked when I first heard this song. It seems so different to the stuff I'm used to. And granted, most of that "stuff" is the hits like "La Grange" (also off the album Tres Hombres) and "Sharp Dressed Man," but this tasty treat came across my radar about three years ago. A piano player I met in a bar, had an affinity for blues rock. Naturally, ZZ Top was one of his all-time favorite groups, and when he punched this number into the jukebox, I was sold.

This is a moving song, with a slow and powerful droll to it. The vocal harmonies are great, and its a much more melodic song than I'm used to from them. In it's entirety, from the guitar solo to the lyrics themselves, is very simple, but perfectly crafted. It's one of those songs that proves you don't have to do anythings excessive to write a beautiful song. Often times, I find the best songs are the simple ones that say the right amount at the right time. They don't try and do to much, or become something they're not. They rely on a solid structure, emotionality, and honesty. There's nothing like an honest song. We don't get much of those in the pop world today. And that goes for all genre's of "popular music." Be it Country, which is full of bullshit pretenders, Rock (if you can even call it that anymore), or anything else that's mainstream. It's all fake. The performer has no connection to the music, and in a lot of instances, no connection to their own performance once they get done with the production of it (think about how much is auto-tuned, and fixed up post-performance these days). That's why songs like this will always have a place far above the rest in my mind.

ZZ Top - Hot, Blue And Righteous (Original 1973 Vinyl Mix)

The Forecast Don't Look Good

Recently, the creative juices have begun to flow again. This is due, in large part, to Pat stepping forward and confiding in me that he had written some ideas for original music and is very interested in collaborating. Well, I've never needed an excuse to work on original material, and most of the time I simply complete the entire process on my own before I show it to anyone (if I show anyone). But I have a lot of respect for Pat, and I love playing music with him. We have very similar tastes in music and life, and thus he has afforded me a lot of good insight in the past.

To say I'm looking forward to writing with Pat, is an understatement. So I started going through some of my old notebooks (what can I say, I like to write by hand), to see what kinds of lyrics I had "lying around." There was way too much, and it was an intimidating idea to even scrape the surface. But low and behold, I found a separate piece of looseleaf paper sticking out of a notebook, and it turned out to be one of the very first songs I ever wrote, many years ago. Now I know it's nothing groundbreaking, but it's simple and concise with straightforward message using the weather as a metaphor for a stormy relationship. And hey, we've all go to start somewhere, right?

The Forecast Don't Look Good

Cold hard rain spits in my face,
Weather's ranting and on my case.
Clouds can smile, sun looks so grim,
Sky's a forecast of the shape I'm in.

See I was feeling like you were blind,
Missed my passes, ignored my lines.
Couldn't get your heart, or your mind,
Found out the hard way that love's unkind.

And it's well understood,
That the forecast don't look good.

Thinkin' maybe a change of pace,
Sick of running this tired race.
Done with chasing and being chased,
Always winding up in the same place.

Moral compass guides my road,
North, East, South, West, just point and go.
Though you never got, what you were owed,
Maybe I can help you lessen the load.

And I'd take it if I could,
But the forecast don't look good.

Ain't no more fighting, no more abuse.
Ain't no more using and being used.
And though I'm sorry, I'm misconstrued,
Won't ruin an apology with an excuse.

Guess it ain’t, my concern, 

Guess I’ll wait, for my next turn.

Gotta let you live, gotta let you learn,

Gotta let you give, and get burned.

And it’s well understood,

That the forecast don’t look good.

SOD: The Police "Canary In A Coalmine"

Technically, the canary was brought into the coal mine as a form of animal sentinel. An animal sentinel is essentially used because often times animals can detect changes to the environment more quickly than humans. In this particular and most classic of examples, coal miners would bring canaries into mines as an early warning sign for toxic gases like carbon monoxide. The birds would become sick before the miners because they were more sensitive to the change. When the miners saw this, they would then have a chance to escape the mine, or at least use some form of breathing aid (like a respirator).

In that vein, the short and sweet Police song starts off with the verse:

First to fall over when the atmosphere is less than perfect
Your sensibilities are shaken by the slightest defect
You live your life like a canary in a coal mine
you get so dizzy even walking in a straight line.

Pretty much in accordance with the literal definition of a canary in a coal mine, Sting has chosen to use the saying to represent an actual person who is unjustly fearful of the world. As you listen to the song, you realize that it's a statement about how this kind of thinking is delusional. You'll live your life like a canary in a coal mine, and hey, that sucks.

