365 Bands in 365 Days

Day 57: Gaelic Storm

2012-02-26T21:08:00.001-05:00

(There are a lot of these types of bands – but this one caught my ear this week… I’m a sucker for drinking songs.)

Gaelic Storm

“We made a promise to each other that the day we stop having fun, we stop,” Murphy says. “If it becomes work or a hassle, just stop. And at the end of every year we look back and go, “Wow, that was a great year.” We just keep looking forward to the next year because each year it gets better and better.”- Patrick Murphy

Gaelic Storm is Patrick Murphy (accordion, spoons, bodhrán, lead vocals), Steve Twigger (guitar, bouzouki, mandolin, lead vocals), Ryan Lacey (djembe, doumbek, surdo, cajón, vocals, various percussion), Peter Purvis (Highland bagpipes, Uillean pipes, DegerPipes, whistle) and Jessie Burns Jessie Burns (fiddle, vocals). The band had been playing regular gigs for two years in Santa Monica when a producer for the movie “Titanic” spotted them in ‘97 and cast them as the steerage band. With the unexpected and colossal success of the film, a recording contract with Virgin/EMI followed.

The group’s sound is drawn from across Ireland, Scotland, and Wales – and merges traditional roots with contemporary folk rock. That blend sets them apart a bit from others of the “Irish-Rock” genre. After the initial exposure from the “Titanic” began to fade, the band was cut from EMI and has been independent on their own “Lost Again” label.

One of the band’s biggest hits comes from what front man Patrick Murphy claims is a true story. Apparently, while Murphy was managing an LA bar in the mid ‘90s, the actor Russell Crow refused to put out a cigarette. An argument ensued and, Murphy claims, he eventually punched Crowe in the nose. The story is unconfirmed, but Crowe has never denied the incident.

Gaelic Storm has eight studio albums, and is currently on tour in the US.

Thoughts:
Ok – I don’t care if you like contemporary Gaelic rock or not, but this guy punched Russell Crow in the head – an act I have imagined myself doing every time I’ve been forced to sit through one of his crappy movies. True story or not, much respect for that image.

Other bands do this genre better – but these guys absolutely hold their own.

Day 56: Hersal Thomas

2012-02-25T18:52:00.000-05:00

(Balllloooos Saturday. Interesting bit o history here.)

Hersal Thomas

Born in 1910, Hersal Thomas came from a musical family. His older brother, George Thomas Jr, was an accomplished jazz composer who also recorded under the name Clay Custer; while his sister Beulah was better known as Sippie Wallace. By 13 he was already being referred to as a child prodigy when it came to his work on the piano, and with his famous siblings worked the Chicago scene.

Hersal began recording in the early 1920s, accompanying acts such as Louis Armstrong (an unknown at the time), King Oliver, his sister Sippie, and Hociel Thomas- his niece, whose name is just close enough to his be confusing. In 1925 at only 15, he recorded two solo tracks- 'Suitcase Blues', and 'Hersal's Blues', which would end up being his entire solo discography. After that session he stayed busy backing other artists, and would most likely have returned to the studio for further solo work... but unfortunately, his life was cut short within months.

The story goes that Hersal was a bit of a ladies man. While performing at Penny's Pleasure Palace in the summer of 1926, he died under mysterious circumstances. Some sources say it was simple food poisoning, while others have him poisoned, possibly by a jealous lover, or by a gentleman who didn't take kindly to the attention Hersal paid their spouse. He was only 16 years old, but in his short life had worked with some of the greats, and would go on to be named an influence by such prominent performers as Meade Lux Lewis, Albert Ammons (who covered a Hersal tune during the first ever Blue Note recording session), and Jimmy Yancey.

My Thoughts:
Though he never scored a "hit", heck he only recorded two freaking songs by himself... he wrote a considerable amount of tunes for his sister, Sippie; including 'A Jealous Woman Like Me', and 'Dead Drunk Blues'. His 'Suitcase Blues' has also been widely covered, and he co-wrote the boogie-woogie standard 'The Fives' (featured below). The whole "ladies man" thing is a bit odd, considering his age... and Penny's Pleasure Palace? Yeah, that sounds legit. I'm sure they served tea & crumpets there. It's amazing the amount of influence he's had considering his discography, and one can only assume he would have become a household name, if not for his untimely death.

Day 55: Low

2012-02-24T19:28:00.000-05:00

(This band is about as laid back as it gets… turn the lights down, toss on the headphones, and enjoy.)

Low

Genre names are notoriously annoying and absurd. In this case, the laughable moniker “slowcore” is used to describe the ambient, mournful music of the band Low. Low began in 1993 as a direct response to the throbbing punk/grunge volumes and energy of the time. Guitarist Alan Sparhawk, and bassist John Nichols began toying with a simple idea; wondering what would happen if they played as quietly as possible. The early experiments led to songwriting, and eventually the addition of Sparhawk’s wife Mimi Parker on vocals and drum (yes, singular – originally one drum, and one symbol – played only with a brush).

