Friday, November 21, 2014
My husband has been begging me to contribute to CNQ for a while so here we go!
The Run the Jewels show we saw a few weeks back was amazing but it's more than that, I have listened to Run the Jewels 2 multiple times every day since, watched any interview I can find with Killer Mike and El-P, and have started digging deep into their back catalogs. I'm in DEEP.
I have always liked hip-hop but my tastes have always leaned more towards fun stuff, clever braggadocious lyrics, preferably filthy, with a beat to dance to. I wanted to like conscious rap but it was always boring, heavy handed, or both. I enjoy conscious commentary couched within a banger but that just doesn't happen as much. My husband doesn't quite appreciate Kanye West as much as I do but I think he's excellent at this- his politics are often muddled but he is often talking about something more than sex and money (although there's plenty of that as well) with humor in a sly way that doesn't bring the whole song down. All Falls Down was one of his first singles and as long as you aren't distracted by Stacy Dash from Clueless' nipples (or the fact that she's become a very outspoken Republican recently) you'll hear some interesting racial commentary without being didactic. I won't even go into my theories that Kanye is a genius and that much of his persona is an elaborate put-on (perhaps even his marriage to Kim Kardashian.)
I knew of El-P from his old label Definitive Jux and just seeing his albums out there in the music media being well-reviewed but I never sought him out. Honestly, I wasn't in the market for another super verbose white, male rapper. The Beastie Boys did a perfectly fine job of playing that role so I didn't really have room for Eminem, Aesop Rock, Atmosphere, or the like. On the flip, I really didn't know anything about Killer Mike until last year when we saw him at Fun Fun Fun Fest and were astonished by his performance and his overall attitude, he exudes good vibes while also being rightfully pissed about a lot of things in the world. He had been affiliated with Outkast but he never quite got the attention he deserved and really I was never that into Outkast. His most recent solo album R.A.P Music is clearly excellent (and produced by El-P and he raps on one track) but it still wasn't something that I listened to constantly; liked it but didn't love it. But the mixture of their bromantic chemistry, El-P's production that is just weird enough to be interesting but also bangs and has great hooks, their different-but-complimentary flows, their balance of seriousness and goofiness, just coalesced into the perfect album. It's fun without being stupid like most radio rap, it's conscious without being dull, and it's aggressive like street rap while being welcoming to people from all walks of life (during the show they both shouted out gay rights and called for us all to be kind to each other, discouraging the guys trying to get bout it in the pit from flailing into women who are just trying to enjoy the show.) And for an album recorded pre-Ferguson it certainly sounds like it's a direct response. Add to all of this the fact that these two guys are almost 40, from 2 totally difference scenes, and both never quite broke through despite their immense talent...it's an underdog story, to boot! It's deeply inspiring. I haven't felt so affected by an album or band in years, probably not since I got into Sleater-Kinney's Dig Me Out (they are my all time favorite band, and coincidentally you can here them shout out Run the Jewels in this interview about their reunion tour and album.) Embarrassingly, I had not listened to Run the Jewels' first album at all because it wasn't on Spotify, how lazy? We'd watched the videos for a couple of the songs, 36" Chain and A Christmas F*cking Miracle, both of which are great but I am incredibly stoked they've released the first video for RTJ 2.
I am a librarian, and my first impulse when I get into something is to dig around and find everything I can online about it. And "it" in this case is El-P because I have developed a weirdly intense crush on the man. Never been into gingers before, but his talent, his white boy swag, and chipped front tooth give me the vapors. Killer Mike also has a beautiful smile and loads of charisma but he's married so that's why El-P gets the brunt of my affections. It's interesting to me how girls are expected to find the male musicians they enjoy attractive; it starts early with boy bands and Bieber-types but there's plenty of it in grown womanhood with the likes of Drake for the hip-hop crowd or Dierks Bentley for the country lovin' ladies. The opposite is true for men- sure they can find a woman hot in her videos but they have to insist they mute the music. Overall, men aren't encouraged to like music by women; a group like the Pussycat Dolls were marketed very sexily but not to sell albums to pubescent boys but rather to sell a male-approved sexuality to girls who could listen to Don't Cha with abandon (we all know guys enjoy pop trifles like this or Taylor Swift or the Spice Girls in their day but it wouldn't be considered masculine to admit it.) I'm sure there are many a women studies thesis that addresses this phenomenon but all I can really say is that I've been taking the bait since the jump; while the Monkees were very much before my time, they reunited when I was in middle school so they were re-airing the show. I was in love with Michael Nesmith in the same way millions of girls were in 1967 but also developed quite an appreciation for his country-tinged rock (which lead me to Son Volt which lead to a deep attraction to Jay Farrar, it's a cylce.) Through some deep Googling, I read who El-P's girlfriend is, read her Twitter (she's pretty funny) for way too long, and found this silly little song she wrote on the fly about him. When he says "very nice, sweetie" at the end, I die. Based on the oral focus of his more sensual lyrics, she is definitely getting hers, good for them!