Both the message and the music are succinct, and quick (in tempo and point). It's a fun song on an album that has some of the most memorable Police cuts on it. It came out in 1980, and had tracks like the opener, "Don't Stand So Close to Me," followed by "Driven To Tears", and also included "De Do Do Do, De Da Da Da." I always loved that last song, but god, the title pisses me off! This New Wave/Punk album actually topped the UK album charts, and rose to 5th on the Billboard Pop Albums chart. Not too shabby for three limey brits, eh?

Sting (aka Gordon Sumner) - Bass Guitar, Vocals, Synthesizers
Andy Summers - Guitar, guitar synths
Stewart Copeland - Drums, synthesizers, guitar

The Police "Canary in a coal mine"

Snapshot

We take a lot of pictures. As a generation. The amount of documentation of our lives is one of the biggest differences between us and our parents. My folks have a couple of photo albums that basically sum up the entirety of their first 30 years on this planet. I have tens of thousands of pictures for that same time period.

For better or worse, it's a fact that we need to come to terms with. Our faces will be smattered across other people's computer screens and the internet, whether we want it there or not. I don't have facebook, but I know my face is on it. I've done my best to avoid that stuff, not that it takes much effort on my part. It's not something that interests me, so it doesn't play any role in my life. That goes for almost all forms of social media (and yes, I know I say this ironically as I am blogging about it).

So the other day I was going through the pictures on my computer, because to be honest I dont even know what I've got. I came across this picture. This is the kind of picture that makes the hundreds of crappy ones before it, worth it. It's the kind of picture that sums up the entirety of the weekend trip we took down to the Capital of the U-S- of A. This one picture, tells it like it was. We all had a great weekend bullshitting in the streets, goofing off, and laughing a lot. At one point, I found a closed off block right by one of the government buildings, and I got everyone to join me in the middle of the road. "Why Not?" was kind of the motto when it came to that day, so we just said "yes" to everything. And though I'm a little concerned about the amount of pictures we take, I've got to say, I'm damn glad we captured this moment.

SOD: Buffalo Springfield "Mr. Soul"

At a time when the British Rock n' Roll invasion swept the nation, Buffalo Springfield was one of the few North American bands to get their own foothold on the Rock charts. Their sound was an amalgamation of folk, rock, and country, but didn't quite sound like any of them when it all came together. Famously known for the Stephen Stills penned song "For What It's Worth" (which would become a national protest-song), Buffalo Springfield actually released three albums from '66 to '68. Most of it doesn't get any airplay at all though, which is surprising to me because I find much of their material to be easily digestible.

Buffalo Springfield had a short run, and trouble finding a permanent bass player. In the time that they did have, their lineup was generally based around the songwriting of Stephen Stills (guitar, keyboards vocals) and Neil Young (guitar, harmonica, piano, vocals). They were rounded out by Richie Furay (guitar, vocals) and Dewey Martin (drums, vocals). At one performance on "Hollywood Palace" they had to have a roadie sit in somewhat off-stage, and pretend to play bass. It's not as if they weren't all lip-syncing for television anyway, but it just goes to show how much difficulty they had finding a steady fill-in at bass.

"Mr. Soul" is off their second album from 1967, Buffalo Springfield Again. Though I've never met anyone that's raved about the album as a whole, I rather like it. It has a style all it's own. A lot of that may have to do with the fact that Neil Young was often M.I.A., and the original bass player (Bruce Palmer), was locked up on drug charges. Thus there were a lot of L.A. based session players who contributed. Most notable would probably be Jack Nitzsche, a name worth knowing in music. Stephen Stills contributed four tracks to the album, and his voice is part of what makes their sound so appealing to me. To have the option and ability to lead songs with either Stills or Young on vocals gave the band some good depth at that position.

When Neil Young was around, he did some great work with this group. He recorded the final track on the album all by himself (with session players), and it happens to be one of my favorites. "Broken Arrow" is a very experimental track. There's a lot of different sounds and noises used, and it's structure is musically interrupted in form, for effects like crowd noise and military snare drum rolls. In the end though, if you take the three verses that exist and judge the song off that alone, you truly get an emotional self-testimonial from Neil Young. But don't take my word for it. See for yourself.

