Lou Reed & Metallica

Buzz Baby Jesus Post in Interesting Artifact, Run Away As Fast As You Can!, VIP Guest Appearance，Tags: , , , , ,
21 November 2011
7

Worse than You can Imagine

I just this minute found out Lou Reed and Metallica made an album. I sampled about a minute of each tune on YouTube and it’s effin terrible.

Except if “Iced Honey” had been on “The Bells”, or “Growing up In Public”, or “Mistrial”, or “Legendary Hearts”, or “Sally Can’t Dance”, or “Rock N Roll Heart”, or even “The Blue Mask”, it would have been the best song on the album.
I’m not saying it’s good, but it sounds like above average late period Lou. Someone will say “update of Velvets sound”. Not necessarily a good thing.

File Under: What Were They Thinking?

These guys are hard on their fans, that’s for sure.

http://www.youtube.com/watch?v=HC9Z_D8hFiA

I saw this comment: “This oughtta make “St Anger” sound better”.

Can you say Super Heavy?

Jimmy Plagiarist

Buzz Baby Jesus Post in Blues, Credit Where Due Dept, Decent Version, Folk Rock, Interesting Artifact, Out There, Real Gone, Topical, Ultra Rare, Uncategorized, VIP Guest Appearance，Tags: , , , , , , , , , , , , , , , , , ,
22 October 2011
21

 
Worth tracking downThis post began as a feature on the underrated, yet highly influential Davey Graham. I was blown away when I acquired his 1964 album Folk, Blues, & Beyond, and first heard his amazing rendition of “She Moved Through The Fair”.  I’ve been into the British Folkies since way before breakfast, and I’d heard of him, but never ran across any of his records.  I forget which of my favorite blogs first clued me in, but suddenly my whole understanding of the late ’60′s folk thing shifted.  The raga break in Fairport Convention’s “Nottamun Town” didn’t seem so brilliantly original.  That eastern flavor is Davey Graham’s contribution.  He developed the DADGAD tuning in order to play oud music on his guitar while travelling through Morocco. It’s also a sitar tuning.
Anyway “She Moved Through The Fair” sounded very familiar.  That’s because Jimmy Page appropriated it, retitled it as “White Summer”, and since the Yardbirds has performed it as a showpiece and signature song without ever crediting Graham for the arrangement or the tuning making it possible.
I bought ”Hammer Of The Gods” for $2 at a flea market in Woodstock last weekend, and according to it’s author, after touring Australia with the Yardbirds,
“Jimmy flew on to India, where he wanted to hear Carnatic Music.  He arrived alone, in Bombay on the Arabian Sea at three in the morning with a duffel bag over his shoulder, and spent days in the streets, listening to itinerant musicians.”
I don’t know about you, but that sounds a little like a fantasy.
Two pages later when describing “Little Games”, the subsequent , final, and only Yardbirds album featuring Jimmy Page he mentions one of the highlights being,
“”White Summer,” Jimmy’s Carnatic madrigal that was his solo showpiece in concert”
I figure since he’s a plagiarist he’s probably a liar, too.  I don’t know about his India story, but as long as he’s stealing a man’s music, why not some of his legend as well?
Here’s a little wikipedia on Davey Graham:
“Graham’s spontaneity made him unreliable and unpredictable, which did little to advance his fame or endear him to concert organisers and the more commercial elements of the music world. In the late 1960s he was booked for a tour of Australia but, when his plane stopped for an hour in Bombay, he changed his plans and spent the next six months wandering through India.”

Martin Carthy from the back of Folk, Blues, And Beyond
“Davy is one of the great originals on the folk scene; in fact I think he’s probably the great original. Davy’s discovery of DADGAD really was the great leap forward and his performance of “She Moved Through The Fair” in this tuning at the troubadour was mind blowing.”

Carnatic madrigal my arse.
Many of Led Zeppelin’s signature tunes are shameless rip-off’s of other artist’s ideas.

