FI Wigs Out

Here's a couple of tunes to flip your wig! The first track, "Bald Head", from New Orleans Boogie Woogie King Professor Longhair, concerns a poor lass who can't keep her wig on her head. The second, "Give Me back My Wig", is from Chicago Blues legend Hound Dog Taylor, known for his all out two guitars and drums (no bass) sonic assault.

Wig Tunes

Guest Post Today from Jon Singer


I watched a DVR’d episode of Elvis Costello’s Spectacle the other night and it did not disappoint. Say what you will about Elvis as an interviewer with his need to grandstand over his guests, or his penchant for relating every question asked to one of his own personal experiences, but I think the show and its format are terrific with carefully chosen guests who seem to really enjoy themselves almost as much as Elvis does singing over them.

This episode featured the offspring of famous musicians. Guests included M. Ward & Zooey Deschanel (She and Him) Jenny Lewis (Rilo Kiley) and the subject of this post Jakob Dylan. There was a deep sadness is Dylan’s semi-off interview and performance that has bothered me all week. I have been struck by the actual weight placed on that man’s shoulders considering the sperm that brought him into this world.

Let’s get one thing straight. The Wallflower’s grammy award winning single “One Headlight” is a fist pumping jam. The perfect summer radio hit of 1997 was one part Bob Dylan, one part Tom Petty and perhaps one part Counting Crows (!?) with an anthemic chorus so plaintive and enthusiastic it’s virtually impossible not to sing along with it. The Wallflowers then went four years without recording anything only to follow up with a handful of post-millennium material that was largely ignored. So what happened? Where did he/they go and why did Jakob Dylan stop putting out music after such a promising start?

Dylan’s new LP “Seeing Things” features stripped down guitar/vocals production and lays his songwriting chops and sandpaper voice on the table. During the Costello interview he speaks candidly about "no longer being able to keep up" with the comparisons and resisting the urge to distance himself from his father which he has done for so long. Perhaps this is the only thing you can do when you’re Bob Dylan’s son and you want to be a musician? Resistance is futile.

The song he plays with Elvis “On up the mountain” is the perfect track to sum up the interview and the emotional state and direction he’s headed in as he not so much comes out of his father’s shadow but allows himself to be comforted by life inside it. In the live performance his voice was a little off and his guitar was slightly out of tune, but there’s a Landslide-esque beauty to this track that makes it hard to deny the DNA double helixing inside this guy’s body.

In other news the rendition of the Clash’s “Straight to Hell” they do together is one of the worst covers of all time.

ON UP THE ROAD

Happy Birthday Quickdraw!

Sweet Blue Eyed Darling

There’s a certain kind of sad-bastard-in-a-bar song that I really
love. I sometimes fantasize about owning a dive bar with a jukebox
filled with old forty-fives, and if I did, I would definitely have
more than a few sad-bastard-in-a-bar songs on there to cue up as
closing time approached. These songs would be about country music
themes like unrequited love and drinking, or, in the case of the Del
Shannon song I’ve posted below, both. It would be a grave injustice to
do this post without including something by Lee Hazlewood, who may
well be the patron saint of sad drinkers everywhere. So many Hazlewood
songs fit the bill that it’s tough to choose one, but I’m going to go
with “After Six” for the laconic perfection of its deadpan lyrics.

After Six-Lee Hazelwood

Spring Cleaning

Last weekend was spent Spring cleaning and getting ready for the QD to move in. In the process, I came across many boxes still unpacked from my last move, over two years ago. The first thing I found was all of my CD's and a five disc changer. After 2 years with LPs only in the living room, I hooked up the player and threw on one of the long packed CD's- Elliot Smith's Figure 8. I had nearly forgotten about the album and what a gem it is. It also turned out to be the perfect house cleaning soundtrack.

Stupidity Tries

In 1997 Ween went to Nashville and hired that town's legendary session musicians (Charlie McCoy, Bobby Ogdin, The Jordanaires etc.) to make
12 Golden Country Greats, an album that captures the sound of the golden age of country music while still including Ween's usual trademark collection of lyrical themes ranging from gay pool parties ("you were the fool"to drug abuse "Help me scrape the Mucous off my brain", and more. The finest moment on the album comes in "Powder Blue" when the band gives an old-fashioned vocal introduction to each musician, followed by a short solo from each. The last introduction is for none other than Muhammad Ali, which is followed by a lengthy rant from the boxer recorder earlier in his career. Apparently, Ween was denied permission to use the clip, but Elektra accidentally released it anyway in the first pressing, then deleted it from all future versions. I had that version in my collection at one time, but alas, I've misplaced it and cannot find it anywhere on the web. If any of you have it, please send it to me, I'm dying to have it!

