Tag: Music

Possible Return of CBGB

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“CBGB and OMFUG: Thirty Years from the Home of Underground Rock” (“Harry N. Abrams, Inc.”)

Cool, if it works out. The founder of CBGB, Hilly Kristal, has died, and his former wife, Karen, is disputing ownership. She probably just wants a percentage, doesn’t sound like she has any plan to try to reopen the club on her own.

The notorious urinal that served patrons of the famed New York rock club CBGB for 33 years now sits retired in a basement in Manhattan’s posh SoHo district.

Plucked from the graffiti-covered walls when the club closed in 2006, the urinal is among several CBGB artifacts — such as the gritty “CBGB & OMFUG” awning that hung over 315 Bowery and a phone booth covered with punk-rock band stickers — donated to the Rock and Roll Hall of Fame Annex NYC, which opened its doors last week.

The donation is just one step taken by entrepreneurial group CBGB Holdings LLC to revive the brand and transform it once more into a money-making business — without jeopardizing its counter-culture past.

Last month, the group struck a distribution deal with Bravado, a Universal Music Group company that markets rock-themed merchandise around the world, to help sell millions of CBGB T-shirts. Next summer, the Vans Warped Tour music festival will showcase an interactive CBGB exhibit.

These deals were crafted by two men who believe there’s life after death for the landmark venue: James Blueweiss, a marketer who began advising the club a year before it closed, and Robert Williams, a veteran of the retail music business who helped open HMV stores around the world. The two attracted capital from angel investors and paid $3.5 million for the rights to the CBGB brand in 2008. Their company, CBGB Holdings, owns all intellectual property, domestic and international trademarks, copyrights, video and audio libraries, ongoing apparel business, Web site and physical property of the original club.

[From The Return of Rock? – WSJ.com]
[non-WSJ subscribers use this link]

I never lived in New York, but I have gone to a couple of shows there, and yes, it was a bit of a dive. So many famous groups played there that CBGB will always be part of rock music history.

Horsies – Noam Chomsky

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httpv://www.youtube.com/watch?v=gktRTuhehOA

Boy, does watching this video take me back. I saw the Horsies a few times that year. Not the best sound quality, but good enough to groove too.

The Horsies recorded live in Austin, Texas – January 18th, 1993

httpv://www.youtube.com/watch?v=Ja9miieLOgo

A bunch more related videos from the so-called Austin Slacker years are linked to at Metafilter. Missing a couple of favorites (2 Nice Girls, for instance), but a pretty representative sample.

Kassin +2 Touring

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“Futurismo” (Kassin + 2)

Hitting the Old Town School of Folk here in the Big Potato, and other places too

December 13, 2008
Old Town School of Folk
Chicago, IL

Kassin + Domenico + Moreno = The Plus 2’s, LIVE!!!
For the past few years, Kassin has been one of the most exciting names in Brazilian music. From his Monoaural Studio in Gavea he has produced records by singers like Marisa Monte and Bebel Gilberto and made an album from the bleeps of a Gameboy. He has played bass for Caetano Veloso’s live shows and masterminded the Orchestra Imperial project, in which samba classics are given a modern twist by a loose and ever-expanding live band. And given his status as a leader of Brazil’s musical avant-garde, the biggest surprise from the +2’s latest release, Futurismo, which Kassin wrote and produced, is its bossa-rooted accessibility.

Back to FUTURISMO
The tracks on Futurismo are melodic gems. They were written at different periods in Kassin’s life and recorded quickly, mostly on acoustic instruments with electronic flourishes added later. Fellow band members Moreno Veloso and Domenico Lancelott join Kassin for the live presentation of these songs.

Kassin told Yahoo’s Spinner blog: “The tour will be based on the last album (Futurismo) with parts of the previous 3 albums we have along with the new material we are writing. We have many new songs and have been playing this new material live. We are enjoying our lives a lot these days and we are pretty excited to go back to the USA.”

