I've never been too good with names, but I remember faces
Gonna keep this one short and sweet, sort of like this great song by The Lemonheads.
Another band I absolutely loved in my high school years, but the "It's a Shame About Ray" album holds up pretty well I think despite being nearly 20 years old. Call me biased, but there was so much great music in the early to mid 1990s. Of course there's always been drivel, but you could actually hear real bands on Top 40 radio stations--real people with real talent and not the auto-tuned clap-trap out there today.
This tune is just a three-minute gem, and The Lemonheads were amazingly talented in making them.
--Music is good.
Thursday, August 12, 2010
Saturday, August 7, 2010
Track 69: "Sex Machine" by James Brown
I'm ready to get up and do my thang
Since it's Track 69, it only seemed logical and right to include a track with some sexual overtones and this version of "Sex Machine" is some funky shit indeed.
Has there ever been a better front man in history than the Godfather of Soul, the Hardest Working Man in Show Business, the late, great, funky as hell James Brown?
I'm not even sure how I got it, but I had a "James Brown's Greatest Hits" tape in high school, and every Friday became "James Brown Friday"--with the Godfather blasting as loud as it could in my '84 Chevy Cavalier.
This version off the live album "Love Power Peace" recorded in Paris in 1971, and the entire album is so awesome, tight, and just funky as all get out. James Brown's command of his band is unparalleled--often imitated, but never duplicated. And just dig how he counts it off at the beginning--so fucking dope.
Since it's Track 69, it only seemed logical and right to include a track with some sexual overtones and this version of "Sex Machine" is some funky shit indeed.
Has there ever been a better front man in history than the Godfather of Soul, the Hardest Working Man in Show Business, the late, great, funky as hell James Brown?
I'm not even sure how I got it, but I had a "James Brown's Greatest Hits" tape in high school, and every Friday became "James Brown Friday"--with the Godfather blasting as loud as it could in my '84 Chevy Cavalier.
This version off the live album "Love Power Peace" recorded in Paris in 1971, and the entire album is so awesome, tight, and just funky as all get out. James Brown's command of his band is unparalleled--often imitated, but never duplicated. And just dig how he counts it off at the beginning--so fucking dope.
Monday, August 2, 2010
Track 68: "Natty Dread" Charlie Hunter covering Bob Marley
With Jimmy Buffet on Track 67, I touched on an artist that is both someone I don't really listen to all that much anymore as well as one that is just perfect to listen to in the summertime. Bob Marley fits both of those categories as well.
And just like any white guy who drank beer in high school and college, of course I went through a Bob Marley phase. No doubt Marley is a legend; his politically-charged lyrics and sing-along songs essentially put reggae on the map. And I think it's safe to say that without Bob Marley, no white person would have ever listened to reggae.
While I'll never lose respect for reggae or Bob Marley, I'm kinda over them. Both of them. I fully understand that no other music genre on the planet quite defines an entire nation and its history like reggae, but I just don't care much for it--at least to the point where I still actively listen. (I think being the keyboard player or rhythm guitarist in a reggae band may very well be the easiest job on the planet).
I discovered Charlie Hunter when I interviewed him back in 2002--and I was introduced to a lot of stuff through him. He had just released "Songs from the Analog Playground," his first album to feature vocalists--and it was through that record I was introduced to Norah Jones. (In 2005 I got see Hunter play at during New Orleans Jazz Fest in Preservation Hall, and it was a definite highlight of the trip for me).
Hunter also introduced me to his incredibly unique seven-string guitar. The instrument has four guitar strings and three bass guitar strings--and by some miracle Hunter alone supplies the groove and melody in his music. He's released records in duo, trio, quartet and quintet settings and they're all great. But my favorite is his Blue Note Cover Series version of Bob Marley's "Natty Dread."