Jimmy bought this album in 1968

In a 1990 interview with Musician magazine, Jimmy Page quickly soured when questions veered into this territory. The Q and A exchange is quoted below.

Musician: I understand “Dazed & Confused” was originally a song by Jake Holmes. Is that true?

Page: [Sourly] I don’t know. I don’t know. [Inhaling] I don’t know about all that.

Musician: Do you remember the process of writing that song?

Page: Well, I did that with the Yardbirds originally… The Yardbirds were such a good band for a guitarist to play in that I came up with a lot of riffs and ideas out of that, and I employed quite a lot of those in the early Zeppelin stuff.

Musician: But Jake Holmes, a successful jingle writer in New York, claims on his 1967 record that he wrote the original song.

Page: Hmm. Well, I don’t know. I don’t know about that. I’d rather not get into it because I don’t know all the circumstances. What’s he got, The riff or whatever? Because Robert wrote some of the lyrics for that on the album. But he was only listening to… we extended it from the one that we were playing with the Yardbirds.

Musician: Did you bring it into the Yardbirds?

Page: No, I think we played it ’round a sort of melody line or something that Keith [Relf] had. So I don’t know. I haven’t heard Jake Holmes so I don’t know what it’s all about anyway. Usually my riffs are pretty damn original. [laughs] What can I say?
Here is “Dazed And Confused” by Jake Holmes from his 1967 album, The Above Ground Sound of Jake Holmes. The Yardbirds saw Jake perform this in Greenwich Village and Jimmy Page bought the album the next day.
 

“Hammer Of The Gods” repeatedly states Led Zeppelin’s affinity for the California sound (“Going To California”), especially San Francisco’s Spirit. Here is a brief instrumental by Randy California, from Spirit (1967)entitled “Taurus”. It’s quite lovely and the central theme is the basis for “Stairway To Heaven”.
 


Bert Jansch


“Black Mountain Side” from Led Zeppelin’s debut, and credited to Jimmy Page is really Bert Jansch’s arrangement of the traditional “Black Waterside” with a new title. Bert Jansch (11/03/43-10/05/11) was also influenced by Davy Graham, and like Martin Carthy was unafraid to give credit. Here is “Black Waterside” from his 1966 album Jack Orion.
 
Led Zeppelin has been sued by and settled with bluesmen for several songs, “Whole Lotta Love”, for instance. I didn’t include them as the blues are slippery, the originals they copied were themselves built on other tunes. That’s blues. I didn’t mention that “Communication Breakdown” is a re-write of Eddie Cochran’s “Nervous Breakdown” because it isn’t as obvious. Most music is built out of other tunes. But you either render it unrecognizable, thus making it yours, or you give credit where credit is due.


Here are a couple Yardbirds tracks Jimmy would rather you didn’t hear:
“Knowing That I’m losing You” later turned up as “Tangerine” with Keith Relf’s uncredited lyrics intact.
 
The “original” “White Summer” from Little Games (1968)
 
“Usually my riffs are pretty damn original. [laughs] What can I say?”
Thanks to Willard for turning me onto “Taurus”. While the post was taking shape I ran across:
http://www.furious.com/perfect/yardbirds2.html
where I found a lot of information/inspiration.
She Moved Through The Fair
Dazed & Confused
Taurus
Black Waterside
Knowing That I’m Losing You
White Summer

Little Bit Of Magic

Buzz Baby Jesus Post in Extra Heavy, Extra Swingin, Funk, Great Black Music, Interesting Artifact, Real Gone, Rockin', Soul, Ultra Rare, Uncategorized，Tags: , , ,
02 July 2011
0

 

"Little Bit Of Magic" Not found here.

