Album of the Day 7/25/11
Every day, our 1000 best albums of all time countdown continues all the way to #1. Monday’s album is #554:
The Who – The Who Sings My Generation
OK, OK, this is “classic rock,” the one thing we’re trying to stay away from here. But what a rhythm section – and a tragedy that both John Entwistle and Keith Moon both left us so young. This album came out in 1965, when the band’s sound was new and fresh, before Pete Townshend turned into a Jimmy Page wannabe and Daltrey…well, the music here is good enough to make you forget he’s on it. With his completely unpredictable rumbling thunder attack, Moon absolutely owns La-La-La-Lies and Much Too Much. A Legal Matter mines the same amped-up R&B style as the Pretty Things and the early Kinks; the Good’s Gone foreshadows the Move. There’s also the country dancehall stomp of It’s Not True, the blue eyed soul ballad I Don’t Mind and Out in the Street, with its cool tremoloing intro. Oh yeah, there’s also an oldies radio standard, a future movie theme and a primitive, fuzztoned quasi-surf instrumental. The band only miss when they misguidedly try their hand at James Brown. Here’s a random torrent.
Album of the Day 6/13/11
Every day, our 1000 best albums of all time countdown continues all the way to #1. Monday’s album is #596:
The Electric Prunes – Mass in F Minor
From 1968, this is one of the great stoner albums of all time, not bad considering that the band it’s credited to reputedly didn’t play on several of the tracks (history is fuzzy on this – a Canadian garage band, the Collectors, were reputedly brought in by composer David Axelrod to complete it when the Prunes basically broke up mid-session). It’s an attempt to make psychedelic rock out of imitation pre-baroque themes, and it’s successful beyond belief: with layers and layers of stinging reverb guitar, eerie organ and trebly, melodic bass, it’s a wild ride. The track everybody knows is Kyrie Eleison, which is on the Easy Rider soundtrack. All the song titles are in Latin, in the manner of a Catholic mass – Agnus Dei; Benedictus; Credo, Sanctus and Gloria – with occasional deadpan, monklike chanting amidst the chaos. Fuzz tones, feedback, all manner of cheap production tricks and some deliriously inspired (some would say sloppy) playing are everywhere. Here’s a random torrent.
Dina Rudeen’s Common Splendor is Uncommonly Splendid
Dina Rudeen is the missing link between Neko Case and Eartha Kitt. The way she slides up to a high note and then nails it triumphantly will give you shivers. Her songs draw you in, make you listen: they aren’t wordy or packed with innumerable chord changes, but they pack a wallop. With just a short verse and a catchy tune, Rudeen will paint a picture and then embellish it while the initial impact is still sinking in. Musically, she reaches back to the magical moment in the late 60s and early 70s when soul music collided with psychedelic rock; lyrically, she uses the metaphorically loaded, witty vernacular of the blues as a foundation for her own terse, literate style. Some of the songs on her new album The Common Splendor sound like what Dylan’s Blood on the Tracks could have been if he’d had a good band behind him; the rest runs the gamut from lush, nocturnal oldschool soul ballads, to jaunty, upbeat, Americana rock. Behind Rudeen’s nuanced vocals, Gary Langol plays keyboards and stringed instruments along with Tim Bright on electric guitars, Tim Luntzel on bass, Konrad Meissner on drums, Jordan MacLean on trumpet, the ubiquitously good Doug Wieselman on baritone sax and clarinet, Lawrence Zoernig on cello, bells and bowls, Smoota’s Dave Smith on trombone, Lars Jacobsen on tenor sax and Jake Engel of Lenny Molotov’s band on blues harp. The arrangements are exquisite, with tersely interwoven guitar and keyboard lines, and horn charts that punch in and then disappear, only to jump back in on a crescendo. This also happens to be the best-produced album of the year: it sounds like a vinyl record.