Instead, please enjoy "Japanese Cowboy" until we have the Ali clip for your listening pleasure.


Japanese Cowboy

On the occasion of Sub Pop's Re-release of Red Red Meat's Bunny Gets Paid, the band played a couple of shows at the Empty Bottle this week. Cautioned by memories of the occasional snoozefest watching the band in that venue back in the nineties, I decided to walk down to the corner and give it a go. The show was terrific, the band on task and focused for the most part, with disjointed silverware scraping sound collages kept to a minimum. There were many sweet spots during the show, when Tim Rutili's bluesy art rock slide work and Brian Deck's floor tom heavy just-behind-the-beat drumwork locked in to create the perfect demented blues blend. One such moment was during "Chinese Balls", from the band's last album, There's a Star Above The Manger Tonight.

Chinese Balls

David Berthy Posts

This Doris Duke song is sadder than a thousand dying dogs. I found it
on one of legendary British soul expert Dave Godin’s “Deep Soul
Treasures” compilations, and it’s a perfect example of the deep soul
genre. The narrative goes from bleak to bleaker, detailing the
hardships of a former millworker who turns to prostitution. The vocal
performance is an absolute killer, almost scary-authentic, and I love
how the spare instrumentation turns lush during the chorus. If you
like this, the I’m A Loser album pictured above is definitely worth
checking out.

Doris Duke

Most beach vacation spots have that perfect island tinged soft rock station to provide the getaway soundtrack, and Miami is no exception. I heard this one on my way to pick-up QD from the airport and was immediately struck by the thought that Jens Lekman stole it wholesale for his "The Opposite of Hellelujah", one of my faves.

The song "Give Me Just A Little More Time" is from Detroit Soul outfit Chairmen of the Board, and it hit #3 in 1970.

https://www.yousendit.com/transfer.php?action=download&ufid=TTZuNnFHRStVVG52Wmc9PQ

David Berthy Posts

I’m pretty obsessed with this David Bowie cover of the Velvet Underground classic “I’m Waiting For The Man.” Like the best covers, it allows you to experience what it’s like to hear a canonized song all over again as Bowie truly makes the song his own. I love how he adds texture to his interpretation by employing both the laconic cool of the original and his own glam swagger--the move from the former to the latter makes for an irresistible build. While we’re on the subject, I’ll throw in another of my favorite Velvet’s cover, this one of “Femme Fatale,” by Big Star. Here, Alex Chilton utilizes the same aching innocence you hear on the band’s classic song “Thirteen.” Whereas the original comes off with sneer, Chilton’s ache here brings out the unrequited love lurking beneath the song’s accusations.

VU COVERS

The Replacements released this toss off country punk curiosity in 1983, just a year before masterpieces Let it Be and Tim would come ut in quick succession. The liner notes state that is was recorded"Oct 82-Jan 83 in a warehouse in some godawful suburb north of Mpls." The album features everything from a Beatles Parody "Mr. Whirly" to a verbatim want add "LoveLines", to a throwawy on which the band all switch instruments (opening title track).

Color Me Impressed

Towards the end of his life, Cool Jazz legend Chet Baker made a guest appearance on an Elvis Costello's 1983 album Puch The Clock to play the trumpet solo on "Shipbuilding". Just a few years later, Baker would record this version of Costello's "Almost Blue" for the academy award nominated documentary film Lets Get Lost, released just months before Baker would be found dead after falling out of his second story hotel window in Amsterdam in 1988. Baker struggled most of his career with heroin addiction, and his delicate, withered vocal performance here tells the whole story.

Chet Baker-Almost Blue

New music today from M.Ward, one of my favorite artists. The album title Hold Time perfectly describes the timeless quality of the man's music, which could have been recorded in the twenties, yesterday, or anytimne in between. Sure, this effect feels a little too contrived at times, but overall, his records have a lush and lovely sound with terrific guitar playing and great songwriting too.

Vinyl lovers are going to want to drop coin on this one. The packaging is stunning and it comes with a free download of the album too. Galpal and She and Him cohort Zooey D. joins him on this catchy track.