Rosco Gordon’s “Little Bit Of Magic” is the #2 song I’ve been searching my cassette archives for. This originally came from a Swedish “best of” I bought in 1984. Most of the songs were from the fifties and early 60′s, the usual tunes including “Booted”, and “No More Doggin”, but at the end, something unusual, “Little Bit Of Magic”. Apparently a 1969 single put out on Bab-Roc, Rosco’s own label, this is the only “modern” soul music I’ve ever heard from him. No proto-ska “Rosco’s Rhythm”, but a heavy funk-soul workout.
I’ve never seen it again, and on YouTube someone has posted an earlier version of the song.
I used to think it would have been a perfect vehicle from Bryan Ferry, had he recorded it in the ’70′s when he was relevant.
Anyway enjoy the tune, it smokes. I wonder what was on the “B” side?

Little Bit Of Magic

Modern Lovers

Buzz Baby Jesus Post in Decent Version, Folk Rock, Hipster classic, Real Gone, Rockin', Singer Songwriter, Uncategorized，Tags: , , , ,
14 June 2011
0

 
 
 
 

The right wrong album

Besides “Some Bright Stars For Queens College”, one of the songs I most wanted to find in my cassette archives was “Roadrunner (Once)”*. I’m not sure when exactly during my sophomore year at SDSU I finally found a Jonathan Richman and the Modern Lovers album, I’d been reading Robert Hilburn’s ravings in the LA Times and been on the lookout for awhile, but of course I bought the wrong one.
The right one was the John Cale produced debut, The Modern Lovers(1976), which sounds like the Stooges and the Velvet Underground in a blender, sort of, is a certified protopunk classic, and contains some of his best known songs, including “Pablo Picasso”.
The one I bought was the second one, Jonathan Richman and The Modern Lovers(1976), which featured “Rockin Shopping Center”, “Abominable Snowman in the Market”, “Hey There Little Insect”, “Hi Dear” etc, which sounded nothing like the The Velvets or Stooges, and to my Beatles- Zeppelin-Floyd trained ears, bore little resemblance to Rock N Roll. Remember, I didn’t know what to make of Syd Barrett either.
My first instinct was to hate it, and since I lived in a dorm, peer pressure was strong. With my neighbors blasting Boston and Aerosmith, I felt really embarrassed playing it.
About the same time I noticed the Eno lyric on “Third Uncle”- “We saw the Lovers, The Modern Lovers and they looked very good they looked as if they could”, or something like that.
My freshman year was spent at Cal State Fullerton, where during lunch hour, bands would often play outdoors in the “quad” in front of “the Commons”.
I came to realize later that The Modern Lovers were one of them. They were pretty goofy, yet somehow charming, and I remembered them playing “Roadrunner”.
Like an idiot I got rid of almost all my records in 1990, including a half dozen Jonathan Richman albums.
I bought a Rhino “Best Of” cd as a replacement, but of course it was missing a lot of the best songs. Not included was the Beserkely Chartbuster’s version of “Roadrunner”, which is vastly superior to that on the debut, or “Rockin Shoppin Center”.
I had a really hard time tracking them down. Jonathan’s music goes in and out of print, and gets repackaged in different configurations. The version I was looking for is sometimes called “Roadrunner (once)”, and other times, “Roadrunner (twice)”.
I went so far as to order something on Amazon, but it never arrived.
I spent more time than I like to admit tracking these tunes down.
As great as the debut is, the “uncool” tracks found here are little closer to my heart.
Still, if you’ve never heard it, “Pablo Picasso” is a classic.
My favorite line:
“Pablo Picasso never got called an asshole, not like you”
Interesting that the original band included Jerry Harrison and David Robinson, who went on to play in The Talking Heads, and the Cars, respectively.

For more info, here’s wiki: http://en.wikipedia.org/wiki/The_Modern_Lovers

Roadrunner (twice?)
Rockin Shoppin Center
The New Teller

from The Modern Lovers

Pablo Picasso

*I never found “Roadrunner”, but a cassette did turn up “Rockin Shoppin Center”, however the mp3 I found, and posted here, sounded slightly better than the dub I made.

