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.