Rave On

David Berthy Posts

The mercurial Slim Smith (born Keith Smith) was rumored to have bled
to death at the age of twenty-five from a hand wound caused by
smashing out a window. Others say he simply committed suicide after a
rocky sojourn in a sanitarium. Regardless of his early demise, Smith
is undoubtably one of the great vocalists in Jamaica’s considerable
musical history. His unique, raggedly intense falsetto stands out even
when Smith sings, as he sometimes did, as a part of a vocal ensembles
like the Victor Youth Band and the Techniques. My two favorite solo
tracks of his are “Please Stay,” and his cover of the Curtis Mayfield
song “Gypsy Woman.”

Slim Smith Tracks

More Records than the KGB

I've been digging on this track Paper Planes from M.I.A.'s second album. The song, also featured in Slumdog Millionaire and Pineapple Express, uses a sample from the Clash's Straight To Hell from Combat Rock as its main basis.

Paper Planes

Here's a nice little ditty that Sherm brought to Hayward rehearsal last night. Real twangy in a Steve Earle kind of way. I resolve to learn it to play to my niece Katie when I go east to visit in April.

A Girl Downtown

At a dinner party this last weekend, we discussed top concerts through history that we wish we could have attended. Berthy suggested early seventies Parliament/Funkadelic, and I had to agree that P-Funk would be a top choice, especially during the Mother Ship Connection/Dr. Funkenstein era. Check out this clip from 1978 and imagine attending.




Today's track is from Funkadelic, the funk rock side of George Clinton's musical empire. The track is from the band's 1971 album Maggot Brain, and has a rock/gospel tinged groove that brings to mind music from The Staple Singers and the Band. I Dig the interplay throughout between all the voices, especially, the baritone lead in the third verse.

Can You Get it There-Funkadelic

David Berthy Posts

Today I’ve got my two favorite covers of the Beatles song “And I Love
Her.” The first, from Os Mutantes member Rita Lee’s first solo album,
is definitely the grower of the two. Lee gives a full-throated, sci-fi
cabaret treatment to the song that’s a bit shocking at first, but
ultimately insanely winning. While David Bowie is watching the
cruisers below, he should be listening to this. The second cover comes
from a young Bob Marley, who turns the pop song into a deep soul
number by pouring his heart into it. Without losing the sweetness of
the song’s underlying sentiment, Marley sings it almost like a lament.
He aches, but with what pleasure.

Beatles Covers

Swiss electronica Band yellow is probably best known for "Oh Yeah", which has been used in countless films, most notable Ferris Bueller's Day Off. Their 1983 album You Gotta Say Yes to Another Excess was a staple in my high school soundtrack. The single "Swing" falls somewhere between The Sparks and The Cure's Love Cats, released the same year.

Swing-Yellow

CELLULOID HEROES-THE KINKS

Start your weekend off right and join Hayward Bluegrass for Honky Tonk Happy Hour from 6-8 PM tonight at Uncommon Ground at 1401 W. Devon. Don't burn the place down, though, k?

Rollin' in My Sweet Baby's Arms-George Jones with Melba Montgomery

David Berthy Posts

One doesn't think of the Everly Brothers exploring their psychedelic
side, but sure enough, there they are on cover of 1967's Roots wearing
love beads, frilly neo-Victorian sleeves, and pants that surely
would've looked at home on Carnaby Street. This wasn't just about
fashion, though. In the late sixties, the Brothers Everly churned out
some oft-overlooked masterpieces of psychedelic folk up there with the
best of the era. Check out their re-make of their early hit "I Wonder
if I Care As Much," and "Lord of the Manner." I love the marriage of
pop perfection that brought Don and Phil fame at an early age with the
expansiveness of an out sixties soundscape, and wish there was more of
this to go around.

Everly Brothers

After playing holiday songs, Chicago Blues, motown, and obscure movie tunes for the past several months, teen band Trace's guitarist Elijah is ready to get back to his first love-classic rock. Maybe Back in Black...or Voodoo Chile...or Paint it Black...or Sunshine of Your Love. When we brought Cream's SOYL in to play for the band, they roundly voted it down. So I went in search of an R&B version of the song to sneak in some cred on Elijah's behalf. The only two I could find were Bobby McFerrin's insufferable acapella take and this curiosity from Ella Fitzgerald, a late career effort to get hip to what the kids were listening to in 1969, the year of its release.


