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)