[From Welcome to Luaka Bop]

Sounds interesting, but not sure if I’ll be in town to see them. Bummer.

The Name of This Band is Talking Heads

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Another Quickie review1


The Name of This Band is Talking Heads

Awesome, if you like Adrian Belew’s electric guitar caterwauling on top of Talking Head classics. To be fair, only on a few tracks. Three thumbs up2

All the tempos have been quickened, and the rhythm section locks in. I posted some YouTube footage from this tour a while ago, the files might still be accessible.

Extended to 33 songs from the original release, spanning 2 hours and 36 minutes of funk, Afro-pop, and quirkiness.

Sean Westergaard of AllMusic writes:

The sound is crisp and clear, with tight drumming, a great punchy bass sound, and clearly separated guitars that allow you to really hear what complementary (and fine) players David Byrne and Jerry Harrison were. Byrne is the über-geek with a totally unique delivery (especially on tracks like “Who Is It?,” “Artists Only,” and “Stay Hungry,” not to mention his nervous stage announcements), but they all play with the raw energy of a young band on the way up. The bonus tracks are all excellent. There is no sense whatsoever that they were simply padding things for a longer running time, and it’s just great hearing live versions of songs like “Mind” (with extended guitar solo), “The Big Country,” and “The Book I Read” that have never been readily available in live form.

As fantastic as the first disc is, the second one is perhaps even more exciting. The expanded band (ten musicians and two backup singers) is amazing, not only adding power and punch to the Remain in Light material, but in most cases surpassing the studio versions (no mean feat). These live versions of “The Great Curve,” “Houses in Motion,” and “Crosseyed and Painless (all prominently featuring Adrian Belew) are nearly worth the price of admission alone, but the bonus tracks here are just as exciting. The original release had no overlapping songs on the two LPs, with the large version of the band sticking solely to tunes from Remain in Light and Fear of Music. Now you’re treated to arrangements of “Psycho Killer,” “Stay Hungry,” and “Warning Sign” as performed by the expanded lineup, not to mention live versions of “Animals,” “Cities,” and “Born Under Punches (The Heat Goes On).” The band is on fire throughout the performances, and fans of Belew’s guitar playing will practically be giddy with ecstasy. These are some of his finest performances strictly as a guitarist, and although Remain in Light was the only studio album he played on, he beautifully adds his own touches to “Stay Hungry” and especially “Psycho Killer.” Byrne also contributes some cool guitar, sometimes using a great delay sound, and again, the clear separation of instruments lets you really hear the details.

Footnotes:
  1. for Musebin [↩]
  2. umm, well, two thumbs, and your neighbor’s thumb too for good measure, because you will probably want to play this album with the volume turned way up [↩]

Stars of Track and Field

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“If You’re Feeling Sinister” (Belle & Sebastian)

For some reason, I was humming this song when I awoke today. Probably related to some now forgotten dream, but am passing it along for you to decipher.

httpv://www.youtube.com/watch?v=nIF8n5-hbrg

The lyrics are something like:

Make a new cult every day to suit your affairs

Kissing girls in english, at the back of the stairs

You’re a honey, with a following of innocent boys

They never know it

Because you never show it

You always get your way

They never know it

Because you never show it

You always get your way



Have you and her been taking pictures of your obsessions?

Because I met a [boy] who went through one of your sessions

In his blue velour and silk

You liberated

A boy I never rated

And now he’s throwing discuss

For Liverpool and witness

You liberated

A boy I never rated

And now he’s doing business



The stars of track and field, you are

The stars of track and field, you are

The stars of track and field are beautiful people



Could I write a piece about you now that youve made it?

About the hours spent, the worldliness in your training

You only did it so that you could wear

Your terry underwear

And feel the city air

Run past your body



Could I write a requiem for you when you’re dead?