Neil Young / Buffalo Springfield Mr. Soul

SOD: Lake Street Dive "I Want You Back"

Lets forget for a moment, the sheer power and beauty of Rachael Price's voice. Talent aside, this is why music is the most beautiful thing in the world. That 4 people can get together in a driveway, anywhere, and just make a song that sounds as good as this. It's an amazing thing, and I'm a big fan of the impromptu jam session.

Now lets not forget for more than a moment, how talented these musicians are. Rachael Price has one of the best voices I've heard in a while. She can channel a rich, seductive tone, or call to arms a  powerful and charged vocal assault. There's also an old school sound to her phrasing and delivery, she certainly took a page out of Etta James and Billie Holiday's books, that's for sure. And frankly that's to be expected, after all she did study Jazz at the New England Conservatory in Massachusetts.

Now I'm not going to pretend I know who these guys are, I just happened to stumble upon them. I've already listened to their six song album "Fun Machine" (5 of which are covers), and you know what...it's kind of fun. In addition to this great cover, there's a nice version of the Hall and Oates classic "Rich Girl," and a really groovy version of "This Magic Moment." They also cover George Michael's little amuse bouche, "Faith", but I'm not as sold on that version. Give it a listen, see what you think.

Lake Street Dive Plays "I Want You Back" On a Boston Sidewalk

SOD: Stevie Wonder "Lately"

This is not Signed Sealed Delivered or Sir Duke style Stevie. There's no extravagance or pomp and circumstance with this song. There's no horn section either. This is Stevie Wonder stripped down to the man and his piano. And a little bass guitar to keep it all warm. I used to think Bruce Springsteen was the last great American Rock and Roll Songwriter to strut on the scene, but Stevie Winwood has as much right to that claim as The Boss. This guy can write a song with depth and meaning, and the perfect melody to tug at those emotions you can't help but let creep in.

And, Stevie's got ten times the voice Bruce does. That doesn't mean I don't love Bruce's voice (which I absolutely do), but the power and clarity that Stevie brings to the table is unparalleled. Just listen to the the end of this song. The emotional build throughout is slowly revving you up for something big and heartbreaking.

This isn't one of Stevie Wonders more popular songs either. It doesn't have the beat and danceability that many of the others do, but it has the soul force of something much greater. Music needs both those good time, foot-stomping party songs, and those slower, more reflective emotional ones. Even the best albums I know, include both.

Matt sent me a note this afternoon, and it said:

SOD request by me..."Lately" by Stevie Wonder. Whenever you get around to it. Listen, the chord changes, the melody, and especially Stevie singing the fuck out of it. Lyrics tell such a vivid story.

I got around to it. Anytime Matt suggests a song, I'll listen to it right away if I can. Do you know why? Because it's rare to find people who actually know what the fuck they're talking about these days, in any field. There's a lot of bullshit out there, the internet has made sure of that. Shit, I've probably spewed my fair share of it. Check that, I definitely have. But Matt, though I don't always agree with him, is not full of shit. He tells it like he feels it, and he can always back up his reasons. He's not regurgitating something he read or heard, he's living it and coming up with his own take. That's what I want to do. That's what I'm trying to do. He just has more knowledge than I do. Sometimes I wonder why he isn't the one writing the blog.

So I listened to this song, and like he said, the lyrics do tell a painful story. The lyric that stuck out with me after merely hearing it once was:

Far more frequently you're wearing perfume,
With you say, "No special place to go"
But when I ask will you be coming back soon,
You don't know, never know.

It's painfully plain, and so obvious. This woman is breaking this man's heart. He knows it, he feels it, smells it, and see's it. He's close to accepting it, somewhere in there he knows it's over he just hasn't said it aloud to himself. I'd venture to say most people have felt this before. If not most, than many. Lord knows I have. You see, in most every relationship, someone loves the other more. It's always harder to see in the beginning, but as time passes it is usually made clear. You don't want to be that person, but there's no way to fight it. And you can sense when your partner has outgrown you, or lost interest. You certainly don't want to admit it, and you fight to hold on, but all the while you always have a sense that it's ending. Confronting it, is confronting failure. It's accepting that the love you give is not returned, and that's not easy.

Granted, there are exceptions to the rule, but this fact alone is responsible for a lot of failed relationships. It's probably for the best in the end. Stevie's ability to capture this feeling so fully is remarkable. I can relate to the sap in this story, I know what he's feeling but he's got to figure it out on his own. It's a sad song, but it's a true song, and that makes it beautiful. It's simple, it's relatable, and as Matt said, "the chord changes." They'll teach you a thing or two on where a song can go, not necessarily where you expected it to.

