Thursday, October 30, 2014
Wednesday, October 29, 2014
Tuesday, October 28, 2014
|The show at 587 College is opened by BART (10pm) with Biblical on at 11pm. Watch the Quiet Crooks clip below.|
Monday, October 27, 2014
Sunday, October 26, 2014
Saturday, October 25, 2014
|Celebrating the birthday of superstar Hungarian singer/actor Kati Kovács with a couple of vintage clips.|
Friday, October 24, 2014
|Check out Reigning Sound's stellar performance at Soda Bar in San Diego on July 2. 2014.|
1. Stop and Think It Over (0:00)
2. North Cackalacky Girl (3:38)
3. Never Coming Home (6:46)
4. Debris (10:12)
5. Starting New (13:04)
6. My My (16:27)
7. Reptile Style (19:40)
8. I'm So Thankful (23:15)
9. Falling Rain (26:17)
10. Your Love is a Fine Thing (29:29)
11. I'll Cry (32:30)
12. We Repel Each Other (35:06)
13. Bound to Let Me Down (38:50)
14. Once More (41:42)
15. Drowning (44:53)
16. You Got Me Hummin (48:33)
17. Stormy Weather (51:22)
18. Bad Man (53:47)
19. You're So Strange (56:35)
20. I Don't Care(1:00:08)
21. Trash Talk (1:02:57)
22. Straight Shooter (1:05:30)
23. If You Can't Give Me Everything (1:07:25)
24. What Could I Do (1:10:31)
Thursday, October 23, 2014
|Here's an ace German doc on the Danish jazz scene w/Dexter Gordon, Lars Gullin & Sahib Shihab at Club Montmartre.|
Wednesday, October 22, 2014
Tuesday, October 21, 2014
Monday, October 20, 2014
|Read the transcript of Iggy Pop's keynote below or download the MP3 audio right here.|
Hi, I'm Iggy Pop. I've held a steady job at BBC 6 Music now for almost a year, which is a long time in my game. I always hated radio and the jerks who pushed that shit music into my tender mind, with rare exceptions. When I was a boy, I used to sit for hours suffering through the entire US radio top 40 waiting for that one song by The Beatles and the other one by The Kinks. Had there been anything like John Peel available in my Midwestern town I would have been thrilled. So it's an honor to be here. I understand that. I appreciate it.
Some months ago when the idea of this talk came up I thought it might be okay to talk about free music in a Capitalist society. So that's what I'm gonna try to talk about. A society in which the Capitalist system dominates all the others, and seeks their destruction when they get in its way. Since then, the shit has really hit the fan on the subject, thanks to U2 and Apple. I worked half of my life for free. I didn't really think about that one way or the other, until the masters of the record industry kept complaining that I wasn't making them any money. To tell you the truth, when it comes to art, money is an unimportant detail. It just happens to be a huge one unimportant detail. But, a good LP is a being, it's not a product. It has a life-force, a personality, and a history, just like you and me. It can be your friend. Try explaining that to a weasel.
As I learned when I hit 30 +, and realized I was penniless, and almost unable to get my music released, music had become an industrial art and it was the people who excelled at the industry who got to make the art. I had to sell most of my future rights to keep making records to keep going. And now, thanks to digital advances, we have a very large industry, which is laughably maybe almost entirely pirate so nobody can collect shit. Well, it was to be expected. Everybody made a lot of money reselling all of recorded musical history in CD form back in the 90s, but now the cat is out of the bag and the new electronic devices which estrange people from their morals also make it easier to steal music than to pay for it. So there's gonna be a correction.
