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!
Sunday, July 11, 2010
Track 63: "Wouldn't It Be Nice" by The Beach Boys
And it wouldn't it be nice to live together in the kind of world where we belong
After seeing a really great show by She and Him in Atlanta Friday night, I left knowing two concrete facts of life: 1. Zooey Deschanel playing a ukulele is the cutest thing ever. 2. The Beach Boys' "Wouldn't it be Nice" is the greatest summer song of all time.
M. Ward and Zooey's take on "Wouldn't it be nice" for the encore could not have been better and it inspired me to revisit "Pet Sounds." I came to this American masterpiece a little late in life; yet another musical cornerstone I owe to my buddy Patrick Hill.
I am currently on my third listening of "Pet Sounds" of the weekend and have fallen in love with this record all over again. There's not much point in espousing what a glorious album it is, but I will say it sounds like the soundtrack to some fantastic lush summer dream--where everything is bright and shiny, the pretty girls smile at you, and the sun is wearing sunglasses like he just came off the Raisin Bran box.
And it all starts with "Wouldn't it be Nice."
And here's a bit of She and Him's encore from Friday night. There was a strict no camera/smart phone policy, so thanks to the ninja who shot this! Even Zooey's flubs are adorable.
After seeing a really great show by She and Him in Atlanta Friday night, I left knowing two concrete facts of life: 1. Zooey Deschanel playing a ukulele is the cutest thing ever. 2. The Beach Boys' "Wouldn't it be Nice" is the greatest summer song of all time.
M. Ward and Zooey's take on "Wouldn't it be nice" for the encore could not have been better and it inspired me to revisit "Pet Sounds." I came to this American masterpiece a little late in life; yet another musical cornerstone I owe to my buddy Patrick Hill.
I am currently on my third listening of "Pet Sounds" of the weekend and have fallen in love with this record all over again. There's not much point in espousing what a glorious album it is, but I will say it sounds like the soundtrack to some fantastic lush summer dream--where everything is bright and shiny, the pretty girls smile at you, and the sun is wearing sunglasses like he just came off the Raisin Bran box.
And it all starts with "Wouldn't it be Nice."
And here's a bit of She and Him's encore from Friday night. There was a strict no camera/smart phone policy, so thanks to the ninja who shot this! Even Zooey's flubs are adorable.
Wednesday, July 7, 2010
Track 62: "Don't Look Back" by She and Him
Don't look back all you'll ever get is the dust from the steps before/I don't have to you see every day, but I just want to know you're there
Dear blog enthusiast (yes, you),
My sincere apologies for no posts in a total of (gasp) five entire days. I can only hope you didn't find another self-important music blog to waste otherwise valuable time with during my brief hiatus.
But back to our regular scheduled program and another fantastic collaboration/side project: She and Him.
Even though I was already a fan of M. Ward, and despite already owning both of the She and Him albums (conveniently titled "Volume 1" and "Volume 2) I truly and deeply owe more than my life to one of my favorite new friends, Julie Benz-Pottie, for introducing me to this wonderful act.
Despite really liking (did I mention owning?) both of the She and Him albums, and even knowing words to several of their songs AND my non-gay man crush on M. Ward, I don't even possess the required vocabulary to properly thank her for bestowing on me the gift (in form of suggestion) of She and Him.
So as a hackneyed form of thanks, I will pimp her blog in mine. Surely, her fantastic blog (Julie Vs. Vegetables) chronicling her triumphant battle against everyone's least favorite food group will experience the "Pantsari Bump" of at least .25 readers after Track 62 goes live on the Interweb.
I liked She and Him the instant I heard it. M. Ward's knack for catchy low-fi arrangements really give the true star of the band, Zooey Deschanel, a chance to shine. Yes, in case you didn't see the movie "Elf", Zooey Deschanel is not only a ridiculously cute actress, she is also a great singer.
And both She and Him albums are chock full of wonderful (this is the only band I have ever used the word "wonderful" to describe) pop songs. There's a definite throw-back vibe going on as well. A bit of a doo-wop, early 60's, vaguely-Motownish sort of sound in the music and lyrics. And both records are packed with catchy, fun, simple tunes that just ooze bubblegum goodness.
On another positive note, I'll be seeing She and Him with none other than the author of Julie Vs. Vegetables this Friday night in Atlanta with a few other folks lucky enough to know her. Not only was she kind enough to share this band with me, but she's also been so generous as to float me the cost of the ticket until I get paid next Tuesday and shit.
Although I featured "Don't Look Back" for Track 62, I'm going to be as utterly selfless as Julie and share some more She and Him with you as well. "Gonna Get Along with You Now" (this is actually a song written my Milton Kellem in 1951).
"Black Hole" is off the Volume 1 record and the line "I'm alone on a bicycle for two" gets me every time.
Dear blog enthusiast (yes, you),
My sincere apologies for no posts in a total of (gasp) five entire days. I can only hope you didn't find another self-important music blog to waste otherwise valuable time with during my brief hiatus.
But back to our regular scheduled program and another fantastic collaboration/side project: She and Him.
Even though I was already a fan of M. Ward, and despite already owning both of the She and Him albums (conveniently titled "Volume 1" and "Volume 2) I truly and deeply owe more than my life to one of my favorite new friends, Julie Benz-Pottie, for introducing me to this wonderful act.
Despite really liking (did I mention owning?) both of the She and Him albums, and even knowing words to several of their songs AND my non-gay man crush on M. Ward, I don't even possess the required vocabulary to properly thank her for bestowing on me the gift (in form of suggestion) of She and Him.
So as a hackneyed form of thanks, I will pimp her blog in mine. Surely, her fantastic blog (Julie Vs. Vegetables) chronicling her triumphant battle against everyone's least favorite food group will experience the "Pantsari Bump" of at least .25 readers after Track 62 goes live on the Interweb.