Stevie Wonder - Lately

Garvey in September

http://www.youtube.com/watch?v=2S8ZrQG0y6g

That's Garvey's "G-chat Status." Looks like he's getting his dancing in on the back end of the month. That sounds dirty.

I haven't spoken to Garvey about this yet. I'm positively curious why he's chosen this video to represent him as an individual. He'll probably give me an answer like, "that's a great song man." And while that may be true, why post it? Something deep within Garvey whispered to him, and do you know what it said? Share. This feeling that the world wouldn't spin straight would not leave him until he shared his joy.

Garvey thought, why not let everyone bask in the glory of the Earth, Wind, and Fire. These are not mere elements of the gods, they are available to all (in song form, of course). Clearly, it had gotten him through his hardships, why couldn't it help us get through ours? What if dancing in September was the ultimate goal in life? Not the song, the action. What if dancing in the month of September brought the rains in May? You never know. This could be some seriously cosmic shit we're dealing with here. Garvey could be perpetrating an event, nay a tradition, that's been happening for thousands of years. A tradition that has guaranteed the survival of our species.

Ok, I've gone weird. I apologize. It's just a lot to think about. There's some seriously deep meaning behind Garvey's choice to advertise this song, don't kid yourself. It's not as if he simply heard it over the weekend and decided the rest of us may enjoy it on a monday morning too.

SOD: Tedeschi Trucks Band "Bound For Glory"

I cant believe Revelator has already been out for well over a year now. Where has the time gone? Music is often a very solid and surefire way for me to keep track of how much time has passed between one point and another. I can usually remember quite accurately when an album was released, or a single first played. Ah, I guess that doesn't sound so surefire. But it works...sometimes.

I remember very clearly, listening to the TTB's first album effort and it's insane impact upon me. I wanted to board up my windows and doors, and hole up in my apartment to just sit and listen. To absorb. Then I realized, it was a great album to have in the car, so I kept a copy in my bag for rides. Now, many plays through the album later, I still enjoy hearing cuts from it once in a while, and I'll even throw it on here and there. It's comforting to know I have it around, like an old stuffed animal from your early years.

I went to Friday Nights TTB show at the Beacon. I hadn't been that pumped up for a show, probably since my last show. I abstained from reading the last nights setlist for the most part, even though I did catch a peak at a couple songs they played. Leon Russell was the opening act, and he came out later on in the show as well to do a "Space Captain" with them. I was insanely jealous, being that "Space Captain" is quite possibly my all time favorite song, and Leon Russell was the original pianist on the Mad Dogs and Englishmen track. But I was ok with it in the end because The Wood Brothers opened up TTB on Friday, and along with Anders Osborne, they are probably my most listened to new artist in the past three years (as that's when Matt really introduced their full body of work to me). Singer/Guitarist Oliver Wood even co-wrote "Ball and Chain" with Tedeschi and Trucks, so I would expect to at least here that fabulous tune. I was not disappointed, as it was every bit as good as I expected.

"Bound for Glory" is another one of my favorites off this album, though I must confess my "favorites" have constantly changed since the album's been released. I think at some point I've considered every single song to by my favorite, no joke (Aside from "Simple Things.") Co-written by vocalist Mike Mattheson, Susan Tedeschi, and Derek Trucks, "Bound for Glory" is bluesy, clever, and subtly brilliant (when it wants to be). And all that's before the chorus when the song completely opens up and blows the ceiling off your world.

I love Bonnie Raitt. Always have. I have vivid memories of my mother playing her albums through my childhood. She was one of the first examples of what "sexy" was to me. Sheryl Crow came along and tried her hand in that world, but she didn't hold a candle to Bonnie's talent or style. Bonnie was the kind of woman that made cool a female trait. Watching her play guitar, and slide guitar especially, oh man it don't get better than that. But now we've got Susan, and so far she's giving Bonnie a run for her money. Matt and I have discussed it, and while Susan's voice is more powerful, we still prefer Bonnie's smoky rasp.

But lets not confuse the issue, Susan Tedeschi is not trying to be a Bonnie Raitt ripoff. Sure, she's got elements of Bonnie's style, but she's also got some of the wildness of Janis Joplin, and a mastery of the blues that I think even Bonnie would agree is tremendous. Her solo work at Friday's show was incredible. The best I've seen yet. I know there is so much more to come from her, and that's an exciting prospect.