“She had the moves, she had the speed, it went to her head

She never needed anyone to get her round the track

But when she’s on her back

She had the knowledge

To get her into college

But when she’s on her back

She had the knowledge

To get her what she wanted”

The stars of track and field, you are

The stars of track and field, you are

The stars of track and field are beautiful people

Ethiopiques 19

Seth Anderson1 Comment

Another Quickie review


“Ethiopiques 19” (Ethiopiques (Buda Series), Mahmoud Ahmed)

I don’t have every album in this series1 , but every CD except one has been a great addition to my African music library. My favorite song on this album, called Tezeta, has a simply stunning bass line, along with a moody vocal, sort of like a Hazzan2, though in Ethiopian. Great sax too.

Tezeta means nostalgia, a bittersweet longing for the past, btw, and is a frequent song subject. In fact, there is an entire Ethiopiques album devoted to it.

Footnotes:
  1. estimate without counting that I’ve picked up slightly more than half of the 23 titles, mostly from my pals at Aquarius Records in San Francisco [↩]
  2. cantor [↩]

Forca Bruta

Seth Anderson0 comment

Another Quickie Review


“Forca Bruta” (Jorge Ben)

The guitar rhythms circle around a moving middle, makes me move my belly button in concentric ovals in my chair. Huge thumbs up.
From the Amazon blurb

First time on CD in the US – and first time in the world in over 15 years! A groundbreaking album from the young Jorge Ben – one of Brazil’s most soulful singers ever – heard here at a pivotal point in his career! Forca Bruta is a record forever transformed Brazilian music with its unique blend of samba and soul – and it features some tremendous rhythm work from Trio Mocoto – who bring in a wide variety of percussion techniques to make the whole thing groove. There’s an earthy, laidback feel to the whole set – one that makes the album feel like a spontaneous expression of genius, even at the few points when larger orchestrations slide into the mix. The album’s easily one of Jorge Ben’s greatest – and it’s a much-heralded Brazilian treasure that’s finally getting reissued!

Musebin sounds cool

Seth Anderson6 Comments

I requested a beta invitation to Musebin.

Musebin wants music reviewers to cut to the chase, big-time. Never mind that girl you made a mix for in high school. Other music fans want to know what you think, and they want it now. In 140 characters or less.

Musebin is a response to technology-related shifts in music criticism. Like Twitter, it limits each album review to a single, 140-character line. And like Reddit, it allows users to rate those reviews up or down using Yea or Nay buttons. The result: a fresh and compelling way to share opinions and be entertained while discovering music.
“It’s a reaction to the wordy, wordy MP3 blogs and people craving really concise content,” explained Musebin COO Adam Varga.

[From Musebin: Twitter-Style Music Reviews with Reddit-Style Ratings | Listening Post from Wired.com]

CDs shelf one

Sounds perfect for me – I’m fairly reticent here on my blog, I’ve used Twitter long enough to be familiar with the medium and its restrictions, and I’m a big consumer of music.

I’m probably going to start practicing here whether I get a beta invite or not, so be prepared for a plethora of short, succinct reviews of albums. Kind of a tune-up for all those best of year lists that are going to start appearing.

RIP Mitch Mitchell

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“Jimi Hendrix: Live at Monterey” (Experience Hendrix)

By now you’ve probably heard that former Jimi Hendrix Experience drummer Mitch Mitchell has died. The Criterion Collection blog mentions an interesting factoid:

Mitch Mitchell, the inimitable drummer featured in all of the Jimi Hendrix material in Monterey Pop, died this week at age sixty-one. A one-of-a-kind player, Mitchell was the perfect foil for Hendrix and integral to the sound of the Jimi Hendrix Experience. His roiling, explosive approach was a rhythmic analogue to Jimi’s redefinition of the guitar.

For the Monterey Pop Criterion release, we had a hell of a time trying to re-create that huge drum sound from the studio records. The great remote recordist at Monterey, Wally Heider, did a valiant job just trying to get anything on tape. The seven-track master we had to work with had mics being moved and repatched in the middle of songs. Drums were an afterthought to the vocals and guitar, so legendary engineer Eddie Kramer had to build much of the drum sound from bass player Noel Redding’s open vocal mic!