The opening track, Hittin’ the Town is a sly, ultimately triumphant tune about conquering inner demons, driven by a defiant horn chart over a vintage 50s Howlin Wolf shuffle beat:
I hit a dry spell
I hit a low note
I hit the deck
But missed the boat
I hit the top, cracked the jewel in my crown
When it hit me like a ton of bricks that’s when I hit the ground
But now I’m just hitting the town
The second cut, Steady the Plow slinks along on a low key gospel/blues shuffle, Rudeen’s sultry contralto contrasting with layers of reverberating lapsteel, piano and dobro moving through the mix – psychedelic Americana, 2011 style. Safe with Me, a southern soul tune, wouldn’t have been out of place in the Bettye Swann songbook circa 1967. The lush, gorgeously bittersweet, Rachelle Garniez-esque Yvette eulogizes a teenage party pal who died before her time, maybe because she pushed herself a little too hard (Rudeen doesn’t say, an example of how the ellipses here speak as loudly as the words). Hold Up the Night succinctly captures the “beautiful, unfolding sight” of a gritty wee hours street scene; Blue Bird, a bucolic tribute to the original songbird – or one of them – has more of Langol’s sweet steel work. And Prodigal One, another requiem, vividly memorializes a crazy neighborhood character who finally got on the Night Train and took it express all the way to the end.
Not everything here is quiet and pensive. There’s also some upbeat retro rock here, including the sultry Cadillac of Love and a couple of rockabilly numbers: Repeat Offender, with its Sun Records noir vibe, and Gray Pompadour, a tribute to an old guy who just won’t quit. There’s also the unselfconsciously joyous closing singalong, On My Way Back Home, namechecking a characteristically eclectic list of influences: Bowie, Elvis, the Grateful Dead, among others. Count this among one of the best releases of 2011 in any style of music. Watch this space for upcoming NYC live dates.
Damian Quinones’ Happy Accidents – Purist Rock Fun
For over a decade Damian Quinones has been simmering just under the radar writing tuneful, fun, smart psychedelic rock songs in somewhat of the same vein as the Zombies. His new ep Happy Accidents explores his edgier, harder-rocking side, sort of like a lo-fi version of Love Camp 7. This album took shape as Quinones began demoing songs in his home studio and then must have realized that what he had – with some welcome contributions from a brass section – was perfectly fine for public consumption. Here he plays guitars, bass, percussion and keys, along with Greg Richardson on bass, Brian Baker and Geoffrey Hull on trumpets, Eric Fraser on bansuri flute and Patrick McIntyre and Seth Johnson on drums.
The opening cut, Arecibo, is a catchy backbeat pop song with bracing doubletracked lead guitar. Tesla’s Love Machine is deliciously arranged mid-70s-style rock with psychedelic touches. Quinones is tremendously good at arrangements and fun, imaginative riffs: blippy white noise oscillating into and out of the mix and sunbaked sustained lead guitar lines that get switched out for bright slide guitar on the last verse.
Annabelle, a casually shuffling, thoughtfully psychedelic folk-pop tune with balmy, period-perfect 1960s horn fills, picks up with a sway at the end. Life in the Dog House paints a picture of a guy who doesn’t sweat the small stuff, in fact much of anything. “My last payday they say we’re moving the plant to the south of Japan,” he announces; later on he’s “dodging swings from a rolling pin” swung by his wife, but he doesn’t give up. Daddy Legs, a full band track, slinks along on a hypnotic latin groove with tasty horns and electric piano, Gregorio Hernandez’ trombone prowling around suspensefully. Five songs, five bucks at Quinones’ site, worth every penny for fans of catchy, purist rock songwriting. Watch this space for upcoming NYC shows.
Elvis’ First Albums After the Army Get a New Look
The brand-new reissue of Elvis Is Back – a twofer with Presley’s subsequent 1960 album Something for Everybody, plus a whole slew of singles, some of them iconic, some mostly forgotten – is just out from Sony. The argument’s been made that Elvis Is Back was his best album, and that’s not true: he did his best work for Sun, and then in the 70s when he was on autopilot, but with an amazing band behind him ( and the ’68 comeback isn’t bad either). But this period piece – an essential collectors item for the Elvis cult – still oozes energy. Let’s not forget that only two years earlier, his career had been put on hold by racists who were terrified that the era’s best-loved pop culture figure was converting young white people to black music faster than any racist could stop him. So whatever his experiences were in the Army, there’s no doubt that Elvis was glad to be back – and the musicians behind him obviously agreed.