There's some really great funky-jazz on this album and at times Hunter's seven-string sounds more like an organ than it does a guitar. His take on "No Woman, No Cry" is absolutely gorgeous. But there's just something summery and wonderful about his version of "Natty Dread."
--Music is good.
And just like any white guy who drank beer in high school and college, of course I went through a Bob Marley phase. No doubt Marley is a legend; his politically-charged lyrics and sing-along songs essentially put reggae on the map. And I think it's safe to say that without Bob Marley, no white person would have ever listened to reggae.
While I'll never lose respect for reggae or Bob Marley, I'm kinda over them. Both of them. I fully understand that no other music genre on the planet quite defines an entire nation and its history like reggae, but I just don't care much for it--at least to the point where I still actively listen. (I think being the keyboard player or rhythm guitarist in a reggae band may very well be the easiest job on the planet).
I discovered Charlie Hunter when I interviewed him back in 2002--and I was introduced to a lot of stuff through him. He had just released "Songs from the Analog Playground," his first album to feature vocalists--and it was through that record I was introduced to Norah Jones. (In 2005 I got see Hunter play at during New Orleans Jazz Fest in Preservation Hall, and it was a definite highlight of the trip for me).
Hunter also introduced me to his incredibly unique seven-string guitar. The instrument has four guitar strings and three bass guitar strings--and by some miracle Hunter alone supplies the groove and melody in his music. He's released records in duo, trio, quartet and quintet settings and they're all great. But my favorite is his Blue Note Cover Series version of Bob Marley's "Natty Dread."
There's some really great funky-jazz on this album and at times Hunter's seven-string sounds more like an organ than it does a guitar. His take on "No Woman, No Cry" is absolutely gorgeous. But there's just something summery and wonderful about his version of "Natty Dread."
--Music is good.
Tuesday, July 27, 2010
Track 67: "The Wino and I Know" by Jimmy Buffet
And the wino and I know/the joy of the ocean/like the boy knows the joy/of his milkshake in motion
Add Mr. Jimmy Buffet to the list (along with Track 66’s Jackopierce) of bands/musicians I listened to in high school that didn’t really carry over into adulthood—or my apparent lack thereof.
But say what you want about Jimmy Buffet—sure his stuff is a tad corny and nearly every song he has ever written involves getting drunk at the beach—but the dude is more or less a living a legend. Despite a lack of any mega-commercial hit albums, Buffet has been around for nearly 40 years and his tours sell-out in nano-seconds. His legion of fans—Parrotheads (sort of like Deadheads with jobs and access to bathing facilities)--are amongst the most devoted music fans on the planet. And outside of his career, Buffet’s empire has expanded to include restaurants, retail stores, his own brand of tequila, books and likely much more than I just skimmed over on Wikipedia.
Though I’m hardly a devoted Parrothead and rarely listen to Buffet anymore, there’s just something about Jimmy Buffet and summertime. When 99.9% of your songs involve getting drunk on a beach, I suppose it’s hard not to be associated with summertime. But regardless of your opinions on Jimmy Buffet, the guy’s a fantastic songwriter and storyteller.
“The Wino and I Know” is a lesser known of Buffet’s songs, but easily my favorite. And I have my friend Chris Vaught to thank for drilling this song into my head during our high school years. (He also introduced me to Jackopierce). Chris was the first guy I knew that owned the Buffet box set “Boats Beaches Bars and Ballads” and was a cohort on my first (and only thus far) Jimmy Buffet concert—which was a drunken good time for all involved…from what I barely remember at least.
--Music is good.
Add Mr. Jimmy Buffet to the list (along with Track 66’s Jackopierce) of bands/musicians I listened to in high school that didn’t really carry over into adulthood—or my apparent lack thereof.