This song has a particularly notable El-P verse and something about his creepy mustache does it for me.
It really cannot be overstated how engaging El-P and Killer Mike's chemistry is. I have gotten misty just reading about their developing friendship. There is a strange dearth of good quality videos of them performing together but this is a nice live studio session where you get to see them chat and be adorable together and then kill it on the track (Sea Legs has become one of my favorites.)
Got some new Adam Holtz coming up too.
Not limited to format tonight, here's some cool new sounds from Bandcamp.
Simo Soo, Sydney's own no-rave partiste (that's a party artiste, and I just made that up, I think), has a new EP out, Sootopia, and will have a new full-length early next year, sez he.
From Michigan's East Grand Record Co.:
The A-F Records This Concerns Everyone comp is out. Great stuff.
Courtesy CNQ darlings Grave Mistake Records outta Richmond, VA:
Tuesday, November 18, 2014
I enjoy the primacy of hardcore punk rock. This first blast is courtesy my new favorite Australian hc label, Lethal Dose Records. You can pre-order Muzzled's new 7" in hot pink or black. Fellow Aussie hc act Manhunt's self-titled LP is already sold out on the Lethal Dose bandcamp site.
From Germany's Erste Theke Tontraeger label, here's some cool German action:
New Motörhead-inspired punk from Denmark:
Czech Phobia Records, new to CNQ, has only 50 copies of a limited mail order edition of this Swedish crustcore 7" (there's also 500 of the regular black vinyl):
From Newcastle, Australia, I saved the best for last:
Saturday, November 15, 2014
Scene Report: Parade of Flesh presents Triathalon, Future War, Roomrunner, and Dope Body at the Double Wide Tavern in Dallas
I meant to do a piece on the Run the Jewels show last Thursday but I didn't. Luckily my lovely wife-time companion has a lot to say about Run the Jewels. Stay tuned!
Man, what a good line-up tonight at the Double Wide. Thanks, Parade of Flesh, for doing what you do to get bands like this to Dallas. This was our first visit to the Double Wide Tavern, located in 'the deepest of Ellum," as a guy I work with put it earlier today. Or yesterday. It's late, we got back from the show a little while ago. I am jazzed.
Triathlon came on at 9:20 and the room was full, but it was odd because it was mostly normal looking, older people and not the type you usually see at rock'n'roll shows. Turns out the guys in Triathalon, who hail from Georgia, have family and friends here in the D and they came out tonight Texas style to support their boys. Triathalon has a low-key surf rock thing goin' on and the lead singer, Adam Intrator, has a great falsetto. The wife objectified Adam and felt guilty after realizing his folks were standing behind us. What's wrong with her? Their set was super-tight. The wife thinks they could be the next Maroon-5. I dunno if anybody wants to be that, but she meant it as a compliment for sure. This is my fave song:
Seeing it live, it came on like Paradise Cove by the Lively Ones, which I love:
Next up was Future Death from Austin. The room cleared out and man they played like champs to maybe fifteen or so people. It was one of the loudest things I've heard in a while -- manic and ambitious and great noisy rock'n'roll. Bill the guitarist for Future Death played his instrument like the Flash, his hand was a total blur. Their new album is called Special Victim and they have a song called Speedweed. My wife put the two together, that the band is Law and Order: SVU fans. Bill confirmed this for me. He chatted with us about SVU and Seinfeld, two of my favorite subjects. He was a super cool dude, and a crazy guitar player. I objectified the lead singer, Angie Kang, and felt guilty. What's wrong with me?