Out For Dinner

Buzz Baby Jesus Post in Ambient, Out There, Real Gone，Tags: , , , , , , , , , , , , , , , ,
09 June 2011
1

Front Cover

Lately I’ve been collecting a lot of “out” music. Out of print, and just plain “out there”. I like to listen when I cook, I find that music organizes my mind so I can focus on what I’m doing. I made this compilation for that sole purpose, and dinner specifically, hence Out For Dinner, preferably with a nice glass of beer to help mange your thirst and sense of well being. One consideration is that while doing this I’m not wearing earbuds, which I hate, but filling the whole house with whatever I’m listening to, so I try not alienate my wife and 11 year old daughter with music is too confrontational. When I’m cooking, I tend to gravitate toward contemplative.
Anyway I have a nice selection of tunes for you.

 

This post is a followup to Some Bright Stars For Queens College, as it needed company on the cd it inspired.

Check out the comments.

Back

Burnt Garlic or “kulinary gangsta”?

Buzz Baby Jesus Post in Run Away As Fast As You Can!, Topical，Tags: , , , , , , , , ,
09 June 2011
0

Celebrity Cracker Advocate

I became aware of his existence last superbowl season and he bugs the shit out of me. He was a talking display hawking his “recipes” and “brand” image for some cracker company. In all the wrong ways a cross between Wolfman Jack and Billy Idol. That look was maybe edgy and shit in 1977, or 1991, but now he looks like a Saturday morning cartoon character.  Like if there was a “Stinky” on Scoobee Doo.
To be more specific, this fu*ktard has co-opted every post WWII element of so-called hipster cool and blender-ed them  into a grotesque caricature, so repellent that it really calls into question whether any hip affectations were ever cool. The answer is probably not. It’s like a Les Paul with a flame job and dice for knobs. And little skulls for dots. In a crushed purple velvet tuck and roll faux alligator case. Something that would mostly attract those with more interest in image than substance. Or some CEO who didn’t play, but wanted a guitar like Slash, only even cooler.

 

I’m sorry I couldn’t let it go.  I had to say something.

Some Bright Stars For Queens College

Buzz Baby Jesus Post in Ambient, Art Rock, Extra Heavy, Holiday Cheer, Interesting Artifact, Prog Rock, Real Gone, Rockin', Ultra Rare，
21 December 2010
2

 

The culprit

Two weeks before I built it, I said for the benefit of everyone else in the room as they unpacked their effects pedalboards, that I’d never use one. I thought of myself as some sort of guitar purist. I was into my guitar, it’s pickups, and a cord plugged straight into a tube amp. At the same time I was playing bass in another band and in order to have more colors in my pallette, I’d started to bring the analog delay and tremelo pedals, and of course all the wall warts, patch cords, and irritating set-up that go with them.  It flew in the face of my of my plan to keep things as simple as possible.  Also we moved from one rehearsal room into another and in the process, I found, in a milk crate full of unloved pedals, a Electro Harmonix Micro Synthesizer.

That night I was playing synthetic beats and thought it would be interesting to hear them squashed through it (true).  It was these and other convergences that inspired me to build my pedal board which I no longer know how I lived without.  I run everything through it.  It’s great, it fits in a hard shell case.  I pull it out, plug it in, and I’m ready to go, tuner on and everything.  The hard shell case had been in my basement storing a discarded cassette machine, next to an old suitcase filled with tapes I’d often thought of getting rid of as I had no plans of going back to them, except occasionally to archive something I couldn’t find anywhere else.  A few of my posts feature these digitized recordings.

So the cassette machine, naked, went back down to the basement and my painting studio, where I have a pretty awesome stereo.  I had been listening to NPR or my mp3 player.  I got the bright idea of hooking up the tape machine.  I opened the suitcase which held almost 300 tapes, some dating back to the late ’70′s, and others as recent as 2001.