The mix worked well in studio and recording, but the band faced practical issues in live performances. Early gigs were marked by loud audiences and bar chatter – the band’s response was as unexpected as their musical approach – they turned the volume lower. It worked. Low gained attention, and eventually they were signed with Virgin Record’s Vernon Yard label. Nichols left the band after the second album, replaced on bass by Zak Sally.

Low’s minimalist and deliberate approach to songwriting and performance has ever really caught on with mainstream audiences, but the band developed a fierce following of loyal fans. In 2010, Robert Plant covered two Low songs on his album “Band Of Joy”.
Low has released nine albums to date, and the same number of EPs. They are on their third bassist (Steve Garrington) and have struggled with some interpersonal and health issues. Sparhawk canceled shows in ‘05 and publicly admitted he struggled with depression, including an infamous incident on stage where he destroyed his guitar and ended the performance in a rage. He has since stated that the issues are under control, and the band seems to have stabilized in it’s current configuration. Sparhawk and Parker are still married and raising two children in addition to Low and various side projects.

Thoughts:
I have a rule: no Low in the car. I will relax to the point of dangerously suppressed reaction times. I absolutely love this band. “Secret Name” is my favorite album and is in constant rotation on my playlisits (except the afore mentioned driving play lists).

The whole “slowcore” name is silly to me– and other bands in the so-called genre generally leave me cold, but Low has a consistently interesting texture and expression that just works for me and they grabbed me as soon as I heard them.

Those vocals, those lyrics, and that astonishing ability to evoke intense emotion with very few notes is a real art. Follow up with a few more tacks from Secret Name if you are as intrigued as I was in the beginning. You won’t regret it.

Day 54: The Bakerton Group

2012-02-23T19:21:00.000-05:00

(Read this described as "jazz-infected". Not influenced, infused, or tinged... infected. The terrible jazz virus is spreading- oh no's!)

The Bakerton Group

Something we really enjoy here at 365 is bringing attention to "side projects", and The Bakerton Group is just that- an off shoot of hard rockers Clutch, a band which came together in Maryland in 1991. It will probably take you some time to convince yourself, let alone anyone else, that these two groups are composed of the same people. Clutch isn't bad per-say... but I had to listen to a few tracks before I found one I liked (and I linked one I didn't like- one that's more metal-ish, to highlight the difference in the two bands).

Originally The Bakerton Group was an outlet for 3 of 4 members of Clutch: guitarist Tim Sult, drummer Jean-Paul Gaster, and bass player Dean Maines. An instrumental jam outfit- I assume these guys had been playing around in the genre simply for enjoyment before deciding to put 3 tracks up for free download on Clutch's website in 2001, titling the mini-EP 'Space Guitars'.

In 2006 they began work on a proper album, spending over a year in the studio. The self titled LP was produced by J Robbins (probably best known for his time with Jawbox), and also featured contributions from organist Mick Schauer. Two years later they returned with 'El Rojo', still their most recent release. This time the role of organist was filled by Per Wiberg from the band Opeth, with J Robbins producing again.

They're not currently on tour, because they're currently on tour as Clutch ;) Speaking of Clutch, the only member who wasn't a part of The Bakerton Group has now joined up as well- Neil Fallon, lead singer/rhythm guitarist has come on as I assume second guitar- I can't see them adding vocals. Fallon is also lead singer of The Company Band.

Day 53: Mason Proffit

2012-02-22T22:18:00.002-05:00

(This kind of stuff was pretty controversial back in the day – prog-country, who knew?)

Mason Profitt

Mason Proffit is a collective pseudonym for brothers Terry Talbot and John Michael Talbot. They formed the band in 1969 after several other attempts at folk, country, and rock. They decided to blend the genres a bit and stretch out their songwriting to cover more political topics. The first album “Mason Proffit – Wanted” was a local in hit in their hometown of Indianapolis, and got the band the attention they had been previously lacking.

Terry was the vocalist and primary songwriter for the group. His song writing got the band some FCC attention, when their first real hit, Two Hangmen was banned for being “subversive”.

By ’72, the band had charted with the second album, and signed with Warner Brothers. The toured nearly 300 days a year, opening for some of the biggest bands of the day (Steely Dan, The Doobies, John Denver, and many others…). They gained a reputation as a terrific performing band – helped along by Terry’s great 12 string playing and John’s impressive banjo skills, and the live shows are often what fans remember most about the group. The group was very hard for Warner to classify and market – never quite catching on with country – or rock fans.

In ’74, after four albums, the brothers left the label and the project. They began to tour as the Talbot Brothers, and had changed genres yet again, but this time to contemporary Christian music. They released four albums in that form before going separate ways for a time. In 2005, they reformed Mason Proffit and recorded two new albums.