[From On Five: The Criterion Collection Blog]


“Are You Experienced?” (The Jimi Hendrix Experience)

The three first Jimi Hendrix albums1 are essential to any self-respecting rock snob’s music library.

Footnotes:
  1. Electric Ladyland is my favorite of the three, but Are You Experienced and Axis : Bold as Love are almost as good [↩]

Louis Armstrong and Johnny Cash

Seth Anderson2 Comments


“The Johnny Cash Show: The Best of Johnny Cash 1969-1971” (Michael B Borofsky)

I feel strongly that Louis Armstrong was one of the foremost geniuses of the 20th Century. Not just for the jazz world, or the music world, but in every aspect, Louis Armstrong accords respect as an innovator, and creator of themes emulated, copied and echoed by others. A genius, in other words.

I would have never guessed, but Louis Armstrong was a guest on the Johnny Cash Show. This and the story about Satchmo and Jimmie Rogers show how diverse musical tastes these men had and once again that music is a great connector.

This is from episode 38, Oct., 28, 1970 and must be one of Satchmo’s last performances. He was such a great performer right to the end and the Nashville audience and Johnny just loved him.

Louis Armstrong cracks everybody up at the start of the song: Let’s give it to ’em in black and white.

THIS AND OTHER GREAT PERFORMANCES ARE NOW AVAILABLE ON A 2-DVD-SET “BEST OF THE JOHNNY CASH TV SHOW”

httpv://www.youtube.com/watch?v=wqc209-rwNI

Jason Kottke links to this Paris Review sampler of some of Louis Armstrong’s visual art:

When not pressing the valves on his trumpet or the record button on his tape recorder, Armstrong’s fingers found other arts with which to occupy themselves. One of them was collage, which became a visual outlet for his improvisational genius. The story goes that he did a series of collages on paper and tacked them up on the wall of his den, but Lucille, who had supervised the purchase and interior decoration of their house in Corona, Queens, objected. Armstrong decided to use his extensive library of tapes as a canvas instead, and the result is a collection of some five hundred decorated reel-to-reel boxes, one thousand collages counting front and back. The collages feature photographs of Armstrong with friends (like the snapshot captioned “Taken at Catherine and Count Basie’s swimming pool, at his birthday party, August 1969”) and with fans (Armstrong seems never to have refused a photo op or an autograph); congratulatory telegrams and clippings from reviews of his performances; a blessing from the Vatican (as reassembled by Louis, the first lines read: “Mr. and Mrs. Most Holy Father Louis Armstrong”); and cutouts from packages of Swiss Kriss herbal laxatives, which, judging from the label’s ubiquity in these pieces, were as much a staple of Armstrong’s daily life as playing the horn. Only occasionally do the collages indicate the musical content within; usually there is no correlation. Armstrong made generous use of various kinds of adhesive tape not only to attach images to each box but also to laminate, frame, or highlight them. The works are untitled and undated, but he was making them as early as the 1950s; in a letter from 1953 he wrote, “Well, you know, my hobbie (one of them anyway) is using a lot of scotch tape . . . My hobbie is to pick out the different things during what I read and piece them together and [make] a little story of my own.”

[Click to read more of The Paris Review – Reel to Reel]

and we posted this a year or so ago…

As mentioned on a Bob Dylan XM radio broadcast, Louis Armstrong appeared in a Betty Boop short.
httpv://www.youtube.com/watch?v=vVIb72b12OI

One of the classic Depression-era musical cartoons created by Max and Dave Fleischer. Satchmo’s soundtrack obviously inspires the artists – even if the visuals aren’t in any way “politically correct” 70-plus years later.