I liked She and Him the instant I heard it. M. Ward's knack for catchy low-fi arrangements really give the true star of the band, Zooey Deschanel, a chance to shine. Yes, in case you didn't see the movie "Elf", Zooey Deschanel is not only a ridiculously cute actress, she is also a great singer.
And both She and Him albums are chock full of wonderful (this is the only band I have ever used the word "wonderful" to describe) pop songs. There's a definite throw-back vibe going on as well. A bit of a doo-wop, early 60's, vaguely-Motownish sort of sound in the music and lyrics. And both records are packed with catchy, fun, simple tunes that just ooze bubblegum goodness.
On another positive note, I'll be seeing She and Him with none other than the author of Julie Vs. Vegetables this Friday night in Atlanta with a few other folks lucky enough to know her. Not only was she kind enough to share this band with me, but she's also been so generous as to float me the cost of the ticket until I get paid next Tuesday and shit.
Although I featured "Don't Look Back" for Track 62, I'm going to be as utterly selfless as Julie and share some more She and Him with you as well. "Gonna Get Along with You Now" (this is actually a song written my Milton Kellem in 1951).
"Black Hole" is off the Volume 1 record and the line "I'm alone on a bicycle for two" gets me every time.
Friday, July 2, 2010
Track 61: "Down with Disease" by Phish
Waiting for the time when I can finally say/this has all been wonderful, but now I'm on my way
I'll be seeing Phish here in Atlanta for the 3rd and 4th of July, so Track 61 is serving a purpose of getting me fired up on the half-day Friday before the holiday weekend.
It will be the first time I've seen Phish perform since 2004--what was then the band's 'farewell' festival called Coventry in Vermont. The festival was basically a cluster-fuck. Torrential down pours the days before the event turned the festival grounds into a mud pit. It backed up traffic--my group spent a good 30 hours waiting to get in--to the point where a lot of people abandoned their cars on the interstate and walked to the festival.
And granted I am sure the band was going through a lot of emotions with it being their final show, but the music really wasn't good at Coventry--especially coming from such an amazingly gifted and tight band.
My interest in Phish has waned over the last few years--chalk it up to changing tastes and the fact that the band wasn't around to put out new music. But for a few years of my life Phish was my favorite band. Their 1999 New Year's festival in the Florida Everglades--Big Cypress--will always be one of the best times I've ever had in my life.
So when Phish got back together last year it really created a lot of excitement amongst my friends--who are avid Phish fans. But for whatever reason, I didn't really care. I rarely listen to them anymore, but really am looking forward to the two shows this weekend. If nothing else but for the chance to see some old pals, but I am sure the shows will be incredible. Maybe I'll become a 'phan' once again.
"Down with Disease" is one of the many quintessential Phish songs. I love the funky bass intro, Trey Anastasio's guitar licks are absolutely smoldering, and it's nearly impossible not join in with the sing-a-long chorus. And this live version really captures the energy and visual stimuli of a Phish show. Arguably one of the best light shows out there (and this video is from 1995). At times it looks like the Mothership is landing!
But hearing and watching this made me get pumped up to see Phish again!
Happy 4th of July weekend!
--Music is good.
I'll be seeing Phish here in Atlanta for the 3rd and 4th of July, so Track 61 is serving a purpose of getting me fired up on the half-day Friday before the holiday weekend.
It will be the first time I've seen Phish perform since 2004--what was then the band's 'farewell' festival called Coventry in Vermont. The festival was basically a cluster-fuck. Torrential down pours the days before the event turned the festival grounds into a mud pit. It backed up traffic--my group spent a good 30 hours waiting to get in--to the point where a lot of people abandoned their cars on the interstate and walked to the festival.
And granted I am sure the band was going through a lot of emotions with it being their final show, but the music really wasn't good at Coventry--especially coming from such an amazingly gifted and tight band.
My interest in Phish has waned over the last few years--chalk it up to changing tastes and the fact that the band wasn't around to put out new music. But for a few years of my life Phish was my favorite band. Their 1999 New Year's festival in the Florida Everglades--Big Cypress--will always be one of the best times I've ever had in my life.
So when Phish got back together last year it really created a lot of excitement amongst my friends--who are avid Phish fans. But for whatever reason, I didn't really care. I rarely listen to them anymore, but really am looking forward to the two shows this weekend. If nothing else but for the chance to see some old pals, but I am sure the shows will be incredible. Maybe I'll become a 'phan' once again.
"Down with Disease" is one of the many quintessential Phish songs. I love the funky bass intro, Trey Anastasio's guitar licks are absolutely smoldering, and it's nearly impossible not join in with the sing-a-long chorus. And this live version really captures the energy and visual stimuli of a Phish show. Arguably one of the best light shows out there (and this video is from 1995). At times it looks like the Mothership is landing!
But hearing and watching this made me get pumped up to see Phish again!
Happy 4th of July weekend!
--Music is good.
Wednesday, June 30, 2010
Track 60: "Killing the Blues" by Robert Plant and Allison Krauss
And then you ask me... just to leave you/to set out on my own and get what I needed/You want me to find what I've already had.
Initially I wasn't sure what to expect when I heard that Robert Plant and Allison Krauss were releasing an album together. Led Zeppelin is easily my favorite band ever and it just seemed odd, but really intriguing, that Zeppelin's golden god and the bluegrass beauty would ever be in the same room much less create music together.
As much as Led Zeppelin was a dark, mysterious, and badass rock and roll band, the group had plenty of acoustic songs and a pretty broad sound. And of course my ever-growing interest in bluegrass music (and the "Oh Brother Where Art Thou?" soundtrack) eventually led me to Alison Krauss. Krauss is uber-accomplished as a solo artist, and her band Union Station is full of phenomenal talent, and she easily has one of the most gorgeous voices ever (not to mention being a gifted fiddle player).
