Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Some Songs For You Until We Return

As regulars here know by now, Lucid Culture HQ is undergoing some big renovations and for that reason we have to leave this site more or less in limbo until about the middle of October  when we  return with more of the stuff you may have grown accustomed to: the NYC live music calendar, cd and concert reviews, Song of the Day and our Tuesday Top Ten Songs list. This will also serve as a test of sorts to see how much traffic we get while there’s not much going on here. In the meantime, here are the songs of the day that we’d scheduled to appear, a new one every day through October 15, 2009  as the countdown to #1 on the Top 666 Songs of Alltime list continues.  If this isn’t enough to satisfy your curiosity, look around a little, browse the index above and we’ll be back before you know it.

304. Joy Division – Walked in Line

“All dressed in uniforms so fine/They drank and killed to pass the time/Wearing the shame of all their crimes/With measured steps they walked in line.” Nazis as metaphor for conformity as a whole, stepping to a ridiculously simple, potent descending punk riff. An early, 1977-era song released on the posthumous 1981 Still lp, available in a ridiculous number of live and studio versions: peek around.

303. Dick Dale – Misirlou

The lefty guitar genius and surf music pioneer is Lebanese-American and probably heard this iconic Greek melody as a kid in the 50s. Nice to see him healthy again and back on the road. New York Greek party rockers Magges also do a tremendously fun version.

302. The Dog Show – If I Laugh Anymore I’ll Break

Blistering and catchy, sort of a cross between the Dead Boys and 50s R&B. One of the more obscure tracks here, this is on a rare ep by the NYC mod punks from 2003 or so and well worth seeking out, whether on a live bootleg (they exist) or otherwise.

301. Elvis Costello – Riot Act

One of Steve Nieve’s finest, most poignant moments in the band with all those hauntingly restrained piano arpeggios. From Get Happy, 1980; mp3s are everywhere.

300. The Grateful Dead – Days Between

Every now and then, Jerry and co. would pull out the gravitas and this is a prime, extremely poignant example from right before the end, an elegiac epic that in its dark, determined way might just be their best song. Not that it really mattered, but the Dead never released it during their lifetime as either a studio or live recording. So you need to go to dead.net or archive.org, where this 12-minute gem resides in several places.

299. The Go-Betweens – You Can’t Say No Forever

Haunting, percussive janglerock cautionary tale about the dangers of succumbing to the lure of marriage. An apt companion piece to the Fun Boy Three’s Tunnel of Love…and a million blues and country songs. It doesn’t sound much like anything the artsy New Zealand pop band ever did before or after. From 16 Lovers’ Lane, 1989; mp3s are everywhere.

298. The Rolling Stones – Black Limousine

A poignant requiem for a good time, Ron Wood’s warmly fluid blues solo one of his finest moments in the band over a neat hesitation-step series of basic blues changes. From Tattoo You, 1981; mp3s are everywhere, and don’t be shy about downloading it because like all major label releases, this one will never make the band any more money. Not that they need it anyway. The link above is a spirited live version from the tour of the same year.

297. Telephone – Au Coeur de la Nuit

The title translates as “heart of the night,” which to songwriter Jean-Louis Aubert’s credit transcends cliche here. One of the most iconic songs in French rock, it’s a blistering requiem, title track from the Parisian rockers’ 1981 lp. Which you can download all over the place; the link above is a careening live version from German tv.

296. Zager & Evans – In the Year 2525

OK, some of you may find this cheesy and over-the-top. But we think the 1969 one-hit wonder is spooky in a psychedelic California Dreaming kind of way. Whatever you think, the video above is hilarious – and it screams out for someone with a little more depth to cover the song and bring out all its apocalyptic angst. By the way, the song was a last-minute addition to the band’s first album (if you find it, pick it up, it’s rare). Available for taping off your favorite oldies radio station as well as all over the web.

295. Randi RussoWonderland

Arguably the iconic indie rock siren’s signature song, this is a bruised, towering anthem about being left behind. And the injustice and cruel irony of it. From her classic Solar Bipolar cd, 2000; the link in the title above is the considerably faster but still dangerous version from the Live at Sin-e album, 2005.

294. Amy Rigby – Rode Hard

Culture shock has seldom been more amusingly, or more poignantly portrayed: fearless big city girl goes south and she doesn’t understand the natives any better than they understand her. She might be jealous of their brightly lit homes and seemingly secure lives, but she’s not sure. And are there any eligible guys within a hundred mile radius? Is there one? From the Sugar Tree cd, 2000, which you could download, or you could get at her site, she’s an independent artist so none of your money will go to any sleazy record label exec.

293. Erika Simonian – Bitter & Brittle

Best song on the classic 2003 All the Plastic Animals cd by the NYC underground songwriter/chanteuse and Sprinkle Genies guitarist, grimly yet wittily contemplating a fullscale breakdown with one of her characteristically gemlike lyrics.

292. Elvis Costello – Love Went Mad

“Do you know how I feel? Do you have a heart, do you have a heart of iron and steel?” the King inquires with a savage amphetamine insistence. A fast, anthemic smash from Punch the Clock, 1983, driven by Steve Nieve’s incisively bright piano. Mp3s are everywhere.

