New Wave Soundtrack King Part 1

Before he wrote the Simpsons theme and about a thousand other television and film scores, Danny Elfman was busy leading american new wave outfit Oingo Boingo, whose sound falls midway between Devo and XTC. This song, the title track from 1981's Only A Lad, was a freshman year high school favorite of mine and makes great Friday music. Enjoy the weekend!

Only A Lad

David Berthy Posts

My sister gave me the new Kinks box set Picture Book for my birthday recently. For fans of the Kinks, it’s probably not the best investment, as no doubt you own most of the music already and the band’s later work is a mixed-bag at best, but Picture Book does reward with some rarities. I thought I’d share two of my favorites. The first is the hauntingly beautiful “I Go To Sleep,” a Ray Davies demo recorded in 1965 that explores the eerie side of unrequited love. Next up is a performance of “This Strange Effect” for the BBC. Another example of British melancholy, this track seems a natural for a bar scene in a David Lynch film where everyone drinks in silence except for two il-fated lovers who linger by the jukebox so they can play “This Strange

Kinks Rarities

About five years ago, Norah Jones and some pals put together a band based on their love of country classics. The result was an album featuring covers of tracks by Hank Williams (I'll Never Get Out of This World Alive), Willie Nelson (Gotta Get Drunk and Nightlife), Townes Van Zandt (No Place to Fall) and Kris Kristofferson (Best of All Possible Worlds). There are a couple of originals, and I like this one
best.

Roll On

On Sound Opinions this past week, Dero and Kot both trashed and burned the new album from Andrew Bird for being wordy, rambling, and short on song-writing. I've never been a huge fan of AB, but enjoy his peculiar whistle and violin laden folk pop from time to time. When I heard the song Oh No from the new record, I recognized the chord progression right away, but couldn't put a name to it. After several more listens, I realized it was the 1978 hit Fool if You Think Its Over by Chris Rea.




Oh No



Fool If You Think Its Over

I turned on Elvis Costello's hosted live music show Spectacle this weekend to see Kris Kristofferson singing this one, from his debut album back in 1970. Though the album stiffed, several songs would become hits for other artists-most notable Me and Bobby Mcgee for Janis Joplin and SMCD for Johnny Cash. While the first couple of Spectacle episodes I saw were complete train wrecks mostly due to EC's poor interview skills and brash musical interpretations, its been getting better with every episode.

Sunday Morning Coming Down

Props to The Hitmaker for hipping me to this smooth soul revival music from Raphael Saadiq, who first came to prominence as lead singer and bass player of the new jack swing/R&B group Tony! Toni! Toné! back in the late 80's. He went on to collaborate with D'Angelo, Q-Tip, and countless others before going solo.His third solo LP The Way I See It, released late last year, is packed with velvet grooves and guest appearances from Joss Stone, Jay X, and Stevie Wonder.

100 Yard dash

David Berthy Posts

“The More I See You” is an effervescent piece of lounge pop by sixties sensation Chris Montez that strikes a surprising note of sincerity. According to allmusic.com, Montez first played a part as one of the rockers who helped fill the void Ritchie Valens left in the early sixties LA Hispanic rock community. Later, he shifted his style after he fell under the tutelage of Herb Alpert and adopted the easygoing, mainstream approach you find on “The More I See You.” Incidentally, I’ve always detested Herb Alpert, not because I’ve actually listened to him much, but because of the distracting ubiquity of Tijuana Brass records in thrift store record bins across the country. Sadly, Montez fell out of favor after “The More I See You” and a few other MOR hits in 1966, though he still tours. Hopefully he makes frequent stops in Vegas, where I’d love to see him most.


Chris Montez

Happy Inauguration Day

Thanks to Quickdraw for suggesting this one from The Staple Singers for the occasion


Long Walk to DC

Ditty for the Last Day

Au revoir, auf wiedersehen
You wont see another morning
You wont see another evening
Good night
Buenos noches o senor
Senorita see ya later
Buenos noches bye-bye

Auf Wiedersehen-Cheap Trick

Winter Anthem

Happy Friday with a Playful Winter Ditty from Swedish Songstress Lykke Li


Let it Fall

David Berthy Posts

In response to the overwhelming mandate for more things posted from vinyl (or at least Tony B’s comment to Mike’s Townes Van Zandt post), I offer two selections procured from an ill-advised detour to Dusty Groove last week, where I found Odetta Sings and a number of other records I couldn’t possibly leave without. I love the unique sound of Odetta’s voice on the folk records of hers I own, but what caught my attention about this album was that a bunch of the songs were recorded at Alabama’s famed Muscle Shoals recording studio. The prospect of Odetta’s voice backed by the legendary session men at Muscle Shoals sold me, and the record doesn’t disappoint. You can really hear this pairing at its best on this re-recording of Odetta’s song “Hit or Miss.” As a bonus, I’ve also included a cover of the Randy Newman song “Mama Told Me Not To Come.”