So it's obvious that Plant and Krauss make an odd pair, but the album "Raising Sand" is pretty incredible. Produced by T-Bone Burnett (the same guy behind the "Oh Brother" soundtrack and the music from the recent film "Crazy Heart"), the record sort of finds the middle ground between Krauss and Plant's musical worlds without sounding like it came from either. It's a pretty laid back album overall, but utterly gorgeous--sort of dark, sparse, oddly psychedelic at times and the two vastly different voices sound strangely perfect together.
"Killing the Blues" was actually written by John Prine and it's not the first time I've ever fallen in love with someone else singing one his songs (check out Susan Tedeschi doing "Angel from Montgomery" sometime and you'll see what I mean). So now I wonder why I don't have any John Prine in my collection?
This one of those tunes I don't listen to very often, but every time I hear it it blows me away.
--Music is good
Initially I wasn't sure what to expect when I heard that Robert Plant and Allison Krauss were releasing an album together. Led Zeppelin is easily my favorite band ever and it just seemed odd, but really intriguing, that Zeppelin's golden god and the bluegrass beauty would ever be in the same room much less create music together.
As much as Led Zeppelin was a dark, mysterious, and badass rock and roll band, the group had plenty of acoustic songs and a pretty broad sound. And of course my ever-growing interest in bluegrass music (and the "Oh Brother Where Art Thou?" soundtrack) eventually led me to Alison Krauss. Krauss is uber-accomplished as a solo artist, and her band Union Station is full of phenomenal talent, and she easily has one of the most gorgeous voices ever (not to mention being a gifted fiddle player).
So it's obvious that Plant and Krauss make an odd pair, but the album "Raising Sand" is pretty incredible. Produced by T-Bone Burnett (the same guy behind the "Oh Brother" soundtrack and the music from the recent film "Crazy Heart"), the record sort of finds the middle ground between Krauss and Plant's musical worlds without sounding like it came from either. It's a pretty laid back album overall, but utterly gorgeous--sort of dark, sparse, oddly psychedelic at times and the two vastly different voices sound strangely perfect together.
"Killing the Blues" was actually written by John Prine and it's not the first time I've ever fallen in love with someone else singing one his songs (check out Susan Tedeschi doing "Angel from Montgomery" sometime and you'll see what I mean). So now I wonder why I don't have any John Prine in my collection?
This one of those tunes I don't listen to very often, but every time I hear it it blows me away.
--Music is good
Monday, June 28, 2010
Track 59: "Waiting on My Wings" by The Word
One of the coolest side projects I got introduced to as a lowly paid, under-read freelance jamband writer was The Word.
Though I've never gotten to see The Word perform live, I've done stories on all three bands represented in the supergroup --keyboard giant John Medeski (of the avant garde jazz-funk trio Medeski, Martin and Wood) pedal steel phenom Robert Randolph (of Robert Radolph and the Family Band) and brothers Cody (drums) and Luther Dickinson (guitar) and Chris Chew (bass) who make up the trio: the North Mississippi Allstars.
The group formed just on the cusp of Randolph becoming all the rage of the jamband world in 2001. Randolph's amazing pedal steel prowess was formed by playing in the House of God church in New Jersey--so it only seems fitting that when be combined with Medeski and the NMAS that the supergroup would put a funky new spin on traditional gospel music.
The Word released their self-titled album in 2001 and it's a great instrumental record. If you've ever been to church, you're sure to recognize some songs like "At the Cross," and "I'll Fly Away" (I gave "I'll Fly Away" a nod back on Track 3 of ye old blog).
Though Randolph's energetic pedal steel playing takes center stage on most tracks, Medeski is a Hammond organ monster, and the NMAS prove to be a super-tight backing band--and the whole group lays down a great mix of gospel-tinged, funky, bluesy rock.
I tried to find some more info on the origins of "Waiting on My Wings" on wikipedia, thinking it would have roots as a traditional gospel tune...and I found nothing. So we'll just assume it's an original by The Word.
Randolph's pedal steel absolutely smokes on this tune, Medeski's organ makes your guts vibrate, and the NMAS expertly handle the myriad of tempo changes. Plus you get to hear some electric washboard.
This is a smokin' jam indeed.
--Music is good.
Though I've never gotten to see The Word perform live, I've done stories on all three bands represented in the supergroup --keyboard giant John Medeski (of the avant garde jazz-funk trio Medeski, Martin and Wood) pedal steel phenom Robert Randolph (of Robert Radolph and the Family Band) and brothers Cody (drums) and Luther Dickinson (guitar) and Chris Chew (bass) who make up the trio: the North Mississippi Allstars.
The group formed just on the cusp of Randolph becoming all the rage of the jamband world in 2001. Randolph's amazing pedal steel prowess was formed by playing in the House of God church in New Jersey--so it only seems fitting that when be combined with Medeski and the NMAS that the supergroup would put a funky new spin on traditional gospel music.
The Word released their self-titled album in 2001 and it's a great instrumental record. If you've ever been to church, you're sure to recognize some songs like "At the Cross," and "I'll Fly Away" (I gave "I'll Fly Away" a nod back on Track 3 of ye old blog).
Though Randolph's energetic pedal steel playing takes center stage on most tracks, Medeski is a Hammond organ monster, and the NMAS prove to be a super-tight backing band--and the whole group lays down a great mix of gospel-tinged, funky, bluesy rock.
I tried to find some more info on the origins of "Waiting on My Wings" on wikipedia, thinking it would have roots as a traditional gospel tune...and I found nothing. So we'll just assume it's an original by The Word.