291. Curtis Eller – After the Soil Fails

Apocalyptic opening track on the fiery NYC banjo rocker’s 2008 cd Wirewalkers & Assassins:

This time the dream is a Russian oil tanker

Fidel Castro and Cuban sugarcane

Richard Nixon’s having the same old nightmare

Jack Ruby’s black secret crawling up through the drain…

When the hurricanes finally take out New Orleans

And scarlet fever has finally left Philadelphia bare…

There’s a ghost that we remember hanging in the air

290. Ninth House – Your Past May Come Back to Haunt Me

Catchy, swaying Nashville gothic existentialist cautionary tale: “I know all your secrets,” frontman Mark Sinnis intones ominously. From Swim in the Silence, 2000.

289. Elena Zazanis – Stingray

The highly regarded indie film actress is also a terrific singer and songwriter, with a powerful alto wail and a haunting chromatic edge that reflect her Greek heritage. For a few years during the early part of the decade, she led a first-rate, dark New York powerpop band and this is their finest moment, a towering anthem vividly depicting a surreal nightmare scenario that doesn’t end well. Never recorded, although live bootlegs exist.

288. REM – Find the River

Arguably their best song, about as far from their indie roots as they ever got, lush and anthemic with a string section. It’s about getting old, and failure, and death. “All of this is coming your way.” From Automatic for the People, 1992. Click on the video in the link above.

287. Latin QuarterTruth About John

For about a year the British rock press were all gaga over this lyrically brilliant, Costelloesque band who were one of the first to bring Afropop flourishes into rock. This is probably their most straight-up rock song, a bruising anthem about Albert Goldman’s hatchet-job John Lennon bio. From the Modern Times lp, 1985. The Pip Hoyle style organ solo out is luscious. Frontman Steve Skaith now fronts his own band, continuing to play and record intriguingly polystylistic, lyrical songs. The link in the title above is the stream at imeem.

286. Flash & the Pan – Restless

A few years after their legendary 60s garage-pop band the Easybeats had run its course, Australians Harry Vanda and George Young led this pioneering, truly extraordinary dark new wave studio project best known for their big 1979 hit Hey St. Peter. This apocalyptic number sets a haunting Middle Eastern melody to a fast, hypnotic dance beat, the lyrics as offhandedly disconcertingly as ever. From the classic Lights in the Night lp, 1980, more easily downloaded than you would think – the link above is a torrent.

285. The Room – Naïve

Best song on probably the best ep ever made, the Liverpool new wave legends’ 1985 release Jackpot Jack. This updates noir 60s pop with a jazzy tinge and haunting Hammond organ, Dave Jackson’s ominously breathy voice and characteristically biting lyrics. It’s also a great drinking song – who knew beer goggles could be so lyrical. Jackson and bassist Becky Stringer would carry on in the equally captivating Benny Profane and currently the Nashville gothic act the Dead Cowboys.

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September 27, 2009 Posted by | lists, Lists - Best of 2008 etc., Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

CD Review: Marykate O’Neil – mkULTRA

Truth in advertising. The cd cover pictures a deadpan Marykate O’Neil in shirt and tie with old-fashioned 1950s glasses, holding a bottle of a suspicious, possibly mind-altering and tortuous substance designated for some poor unfortunate prisoner of the CIA. Onstage, O’Neil typically relies on a subtle wit to get her melodic, purist songs across, but this is one dark album. Needless to say, this isn’t your typical singer/songwriter fare.

 

Switching evocatively from Boston to a New York milieu, O’Neil’s vocals on the cd’s opening lament Green Street have Barbara Brousal-class subtlety and a lyric glistening with little gems:

 

The last time I saw you on Storrow Drive

You were walking your three-speed Huffy bike…

Dropping a nickel on the dime

 

Set to an imaginative acoustic trip-hop arrangement, Man manages to straddle the line between sensuality and frustration: “How did I get so fucked up,” O’Neil wails. On the bleak, depressed 6/8 ballad Nothing I Say or Do, layers of synth make their way in like a draft under the door. 

 

With its stately, eerily reverberating 6/8 guitar and insistent backing vocals leading up to the end of the verse, Trouble evokes Erika Simonian at her most angst-ridden, all the way up to the top of a towering, roaring crescendo, a vivid East Village tale that namechecks the Lakeside Lounge (yay!). 

 

The way the cd closes testifies to O’Neil’s fondness for classic pop songs. A stark take of Without You surpasses the Randy Newman original but falls short of the transcendent, bass-driven version that made the top 40 for Manfred Mann. The concluding cut, Happy, steals the eerie riff from Walking in the Rain (more evocative of the Flash & the Pan original than the Grace Jones version). “All I wanna be is happy,” is the anguished mantra O’Neil repeats over and over, making it clear that she’s a long way from there as the guitars burn and the percussion reaches a breakneck pace. Intense, powerful stuff. Marykate O’Neil plays Kenny’s Castaways at 8:30 PM on Nov 7; her December 8 show at Maxwell’s is sold out.

November 4, 2008 Posted by | Uncategorized | , , , , , , , , , , , | Leave a comment