Roomrunner was up next and the room I think got a little bigger for them but not by much. They're from Maryland like Dope Body. It was lead singer Denny Bowen's birthday. For his birthday, he and his band put on a top notch show.
The last band was Dope Body, also from Maryland, and man I've been listening to them so much the past week, in anticipation of this show. I was a little bummed I couldn't hear Andrew Laumann's vocals as much as I wanted to; I had the same problem with Future Death's Angie Kang. The other two bands seemed equalized, vox to music. Anyway, Andrew Laumann is worth seeing perform, as he's got his Mick Jagger swagger thing and the band happens to be moving rock music forward, like Jesus Lizard or Protomartyr, IMO.
There were maybe ten or fifteen people to catch this show but the band played like they had to impress one hundred angels. They played a request from a dude, a song they hadn't played in a while. They played their hearts out. It seemed to me that each band did. And there's three words for that:
Rad. Ass. Shit.
Tuesday, November 11, 2014
Heck yeah, from Brisbane and Lethal Dose Records:
Until November 16, Grave Mistake has a sale on all Grave Mistake and Vinyl Conflict releases from 2013. If you use discount code: GM2013 when you checkout, you'll get 25% off any of their 2013 releases, including a few packages/bundles that qualify for 25% off as well. Per their release, "Included in the list are LPs from NIGHT BIRDS, COKE BUST, BIG EYES, SICKOIDS, SECTARIAN VIOLENCE, and THE SHIRKS, plus 7"s from KREMLIN, BARGE, HARD STRIPES, RED DONS, and DEVIL'S HAND! That's around $9.00 for the LPs, less than $4.00 for 7"s, and even cheaper records if you grab one of the package deals."
From Fort Wayne, Indiana:
Gonna see these guys on Friday:
Wednesday, November 5, 2014
Monday, November 3, 2014
Listen and download Tone Power:
If the embedded player above doesn't work for you, try this: Tone Power
Listen and download Spanish Eyes:
If the embedded player above doesn't work for you, try this: Spanish Eyes
Saturday, November 1, 2014
John Stuckey & the Magic Cowboy Band: "Seeds and Stems" b/w "Scares The Hell Out of Me" (Good Ole Uncle Bob, 1974)
John Stuckey, who wrote both these tracks, had a radio show on KPFT in Houston in the 70s, and also was into demolition derbys. Awesome. The B-side to this 45, "Scares the Hell Out of Me," has been featured on the Dr. Demento Show a couple of times, once in 1975 and once in 2009. As near as I can tell, neither of these tracks are previously available on the Internet, so this is the type of real deal cool stuff CNQ breathes for. I couldn't find any contact info for Stuckey, but if this is the same cat he got into some trouble with the law back in '13. Hope he's doin' better now.
This was put out on a label called Good Ole Uncle Bob, which I couldn't find anything about, except Good Ole Uncle Bob also put out Stuckey and the Magic Cowboy's Grandma's Love/Moonlight Mailman 45, and sponsored Stuckey's 6,000 lb. '65 Lincoln in a demolition derby in January of 1975.
So this is UB-2020, copyright Crazy Cajun Music BMI. It was recorded at the famous Sugar Hill Studios in Houston. I assume both were produced by the Crazy Cajun himself, Huey P. Meaux, but I'm not 100% on that.
These songs are great. Topical, timeless. The A side, Seeds & Stems:
If the embedded player above doesn't work for you, try this: Seeds & Stems
Scares the Hell Out of Me:
If the embedded player above doesn't work for you, try this: Scares the Hell Out of Me
Thursday, October 30, 2014
Googling that song I also found this different Witches Brew:
Hey girls, you know those sexy occupation costumes (sexy cop/sexy terrorist/sexy Mr. Peanut)? Let's get back to monsters, I say. Monsters can still be sexy! Elvira, to wit. A very sexy monster. Monstress. This song was written by Holly Knight, who wrote Tina Turner's "Better Be Good To Me," Heart's "Never," and a lot of other stuff for big names. She also co-wrote Pat Benetar's "Love Is A Battlefield" and Animotion's "Obsession," AND my favorite Aerosmith song, "Rag Doll," which she co-wrote with Aerosmith. Whoa. I had no idea.