Odetta Sings

Blue Girls Come in Every Size

Its that time of year again folks, when The ultimate tribute project, Musical Box, rolls into town for a couple of shows at the Vic. I'll be in attendance, as will my brother Paul, who is coming in from NYC for the show. The occasion is the highly controversial move of taking on Phil Collins era Genesis for the first time. They are recreating the tour which followed the release of Trick of The Tail, the first to feature Collins as frontman and by far the best record from the post-Gabriel Era. Here's a song they won't play, but which I love anyway.

Ripples

Vinyl Lovers Rejoice!

The figures are in and vinyl sales were up 140% in 2008. I knew something was afoot when I saw a sizable LP section at Best Buy this past December. Apparently, the legions of kids who were raised on music in digital-only format have discovered something called Art. Something to hold, something to look at, something manifest. Browsing the bins at the best record store in the city for new releases, Dave's records, I was thrilled to find that Townes Van Zandt's first few LP's have finally been re-released on 180 gram vinyl. Here's a track from 1971's Momma Delta Blues.

Nothin'

My favorite tune in Hayward's new setlist is Southern Flavor by Bill Monroe. Referred to by most at the "Father of Bluegrass", Monroe's performing career spanned over 60 years, from the early days of his Bluegrass Boys (Featuring young Flatt & Scruggs) all the way up through his winning of the first Bluegrass Grammy in 1989 for the album Southern Flavor.

Southern Flavor

Johnny Lunchbreak

David Berthy Posts

Chicago’s Numero Group label consistently digs up lost and forgotten artists and re-issues them in beautifully reproduced, high-quality packages. I especially love their “Eccentric Soul” series. The Johnny Lunchbreak record released a few months ago is something a little different. According to the Numero site, writing about the tapes that came their way, “The non-album was a mélange of post-Velvets New York mixed with the up turned collar of the Modern Lovers’ New England.” Which is just a lyrical way of saying the band sounds unpolished and intoxicated in a completely irresistible way. In the first song, “It’s Got A Hold On You,” look out for the part where the singer seems to be whistling to his dog, perhaps to keep it from leaving the basement and bothering his mom. The second song, “Amazing Pain,” is my favorite on the disc. I love the riff. I love the handclaps. I think the title may make my list of all-time greats. Unfortunately, Numero Group informs us the band existed for less than two years and only played outside of Hartford, Connecticut once, though they did manage, somehow, to produce five lunchboxes. Check out other Numero releases here: http://numerogroup.com.


Johnny Lunchbreak

Speaking of Ryan Adams, When he's not ripping off other artists for whole albums at a time (The Grateful Dead on Cold Roses, The Replacements on Demolition etc. Jeff Buckley, etc.*), he writes some real gems. With a new album's worth of material released every 8 months or so average, even one or two good songs per set adds up to a significant body of work.That's pretty much been the case from the early post Whiskeytown era all the way up through his work with the Cardinals with a few exceptions-Heartbreaker, Jacksonville City Nights, and his latest-Cardinology, all three of which, along with both Whiskeytown albums, are solid, papless efforts. On the other hand, there are at least three records-Gold, Rock and Roll, and Easy Tiger which are 100% crap all the way through. That sort of inconsistency becomes infuriating over time as does the insincerity of the genre exercises. He's the kind of artist who requires a well chosen best of collection in order to listen to him more than 5 minutes at a time, but its worth the effort. I will create that collection and post it in the weeks to come.

Here's one of my favorites from Whisleytown's second record

The Ballad of Carol Lynn

Ever wonder what Ryan Adams would sound like if one of the styles he relentlessly rips off was that of Bleach era Nirvana? I didn't think so, but just in case, here's music from Athens GA Indie Rockers Dead Confederate's debut album.

Start Me Laughing

Bridging the gap from our pre-break post by Donnie Hathaway, I present a pre-funk instrumental classic from early 60s Chicago -- and one of the best-selling records by young guitarist Phil Upchurch, who played in Hathaway's band. He went on to do considerable studio and session work over the next few decades -- for Chess and Atlantic Records. This track, "You Can't Sit Down", reached the US Top 30 in 1961 and the UK Top 40 on its reissue five years later.

You Can't Sit Down