It turned out to be a great idea, the cassettes sound good , and a reminder that the mp3′s we all listen to are not better, necessarily, just convenient.  In fact an mp3 ripped from an audio cd is a rough equivalent to a song a taped off an lp.  I became reacquainted with my mixtapes from the mid to late ’80′s.  The most exciting discoveries being found in the space at the end where the 45 minute side was longer than the vinyl album and the dead space filled with the random odd thing.  I have about 3,000 cd’s representing most of the music I need to have at my fingertips.  I’d long ago foolishly discarded almost all my lp’s, and most of it has been replaced digitally, but there were a few long lost gems I began to realize I might find in the cassettes.  The lp’s have been gone for decades but here were copies pickled back in the day, all the wondrous surface noise which had sent me over to cd’s in the first place now a charming reminder of  how music used to sound.

The scene of the crime

I became obsessed with one recording in particular.  Out of all the music I’d ever heard, there was one astonishing bit of recorded music I’d never been able to replace on cd.  I knew it would turn up somewhere, unless it was something I’d taped over, which unfortunately  happened pretty often.  At least a quarter of them had been sacrificed for car tapes from cd’s I still have.  The lp in question was David Bedford’s Nurse’s Song With Elephants from 1972.

David Bedford had been involved with the british art rock scene in the late ’60′s and ’70′s as a string arranger for the likes of Roy Harper, and Kevin Ayers.  He orchestrated and conducted Mike Oldfield’s The Orchestral Tubular Bells album (1975).

(wiki)

The first album to consist entirely of David Bedford compositions was Nurses Song With Elephants, recorded at the Marquee Studios, and released in 1972 on John Peel’s Dandelion label. On this album, Bedford mixed classical ensemble with poems and voices. “Some Bright Stars for Queen’s College” uses twenty-seven plastic pipe twirlers, John Peel himself being among the pipe twirler players. There are five tracks on the album: “It’s Easier Than It Looks”, “Nurses Song With Elephants”, “Some Bright Stars for Queen’s College”, “Trona” (1967), and “Sad and Lonely Faces”.  Bass guitar on the title song is played by Mike Oldfield and the final track features a poem by Kenneth Patchen that is sung by Kevin Ayers.

The Album

After about a month of searching, I’d already found Sad And Lonely Faces, so I knew I was on the trail and success was possible.  I found a cassette simply labelled “ex Albums ll”, which I sussed was made of choice cuts just before selling the records to buy my first cd’s back in 1991.   I’m a painter and all this time I’m listening, I’m painting pictures, sometimes not paying real close attention, but this time I was standing there, waiting to see what came next.  About 3/4 of the way through, and after Johnny “Guitar” Watson’s amazing Space Guitar, and Magic Sam’s 21 Days in Jail, there it was, I’d found my holy grail.

I’m not sure why I picked this out of everything to obsess over, except that it’s one of the most oddly compelling pieces I’ve ever heard.  There is a lot of air moving from acoustic sources, always a powerful experience.  All those girls voices make my hair stand on end in a good way.  Anyway I was very happy to hear it again, and wanted to share it this holiday season.  Enjoy!!!!!

Some Bright Stars For Queens College

I Don’t Know My Jazz From A Hole In The Ground

Buzz Baby Jesus Post in Extra Heavy, Jazz, Real Gone，Tags: , , , , , , , , , , , , , , , , ,
16 October 2010
5

 
Been tripping on a lot of newish fusion. Seems King Crimson and 70′s prog rock are as big an influence on these guys as The Mahavishnu Orchestra or Jazz in general. I avoided the obvious and tried to stick with newish guitar oriented stuff. In other words, No Jeff Beck, or Al Dimeola. In general I’m pretty traditional in my limited appreciation of Jazz. Monk is probably my favorite, followed by the other “M” guys, Miles, and Mingus.
Most of the music is from the aughts, with a couple exceptions. While assembling this I started to think it needed some James Blood Ulmer, who was at the end of the first wave of fusion, but was a little too forward thinking and didn’t really fit in at the time. The blistering “Black Rock” (1982) somehow manages to sound like Captain Beefheart and James Brown at the same time. Jef Lee Johnson’s Jungle (1993) was included to keep Blood company as the only other vocal. T.J. Kirk (1995) was a band featuring Charlie Hunter on 8 string guitar, who derived their name from the fact that they play the music of Thelonious Monk, James Brown, and Roland Kirk. Marc Ribot made the cut with this tune from Rootless Cosmopolitans (1990).


