Been on a raw Tina kick. This one, penned by Wayne Thompson, always tops the list. From the Ike & Tina lp of the same name, 1969. Georgia asphalt, hotter than.
Ike & Tina Turner :: Cussin', Cryin & Carryin' On
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Someone's going to accuse Natural Child of going soft and they'll be wholly wrong. Across their previous 3 LPs, the Nashville trio carved out a little niche with a whole lot of machismo, a healthy dose of riff-rock and a firm rooting in country. Their shirts have beer stains. The bottoms of their lighters are colored black with ash. Their trail of women and buddies is long, often listed and equally tender and flippant. This is the band whose version of maturity was yelling, "want to tell you . . .
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John Fahey would've been 75 today, and though he's been gone for some time now, the legend of Blind Joe Death seems to grow larger with each passing year. There's no shortage of Fahey live material in the hands of collectors, but this 1973 KSAN broadcast is up there with the very best, as the guitarist plays a series of lengthy, positively mind-splitting medleys that offer up a convincing argument for Fahey as one of the 20th century . . .
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Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.
Jason Woodbury is my guest this week.
SIRIUS 332: Jean Michel Bernard, "Générique Stephane" - We The People, “Function Underground” - Ned Doheny, “I’ve Got . . .
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On Talking Heads’ final album, 1988’s Naked, the band imagines a reverse evolution, the erasing of centuries of pollution, development and commercialization. The particular song in reference is “Nothing But Flowers.” With a subtle, but knowing smirk, David Byrne laments the loss of the factories and shopping malls, the highways and parking lots, the Dairy Queens and 7-Elevens. “If this is paradise,” he sings, “I wish I had a lawn mower.”
Two years prior, Byrne would paint a picture of that world - the one of microwaves and discount stores, of rapid commercial and technological growth, in its prime, with his 1986 film, True Stories. Byrne’s sole directorial work, True Stories is very much the film equivalent of a Talking Heads album. It is a keen and musical portrait of modern America, with Byrne serving as the nameless narrator and tour guide through the fictional town of Virgil, Texas - a sort of every town, USA, in the midst of celebrating its 150th anniversary. Virgil is populated by the idiosyncrasies and the seemingly mundanes found not only in America, but on Talking Heads records as well -- highways, shopping malls, televisions and computers. And, of course, people.
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Los Angeles: This Sunday night, March 2nd, Aquarium Drunkard presents Angel Olsen at the Echoplex. Cian Nugent and Paul Bergman support. Advance tickets available for purchase, here. We're giving away a few pairs to AD . . .
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“For lost love.” Recorded by a 17-year-old Eddie Dimas and his band the Upsets, “Por Perdido Amor” is a woozy ode to love gone wrong. The song was put to tape in Audio Recorders studio — a hallowed Phoenix room where hits by Lee Hazlewood, Waylon Jennings, and Duane Eddy were recorded — and each line is sung with bruised pride.
Though Dimas and the Upsets’ biggest hit, 1966’s “El Mosquito,” favors an instrumental ranchera vibe, “Por Perdido Amor” is a classic slice of Norteî±o soul, tilting lovingly toward Dimas’ affinity for R&B. "His favorite was . . .
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Today is the 86th birthday of the unsinkable Antoine "Fats" Domino: rock 'n' roll progenitor, Beatle lodestar, and one of the greatest to ever sit on a piano bench. This version of "Please Don't Leave Me" is taken from the hard-to-find The Complete Session, a live recording originally released as Fats Domino '65. It's the entirety of Fats' appeal (appropriately) overstuffed into a six-and-a-half minute fury of twinkling keys, hard-hitting brass, and full-cheeked smiles–and a great explanation of the . . .
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With its complex and rich history, New Orleans has long served as a hotbed of rhythm and blues, with the city's musicians often adding an air of sophistication (i.e. jazz influence) to the music. This provided a unique slant to the soul sounds of NOLA. As such, there's a staggering number of great NOLA soul recordings -- from the output of minuscule local labels, pressed in tiny quantities for the local market, all the way up to massive national releases.
Irma Thomas :: Hittin' On Nothing . . .
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Footage of Jessica Pratt performing "Central Park" (last summer at Pickathon) at the Pendarvis Farm in Happy Valley, Oregon. This year's festival is happening August 1-3. We'll be there. Details, here
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Tinariwen's music speaks for Kel Tamashek, the Tuaregs, and their desert home, the "tenere." The typical descriptor of "desert blues," suggests a genre defined by it's point of origin, but how linked are music and place, really? This music–of which Tinariwen are storied masters–clearly resonates with listeners across the world, and the Tuaregs are nomads after all, constantly between places. The photo gracing Tinariwen's new album cover says a lot about . . .
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Get loose: Strut Records latest Caribbean fandango, the double LP collection, Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds 1960-78. Here's a little taste, Les Loups Noirs' "Pile Ou Face."
From the comp's liner notes: Led by charismatic singer Gardner Lalanne, Les Loups Noirs (The Black Wolves) were extremely popular in the '70s, touring extensively and recording across the Caribbean and in New York and Paris. "Pile Ou . . .
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Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.
SIRIUS 331: Jean Michel Bernard — Générique Stephane ++ The Graham Bond Organisation - Hear Me Calling Your Name ++ The Velvet Underground - Lady Godiva's Operation ++ The Haunted - 125 (Amy Version) ++ We The People - Function Underground ++ Condello - Oh No ++ Arthur Lee - Everybody's Gotta Live ++ Frankie Valli & The Four Seasons - You're A . . .
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Last January, Angel Olsen released the Sleepwalker 7” on Japanese label Sixteen Tambourines. That single’s A Side, “Sweet Dreams,” was three minutes of moldy basement rock 'n roll replete with distorted guitar vamps and Angels’ passionate yowl. The track cut a decidedly different path than the pastoral leanings of her previous releases. When asked if it indicated a new direction for her musically, Angel seemed uncertain. “I’m not sure where it’s going,” she . . .
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As a teenager, Bobby Charles–né Robert Charles Guidry in Abbeville, Louisiana–cut several swampy, R&B-based sides for Chess and Imperial, including “See You Later, Alligator,” which the Texan Bill Haley would hit with in 1956. Then in 1960 and ‘61, Charles scored two more top-ten hits as a writer, giving the immortal “Walkin’ to New Orleans” to Fats Domino and “(I Don’t Know Why I Love . . .
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