I haven't even mentioned Derek Trucks yet, and he's probably the best guitarist in the game today. But that goes to show you that this group isn't about the individuals. I know I've made a case that Susan Tedeschi (being the frontwoman of the group) is in the spotlight, but it's not that simple. The strength and quality of this group is in the group itself. They are a family from what I have read and seen. They work together, they listen to music together, they write together, and they create this tremendous sound, together. The whole is greater than it's parts, and it's so inspiring to see that such good musicians can and will do that. To see Derek Trucks take a back seat in some of the songs is a testament to his humbleness and class. To watch Mike Matheson do three songs of backup before he's featured at all, well that's the kind of attitude that opens the door for a great show. Kofi Burbridge got a lot of playtime on the keys and even the flute, as did the entire horn section. Kofi's brother Otiel, got his usual bass/drum interlude and they even brought up guests (like the aforementioned Oliver Wood, and saxophone virtuoso Bill Evans). They really spread it around in this group, and that's the main reason why they're so versatile in their sound. I don't know if people realize how fortunate we are to have music like this being made today. I know I do.

Tedeschi Trucks Band - Bound for Glory - Live from Atlanta

SOD: David Bowie "Song For Bob Dylan"

DCV got us all on a David Bowie kick recently. He passed out a few albums he had, and the rest of us dug in deep. Personally, Hunky Dory(1971) is my favorite right now. It's got a little bit of everything, from good old fashioned rock songs like the ode to the Velvet Underground, "Queen Bitch" to the simple, piano driven fare of "Oh! You Pretty Things." The latter is an all-time Bowie favorite of mine. This album even has a song written for "Zowie Bowie" (aka Duncan Jones, David Bowie's son who is now a successful director of film), called "Kooks." Apparently he wrote this poppy little number for his newborn son, modeling it after early 70's Neil Young, whom he happened to be listening to at the time.

In addition to "Queen Bitch," directed at the Velvet Underground, there are a couple of other songs on the album directed at specific people. "Andy Warhol" is an acoustic song about, well, you guessed it. The song has a unique style to it, and the opening riff (which repeats itself throughout), has spanish tendencies. The sparse acoustic arrangement gives the lyrics and vocal melodies a nice boost, though sparse as it is, those acoustic guitars are still the driving force behind the entire song.

In my personal opinion, the lyrics of this song are well crafted and spot on (in accordance with my own impressions of the man). The vocal harmonies in the chorus are quite unrefined, yet perfectly pitchy. Of course the message itself is literal and poignant:

Andy Warhol looks a scream
Hang him on my wall.
Andy Warhol, Silver Screen
Can't tell them apart at all.

 If you couldn't tell already, I'm a fan of this track as well, but apparently Andy Warhol was not. I could see a couple things that may have left Warhol a bit perturbed, but in the end, if David Bowie writes a song about you like this and includes it on his album, I'd take that as a positive on the whole.

Then theres "Song for Bob Dylan," today's SOD. It's a song written for the man himself, and I'm hard pressed to think it's coincidence that a song for Andy Warhol and Bob Dylan wound up on the same album. Especially when the chorus to the song is:

Ah, here she comes, here she comes, here she comes again
The same old painted lady, from the brow of a super brain
She'll scratch this world to pieces as she comes on like a friend
But a couple of songs from your old scrapbook, 
Could send her home again

Now I've got to assume she is Edie Sedgewick, and though the song was recorded months before her death, it's all to germane that a month after her death, this album came out. On the heels of a tragedy Bowie seemed all to prepared for, the song holds a lot of significance. Though the song isn't written in a typically dylan-esque style per say (then again, after 50 year in the game, Bob's pretty much done all styles), there are flashes of Dylan in Bowie's vocal work for sure, and even in the cadence of some of the lyrics. Some of its actually quite amusing.

I quite enjoyed the first verse of the song, which seems to set the stage for how Bowie interprets Dylan:

Oh, hear this Robert Zimmerman I wrote a song for you
About a strange young man called Dylan 
With a voice like sand and glue
Some words of truthful vengeance they could pin us to the floor
Brought a few more people on and put the fear in a whole lot more

I'd say Bowie had a pretty good handle on what Dylan was all about leading up to the turn of the decade, and he certainly must've had a great respect for him to dedicate the entirety of a song to him.