Interestingly, Elvis Is Back is mostly an album of ballads: that they stand up as well as they do fifty years later testifies to how much care and anticipation went into this. The shuffling David Lynchian vibe of Girl Next Door Went a-Walking is still irresistible, and the blues numbers, Reconsider Baby and It Feels So Right foreshadow what would sustain him so effectively throughout the ’68 special. Done with only bass and percussion, his cover of The Fever falls somewhere between the Peggy Lee hit and the Cramps. And Such a Night reminds how much more sophisticated a singer he’d become since he’d first recorded the old Drifters hit in 1954: it’s Elvis and band doing the Rat Pack, right down to the nonchalant exuberance of the drum outro.
That Elvis and the band could have recorded all but one of the dozen tracks on Something for Everybody in one night – or have been subjected to that by the label, considering his artistic status, never mind his value to them – is pretty remarkable. Then again, that was how albums were made in those days. Elvis sounds no worse for the marathon, and the band rises to the occasion as well. The real stunner here is the perfectly Orbisonesque noir pop ballad There’s Always Me, capped off by an unexpectedly explosive outro. Did a teenage Van Dyke Parks play along to the creepy music box piano of It’s a Sin? Did a young Roger McGuinn do the same with the proto folk-pop of Gently? Did the Searchers use the boisterous uptempo guitar blues of Put the Blame on Me as the prototype for an entire career? It would seem so.
To sweeten the pot, there are also a dozen singles included. In hindsight, Fame and Fortune (which Arthur Kent ripped off for Skeeter Davis’ The End of the World) stands out as a dismissal of celebrity that might be far less ironic than it seems. As a blueprint for Mark Sinnis’ Mistaken for Love, Are You Lonesome Tonight takes on a new intensity. And the completely over-the-top tango Surrender, with its James Bond ambience, is impossible to hear without smiling. The rest of the stuff either burned out long ago on oldies radio or never made it that far to begin with. All together, this trip back to a time before autotune is an awful lot of fun.
Album of the Day 3/5/11
More stuff in the pipeline here than you can imagine: Carol Lipnik’s great new album, solo electric rock on the Lower East and in Williamsburg, some amazing art at the Frying Pan way over on the west side, just to name a few things. In the meantime, every day, our 1000 best albums of all time countdown continues all the way to #1. Saturday’s album is #696:
The Ventures – Live in Japan ’65
The holy grail of surf music. What Never Mind the Bollocks is to punk, what Kind of Blue is to classic jazz, this album is to instrumental rock. The Ventures weren’t the first surf band, but they were the most successful, at least during their 60s heyday. This has virtually all of the best versions of their best songs, recorded in front of a hilariously polite audience in a country where they’re still more popular than the Beatles. It’s got kick-ass rockers like Penetration and Diamond Head; darker, eerie stuff like a skittish Besame Mucho Twist, Pipeline and the irresistible yet wary medley of Walk Don’t Run, Lullaby of the Leaves and Perfidia; Beatlesque jangle including When You Walk in the Room and the Fab Four’s I Feel Fine; sci-fi themes like Telstar, Out of Limits and a pummeling Journey to the Stars; and the crashing encore of Duke Ellington’s Caravan, with the late Mel Taylor’s long, iconic drum solo. The cd reissue is poorly mastered and on the tinny side, but the original mono vinyl album is strictly a collector’s item. Here’s a random torrent via dreamexpress.
The Latest Jimi Hendrix Compilation: A Snooze or a Scream?