Yes, besides the wince-inducing racism, this piece is a great meld of Fleischer brothers cartoon, live action of Louis Armstrong’s crack jazz band of the 20s and 30s – The Hot Fives and Sevens, and Mr. Armstrong’s floating head.


“The Complete Hot Five and Hot Seven Recordings” (Louis Armstrong)

Jimmie Rodgers and Johnny Cash are important musical icons too, any fledgling musical historian should own multiple albums by both, but Louis Armstrong transcends them.

Brighten the Corners Reissued

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“Brighten the Corners: Nicene Creedence Edition” (Pavement)

Matador Records is re-issuing Brighten the Corners, Pavement’s penultimate album, with a second disc of goodies, and more.

Our latest edition of Buy Early Get Now is perennial favorite, Pavement’s classic album Brighten The Corners!

Buy Early Get Now and receive the 2 CD deluxe edition in an embossed and die-cut slipcase, with a 62-page perfect-bound book AND a stream of the album, two bonus tracks and a whole vinyl LP containing an unreleased live show. That’s right. A free LP if you Buy Early Get Now. The bonus live LP was recorded during the first Brighten tour and scheduled for release as OLE-324 in July 1998, but was then shelved… until now.

[From Matador Records ]

I assume this bonus LP will eventually be released in the future in other formats, but maybe not.1

Pavement is intertwined with my memories of the 1990s, they were by far my favorite contemporary band, eclipsing even the mighty Sonic Youth who had already started their decline by then. Pavement rewards multiple, concentrated listening, their lyrics were comprised of obtuse bits of American indie subculture, and whatever else was on our bookshelves. In my own iTunes rating scheme five songs are classics, 4 star songs that are always included on my iPod2.

Clicking around to read contemporary reviews of the album, stumbled on this gem from Pitchfork. I imagine the reviewer3 smoking a big bowl of something interesting, and then being unable to write anything coherent about an album he loved, but still typing something anyway on his laptop. Err, or something. I simply don’t know what you are implying.

Still shocking the music world with their wacky, off-kilter brand of music, Pavement come back hard in 1997 with Brighten The Corners. Having never released an album that was even remotely bad, Pavement continue to awe with songs like “Shady Lane” and “We are Underused.” Yeah, it’s a fact. Stephen Malkmus and company pretty much got it goin’ on.

When this disc opens with “Stereo,” you’re immediately compelled to grin. And grin you do. For the duration of the album. A natural high, the tracks roll on. “Transport is Arranged,” “Date With Ikea,” “Old to Begin.” Each one somehow ultimately more awesome than the last. Stuck in a joyous stupor, your only option is to go limp and let the music move you.

Luckily, the disc ends and after a few minutes of continued incapacitation and twitching, you’re able to move again. Best not put it on repeat.

Actually, Robert Christgau wasn’t much deeper in his rave:

Brighten the Corners [Matador, 1997]

Mature or die is the whole of the law. So of course there’s no longer much insurgency in their ill-mannered sounds, now deployed to serenade a self-sustaining subculture and celebrate a band’s collective success. Moderate tempos that once breathed psychedelic wooze turn reflective if not thoughtful as lyrics reference the material emoluments of middle-class life. Yet it’s still exciting, because it isn’t dragged under by the nagging disappointments that generally dull such music (and security). As convinced ironists, Pavement never expected anything else. Closure is a chimera–they’ll drink to that. Onetime insurgent Thelonious Monk–they’ll drink to him, too. A man known for his brilliant corners. A

At least neither reviewer4 uses the word, angular.