Thoughts:
I’m not really a Mason Proffit fan. Someone mentioned them the other day, and truthfully, I hadn’t thought of them in years. I’m glad he did though – there is more here than initially meets the ear. First off – anyone banned by the FCC is ok in my book. But also, these guys were the bridge from groups like The Byrds, and Buffalo Springfield to groups like the Eagles. They were part CSN, part something new. They never used the term, but they were progressive country. They sort of invented a genre.

Terry’s site lists over 30 albums one or both of the pair have worked on, and they still tour from time to time. While you couldn’t pay me to listen to any of their god-bothering music, I’d see them in a secular show if they come to town. If for no other reason than to pay my respects to a pair whose influence, no matter how faint, can still be heard in today’s so-called folk-rock revival.

Day 52: Morphine

2012-02-21T19:49:00.001-05:00

(Should have saved this for a Thursday . . . )

If you believe front man Mark Sandman, Morphine the band was not named for morphine the drug. His story was that the band was named for Morpheus, Greek god of dreams. It just so happens that his band and the popular pain killer take their name from the same source. Since it’s his band, let’s not pick the nits.

Morphine was a weird band, anyway. They came together in Boston in 1989. Mark Sandman, on two-string slide bass and vocals, had been around the world and back, most recently in a band called Treat Her Right. There was saxophonist Dana Colley, who played, of all things, saxophone – sometimes two at once. The drummer, who was Jerome Deupree when he wasn’t Billy Conway was pretty straightforward. (That was a bad, confusing sentence and I apologize. Deupree started with the band and made it through most of their second studio release, at which point he suffered from health problems and was replaced by Conway. Towards the end of Morphine’s run, Deupree re-joined the band alongside Conway, making the band a four piece. See, that’s a more precise, albeit cumbersome explanation of the lineup. Kinda makes you re-assess the simple beauty of the sentence just before this parenthetical aside, doesn’t it?) And the guitar player was . . . not in the band. Morphine rocked and rolled and they did it without a six string.

They had an original sound. It was more or less inevitable given their choices of instruments, but this was no novelty act, no gimmick. Morphine incorporated elements of funk, blues and jazz to deliver a sound without precedent in modern or alternative rock. They (mostly Sandman, but let’s be charitable and say “they”) wrote songs that thundered, for sure. Songs that honked and sweated and songs that were loud dancers . But they also wrote some beautiful songs, haunting songs, sometimes some very deeply personal songs, all delivered in Sandman’s careworn but smooth baritone.

Boston’s a pretty big market and Morphine was getting attention with their first release, Good, so they signed with Rykodisc, whose first step was to re-release Good. I guess they thought it was Good. Rykodisc meant more and better exposure along with more and better distribution and the band was on the receiving end of happy buzz in anticipation of their 1993 release, Cure for Pain. Cure for Pain sealed the deal with critics, record executives and Mtv – Morphine kicked ass and everyone knew it. Except for the majority of the record/tape/cd buying public who were too busy buying the Crash Test Dummies’ cd and watching The Fresh Prince of Bel-Air. They didn’t know. And they didn’t pay attention when 1995’s Yes came out, either.

Among critics and record companies, however, the band’s fortune continued to rise and they became the second band signed to the newly formed DreamWorks label. In 1997, Morphine released what was meant to be their major, mainstream breakthrough success, but instead it turned out to be Like Swimming. Again, everyone loved it except those people too busy watching Friends and listening to Fleetwood Mac reunite. By this time, though, Morphine had established a solid base of devoted fans and, while they were not chart toppers (or chart on be-ers), they were selling out stadiums all around the world. They soldiered on, releasing a collection of B-sides and recording what would be their fifth title, The Night.

Mark Sandman died while performing on stage in Italy on July 3^rd, 1999. He didn’t die before the show, or after the show at some hotel; he died on stage while introducing his next song. It was a heart attack. A lot of people, myself included, have attributed his early death (he was 46) to drug use. The band’s name was Morphine. It turns out that Sandman abhorred “hard” drugs. Both his band mate, Dana Colley and his longtime girlfriend Sabine Hrechdakian have come out and said that he was never a user or an addict. There were some contributing factors. He was a pack a day smoker (sometimes more) for years and years. He was under a considerable amount of stress as the front man and de facto manager of a band trying hard to live up to expectations from various factions. The heat in Italy was over 100°F that day. He’d had chest pains just after a show two weeks before, but had shrugged them off when they passed. Cardiac arrest was given and confirmed as the cause of death and any questions anyone might have had went unanswered. An autopsy was not performed as Sandman’s parents were Jewish and autopsies are not permitted by Jewish (Talmud) law.

The Night was mixed and released posthumously and the remaining Morphine members created a new ensemble, Orchestra Morphine, to celebrate Sandman’s work and, incidentally, promote the final cd.