Randolph's pedal steel absolutely smokes on this tune, Medeski's organ makes your guts vibrate, and the NMAS expertly handle the myriad of tempo changes. Plus you get to hear some electric washboard.
This is a smokin' jam indeed.
--Music is good.
Friday, June 25, 2010
Track 58: "End of the Line" by the Traveling Wilburys
Well it's all right, remember to live and let live/well it's all right, the best thing you can do is forgive
When it comes to side-projects and collaborations, the collection of amazing talents in one put-together band will never be better, and possibly less handsome, than the Traveling Wilburys.
On their own, each member--Bob Dylan, Roy Orbison, Tom Petty, Jeff Lynne and George Harrison--account for some of the most influential musicians EVER in the history of rock and roll. The band released two albums together, oddly titled "Traveling Wilburys Volume 1" and "Volume 3" (not sure what happened to "Volume 2," perhaps the Wilburys were fans of prime numbers).
The band was done when Roy Orbison passed away in late 1988. And it's sort of hard for me to believe that I was 11 when "Handle with Care" and "End of the Line" were hits, but great songs are always timeless and they certainly stuck with me. In 2007, the group's two albums were re-released as "The Traveling Wilburys Collection" and it's an absolute must-have.
There's really not much more to say, other than enjoy this hot as hell Friday.
--Music is good
When it comes to side-projects and collaborations, the collection of amazing talents in one put-together band will never be better, and possibly less handsome, than the Traveling Wilburys.
On their own, each member--Bob Dylan, Roy Orbison, Tom Petty, Jeff Lynne and George Harrison--account for some of the most influential musicians EVER in the history of rock and roll. The band released two albums together, oddly titled "Traveling Wilburys Volume 1" and "Volume 3" (not sure what happened to "Volume 2," perhaps the Wilburys were fans of prime numbers).
The band was done when Roy Orbison passed away in late 1988. And it's sort of hard for me to believe that I was 11 when "Handle with Care" and "End of the Line" were hits, but great songs are always timeless and they certainly stuck with me. In 2007, the group's two albums were re-released as "The Traveling Wilburys Collection" and it's an absolute must-have.
There's really not much more to say, other than enjoy this hot as hell Friday.
--Music is good
Monday, June 21, 2010
Track 57: "Sitting Here in Limbo" by Jerry Garcia and David Grisman
Well, they're putting up resistance/but I know my faith will lead me on
Find your nearest Deadhead and ask if they have any bluegrass albums in their record collection. If the answer is "yes" I bet you a nickel it's the self-titled "Old and in the Way" album. The group that featured the Grateful Dead's Jerry Garcia, David Grisman, John Kahn, Peter Rowan and the late great Vassar Clements was "the" bluegrass album for Deadheads. It's some terrific bluegrass music and also the first of a handful of truly great albums by Jerry Garcia and David Grisman.
If you're a fan of either musician (or not for that matter) and haven't seen the documentary film "Grateful Dawg,"stop reading right now and watch it and then come back...
...so by now you would agree that me saying the documentary perfectly tells the story of the musical relationship between Jerry Garcia and David "Dawg" Grisman would be superfluous, redundant and unnecessary. The "Old and in the Way" album was released in 1975 and it would be over 25 years before Garcia and Grisman would collaborate again, but if you've ever heard any of the duo's music, it sounds like they played together every day over that quarter-century.
They released six-albums together (one being the soundtrack to "Grateful Dawg") and the vast array of music the two cover speaks infinitely of just how musically well-versed Garcia and Grisman were together. The albums in include bluegrass and folk standards, Miles Davis covers, old English sea shanties, and even children's music.
And I just do not get tired of hearing Garcia/Grisman take on Jimmy Cliff's "Sitting Here in Limbo." Garcia just sings the hell out of it, and when his guitar locks in with Grisman's mandolin you feel those notes right in your heart. The rhythm section from Grisman's quintet add just the right touches. Not a bad song for a Monday.
Find your nearest Deadhead and ask if they have any bluegrass albums in their record collection. If the answer is "yes" I bet you a nickel it's the self-titled "Old and in the Way" album. The group that featured the Grateful Dead's Jerry Garcia, David Grisman, John Kahn, Peter Rowan and the late great Vassar Clements was "the" bluegrass album for Deadheads. It's some terrific bluegrass music and also the first of a handful of truly great albums by Jerry Garcia and David Grisman.
If you're a fan of either musician (or not for that matter) and haven't seen the documentary film "Grateful Dawg,"stop reading right now and watch it and then come back...
...so by now you would agree that me saying the documentary perfectly tells the story of the musical relationship between Jerry Garcia and David "Dawg" Grisman would be superfluous, redundant and unnecessary. The "Old and in the Way" album was released in 1975 and it would be over 25 years before Garcia and Grisman would collaborate again, but if you've ever heard any of the duo's music, it sounds like they played together every day over that quarter-century.
They released six-albums together (one being the soundtrack to "Grateful Dawg") and the vast array of music the two cover speaks infinitely of just how musically well-versed Garcia and Grisman were together. The albums in include bluegrass and folk standards, Miles Davis covers, old English sea shanties, and even children's music.
And I just do not get tired of hearing Garcia/Grisman take on Jimmy Cliff's "Sitting Here in Limbo." Garcia just sings the hell out of it, and when his guitar locks in with Grisman's mandolin you feel those notes right in your heart. The rhythm section from Grisman's quintet add just the right touches. Not a bad song for a Monday.