The great Irish-American rock band Black 47’s most recent album Bankers and Gangsters includes a very funny song, The Long Lost Tapes of Hendrix. It’s based on the incident where Jimi Hendrix’ bassist Noel Redding absconded to Ireland with tapes of Hendrix’ last live recordings, and used them as collateral for a mortgage there. Redding may well have had an extra laugh at the bankers’ expense – who knows if the tapes were in good condition, let alone if the playing was any good, considering how notoriously uneven Hendrix’ live shows were in the months before he was murdered. Likewise, is there any Hendrix worth hearing that hasn’t already been unearthed in the past forty years? With any icon of this stature, caveat emptor is the word here: just ask any former sixteen-year-old who dumped $15 or so on one of those Curtis Knight albums in the pre-napster era. The premise of the latest Hendrix compilation, a lavish 59-track box set titled West Coast Seattle Boy: The Jimi Hendrix Anthology, is that there in fact is some meat left on the bones, and as it turns out the compilers are right. To further whet Hendrix completists’ appetites, in addition to fifteen early-to-mid-60s tracks featuring Hendrix as a sideman, original engineer Eddie Kramer was brought in for some debatable remixes of original studio recordings. There’s also plenty of marginalia seeing the light of day here officially for the first time, although pretty much all of it’s been circulating for decades in one form or another. Consider this an amazing double album further fleshed out with some obvious if welcome choices, some stuff that will be prized by hardcore Hendrix fans plus the by-now expected album side, or more, worth of stuff that was never released because it shouldn’t have been.
The Hendrix-as-sideman stuff is surprisingly lightweight, notable only for the guitar. But Rosa Lee Brooks’ shot at a top 40 soul hit, My Diary, has Jimi stunningly foreshadowing Axis: Bold As Love; the Isley Bros. Have You Ever Been Disappointed and The Icemen’s My Girl, She’s a Fox are rich with eerie, tremoloing broken chords; Billy LaMont’s Sweet Thang is a deliciously snarling one-chord funk vamp; and one of the Little Richard songs here is an unintentionally hilarious attempt to squeeze Mr. Penniman into a cliched early 60s dance-craze style (it doesn’t work, not even close).
As much as the outtakes are also a mixed bag, this is where the real treasures are. A ragged acoustic take of the lyrical, Dylanesque My Friend resonates as a snide dismissal of shallow scenesters. Mr. Bad Luck, a mid-60s Experience tune whose rhythm parts were re-recorded by Noel Redding and Mitch Mitchell twenty years later, could be interpreted as a premonition of Hendrix’ ultimate fate. Hear My Freedom, a proto-metal instrumental jam with organ takes a while to get going, but when the galloping beat kicks in it’s genius, a style echoed even more intensely on a later instrumental simply titled Bolero. A collaboration with Arthur Lee, Everlasting First, has political overtones and would have been perfectly at home on Electric Ladyland. There are also a deliciously Hendrixized version of Doc Pomus’ Lonely Avenue, just crazy guitar, vocals and drums; a pretty scorching, politically charged Shame Shame Shame, a Voodoo Chile soundalike; and inspired, peak-era psychedelic versions of Hey Babe/New Rising Sun, New Rising Sun and In from the Storm.
The live stuff is choice, although most of it’s been readily available for a long time: the best tracks are absolutely unhinged versions of Stone Free and Foxey Lady, by Band of Gypsys. The remixes are uneven. Muting the psychedelia and bring out the rock works terrifically with Are You Experienced, maybe because that song is so hypnotic to begin with, but Love or Confusion – Hendrix’ best song – misses the cohesiveness of the original mix, a series of layers that don’t gel well when separated from the original feedback-iced morass. Pretty much every track here is up on youtube – it would have taken us as long to track down the links for all of these songs as it did to put this piece up to begin with, so we’re leaving that up to you. To experience how surprisingly rich it sounds, you need the actual item. Interestingly, the complete edition is only available as a cd box; itunes is limited to just sixteen of the tracks.
Top Ten Songs of the Week 11/1/10
Our weekly, Kasey Kasem-inspired luddite DIY version of a podcast is a little late again, sorry, we’ll try to have next week’s for you on Tuesdays like we usually do. Every week, we try to mix it up, offer a little something for everyone: sad songs, funny songs, upbeat songs, quieter stuff, you name it. We’ve designed this as something you can do on your lunch break if you work at a computer (and you have headphones – your boss won’t approve of a lot of this stuff). If you don’t like one of these songs, you can always go on to the next one: every link here will take you to each individual song. As always, the #1 song here will appear on our Best Songs of 2010 list at the end of the year.
1. The Toneballs – Chelsea Clinton Knows
Characteristically incisive lyrical rock from Dan Sallitt’s jangly post Blow This Nightclub crew. They slayed with this a couple of weeks ago at the Parkside.