Footnotes:
  1. Only available directly from Matador, not the Amazon link, btw [↩]
  2. Stereo; Blue Hawaiian; We are Underused; Starlings of the Slipstream; and Fin, in case you were curious [↩]
  3. Ryan Schreiber [↩]
  4. nor myself, up until this point. Doh!! [↩]

Wilco Blue ray ripoff

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“I Am Trying to Break Your Heart – A Film About Wilco” (Sam Jones (IV))

Wilco emails warning about an upcoming Blue-Ray disc that is not worth purchasing:

Also, we have a CONSUMER ALERT. Without consulting us, the DVD company (not WB/Nonesuch) that released “I am trying to break your heart” is about to issue a Blu-Ray Edition which, no surprise, costs considerably more (nearly 2x) than the standard DVD. We’re unsure as to the rationale for the release, given that the film was shot in beautiful grainy B&W and has a stereo-only audio track… there is, in our opinion, not much to be gained by spending the extra cash. It’s your money… and in this case you should probably hang onto it. [From W I L C O – N E W S]

The film is quite interesting, if you are familiar with the band, but apparently, you can just rent it from Netflix instead of forking out for the new version. Or get the standard DVD.

or just read Greg Kot’s book:


“Wilco: Learning How to Die” (Greg Kot)

Sugar Mountain Live

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Neil Young’s Sugar Mountain Live

Forty years after its recording, “Sugar Mountain”” by Neil Young will finally see the light of day, live Michigan gigs which helped establish the singer as a solo artist.
Young’s solo career launched in earnest with an engagement at The Canterbury House in Ann Arbor, Mich. Having left the Buffalo Springfield six months earlier, Young brought just his guitar along to the University of Michigan facility.

The gig was a stealth booking to determine if audiences would accept Young’s music in its most elemental form since he previously was in band.

The night of Nov. 9-10, 1968, he performed his music and told stories between the songs. The performances were recorded those evenings on a TEAC 2 track tape recorder, the tapes kept in storage over the intervening years.

“Sugar Mountain Live At Canterbury House 1968” will be out Nov. 25 by Reprise as part of the continuing Neil Young Archive Performance Series. The 23-track album will include recordings made on both nights. The album includes songs that were written during his Buffalo Springfield tenure as well as newly written material that would appear on future solo albums. One of the spoken word pieces is a tale of Young’s hapless “day job” experience working in a Toronto bookstore.

[From Neil Young’s “Sugar Mountain Live” sees light of day]

I’m sure this is better than Living With War…

Just To Watch It Die

Seth Anderson0 comment


“At Folsom Prison” (Johnny Cash)

I’ve heard cover versions of Johnny Cash’s famous song, Folsom Prison Blues, and the audience always cheers the line, “…just to watch him die.” Turns out the spontaneity we were celebrating was based upon a studio concoction. Next they’ll be reporting that when June Carter replied to Johnny Cash’s sentence, “I love to watch you talk”, with the great line, “I’m talking with my mouth, way up here”, she dubbed it in the studio! No, probably not.

Anyway, another myth debunked:

As it turns out, one of the most iconic moments in American music history is the result of a razor blade, a prerecorded hunk of hollering and some Scotch tape.

On “Folsom Prison Blues,” the opening track of Johnny Cash’s landmark live album, “Johnny Cash at Folsom Prison,” the Man in Black darkly intones: “I shot a man in Reno just to watch him die.”

The 1,000 inmates packed into the California prison’s cafeteria that Jan. 16, 1968, morning screamed, whistled and wildly applauded the musical murder.

For 40 years, music fans have regarded the chilling moment as a key component in the DNA of Cash’s career-making mystique.

But it never happened.

Columbia Records producer Bob Johnston later spliced the crowd response into the song.

Writer Michael Streissguth discovered the bit of larcenous creative license while he was researching his 2004 book, “Johnny Cash at Folsom Prison: The Making of a Masterpiece.”

Streissguth was in a studio listening to the master tapes of the concert with Sony Legacy engineers. On the weathered reel-to-reel tape, the moment whizzed past without any audience eruption.

Curious, the writer and the engineers pulled out the edited master. Sure enough, on the final version when Cash’s iconic line was cued up, the spliced in, taped up edit was evident.

[From Boxed set shines light on legendary Cash prison show | AccessAtlanta]

(via)

Oh well, still love that album.