From a great album:
My buddy turned me on to this cheesy Canadian goodness. It's not really a Halloween novelty song but I've been meaning to share it:
Youtube suggested this to me based on that Thor video - "Bewitched" definitely fits the Halloween theme, but it's not really a novelty song per se (though it is hysterical):
Happy Halloween. On a sorta related note because the cover is kinda Halloweeny and it's scary how good the album is, don't forget to listen to Run the Jewels 2. The Internet is hailing it as the end of the beginning for hip-hop ya know and I dunno if it's 100% that apocalyptic; it's easy to get caught up in joy over a great album and declare nothing else can come after it. But I'll agree that it is next level bonkers and it's fun to have a new favorite thing. The wife and I love it. I've had it on non-stop for the past two days.
Monday, October 27, 2014
I like this metal from NY. You can pre-order of Dispossession for six and change USD, get a Bandcamp track and the full album when it's released tomorrow, 10.28.14.
New Finnish punk to the max!
From Twistworthy Records down in Austin:
Sludgy Noise-core from somewhere in the U.S.:
This releases Dec. 15 from Trabuc Records up in Michigan. This is rad:
Thursday, October 23, 2014
Alfonso Ramos Y Su Orchestre: "El Sonsonete" and Tony Hernandez and the Latin-Liners (Capri Records, 1970s)
"Alfonso is known as “El Mero Leon de la Sierra” or “the distinguished silver-headed living legend” among Tejano music fans...In 1998, Alfonso was inducted into the Tejano Music Awards Hall of Fame. In 2002, (he) was inducted into the Tejano R.O.O.T.S. Hall of Fame."
El Sonsonete was the B-side to El Silencio de la Noche. Both songs were on the 1973 Capri Records album, La Unica Mujer. This 45 is catalog #CA-265. The address on the 45 label is in McKinney, Texas. Cool.
The 45 label identifies the A-side as a Ranchera song, written by Mexican music legend José Alfredo Jiménez. El Sonsonete has the initials "D.A.R." where the songwriter credit usually is. Not sure what that means, maybe it's a traditional? The 45 label identifies El Sonsonete as cumbia.
Listen to Alfonso Ramos and His Orchestra play El Sonsonete:
If the embedded player above doesn't work for you, try this link: El Sonsonete
Besides the McKinney address on the label, I couldn't find any info about Capri except that they also put out some Latin psych-funk back in '72 from Tony Hernandez & The Latin Liners. The Hernandez LP is called La Voz Encantadora. Back in '12, the guys at latinfunk.org posted the track featured in the Youtube video below, as well as the song Jo Tex, plus some biographical info about Hernandez. Gotta find me some Tony Hernandez.
Wednesday, October 22, 2014
Listened to the new Neil Diamond "Melody Road" today on google play, his first on Capitol Records. I dig it the most - it was a totally emotional journey down Melody Road, y'all. Classic Diamond, for sure - all original material. Here's a good Business Insider article and interview by Edouard Guihaire, writing for the AFP, and here's the Billboard review of the album, which also features a recap of his Reddit AMA. He's too cool. I sung Sweet Caroline at karaoke the other week.
I tried to get through the new Iceage today, Plowing Into the Fields of Love, put out by Matador. The only point of reference I have for this is that it's Nick Cave and the Bad Seeds-ish. It was interesting but I dunno if I can really relate to it, though full disclosure I clicked it off at the 5th song. He was singing something about a horse, or horses. They may have been running in a field.
Pitchfork gave the album an 8.5, and loyal readers may remember I think Pitchfork is mediocre so I imagine I'm on the right track by suspecting "Plowing Into the Fields of Love" may be art, but it falls short of being rock'n'roll. Where did I steal that line from? Seems like it was in a song I heard recently. Thanks, whoever I stole that from. Here is Iceage's single. I do like this one.
Buck Biloxi and the Fucks released a new batch of 14 songs on Bandcamp today called Culture Demanufacturer. I've listened to it three times today. On first listen, I thought it did not achieve the, uhm, primacy, or immediacy, of the first EP on Bandcamp, Live At Saturn Bar. But then I listened to it again on the ride home, and came to terms that it was more a recorded thing than a live thing. At home after a couple of scotch and waters, I'm pretty sure, Culture Demanufacturer is everything rock'n'roll turned out to be:
I learned about Buck and the Fucks just the other day from the excellent podcast, Dynamite Hemorrhage, who already has a new show out. Sweet. I was impressed with the first one I'd heard, last week's episode. Can't wait to listen tomorrow at work.