Thursday, June 17, 2010
Track 56: "The Collins Missile" by Leo Kottke & Mike Gordon
But the Collins Missile broke before I got to use it/I couldn't find the fuse and the dials wouldn't turn/it seemed to lack the features that made me want to choose it
When Phish began a 26-month hiatus in October 2000, there were a lot of disappointed heady phans. But the band's members still made a great deal of music during that time with a bevy of side projects. Guitarist Trey Anastasio got the most attention with his own side band and as part the trio OysterHead with Les Claypool and Stewart Copeland. Keyboardist Page McConnell formed Vida Blue with Oteil Burbridge and Russel Batiste. Drummer Jon Fishman played with Pork Tornado and toured with the Jazz Mandolin Project. But bassist Mike Gordon's solo output trumped them all.
In those 26 months Mike "Cactus" Gordon release his directorial-debut film "Outside Out" and a solo record "Inside In" that was the film's soundtrack (and is a really cool, funky and odd record). He also directed the movie "Rising Low" which documented the recording of the amazing Gov't Mule album "The Deep End" (Gordon also played on the record, along with about two-dozen of the greatest bass players ever in rock, stay tuned and you might hear some it down the road).
But the absolute best thing the Phish hiatus ever produced was Gordon's collaboration with acoustic guitar wizard Leo Kottke. I first heard some of Kottke's solo stuff in college, on a barely-remembered trip down to Statesboro, GA to see some friends. (Kottke's album "6 and 12 String Guitar" is phenomenal and the track "Vaseline Machine Gun" is just awesome in both name and content).
So when Kottke and Gordon released the album "Clone" in 2002, my Phish-geek friends and I were excited. And after digesting "Clone" it was apparent Kottke's masterful finger-picking and Gordon's bass just seem like they were made for one another. Any Phish fan can tell you that Gordon is a tad off-center, and though I don't know enough about Kottke's bio to comment on it, I will say the name "Vaseline Machine Gun" may be a nod to an off-center personality as well.
But I can't say enough good things about this collaboration (their 2nd album "Sixty Six Steps" is also fantastic). A really warm, melodic sound (almost a tropical vibe), some great instrumental playing and healthy doses of eccentric and eclectic charm just makes it an absolute pleasure to listen to. Cool music and quite quirky. It's a fitting description.
I'll be honest and say Kottke and Gordon have better songs than "The Collins Missile," but this one is my favorite. But don't worry about the previous sentence making sense. Just enjoy what is easily the most geeky and awkward love song of all time.
My lyrical interpretation goes as follows: weirdo has fight with his lady, so he sets up his build-your-own-rocket and aims it her house as a sign of his affection.The missile doesn't work but weirdo feels his effort was at least enough, and hopes the lady will help bridge their gap. Two days later the rocket shoots off, and now it's for sure in the hands of the lady.
Again that's my interpretation, call me a hopeless romantic. Either that or it's the best super-geeky awkward break-up revenge song of all time...
When Phish began a 26-month hiatus in October 2000, there were a lot of disappointed heady phans. But the band's members still made a great deal of music during that time with a bevy of side projects. Guitarist Trey Anastasio got the most attention with his own side band and as part the trio OysterHead with Les Claypool and Stewart Copeland. Keyboardist Page McConnell formed Vida Blue with Oteil Burbridge and Russel Batiste. Drummer Jon Fishman played with Pork Tornado and toured with the Jazz Mandolin Project. But bassist Mike Gordon's solo output trumped them all.
In those 26 months Mike "Cactus" Gordon release his directorial-debut film "Outside Out" and a solo record "Inside In" that was the film's soundtrack (and is a really cool, funky and odd record). He also directed the movie "Rising Low" which documented the recording of the amazing Gov't Mule album "The Deep End" (Gordon also played on the record, along with about two-dozen of the greatest bass players ever in rock, stay tuned and you might hear some it down the road).
But the absolute best thing the Phish hiatus ever produced was Gordon's collaboration with acoustic guitar wizard Leo Kottke. I first heard some of Kottke's solo stuff in college, on a barely-remembered trip down to Statesboro, GA to see some friends. (Kottke's album "6 and 12 String Guitar" is phenomenal and the track "Vaseline Machine Gun" is just awesome in both name and content).
So when Kottke and Gordon released the album "Clone" in 2002, my Phish-geek friends and I were excited. And after digesting "Clone" it was apparent Kottke's masterful finger-picking and Gordon's bass just seem like they were made for one another. Any Phish fan can tell you that Gordon is a tad off-center, and though I don't know enough about Kottke's bio to comment on it, I will say the name "Vaseline Machine Gun" may be a nod to an off-center personality as well.
But I can't say enough good things about this collaboration (their 2nd album "Sixty Six Steps" is also fantastic). A really warm, melodic sound (almost a tropical vibe), some great instrumental playing and healthy doses of eccentric and eclectic charm just makes it an absolute pleasure to listen to. Cool music and quite quirky. It's a fitting description.
I'll be honest and say Kottke and Gordon have better songs than "The Collins Missile," but this one is my favorite. But don't worry about the previous sentence making sense. Just enjoy what is easily the most geeky and awkward love song of all time.
My lyrical interpretation goes as follows: weirdo has fight with his lady, so he sets up his build-your-own-rocket and aims it her house as a sign of his affection.The missile doesn't work but weirdo feels his effort was at least enough, and hopes the lady will help bridge their gap. Two days later the rocket shoots off, and now it's for sure in the hands of the lady.
Again that's my interpretation, call me a hopeless romantic. Either that or it's the best super-geeky awkward break-up revenge song of all time...
Monday, June 14, 2010
Track 55: "Spirit of the Radio" by Rush
All this machinery making modern music can still be open-hearted/not so coldly charted it's really just a question of your honesty, yeah your honesty
I could have easily thrown this Rush track out there during repeat artist week a few Tracks ago, but I'm glad I didn't. Because after seeing the Rush documentary, "Beyond the Lighted Stage," last week I was so pleasantly reminded about what an insanely awesome band Rush is.