When I started The Stooges we were organized as a group of Utopian communists. All the money was held communally and we lived together while we shared the pursuit of a radical ideal. We shared all song writing, publishing and royalty credits equally – didn’t matter who wrote it - because we'd seen it on the back of a Doors album and thought it was cool, at least I did. Yeah. I thought songwriting was
Sunday, October 19, 2014
Saturday, October 18, 2014
Friday, October 17, 2014
Wednesday, October 15, 2014
|Brazilian funkateer Ed Motta compiled his fave AOR rarities for a dope Wax Poetics mix you can check below.|
1. Mark Radice “It’s You My Love” (1977)
2. Dwight Druick “Prends Ton Temps” (1980)
3. Altay Veloso “Débora” (1986)
4. Tatsuro Yamashita “Love Talkin’ (Honey It’s You)” (1982)
5. Arian “Your Love Makes Me a Winner” (1981)
6. Starbuck “A Fool in Line” (1977)
7. Valerie Carter “Crazy” (1978)
8. Shampoo “Fruta Maçã” (1983)
9. Renee Geyer “Two Sides” (1975)
10. Adrian Gurvitz “Untouchable and Free” (1979)
11. Rita Lee “Atlântida” (1981)
12. James Vincent “Space Traveler” (1976)
13. Pino Daniele “Notte Che Fai” (1995)
14. Chas Jankel “Just a Thought” (1980)
15. Noriyo Ikeda “Dream in the Street” (1980)
16. Jerry Corbetta “Caribbean Lady”
17. The Bee’s Knees “You and I” (1979)
18. Googie and Tom Coppola “Let This River Flow” (1980)
19. Raul Porchetto “El Vino Del Alma” (1979)
20. Rick Riso “Gotta Have the Real Thing”
|Steve Gunn's new album Way Out Weather was released on October 7. Watch his Tiny Desk Concert below.|
Mining the catalogs of Basho, Bull, Chapman, and Sharrock, among other titans of stringed-things and record-session royalty, Steve has steadily processed these inspirations into a singular, virtuosic stream. Friendships and collaborations with Jack Rose, Tom Carter, Meg Baird, Mike Cooper, and Michael Chapman colored the disciplined evolution of the discursive, deconstructed blues sound, at once transcendent and methodical, that is now Gunn’s signature. Close listening reveals the influence of Delta and Piedmont country blues, ecstatic free jazz, and psych, as well as Gnawa and Carnatic music, on the continually unfolding compositions.
Gunn’s 2009 solo album, Boerum Palace (availble here), demonstrated a fully realized power for songcraft; Steve started to sing more and developed a commanding vocal style equal to his guitar practice. His acclaimed instrumental duo recordings with Truscinski, Sand City (2010) and Ocean Parkway (2012), cemented his place among the top of his peers, both present and past. These documents display Gunn’s compositional penchant for charting musical travelogues that ramble through city and wilderness alike. Dispatches home are not merely descriptive but corporeal; the evocative, rhythmic power of his writing and phrasing carries the listener along bodily. Steve builds songs as exploratory vessels, opens them up for mechanical tinkering, and lives in them through ceaseless improvisatory permutations.
In 2013 Paradise of Bachelors released Time Off, his first album as leader of a trio including longtime friends John Truscinski on drums and Justin Tripp on bass, and a record on which Steve’s compelling singing features more prominently than ever before. The album features his oblique character sketches and story-songs about friends, acquaintances, and denizens of his Brooklyn neighborhood, using the trio band format to launch his compositions into new, luminous strata. This is Gunn at the top of his game, writing his most memorable tunes and lyrics, utterly unique but steeped in traditions both vernacular and avant-garde.
A heady and elliptical travelogue, Gunn’s follow-up, Way Out Weather (available via Paradise Of Bachelors), demonstrates a radical widescreen evolution, featuring a larger band and lighting out for lusher, more expansive, and impressionistic territories than Time Off. This is the virtuosic guitarist and songwriter’s career-defining statement to date.
Tuesday, October 14, 2014
|The Replacements knocked out a reasonable facsimile of Shaver's Live Forever at ACL Fest. Photo by Craig Laskey|
Monday, October 13, 2014
Sunday, October 12, 2014
|Reel Indie Film Fest presents A Life in the Death of Joe Meek on Oct 15.|
Tuesday, October 7, 2014
|The Skeletons and Morells mainman Lou Whitney died earlier today after a battle with cancer.|
Dave Hoekstra: Lou Whitney – Defender of the Song
Springfield News-Leader: Musician Lou Whitney dies in his Springfield home
Monday, October 6, 2014
Sunday, October 5, 2014
Who exactly didn't want you to hear this dubwise companion to Flick Wilson's School Days album isn't exactly clear – well, apart from the Scientist himself maybe – but the long unavailable Scientist sides created at King Tubby's Dromilly Road studio are well worth investigating for dub fans keen on tracing back the source of Hopeton Brown's mixing style.