Here's another Buck Biloxi and the Fucks song I found:
There's another 12" coming out in a few months from HoZa Records.
I also listened to Terrorizer for the first time and realized the type of metal I'm into is grindcore. This album is important. Our descendents, robots, aliens, and a mix thereof will listen to this and think WTF. But ya know, in a good way:
New from Burger Records:
This raga from 1957 was in my Soundcloud stream, from Smithsonian Folkways:
Monday, October 20, 2014
I listened to half of Best Table In Hell, will listen to the other half tomorrow. Man it's just as solid as ever.
New from L.A.:
Saturday, October 18, 2014
Hailing from Minnesota, Bastards were Anthony Martin on bass and vocals, Joachim Breuer on guitar and vocals, and Tommy Rey on drums, though it looks like a cat named Dave Wieland played drums on Who Cares and Shit for Brains. Bastards rocked something one Youtube commenter called "hatecore" and another called "dirt rock" in the late 80s and early 90s. Looks like they released just three 7"s, one EP, and an album called Monticello that was produced by pre-Nirvana Butch Vig (There's also a CD that combines Monticello and the EP).
This 45 and Monticello were both put out on Treehouse Records, which also released some stuff by big names like Pagans, Babes In Toyland, and Unsane.
It was produced at Salmagundi Studios, in Northfield, MN, by the band and Mark Trehaus, the owner of the Treehouse label. Back in 2007, the sadly defunct music blog The Last Days of Man on Earth wrote a post that talked a little about Treehouse, and weirdly enough, in the comments section, there's a comment from TODAY on it, posted not 30 minutes before this writing, from the very same Mark Trehaus of Treehouse Records. The Joe he's referring to is the writer of The Last Days of Man on Earth. Here's Trehaus' comment:
highwatereverywhere says: October 18, 2014 at 6:56 pm just met joe in my store today, and he hipped me to his site. not much to say about my old treehouse label, except that i don’t know what the hell i was thinking at the time. who in their right mind would think it would be a healthy thing to try and stay clean while starting a label with a guy i met in a drug treatment center, and then begin signing up a bunch of bands largely full of (and surrounded by) ungrateful, dysfunctional, juvenile brats…talk about a recipe for disaster! and a disaster it was.
to correct joe: treehouse records (the label) was formed out of oar folkjokeopus, the store i managed for 17 years prior to taking it over and renaming the store treehouse records (after much urging) in 2001. the label was ahead of its time, as opposed to being some sorta amphetamine reptile wannabee…check the timelines if you think i’m spewin’ sour grapes. anyway, amphetamine reptile ended up getting better ink, more money, and a few other scale-tipping factors which caused them to ultimately reap the notoriety and financial paydays. i’m not bitter about it; i have my sanity intact, which i almost lost about 20 years ago, and i wouldn’t want to be any of those guys for all the gold in china.
How serendipitous is that!? I wonder if the guys in Bastards were some of those brats...
So anyway, back to this 45 - these songs were also on their EP, You Didn't Give A Damn About The Exploding Man Because You Killed Him, which was released on Glitterhouse outta Germany.first was a limited silk-screened, hand-numbered edition of 200, with art by Fred Hagstrom. I'll be. The second, the one I have, is a repro of that original, in pink and black.
The band went on to do other stuff. Anthony Martin founded Boomba Records in Germany, released some Turbonegro albums over there. Joachim Breuer went on to form Janitor Joe with Hole bassist Kristen Pfaff. If the guys in Bastards are out there, this stuff y'all were doing a quarter of a century ago was awesome. Glad I finally listened to this 45. Today I found a vinyl copy of Monticello on ebay and ordered it immediately. It's post-punk, kinda bluesy, kinda metal. I dig it the most.
A lot of the songs off Monticello and the EP are available on Youtube, but I couldn't find Who Cares anywhere, so I thought I'd share it. Bastards seems to have a bit of a cult following, as is evidenced by various Youtube comments on the tracks shared on there. One guy says Bastards played a show with frozen mice hanging from their instruments. Here's a cool 2004 review of Monticello.