The movie played one night only across the country and I had to go to Kennesaw, GA of all places (the only theater in Atlanta showing it for some reason) to see it. I can unequivocally say this is the best doc I've ever seen about a rock band, utterly fantastic, and it made me fall in love with Rush all over again.
It was a pretty interesting crowd, lots of overweight middle-aged dudes in black Rush tour t-shirts, a smattering of younger folks and a handful of ladies (the chicks don't dig the Rush too much). But the film was such a cool, extremely well-done testament to the greatest cult band of all time.
There were lots of testimonials from famous musicians--Les Claypool, Jack Black, Gene Simmons, and Kirk Hammet--all espousing the musical brilliance of this band. I don't even know what else to say other than watch this trailer for the film:
Unfortunately two of my best Rush-geek friends had prior engagements and were unable to attend. But I did get to see the movie with Creative Circus Advertising Department Head, my former teacher, mentor, and all around cool guy Dan Balser. On the long ride to Kenensaw we got to catch up and share stories of how we got introduced to Rush.
Dan told me he heard "Spirit of the Radio" for the first time on the radio in 1984 and had to pull over and listen to the song because he was so blown away. So track 55 is for you, Dan!
This version is from the "Rush in Rio" concert DVD . And coming soon to a pretentious, under-read music blog near you: my favorite side-project/collaboration songs.
--Music is good.
I could have easily thrown this Rush track out there during repeat artist week a few Tracks ago, but I'm glad I didn't. Because after seeing the Rush documentary, "Beyond the Lighted Stage," last week I was so pleasantly reminded about what an insanely awesome band Rush is.
The movie played one night only across the country and I had to go to Kennesaw, GA of all places (the only theater in Atlanta showing it for some reason) to see it. I can unequivocally say this is the best doc I've ever seen about a rock band, utterly fantastic, and it made me fall in love with Rush all over again.
It was a pretty interesting crowd, lots of overweight middle-aged dudes in black Rush tour t-shirts, a smattering of younger folks and a handful of ladies (the chicks don't dig the Rush too much). But the film was such a cool, extremely well-done testament to the greatest cult band of all time.
There were lots of testimonials from famous musicians--Les Claypool, Jack Black, Gene Simmons, and Kirk Hammet--all espousing the musical brilliance of this band. I don't even know what else to say other than watch this trailer for the film:
Unfortunately two of my best Rush-geek friends had prior engagements and were unable to attend. But I did get to see the movie with Creative Circus Advertising Department Head, my former teacher, mentor, and all around cool guy Dan Balser. On the long ride to Kenensaw we got to catch up and share stories of how we got introduced to Rush.
Dan told me he heard "Spirit of the Radio" for the first time on the radio in 1984 and had to pull over and listen to the song because he was so blown away. So track 55 is for you, Dan!
This version is from the "Rush in Rio" concert DVD . And coming soon to a pretentious, under-read music blog near you: my favorite side-project/collaboration songs.
--Music is good.
Friday, June 11, 2010
Track 54: "All Along the Watchtower" Dave Matthews Band covering Bob Dylan
But you and I have been through that, and this is not our fate/so let us not talk falsely now, the hour is getting late
Capping off a run of Bob Dylan covers, it would be an egregious error of any pretentious blogger not to include "All Along the Watchtower" on an Ultimate Playlist.
And though I have no scientific evidence to support this claim, I think it's safe to say that "All Along the Watchtower" is easily the most covered song in music. Ever. The list of bands that have covered this tune include include Jimi Hendrix, the Grateful Dead, Pearl Jam, U2, Neil Young, Taj Mahal, the Indigo Girls, Richie Havens and my favorite band from my high school years the late Sourwood Honey. (I'm sure that list barely scratches the surface).
Sure, Hendrix's version trumps them all, but I have to give a nod to the way the Dave Matthews Band interprets this song. (And yes, I do like DMB in small doses). "All Along the Watchtower" is pretty much a guaranteed staple at any DMB show (I know I've seen it performed every time in the handful of shows I've seen). And though I think it's a little lame to perform the same song for every encore, the band absolutely kills this tune.
I first saw DMB at the gymnasium at The Citadel in Charleston, SC during my high school spring break in 1995 (one of the best vacations I've ever had) and of course the band encored with "All Along the Watchtower." That summer, maybe three months later, the band did its first amphitheater tour. You Tube displays 534 results when I searched for DMB doing "All Along the Watchtower," but I only had one version in my mind--the best I've ever heard this band do. This version appears of 1994 "Recently" EP." Released before the group was one of the biggest bands in the world, this version is awesome. You can tell it was recorded in a small club, when the DMB was a young, hungry band--a decade before they were rich enough to just casually dump their tour bus sewage tank on unsuspecting tourists in Chicago. http://tinyurl.com/38hq7of
Capping off a run of Bob Dylan covers, it would be an egregious error of any pretentious blogger not to include "All Along the Watchtower" on an Ultimate Playlist.
And though I have no scientific evidence to support this claim, I think it's safe to say that "All Along the Watchtower" is easily the most covered song in music. Ever. The list of bands that have covered this tune include include Jimi Hendrix, the Grateful Dead, Pearl Jam, U2, Neil Young, Taj Mahal, the Indigo Girls, Richie Havens and my favorite band from my high school years the late Sourwood Honey. (I'm sure that list barely scratches the surface).
Sure, Hendrix's version trumps them all, but I have to give a nod to the way the Dave Matthews Band interprets this song. (And yes, I do like DMB in small doses). "All Along the Watchtower" is pretty much a guaranteed staple at any DMB show (I know I've seen it performed every time in the handful of shows I've seen). And though I think it's a little lame to perform the same song for every encore, the band absolutely kills this tune.