But say what you want about Jimmy Buffet—sure his stuff is a tad corny and nearly every song he has ever written involves getting drunk at the beach—but the dude is more or less a living a legend. Despite a lack of any mega-commercial hit albums, Buffet has been around for nearly 40 years and his tours sell-out in nano-seconds. His legion of fans—Parrotheads (sort of like Deadheads with jobs and access to bathing facilities)--are amongst the most devoted music fans on the planet. And outside of his career, Buffet’s empire has expanded to include restaurants, retail stores, his own brand of tequila, books and likely much more than I just skimmed over on Wikipedia.
Though I’m hardly a devoted Parrothead and rarely listen to Buffet anymore, there’s just something about Jimmy Buffet and summertime. When 99.9% of your songs involve getting drunk on a beach, I suppose it’s hard not to be associated with summertime. But regardless of your opinions on Jimmy Buffet, the guy’s a fantastic songwriter and storyteller.
“The Wino and I Know” is a lesser known of Buffet’s songs, but easily my favorite. And I have my friend Chris Vaught to thank for drilling this song into my head during our high school years. (He also introduced me to Jackopierce). Chris was the first guy I knew that owned the Buffet box set “Boats Beaches Bars and Ballads” and was a cohort on my first (and only thus far) Jimmy Buffet concert—which was a drunken good time for all involved…from what I barely remember at least.
--Music is good.
Thursday, July 22, 2010
Track 66: "Mexican Tune" by Jackopierce
And in the morning time I find myself hiking with long boots and a cane, with a small rucksack on my back, along the banks of the Powder River...where Crazy Horse kicked Custer's ass sideways
Not all of my favorite bands from high school have made the transition into adulthood (or my apparent lack thereof). And Jackopierce is one of those bands.
The acoustic, folk-pop duo of Jack O'Neil and Cary Pierce (see how they came to their band name?) was a definite favorite of mine in my high school years. And I'll still say that their album "Bringing on the Weather" is quite solid--and there are several great songs on their other records as well. But I pretty much called it quits with Jackopierce once I saw them perform while I was in college.
A few friends and I made the road trip from Clemson to Greenville (about 25 miles) to see Jackopierce. And while they didn't sound bad at all, their douchey stage presence and looks (they were both in uber-tight shirts and lots of bullshit rock posturing which doesn't work well when all you have is an acoustic guitar). Maybe I was just too cool. Who knows. But it wasn't my favorite concert of all time. (And currently Counting Crows holds the low-esteemed position of worst concert I've ever seen).
So while I may not be a Jackopierce fan per se anymore, their music is still on my iPod and yesterday the shuffle function reintroduced me to my favorite Jackopierce song--"Mexican Tune." The spoken word, improvisational, stream of consciousness lyrics sort of retell the story of the Battle of Little Bighorn, and I have to say it's pretty awesome--even if it's something I'm not really into anymore.
--Music is good.
Not all of my favorite bands from high school have made the transition into adulthood (or my apparent lack thereof). And Jackopierce is one of those bands.
The acoustic, folk-pop duo of Jack O'Neil and Cary Pierce (see how they came to their band name?) was a definite favorite of mine in my high school years. And I'll still say that their album "Bringing on the Weather" is quite solid--and there are several great songs on their other records as well. But I pretty much called it quits with Jackopierce once I saw them perform while I was in college.
A few friends and I made the road trip from Clemson to Greenville (about 25 miles) to see Jackopierce. And while they didn't sound bad at all, their douchey stage presence and looks (they were both in uber-tight shirts and lots of bullshit rock posturing which doesn't work well when all you have is an acoustic guitar). Maybe I was just too cool. Who knows. But it wasn't my favorite concert of all time. (And currently Counting Crows holds the low-esteemed position of worst concert I've ever seen).
So while I may not be a Jackopierce fan per se anymore, their music is still on my iPod and yesterday the shuffle function reintroduced me to my favorite Jackopierce song--"Mexican Tune." The spoken word, improvisational, stream of consciousness lyrics sort of retell the story of the Battle of Little Bighorn, and I have to say it's pretty awesome--even if it's something I'm not really into anymore.