The technically astute Brown, who developed his rep as a first class engineer while building transformers for King Tubby 4-track operation, would eventually find fame as a innovative mixer during the dancehall peak of the early 80s after he moved to Channel One and began working with Junjo Lawes and the Roots Radics.
What we have on The Dub Album They Didn't Want You To Hear! (DKR) is an altogether more rudimentary roots-oriented selection which shows the Scientist's debt to King Tubby and Bunny Lee rather than the next-level sonic trickery for which he would later become known with albums like Scientist Meets The Space Invaders, Scientist Rids the World of the Evil Curse of the Vampires, Scientist Encounters Pac-Man, etc. The 10 track LP, with nine Flick Wilson dubs and one from Wayne Jarrett's What's Wrong with the Youths, still makes for an enjoyable listen.
Those with a taste for Scientist's earlier classics like Introducing Scientist: The Best Dub Album in the World, Heavyweight Dub Champion and Showdown At King Tubby's will find lots to like on this newly uncovered artifact but those expecting some mind-blowing revelation may be setting themselves up for disappointment. Have a listen below.
Saturday, October 4, 2014
|The Panther Burns, ft. Tav Falco, were recorded at a rented cotton loft in Memphis February 11, 1979.|
Paste: Alex Chilton, 1975-1981
Bored Out: Ross Johnson Interview, Part Two
Friday, October 3, 2014
|Never Catch Me is off the new album You're Dead! Flying Lotus plays the Danforth Music Hall Oct. 21.|
NY Times: Flying Lotus picks some of his favourite albums
Wednesday, October 1, 2014
|Alice Gerrard's hard-hitting Follow The Music album is out now on Tompkins Square.|
Alice Gerrard recently celebrated her 80th birthday but the respected folk-roots singer/songwriter isn't the slightest bit interested in a quiet retirement. If anything, Gerrard now seems to be busier than ever, following up last year's Laurie Lewis collabo Bittersweet with the new Follow The Music (Tompkins Square) album recorded with M.C. Taylor aka Hiss Golden Messenger and members of Megafaun.
If the goal of the unlikely pairing was to grab the attention of beard-stroking blogosphere gatekeepers hesitant to cover the music of any artist over the age of 39, let alone one with a bluegrass background, it worked. The appearance of a Pitchfork review earlier this week to coincide with the album's release was a surprise – that it was unreservedly positive (it rated a 7.4 for those who care about such things) was a shocker. In fact, this clever bit of misdirection put in play by Tompkins Square Records boss Josh Rosenthal was perhaps even more successful than the hype-savvy former Columbia promotions man and SONY marketing & sales rep had envisioned.
Where the album conception of Taylor intersects with the haunting voice and stylistic bent of Gerrard appears to be on life's darker side in which crops fail, suitors harbour murderous intent and mother's bury their children. It's a place where both hot-tub country clowns and art-school Americana hipsters fear to tread but Gerrard has always found resonance since her brilliant Hazel & Alice recordings with longtime sidekick Hazel Dickens.
Since Dickens sadly passed in 2011, Gerrard has never found another singing partner with whom she could create such spellbinding harmonies, synthesizing the innovations of the Carter Family and Bill Monroe into a magical vocal blend that was wholly unique and profoundly moving. Let's just say without Hazel & Alice there would be no Freakwater and the duet singing of Emmylou Harris – who was schooled on the Washington, D.C. folk scene of the late 60s where Hazel & Alice held sway – would sound very different.
Of course, Gerrard's maturely measured performances on Follow The Music don't have the raw power of those classic early Hazel & Alice sessions – which Smithsonian/Folkways has thoughtfully compiled on the excellent Pioneering Women of Bluegrass album – but her well-weathered howl can still get under your skin. Her much younger producer thankfully understands that. Our boy Taylor had the good sense to avoid the temptation to gussy things up with reverb and pitch correction software while keeping his Megafaun pals reigned in to their support role. Consequently Gerrard is allowed to do her thing and that's why Follow The Music will hit you harder than you think.
Alice Gerrard - site
Alice Gerrard - Follow The Music on iTunes
Washington Post: Alice Gerrard keeps adding to her legacy