I first saw DMB at the gymnasium at The Citadel in Charleston, SC during my high school spring break in 1995 (one of the best vacations I've ever had) and of course the band encored with "All Along the Watchtower." That summer, maybe three months later, the band did its first amphitheater tour. You Tube displays 534 results when I searched for DMB doing "All Along the Watchtower," but I only had one version in my mind--the best I've ever heard this band do. This version appears of 1994 "Recently" EP." Released before the group was one of the biggest bands in the world, this version is awesome. You can tell it was recorded in a small club, when the DMB was a young, hungry band--a decade before they were rich enough to just casually dump their tour bus sewage tank on unsuspecting tourists in Chicago. http://tinyurl.com/38hq7of
Tuesday, June 8, 2010
Track 53: "Don't Think Twice it's All Right" Susan Tedeschi covering Bob Dylan
I ain’t sayin’ you treated me unkind/You could have done better but I don’t mind/You just kinda wasted my precious time/But don’t think twice, it’s all right
Another great one in the Bob Dylan cover song genre...
I credit my fascination with slide guitar giant Derek Trucks to introducing me to Susan Tedeschi, who also happens to be Mrs. Derek Trucks.
They met while Tedeschi's band dis a tour opening for the Allman Brothers Band (Derek has been in the ABB for pretty much this entire decade, and his uncle, Butch,is the band's founding drummer) and are likely the most musically talented married couple alive (now that Britney and K-Fed are finito, of course). But I've been lucky enough to see the two share the stage a couple of times together, and it's really magic. Derek Trucks is easily the best young guitarist alive right now and Tedeschi's old-soul, Southern-fried bluesy voice is nothing short of perfect. They have a sort of side-project together, The Soul Stew Revival (which features Derek's younger brother, Duane, on drums on occasion) and I sincerely wish they'd make a Soul Stew Revival album.
But Tedeschi is uber-accomplished in her own right and I'm just beginning to venture into her solo stuff. Her version of "Angel from Montgomery" is superb. But when I stumbled across her "Live from Austin City Limits" album and this cover of Bob Dylan's "Don't Think Twice it's All Right," I was sold.
Only Bob Dylan could write lyrics this scathing and turn them into such an endearing song. Of course, Susan Tedeschi's voice just makes it all the more gorgeous. And big ups to Johnny Cash's version as well.
Another great one in the Bob Dylan cover song genre...
I credit my fascination with slide guitar giant Derek Trucks to introducing me to Susan Tedeschi, who also happens to be Mrs. Derek Trucks.
They met while Tedeschi's band dis a tour opening for the Allman Brothers Band (Derek has been in the ABB for pretty much this entire decade, and his uncle, Butch,is the band's founding drummer) and are likely the most musically talented married couple alive (now that Britney and K-Fed are finito, of course). But I've been lucky enough to see the two share the stage a couple of times together, and it's really magic. Derek Trucks is easily the best young guitarist alive right now and Tedeschi's old-soul, Southern-fried bluesy voice is nothing short of perfect. They have a sort of side-project together, The Soul Stew Revival (which features Derek's younger brother, Duane, on drums on occasion) and I sincerely wish they'd make a Soul Stew Revival album.
But Tedeschi is uber-accomplished in her own right and I'm just beginning to venture into her solo stuff. Her version of "Angel from Montgomery" is superb. But when I stumbled across her "Live from Austin City Limits" album and this cover of Bob Dylan's "Don't Think Twice it's All Right," I was sold.
Only Bob Dylan could write lyrics this scathing and turn them into such an endearing song. Of course, Susan Tedeschi's voice just makes it all the more gorgeous. And big ups to Johnny Cash's version as well.
Sunday, June 6, 2010
Track 52: "Girl from the North Country" Sam Bush covering Bob Dylan
If you go where the snowflakes storm/where the rivers freeze and the summer ends/see for me she has a coat so warm/to keep her from the howling winds
Continuing the theme of some of my favorite musicians covering Bob Dylan and the plethora of bluegrass tunes I've been doing lately (I told you I love bluegrass in the spring!)...
Sam Bush makes his second appearance on the Ultimate Playlist (see Track 49) with an amazing cover of Bob Dylan's "Girl from the North Country." The original version lives on the record "The Freewheelin' Bob Dylan" and there's a great version where Bob Dylan and Johnny Cash do a duet of the tune on Dylan's "Nashville Skyline" album. But it was Sam Bush that introduced me to the song.
Bush was one of the first 'big' stories I did as a fledgling freelancer, and he really helped introduce me to a world of bluegrass that I would begin to love. The dude's been playing mandolin and fiddle since he was a kid and has been a major player in whole "newgrass" genre since he was a teenager. He was a co-founder of Newgrass Revival, a band that opened for the Grateful Dead on occasion, also featured banjo giant Bela Fleck, and basically helped introduce traditional bluegrass to the brave new world. He pops up on a lot of my favorite bluegrass records by folks like Bela Fleck and Tony Rice
Learn more about Sam Bush here: http://tinyurl.com/32m8c5k
Though the freelancing gig was extremely low paying, it did have its perks in lots of free CDs and lots of free concerts. And Bush's "Peaks of Telluride" CD was one of my first favorites. It's a live album, compiled from Bush's numerous visits to the famed Telluride Bluegrass festival. Again, it's a testament to what two dudes with two chunks of wood can do. Dobro-god Jerry Douglas really adds a lot of color to this song, with some mighty fine pickin' and a singin' from Mr. Sam Bush. And of course it doesn't hurt to start with a masterful blueprint from Bob Dylan.
--Music is good
Continuing the theme of some of my favorite musicians covering Bob Dylan and the plethora of bluegrass tunes I've been doing lately (I told you I love bluegrass in the spring!)...