--Music is good.
Tuesday, July 20, 2010
Track 65: "Box of Rain" by The Grateful Dead
Maybe you'll find direction around some corner where it's been waiting to meet you
I re-discovered the Grateful Dead's masterpiece 1970 album "American Beauty" over the weekend. And just like the Beach Boy's "Pet Sounds" a week before, I fell in love with this record all over again.
I have no idea when or where I heard this album for the first time, but I'm sure I was mind-blown. For a band most known for extended psychedelic improvisational jams, "American Beauty" almost came as a shock to me when I first heard it. It's roosty, folky-Americana at its best and literally every song on the album is perfect in it's own way. I remember playing this album at a family beach trip in Charleston some time during the late 1990s, and even my parents enjoyed it!
It's also pretty cool that four different Dead members sing on the album--something you definitely don't see these days. Ron 'Pig Pen' McKernan's "Operator" is a great little ditty, of course Jerry Garcia's voice shines on tunes like "Ripple," "Friend of the Devil" and the gorgeous "Brokedown Palace." Bob Weir (the one Dead member I got to interview back in my music journalist days) contributes the classics "Truckin" and "Sugar Magnolia." But it's bassist Phil Lesh (who only does lead vocals on a just a few tunes in the Dead's vast catalog) who sings my favorite song on the album--and one of my favorites of all time. (And as a side note, David Grisman, who has popped up on the Playlist a couple of times now)
Longtime Dead lyricist Robert Hunter wrote some incredible lyrics to this album, and the band does some really beautiful harmonies throughout. Something about "Box of Rain"just instantly makes me happy--and if you ask any devoted Deadhead what the draw of the band was--and still is for that matter--I'm sure that phrase is likely to pop up.
It just makes me happy.
--Music is good
I re-discovered the Grateful Dead's masterpiece 1970 album "American Beauty" over the weekend. And just like the Beach Boy's "Pet Sounds" a week before, I fell in love with this record all over again.
I have no idea when or where I heard this album for the first time, but I'm sure I was mind-blown. For a band most known for extended psychedelic improvisational jams, "American Beauty" almost came as a shock to me when I first heard it. It's roosty, folky-Americana at its best and literally every song on the album is perfect in it's own way. I remember playing this album at a family beach trip in Charleston some time during the late 1990s, and even my parents enjoyed it!
It's also pretty cool that four different Dead members sing on the album--something you definitely don't see these days. Ron 'Pig Pen' McKernan's "Operator" is a great little ditty, of course Jerry Garcia's voice shines on tunes like "Ripple," "Friend of the Devil" and the gorgeous "Brokedown Palace." Bob Weir (the one Dead member I got to interview back in my music journalist days) contributes the classics "Truckin" and "Sugar Magnolia." But it's bassist Phil Lesh (who only does lead vocals on a just a few tunes in the Dead's vast catalog) who sings my favorite song on the album--and one of my favorites of all time. (And as a side note, David Grisman, who has popped up on the Playlist a couple of times now)
Longtime Dead lyricist Robert Hunter wrote some incredible lyrics to this album, and the band does some really beautiful harmonies throughout. Something about "Box of Rain"just instantly makes me happy--and if you ask any devoted Deadhead what the draw of the band was--and still is for that matter--I'm sure that phrase is likely to pop up.
It just makes me happy.
--Music is good
Wednesday, July 14, 2010
Track 64: "Whipping Post" Bonerama covering the Allman Brothers Band
And I don't know why I let that mean woman make me out a fool
The 2005 New Orleans Jazz Fest was one of the best times I can barely remember. I am sure that the few days I spent in the Big Easy easily took a few years off of my life span, but it was an incredible time in an awesome city.
It was my first visit to New Orleans and I cannot say enough good things about my experiences. The musical highlights are almost too many to list but a brief run-down would include: Elvis Costello, Old Crow Medicine Show, Charlie Hunter at Preservation Hall, the Trey Anastasio Super Jam, and Mike Gordon with the Benevento/Russo Duo. It was a great time--we ate like kings, drank like gutter-winos, and crammed a ton of music into a few days.