2. Annabouboula – Opium Bride
Psychedelic Greek rebetika surf/dance rock with sultry female vocals. They’ve got a long-awaited new album out and it’s great.
3. The Del Lords – When the Drugs Kick In
The legendary 80s Americana rockers’ first new song in 20 years, and it was worth the wait.
4. The Visitors – Living World
The New Race garage-punk classic recorded live 2008 via thebarmansrant.
5. Para – Roboti
Quirky, catchy Slovakian 80s flavored rock. They’re at Drom 11/17 at 9.
6. Copal – Shadows
One-chord jams don’t get any cooler than this hypnotic, trippy violin/cello Middle Eastern dance-rock vamp. From their excellent new album. They’re at Drom tonight at 10 if you’re in the mood to get out of the rain and dance.
7. Meg Reichardt – Frozen Toe Blues
The Roulette Sister and Chaud Lapin on a rare solo jaunt doing a typically irresistible oldtimey blues number.
8. Jeremy Messersmith – A Boy, a Girl and a Graveyard
This is the Tattooine guy, Elliott Smith style.
9. Cee-Lo Green – Fuck You
We couldn’t let the year go by without at least giving this one a mention. C’mon, you know you love it.
10. Buffalo Springfield – Burned
From the initial reunion show by the 60s psychedelic pop/Americana rock legends – this is with Neil on vocals, live via Leftsetz.
Excellent New Anthology of Dylan Original Mono Recordings Just Out
Studies have shown that a majority of listeners actually prefer the sound of an mp3 to higher-quality recording technology. Which on one level shouldn’t come as a surprise. Stereo never became popular on a mass scale until about 1970, and people listened on tinny transistor radios for a good ten years after that. Mp3s also mask the ineptitude of indie rock musicianship as well as the robotic cheesiness of the last decade’s worth of corporate pop. But for the dedicated minority who prefer the richness and warmth of vinyl, is there a market for an audiophile mp3? That’s what Sony is offering, in essence, on their new Bob Dylan compilation, The Best of the Original Mono Recordings. A listen through the album confirms the quality of the mixes. Many of the songs here are also available on Bob Dylan’s Greatest Hits, Vol. 1, a platinum album with pretty much zero collector value available for five bucks or less at just about any used vinyl store, and for serious audiophiles, that’s the way to go. But for those without a turntable, this is a remarkably successful facsimile. To sweeten the deal, there are some alternate takes here with revealing little touches that Dylan fanatics won’t be able to resist. Song to Woody showcases some surprisingly adept fingerpicking: hearing a 1963 Dylan sing about a world that “looks like it’s a-dying and it’s hardly been born” is a real eye-opener.
A solo acoustic take of Blowin’ in the Wind has some strikingly flinty vocals – he probably never sang it better than he does here; a solo version of Chimes of Freedom, with extra verses and a lot of alternate lyrics, is absolutely fascinating. Bruce Langhorne’s masterfully fingerpicked electric lead guitar highlights a beautiful alternate arrangement of Mr. Tambourine Man, and while nothing beats the warmth of the vinyl recording of the opening guitar chord of Like a Rolling Stone, this one’s awfully close.
These reissues also offer a vivid reminder of how brilliantly Tom Wilson and Bob Johnston mixed the electric Dylan. The balance of the instruments on the full-band cuts here stays impressively true to the fidelity of the originals; the few obvious sonic modifications, such as goosing the bass a bit on Tombstone Blues and I’ll Be Your Baby Tonight, are welcome to the point where anyone hearing this for the first time might even prefer these versions.
Beyond the sonics, it goes without saying that so many of these tracks – album takes of The Times They Are A-Changing, Subterranean Homesick Blues, Positively 4th St. and I Want You – are genuine classics, songs that deserve every bit of their iconic status. And the rest of the cuts – Rainy Day Women, Just Like a Woman, and All Along the Watchtower – are solid choices to round out the album. Along with the previously unreleased Witmark Sessions collection – which we haven’t gotten around to here yet – this is a smart blend of archival research and sonic excellence. It’s up at itunes and all the usual places.
Lucid Culture 