Sam Bush makes his second appearance on the Ultimate Playlist (see Track 49) with an amazing cover of Bob Dylan's "Girl from the North Country." The original version lives on the record "The Freewheelin' Bob Dylan" and there's a great version where Bob Dylan and Johnny Cash do a duet of the tune on Dylan's "Nashville Skyline" album. But it was Sam Bush that introduced me to the song.
Bush was one of the first 'big' stories I did as a fledgling freelancer, and he really helped introduce me to a world of bluegrass that I would begin to love. The dude's been playing mandolin and fiddle since he was a kid and has been a major player in whole "newgrass" genre since he was a teenager. He was a co-founder of Newgrass Revival, a band that opened for the Grateful Dead on occasion, also featured banjo giant Bela Fleck, and basically helped introduce traditional bluegrass to the brave new world. He pops up on a lot of my favorite bluegrass records by folks like Bela Fleck and Tony Rice
Learn more about Sam Bush here: http://tinyurl.com/32m8c5k
Though the freelancing gig was extremely low paying, it did have its perks in lots of free CDs and lots of free concerts. And Bush's "Peaks of Telluride" CD was one of my first favorites. It's a live album, compiled from Bush's numerous visits to the famed Telluride Bluegrass festival. Again, it's a testament to what two dudes with two chunks of wood can do. Dobro-god Jerry Douglas really adds a lot of color to this song, with some mighty fine pickin' and a singin' from Mr. Sam Bush. And of course it doesn't hurt to start with a masterful blueprint from Bob Dylan.
--Music is good
Wednesday, June 2, 2010
Track 51: "Tomorrow is a Long Time" Nickel Creek covering Bob Dylan
There is beauty in that silver singing river/there is beauty in that sunrise in the sky/but none of these and nothing else can touch the beauty/that I remember in my true love's eyes.
I should probably listen to more Bob Dylan. Much the same way a devout Catholic should read The Bible more frequently. Or how a serious NASCAR fan just can't seem to have enough decals of Calvin urinating on a Ford logo right all over his truck's windows.
But what's pretty cool is how many of my favorite bands and musicians will throw a Bob Dylan cover out every now and then, so I guess it evens out.
I came across Nickel Creek through my hand-to-mouth freelance journalism days and immediately fell for this band. The three prodigious talents--brother/sister Sean (guitar) and Sara (violin) Watkins and Chris Thile (mandolin)--were all reared in traditional bluegrass. They can absolutely pick and have terrific voices that combine for some overwhelming harmonies. They've played Bonnaroo, had videos on Country Music Television, and even have a Pavement cover song in their arsenal--so their mix of bluegrass, folk, and pop really has a broad appeal. And of course it doesn't hurt that they all are quite attractive.
--shameless article plug: http://tinyurl.com/33893q4--
Nickel Creek could easily have a few songs fitting of my recent bluegrass instrumental kick, they certainly have more Playlist-worthy songs as well, but their cover of Dylan's "Tomorrow is a Long Time" just floors me. The song's off their last (for now?) album "Why Should the Fire Die?" album and honestly was the first time I'd ever heard this Bob Dylan song. It just proves what an amazing lyricist Dylan was for writing lyrics that make you want to pull your heart out of your chest and take a bite because the words are so moving. And Nickel Creek owns it. It's gorgeous. The playing and Sara Watkin's voice both make my special place tingle in the best way.
Forgive the cheesy video, but I think it's funny that it was made by Faye-tastic Films. Though I'm confident the amazing woman who raised me to be the blogger you are currenty reading has no knowledge of what entails uploading a video to You Tube. But Faye-tastic is pretty awesome.
The band's last tour in 2007 was called "Farewell for Now," and there's been some solo stuff out from all three members--check out Chris Thile's new group The Punch Brothers, really cool stuff--but here's to hoping Nickel Creek play again.
--Music is good
I should probably listen to more Bob Dylan. Much the same way a devout Catholic should read The Bible more frequently. Or how a serious NASCAR fan just can't seem to have enough decals of Calvin urinating on a Ford logo right all over his truck's windows.
But what's pretty cool is how many of my favorite bands and musicians will throw a Bob Dylan cover out every now and then, so I guess it evens out.
I came across Nickel Creek through my hand-to-mouth freelance journalism days and immediately fell for this band. The three prodigious talents--brother/sister Sean (guitar) and Sara (violin) Watkins and Chris Thile (mandolin)--were all reared in traditional bluegrass. They can absolutely pick and have terrific voices that combine for some overwhelming harmonies. They've played Bonnaroo, had videos on Country Music Television, and even have a Pavement cover song in their arsenal--so their mix of bluegrass, folk, and pop really has a broad appeal. And of course it doesn't hurt that they all are quite attractive.
--shameless article plug: http://tinyurl.com/33893q4--
Nickel Creek could easily have a few songs fitting of my recent bluegrass instrumental kick, they certainly have more Playlist-worthy songs as well, but their cover of Dylan's "Tomorrow is a Long Time" just floors me. The song's off their last (for now?) album "Why Should the Fire Die?" album and honestly was the first time I'd ever heard this Bob Dylan song. It just proves what an amazing lyricist Dylan was for writing lyrics that make you want to pull your heart out of your chest and take a bite because the words are so moving. And Nickel Creek owns it. It's gorgeous. The playing and Sara Watkin's voice both make my special place tingle in the best way.
Forgive the cheesy video, but I think it's funny that it was made by Faye-tastic Films. Though I'm confident the amazing woman who raised me to be the blogger you are currenty reading has no knowledge of what entails uploading a video to You Tube. But Faye-tastic is pretty awesome.
The band's last tour in 2007 was called "Farewell for Now," and there's been some solo stuff out from all three members--check out Chris Thile's new group The Punch Brothers, really cool stuff--but here's to hoping Nickel Creek play again.
--Music is good
Subscribe to:
Posts (Atom)