Ella Ftizgerald-Sunshine of Your Love

The World of Garage Rock lost one of its strongest voices last week as Cramps Lead Singer Lux Interior died at the age of 60. Apart from holding one of greatest stage names in the history of music, LI was a pioneer in blending punk and rockabilly into a new genre which would become psychobilly. The band took the rockabilly and surf guitar sounds of Link Wray and Dick Dale, and fused them with early garage bands such as the Sonics to create a sound that would influence countless bands. Both The Jon Spencer Blues Explosion and the White Stripes built on the sound by mixing it with the blues idiom to create the punk blues genre that would become popular in the late 90"s.

1984's Bad Music for Bad People is a stone cold classic, and a must for any record collector.

HUMAN FLY

Recessional pt. 2

Though less celebrated than Joe Strummer, ex-Clash co-mastermind Mick Jones went on to a distinguished career with Big Audio Dymanite after being ousted by his bandmates post 1981's Combat Rock. B.A.D furthers expands on the third world dance floor sound that the Clash explored on Sandanista, and to great success. Included here are two tracks. The first is The Bottom Line from the 1985 debut This is Big Audio Dynamite, a dancefloor anthem for tough economic times. The second is Rush, from 1991's The Globe...see if you can spot the Who Sample. If I were a DJ, I would bust these both out from time to time.



B.A.D.

David Berthy Posts

Today I've got some reinterpretations of Jamaican dub from the early
eighties. First up is the Clash's "Shepherd's Delight," which comes
from their sprawling 1980 album Sandanista. I never get tired of the
mix of sounds here, especially the one that sounds like the squawk of
a baby dinosaur. "How Much Are They?" is a solo effort by Can's
legendarily eccentric bassist Holger Czukay. There's a Can documentary
I saw once where Czukay gives up the bass to play an assortment of
what appear to be ham radios. The rest of the band members sort of
shrug, maybe because occasionally his knob-twiddling produced
something as singular as this. As a bonus, I'll throw in something
closer to the source: "Justice to the People," from Lee "Scratch"
Perry's album The Upsetter.

Dub Interpretations

New music today from Antony and the Johnsons. Like Patti Smith, while I really love Antony in theory, he's not always easy to listen to. I like this track quite a bit though, and a title like that requires a listen! Also, I'm taken with the lyrics:

Epilepsy is dancing
Shes the Christ now departing
And Im finding my rhythm
As I twist in the snow

All the metal burned in me
Down the brain of my river
That fire was searching
For a waterway home

I cry glitter is love!
My eyes pinned inside
With green jewels
Hanging like Christmas stars
From a golden vein

As I came to a screaming
Hold me while Im dreaming
For my fingers are curling
And I cannot breathe

Then I cried in the kitchen
How Id seen your ghost witching
As a soldering blue line
Between my eyes

I cry glitter is love!
My eyes
Pinned inside
Sea green jewels
Hanging like Christmas stars
From a golden vein

Cut me in quadrants
Leave me in the corner
Oh now its passing
Oh now Im dancing

Epilepsy is Dancing

Fans of Blue Eyed soul should pick up the 1974 debut album Sneakin' Sally Through The Alley from Robert Palmer. Best known for his 80's supermodel megahit Addicted to Love, SSTTA has a less slick, more organic sound, with RP backed by the Meters, Little Feat's Lowell George, and Allen Toussaint.

Sneakin' Sally Through The Alley

David Berthy Posts

Produced in the early seventies, the Sparks song “Fletcher Honorama”
strikes me as a loving parody of some of the excesses of early sixties
psychedelia: it isn’t much of a stretch to imagine Syd Barret singing
this song while being chased by a giant lobster wearing a monocle.
Like the best parodies, the song is more than strong enough to stand
on its own, and creates its own sort of parallell universe where wit
isn't absent from the fifth dimension.

Fletcher Honorama

New Wave Soundtrack King Trifecta Complete

The grand poobah of the indie soundtrack world is Devo's Mark Mothersbaugh, who scored all of the Wes Anderson Films as well as countless other TV and movie soundtracks including Pee Wee's Playhouse.


Royal Tennenbaums

New Wave Soundtrack King Part II

When he wasn't playing with the Police as one of the worlds greatest drummers, Stewart Copeland was busy making records of his own. Recording under the name Klark Kent, SC released this terrific toss off EP in 1980, on which he himself played every instrument and sang every note. In his post Police career, SC went on the compose television (The Equalizer, etc) and movie soundtrack music (Wall Street, Talk Radio, etc.)

Don't Care

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