But my favorite surprise act of my Jazz Fest experience was undoubtedly Bonerama. My group ended up wanting to see the quintessential New Orleans funk band The Funky Meters and Tipitina's--only we didn't have tickets to the sold out show. We milled about outside the venue for about an hour scoring tickets, and the whole time this energetic swampy funk was spilling out of the venue.
As we walked in the opening band announced it would be their last song and they ripped into this jazz-funk cover of the Allman Brothers' "Whipping Post" and it totally fucking ruled. I've always loved the wail of the trombone--so what could be better than a New Orleans-bred jazz-funk band fronted by five trombone players, and backed by a guitar, drums and a sousaphone instead of a bassist? And is there a better name on the planet for such a band than Bonerama? Say it with me one time and you'll agree...BONERAMA!!!
My love affair with "Whipping Post" began in college when I discovered the 20-plus minute version on the stellar Allman Brothers live record "Live at Filmore East." And my favorite college bar (Backstreet's in Clemson, SC) always served $1 PBR bottles and had the "Filmore East" album on it's juke box. So for $5, I could enjoy a few beers and play "Whipping Post" and "Mountain Jam" on the jukebox and those two songs would supply at least an hour of music!
And though I have a feeling I may be wrong--this may be my first summer since college that regrettably will not include an Allman Brothers Band concert. As I came to grips with that sad fact, I remembered stumbling in on my favorite 2005 Jazz Fest experience--and that was seeing Bonerama play the ever-loving shit out of "Whipping Post."
Say it one more time with me...BONERAMA!
The 2005 New Orleans Jazz Fest was one of the best times I can barely remember. I am sure that the few days I spent in the Big Easy easily took a few years off of my life span, but it was an incredible time in an awesome city.
It was my first visit to New Orleans and I cannot say enough good things about my experiences. The musical highlights are almost too many to list but a brief run-down would include: Elvis Costello, Old Crow Medicine Show, Charlie Hunter at Preservation Hall, the Trey Anastasio Super Jam, and Mike Gordon with the Benevento/Russo Duo. It was a great time--we ate like kings, drank like gutter-winos, and crammed a ton of music into a few days.
But my favorite surprise act of my Jazz Fest experience was undoubtedly Bonerama. My group ended up wanting to see the quintessential New Orleans funk band The Funky Meters and Tipitina's--only we didn't have tickets to the sold out show. We milled about outside the venue for about an hour scoring tickets, and the whole time this energetic swampy funk was spilling out of the venue.
As we walked in the opening band announced it would be their last song and they ripped into this jazz-funk cover of the Allman Brothers' "Whipping Post" and it totally fucking ruled. I've always loved the wail of the trombone--so what could be better than a New Orleans-bred jazz-funk band fronted by five trombone players, and backed by a guitar, drums and a sousaphone instead of a bassist? And is there a better name on the planet for such a band than Bonerama? Say it with me one time and you'll agree...BONERAMA!!!
My love affair with "Whipping Post" began in college when I discovered the 20-plus minute version on the stellar Allman Brothers live record "Live at Filmore East." And my favorite college bar (Backstreet's in Clemson, SC) always served $1 PBR bottles and had the "Filmore East" album on it's juke box. So for $5, I could enjoy a few beers and play "Whipping Post" and "Mountain Jam" on the jukebox and those two songs would supply at least an hour of music!
And though I have a feeling I may be wrong--this may be my first summer since college that regrettably will not include an Allman Brothers Band concert. As I came to grips with that sad fact, I remembered stumbling in on my favorite 2005 Jazz Fest experience--and that was seeing Bonerama play the ever-loving shit out of "Whipping Post."
Say it one more time with me...BONERAMA!
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