Also worth noting on this album is the song "Quicksand" which features a bigger more epic musical arrangement (with strings, acoustic guitars, a prominent piano part, and saxophone), and some very heavy lyrics as well. It has a broad and sweeping sound, and is also the second longest track on the album clocking in at 5:04. It's another personal favorite of mine.

Finally, and maybe I should've mentioned this first, the album opens with the song "Changes" which is one of Bowie's most recognizable and beloved songs (though it actually missed the Top 40 oddly enough). Bowie himself was the epitome of change, constantly reinventing himself, his persona, looks, and sound. To his credit though, he always maintained a steady relationship with his audience and the spotlight, and though all those recreations would've probably spelled doom for the vast majority of other artists, David Bowie embraced the change and made it a vital component to his formula for success. I've got a tremendous amount of respect for the man's creative force and musical impact, and I'm thrilled to be rediscovering him (and all the different him's) again. Props to DCV.

Song For Bob Dylan David Bowie

A Junkyard Playlist 9/19/12

Just a little something that got whipped up this morning. I'm only half into it myself...

As always, click links or check spotify.

1. Bottle of Red Wine - Eric Clapton

2. Heading For The Light - Traveling Wilbury's

3. Down In The Flood - The Derek Trucks Band

4. Fool - Donavon Frankenreiter

5. Country Road - James Taylor

6. For The Asking - John R. Burr

7. Ballad of the Pines - Jonathan Wilson

8. Columbine - Townes Van Zandt

9. Snowblind Friend - Steppenwolf

10. I Thought You Should Know - Steve Earle

11. Yet Again - Grizzly Bear

12. Holly Roller Novocaine - Kings of Leon

13. One of These Days - Doves

14. Green Flower Street - Donald Fagen

15. The Rover - Led Zeppelin

16. Big Love (live) - Fleetwood Mac

17. Throw Down A Line - Jeff Beck

18. Lost In the Flood (live) - Bruce Springsteen & The E Street Band

19. Little Black Angels - Jonah Smith


TRT: 78:16

SOD: Paul Simon "Kodachrome"

The video is a bit much, but the song is great. For some reason, listening to it makes me feel youthful. Not that I'm so old (please, bite your tongues), but this song makes me feel like a kid again.

The song was released on the 1973 album There Goes Rhymin' Simon, which largely escaped my attention (besides this song). When I tried to go back and listen to it recently, I don't think I was in the right mindset. Then again, given what I've been listening to lately, an overproduced soulful Paul Simon album might not really get its fair due on my speakers right now. Though I will say "Take Me to the Mardis Gras" was quite enjoyable, I didn't really get much further than that. Shame on me. Sorry Paul.

Nonetheless, Kodachrome has gotten it's fair share of play time. Garvey is a big fan of this Kodak based song, and there's a good chance that if you catch him screwing around with your ipod in the corner, he's looking for this track. The Muscle Shoals Rhythm Section (based out of Muscle Shoals, Alabama) not only have the coolest name ever, but they lent their talents to this tune. Also known as The Swampers, these guys have played on more than 75 gold or platinum hits. That's a pretty big number, eh?

One final thought. I did make it through "Tenderness" (the second song on the album), before stopping after the third song (the aforementioned "Take Me to the Mardis Gras"). I was pleased to read in the liner notes that Cornell Dupree played guitar on that track. Cornell is of course, one of the founding members of STUFF, one of the best and funkiest bands of all time. Though I know I'm speaking in a lot of wild hyperbole today, don't hold it against me. I'm just in that kind of mood...

Paul Simon - Kodachrome

Keep Your Head Up

Do you remember that commercial for the Windows Phone, in which, people are depicted as being absurdly connected to and engaged in their handheld devices, and wind up doing ridiculous things because of it (like dropping their phone into a urinal and then picking it out, because they were texting while relieving themselves)? The other person in the scene, who is shown as casually smarter or at least more sensible, responds simply by saying (or asking), "Really?"

Well, ever since that commercial came out, I became much more aware of people's gross infatuation with their technology and as funny as some people may find that commercial, it never had that effect on me. In fact, I take that commercial quite seriously because I'm surrounded by those kind of people on a daily basis. The people who continue to look down at their handheld when the subway or elevator doors open, and proceed to walk directly into persons not two feet in front of them. They're usually the same people who walk out into traffic with their heads down and their thumbs fumbling, but somehow never seem to get hit, no matter how badly I wish they would. I'm not saying I want them to be killed or crippled, but I just wish once, the cab drivers horn would malfunction, his foot would accidentally slip off the break pedal, and the daft pedestrian texting in traffic would catch a hard bumper to the soft meat of their upper thigh. Ideally, the device that caused their injury would be destroyed in the process as well.