I wrote this post awhile ago but just got around to putting it up. I listened to the comp a bunch of times and couldn’t decide whether to add some newer stuff I’ve “acquired”. Today I was notified of some spam comments so when I deleted them I decided, “Fuck it, I’m just going to post the sucker.”

Link in Comments. Enjoy!

Sanford and Son

Frankly Brilliant

Buzz Baby Jesus Post in Art Rock, Extra Swingin, Hipster classic, Interesting Artifact, Real Gone, Rockin', Topical, Uncategorized，Tags: , , , , , , , , , ,
15 July 2010
7
 

I painted this seven feet high

I didn’t “get” Frank Zappa for a long time. My friend Slow Uncle, did, and tried to interest me. I eventually bought We’re Only In It For The Money, largely for the hilarious send up of Sgt Pepper’s album cover, but I didn’t think the songs were very good. I mentioned a couple posts back being exposed to “The Mudshark” from Live at Fillmore East, June 1971, and my parents disapproval, but I wasn’t really ready for it. I liked the toilet humor and everything, but I hated jazz and the music was over my head.

Still cracks me up

When I moved into my dorm room at San Diego State in the fall of 1976, we were encouraged to paint our rooms or if we felt like it, murals outside our rooms. Sounds crazy, but this was the ’70′s. Even though I wasn’t a fan of his music I always admired his irreverence, that’s why I painted his likeness from We’re Only In It For The Money next to the door outside my room. I don’t have a picture of it, but to the right is what I copied, including Frank’s wondering, “Is This Phase One Of Lumpy Gravy?”

I was no longer living in the dorm in the Spring of 1978 when he played the amphitheatre on campus where I witnessed a phenomenal performance. After the last song the audience stood and began clapping and yelling for what seemed to be 30 minutes or more.
Eventually Frank came onstage and said, “You people are crazy. We can hear you all the way in the dressing room”, at which the band came back out and proceeded to play another hour and a half.  Interesting detail:  There was a guy in Frank’s band I never heard of  that played guitar and did a dead-on Dylan impersonation.  His name was Adrian Belew.   A month or three later I went to see David Bowie at the San Diego Sports Arena and there he was again! I thought he was great until he started singing on King Crimson records.

A couple months ago, Q, drummer in Foglizard, where I am a member of the rhythm section, said he planned to spend the summer listening to Frank, and did I own anything he could borrow?  I had Fillmore East June 1971, and Ahead Of Their Time.  I did some research and managed to acquire 17 FZ releases for personal review.
I tend to prefer the work of the original Mothers of Invention. Maybe because they were a band he joined and took over. After he fired them in 1969, he hired ever more amazing musicians, but with a diminishing amount of soul.

In around 1991, I bought a cd copy of Cruisin With Ruben And The Jets, an album I remembered as being a fun parody/tribute to old R&B and Doo Wop. There was something terribly wrong with it, which turned out to be that Frank had rerecorded the original drum and bass parts for reasons only understood by him. I got rid of it right away. Turns out He also ruined We’re Only In It For The Money in a similar fashion. Fan’s outcry against this was so strong he eventually restored We’re Only In It For The Money, but not before referring to them as “fetishists”. He never got around to Ruben before his death, so I found an original vinyl rip of the lp. It’s a mystery why he thought those bass and drum tracks needed replacement. It’s kind of like Paul McCartney replacing John Lennon with Mark Knopfler.
If you buy the Zappa Family Trust’s Lumpy Money, you’ll be treated to the horrible remix of WOIIFTM as a “Bone us” disc.