I think this embedded player works on phones and some browsers:
A Youtuber beat me to the punch with the flip side, Shit for Brains:
Here's a playlist of all the Bastards I could find on Youtube:
Sunday, October 12, 2014
So I snagged these two 45s, each a different label, but both have text only in Arabic. Wild! The song presented below is the only one that plays without a skip, even after I cleaned them up. I still think they're neat.
UPDATE: I had guessed this was North African from the 1960s, but I was wrong. Thanks to the cool folks on the facebook page I follow, The Art of the 45 RPM Label, I am told this is Iranian pop by a performer named Aref Arefkia, on the Monogram label. Aref was a popular performer in Iran in the 60s and 70s, and left the country after the Revolution in '79. He lived in London for a while and now lives in Los Angeles. He's still performing after 50 years, check out his web page. I'm still not sure what the name of the song is, but I'll update once I figure it out.
I think this embedded player works on phones and some browsers:
Monday, October 6, 2014
I first came across this glammy Ottowan punk courtesy Sorry State Records:
Here's some crusty hc from Toronto and Unknown Records:
From the Grave Mistake Records update, both of these bands are out of Richmond, VA. I liked both of these so much I went ahead and bought the 7"s. $5 a pop, the True Crime is grey vinyl and the Asylum is pink:
The Sorry State newsletter is chock-full of awesome stuff, like this wild sound from the U.K.:
...and this post-punk from Melbourne:
Indie power-psych (I just made that up) from Brooklyn and Old Flame Records, available as a cassette:
Friday, October 3, 2014
New from Orlando:
Courtesy the Snap Digital Music Store, this is off a best of (1989-2007) from a French garage punk band that was first known as The Tribe, then as The Bang!, then as Scope. If the embed below doesn't work for you, then click here to listen and download The Tribe: 24 Hours Everyday.
Alright, now I gotta go to bed.
Tuesday, September 30, 2014
Parade of Flesh, The 1969s, Lee Bains III and the Glory Fires, King Tuff, Magic Jake and the Power Crystals, Club Dada, and The Anvil Pub
Stuffed after dinner, we ambled over to Club Dada, where the local Dallas "party blues" band the 1969s were just gearing up to play. We were both too full to stand for that show (sorry guys), but we did enjoy the tunes. Why are there no chairs in Club Dada for the old, fat crowd? I feel like I might have a lawsuit on my hands (j/k, j/k). Here's a jam from the 1969's 2011 EP, "Ride":
Next up was Alabama's own Lee Bains III and The Glory Fires. After our gutfest at the Anvil Pub we still were not fully prepared to rock, but we did manage to stand for the Glory Fires, albeit leaning up against the bar. I really enjoyed these guys. They have a southern/classic rock sound infused with punk and a little R&B, with smart lyrics that remind me of Mellencamp or the Boss. After the show I got to talk to Lee for a little while. My wife says to mention that he is near-intolerably handsome, and she could not look him in the eyes for too long. I was wondering why she hid behind me while he and I shot the shit.
Anyway, I found him to be a friendly, personable dude. I bought their new album, Dereconstructed, and told him I'd feature a few tracks from the album on my little blog here. When I got home, I saw the album is on Sub-Pop - that's the big time, man. I felt a little silly saying "I'll feature your songs on my blog" to a guy whose band has been on World Cafe, is on Sub-Pop, and has been reviewed on Pitchfork. But, Pitchfork only gave the album a 4.5 (I think it's out of 10, but since Pitchfork is contrarian maybe it's out of 11-3/4s). I think it's a great album all the way through, and they were a super-solid live act. And what Pitchfork calls "riff-based blooz rawk," I call good old fashioned rock'n'roll, and no amount of misspelling "blues rock" lessens the fact. "Blooz rawk" is the lamest cliche. So lame that I've used it on CNQ, I'm pretty sure - but not for a while, at least. But for a major music review site to repeat it, in 2014? Lazy writing, one of the many reasons I don't care for their reviews. Anyway.