Now maybe this sounds malicious but I'm not an evil or outright angry person, I swear. I just think that the world we live in has become more about what's at you're fingertips, and less about what's right in front of you. This access to information and/or internet anytime anywhere, is not meant to be taken literally. Case and point, you should not be accessing either when you're in the middle of traffic (as a pedestrian or driver). You should also have the sense to put the phone down for a moment when you're exiting or entering any platforms, rooms, or environments in general, and you should have the courtesy to holster the device when a real person is standing or sitting in front of you, requesting or granting an audience.

It's very frustrating for a person like me to be engaged in a conversation with someone, only to have them break eye-contact and glance down at their phone or computer in the middle of a sentence. Of course they do it in the middle of one of my sentences, as they would never break their own train of thought, or interrupt themselves. Instead, they'd rather get their feelings out on the subject matter, and then blatantly disregard mine by seeming disinterested, or genuinely feeling that the text message or IM that has just popped up on their device, is more important than what I have to say.

My boss does it. My co-workers do it. My girlfriend has done it, as have all my friends at some point. So have I. I'm not beyond the capacity to be rude, even if I don't intend to be. Most of the time, I give myself and other people the benefit of the doubt, and I don't think I or they are intentionally trying to be disrespectful. A few select people I have noticed though, are. One in particular, who will remain anonymous for both our sake's, does this to me on practically a daily basis. It's gotten to the point where I know it's going to happen, so I try to keep my sentences as succinct and packed full of information as possible, because I know I am always one pause or stutter away from losing them.

It's also become a health problem for me. I can feel my blood pressure rise to seriously unhealthy levels. The second they look away from me to focus on whatever is on that screen in front of them (be it a newspaper article, a bill, a fantasy football score, a wikipedia page, a Words With Friends game, an IM from a friend, or anything else that takes priority over the flesh and blood in front of them that's stupid enough to think that they should take precedence over the machine), I lose it. There's nothing like feeling you've been disrespected to your face. At least if I find out that someone has disrespected me behind my back, I think they had the wherewithal and respect (to a certain degree), not to do it to my face. But to do it so blatantly and consistently is practically a declaration of war in my eyes, and I'll never understand or accept it.

So keep this in mind next time your phone or computer rings, buzzes, or 'alerts' you, when there is an actual human being engaged in some form of communication with you. It's rude to choose the machine over the man, and its humiliating to be on the other end of that wrong choice. Technology may have given us the world at our fingertips, but it didn't give us the right to forget about common courtesy and  respect. Put the phone down, and look people in the eye when you are speaking or listening to them. That simple step alone may noticeably change the communication and people skills that many of us (especially in my generation), are lacking today.

SOD: Eric Clapton "Bottle of Red Wine"

Eric Clapton's eponymous solo debut album has always been held in high regard by yours truly. With virtually the same contributors that formed Delany and Bonnie's band (including Delaney and Bonnie themselves), the music is a continuation of their sound, with Eric Clapton taking center stage on guitar and vocals. Delaney co-wrote six of the songs with Clapton, and convinced Clapton to do the album in the first place (using his all-star cast of session players). It's also said that Delaney is the one who convinced and taught Clapton to sing the blues.

 The vocals on this track are shared between Clapton and Bonnie Bramlett, and they are perfect for one another. The album version of this track (which I cannot seem to find on youtube for copyright reasons I'm sure), even has shades of "Faces" type vocal work and rhythm, in my opinion. The driving beat and rhythm section is as one would expect, very indicative of the work that these same musicians did when joined by Duane Allman to form Derek and the Dominoes in the spring of 1970. 

Bottle of Red Wine is by no means the "single" off this album, in fact I think it may be overlooked at times. But it is a favorite of mine nonetheless. All the parts work very harmoniously together to create a well balanced, succinct blues song. The guitar solo is short and sufficient (like the song itself), and I'm not saying that I don't love those endless guitar conversations between Allman and Clapton from the Domino years, but there's something to appreciate about these shorter tunes too. The more popular songs to come out of this album were "After Midnight", which was originally written by J.J. Cale in 1966, and "Let It Rain" which would become a concert staple of Clapton's.