"A last ditch effort by the Mothers to get their crummy music on the radio"

I encourage you to read the whole Zappa/Mothers story on Wikipedia:

http://en.wikipedia.org/wiki/Frank_Zappa

If you don’t have the time or inclination here is an interesting tidbit:

During his childhood Zappa was often sick, suffering from asthma, earaches and sinus problems. A doctor treated the latter by inserting a pellet of radium into each of Zappa’s nostrils; little was known at the time about the potential dangers of being subjected to even small amounts of therapeutic radiation. Nasal imagery and references appear both in his music and lyrics, as well as in the collage album covers created by his long-time visual collaborator, Cal Schenkel.

Long Out Of Print

Anyway I’ve compiled a fun disc worth of music by the original Mothers. There are some songs from Mothermania, a long out of print “best of” compiled by Frank in 1968, containing substantially different mixes from the original albums. Also are some cuts from Cruisin With Ruben And The Jets, which is kind of the spiritual center of my comp which I call Motherama. All these tracks come from rips of the original vinyl releases. The rest are from Freak Out, Absolutely Free, Uncle Meat, Burnt Weeny Sandwich, and Weasels Ripped My Flesh.

I also included a passage from Playground Psychotics (1992) which has Jeff Simmons quitting the group a few days before shooting 200 Motels. He was replaced by Ringo Starr’s chauffer at the last minute. This is followed by two tunes from Lucille Has Messed My Mind Up, an out of print 1970 album by Jeff Simmons produced by Frank under the pseudonym of Lamar Bruister. “Lucille” and “Wonderful Wino” are about the only songs in Frank’s catalog that credit a co-writer. Frank plays guitar and Ian Underwood is featured. Both tunes turn up later in Frank’s discography in less interesting versions.

For your immediate listening pleasure I’ve included a rare “live” version of “Plastic People”. I read that before real music was written for it they played it over “Louie, Louie”. This must be that.

I think this stuff has aged really well.  Frank’s social commentary was/is right on the money.

I am now a fan.

Plastic People

Link in Comments.

Number Two

Buzz Baby Jesus Post in Blues, Extra Heavy, Folk Rock, Funk, Great Black Music, Psychedelic, Rockin', Singer Songwriter, Soul, Topical，Tags: , , , , , , , , ,
13 April 2010
4

The Playlist


As mentioned in the profile, and other previous posts, the original now that’s what I call bullshit, was thrown together really quickly, but had a great flow and energy. If you make a lot of mix cd’s, then you know some turn out better than others. A good one will stand up to repeated listenings. Some assemble easily and others don’t. Number one was effortless and encouraged me to make another. Number Two had a lot to live up to. It took all week to assemble, with a couple failed prototypes along the way. This time the effort paid off. The result was a lot more variety, and a couple real real sleepers.
Things start off fine with memorable tunes by The Mermen, BRMC, Love Story In Blood Red, but really begin to go places with Ed Harcourt’s “Hanging With The Wrong Crowd”, followed by the aptly titled, “Nightmare”. Duncan Browne is a reminder that being a singer song writer is not alway a bad thing. “Babe Rainbow” is beautifully rendered. Magic Sam’s “Funky G Street” is a hair raising instrumental, Junior Kimbrough is transcendent, and Mattafix provides a conscious multi-culti international take on classic soul with “Big City Life”.

Here’s something I found about Nancy Boy:

Led by the progenies of two ’60s rockers, hippy-dippy Donovan and blue-hatted Monkee Mike Nesmith, pomo new wavers Nancy Boy definitely rebelled against their musical pedigree, emphasizing fashion and style over traditional substance. Model Donovan Leitch and Jason Nesmith threw Bowie, Suede, Duran Duran, and Blur in a blender and served up their self-titled full-length debut in 1996, competing with the post-grunge, Creed-infested landscape of alternative music. With their skinny ties and eyeliner, they didn’t stand a chance.

Anyway this is one of the better mixes, so I thought I’d share it. now that’s what I call bullshit 2 was assembled during the first week of June, 2006. I listened to this the whole summer I spent down in South Jersey as a surf bum.
Link In Comments.

The Original artifact

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