I'd like to share a couple of my fave tracks, "The Kudzu and The Concrete" and "Dirt Track;" I might bug the band for permission and try to get those on here later. Right now, "Company Man" and "The Weeds Downtown" are currently the only songs from the new album that they have for share online. Both good songs. Check out the Glory Fires live if you get a chance:
Then there was King Tuff. We finally got over having ate too much at the Anvil Pub and were fully human and ready to rock by the time the three guys in King Tuff got on stage. Speaking of Pitchfork not knowing what they're talking about, they gave King Tuff's new album, "Black Moon Spell," a 6.4, and the review, written by a cat named Ian Cohen, is, I gotta say, mostly nonsense. Cohen got out his college degree and his thesaurus and forgot to remember to enjoy himself and the music to which he listens. This album is un-put-downable. My limited frame of reference hears it as T. Rex meets the hookier side of Elephant 6 acts, with guitar solos I'd describe as Mickey Melchiondo-esque. They were great fun to see live, and really positive and friendly with the crowd. That's Ty Segall on drums on this recorded version of the title track:
When we were posted up against the bar for The Glory Fires, there were these two dudes we assumed were hobos who had managed to panhandle enough cash to get in to see the show and buy a beer. It turns out, they were Magic Jake and Old Gary, the bassist and drummer for King Tuff, respectively.
Personal Revelations Dept.: One of my pet peeves is when people look at me and I nod or smile or say something, because I try to be friendly, and they look away, without responding. That grinds my gears and I'm all the time bitching about it. But, at the show last night, during the Glory Fires, Magic Jake (who was standing in front of us, watching the band), at one point turned around, and he and I made eye contact. He smiled, because he's a human being, and because I thought he was a hobo who was about to ask me to buy him a beer, I looked away. When I saw him up on stage, I was like, man am I an asshole - especially because on stage he was so personable, friendly and fun. He worked the crowd like a champ, and made the wife and I both want to give him a hug at the end of the show.
So, Magic Jake, if by any chance you read this, I'm sorry I dissed you because I thought you were a hobo. Living in Dallas I feel like maybe I've hardened up a little too much - from now on I'll remember to be nice to anybody who looks in my direction, no matter if I think they're going to hit me up for a buck or not.
Yes, Quieteers - Magic Jake taught me life lessons, without him even knowing it. That's how magic he is.
The Glory Fires put me in the mood for some Mellencamp and today at work I listened to American Fool, Uh-Huh, Scarecrow, and Lonesome Jubilee. My advice to the world:
Sunday, September 28, 2014
Michael Harren is a composer and performer from Brooklyn who, per his site's About page, "combines elements of classical composition with experimental electronics and storytelling..." And he tours as pianist with Sandra Bernhard, who I've always had a crush on. Here's his new video - I like both song and video:
Small Bear Records has a new release, the absolutely right on Joan of Arse, from the Isle of Man. The video is by vanguard artiste Venison Lamprey. The Youtube video has the best quote ever: "it's not illegal if you don't care."
I can't find much on Ermanna Melli herself, and this seems to be her only work for New Star - maybe her only release period. Per the site Music & Memory, a backing band called The Whole may assist her on this record. This ebay listing has a picture of the original sleeve of the 45.
Like I said, both tracks on this 45 were written by a team named Crisci-Gial. I did find a poem, "Mary Was The Poetess," on the site poetrysoup. It's copyright 2009 by Andrew Crisci, whom I believe is Mary Crisci's brother. In the poem he talks about how Mary wrote the song "Cos'e Questo Desiderio" when she was 18, and it was recorded by Ermanna Melli, "from the city of Forli." The poem is a very pretty tribute to his sister, you should check it out.
Both the A and B sides of this 45 are enjoyable 60s pop. Kind of reminds of me of French ye-ye. Someone on Youtube beat me to the punch with the A-side (posted below), but the B-side, to my knowledge, has yet to be featured on the Internets.
I think this embedded player works on phones and some browsers:
I forget where I picked this up; either at B4 or at a Half-Priced Books. I think it was mixed in with a stack of Latin 45s, if memory serves.
Saturday, September 27, 2014
The first track off The Great Dismal Swamis' latest, a repost to test to see if the player works. I've been having problems with my mp3 embeds, or maybe the google sites page where I store mp3s, I dunno. Right click the link below to open another tab and hear "Box Wine Bitches:"