Thoughts:

Morphine was punk as fuck. They cut their first record for around $7k. They didn’t make a big show of doing their own thing; they simply did their own thing. And it worked. Oh yeah, and Mark Sandman handmade or modified most of his instruments. On stage he pretty much stuck to the two string slide bass, but in the studio, he played a range of DIY instruments – some with one string, some with three strings. He was out of control. But Morphine weren’t just weird. Their music is weighty, but melody and meaning dominate. It’s meant to be accessible – and it is. In 2011, a documentary called Cure for Pain: The Mark Sandman Story starting make the rounds at US film festivals. That’s not really a thought, but I wanted you to know it. Because it looks good. That’s an opinion. So we’re back to thoughts. Good night.

Day 51: Josh White Jr.

2012-02-20T20:17:00.000-05:00

("We can always find music to express our feelings. Or to sing the feelings of those who don't have a voice. That's what feels good about what I do. I touch minds and hearts." -Josh White Jr.)

Josh White Jr.

Growing up the son & namesake of famed blues musician & activist Josh White, Josh White Jr. got his start performing at the age of four. Back then he would accompany his father on stage and imitate him, right down to matching wardrobe. "It was just the thing to do, to wear the suits & put my foot up on the stool like he did. People thought it was cute." From there he moved on to television & Broadway performances- winning his first Tony Award at the age of nine. And in 1956 at just 16, he recorded his first album.

The 1960s were the perfect time for someone like Josh. The folk "revival" was in full swing, and he released numerous albums over the course of the decade. He toured extensively & with such artists as Tom Paxton & Odetta- which was documented in the PBS special 'Soundstage: Just Folks'. He became a regular on the college/university circuit- sometimes referred to as "The African American voice of campus folk music". He went on hiatus beginning in 1971 when his beloved wife passed away, but returned around 7 years later to both recording & touring.

If there was anyone left who hadn't heard of Josh- the father as well as the son- Josh Jr. began righting that in the 1980s. He co-authored two theatrical, one-man-show performances that highlighted his fathers career- both musically, as well as his role as a social activist. He was rewarded by the US Postal Service- who put his fathers likeness on a stamp; as well as his own awards including a Voice of the Peace Corps award from the US government, and the first annual Harry Chapin Humanitarian Award.

In the 90s Josh reinvented himself yet again; moving to children's music & releasing a CD in that genre. He also made sure his concerts were always open to all ages, even "single digit people", as he refers to kids. He was honored in 2002 when he was invited to be the first musician to perform at Ground Zero in New York City- the former site of the World Trade Centers before the attacks of September 11, 2001. He continues to record & tour today. His focus continues to be children- performing at schools, and educating with both lectures, and his music.

My Thoughts:
Interesting tid bits: Josh attending the Professional Children's School, where one of his classmates was Christopher Walken. He's released an instructional video for guitar players, as well as a video for children titled 'It Starts with a Book', which, as you may have guessed, encourages kids to read. I really can't get enough of his views on kids & music combined. "Children are our most important natural resource. Music and fun are what I have to give back to them." "I came to realize that I was having as much fun as the children were, singing our favorite songs to each other. Entertaining a young audience is fun. Combining music with the constant movement and noise gives that movement and noise direction, and the child has a new and positive outlet for his or her energy." There's just so, so much to Josh White Jr. Go look him up!

Day 50: A Tribe Called Quest

2012-02-19T16:20:00.001-05:00

(The search function is sort of non-functional right now… We are working on it, but it’s inconsistent as best for now. Yay, Google.)

A Tribe Called Quest

In the late 80’s, fledgling hip-hop was dominated by a basic formula. First, sample familiar R&B or funk breaks, then add a simple beat, and top it off with boastful and often violent rhymes. The formula worked, and the genre was gaining momentum. For the group of friends that would eventually become “A Tribe Called Quest” however, that formula was far too limiting. Using jazz (almost unheard of at the time) as the basis for the sound, and channeling a laid-back lyrical style that included calls for positivity and honesty, put ATCQ in a class all it’s own.

ATCQ was formed in Brooklyn New York by classmates Q-Tip, Phife Dawg, Ali Shaheed Muhammad, and close friend Jarobi. They were young, black, and still in high school. The music was more influenced by bebop than contemporary R&B, and reflected their experiences and age, and instead of focusing on the usual rap tropes of drugs, money, or stardom, generally explored social commentary from the perspective of an average city kid trying to make sense of the world. It worked. By ’89 they were signed to Jive Records and began one of the most influential careers in hip-hop history. The next three albums went platinum.

By ’96, ATCQ released their fourth album “Beats, Rhymes, and Life, which debuted at number 1 on the charts. The band’s unique approach to rap had spawned and entire sub-genre of imitators and the group had, virtually single handedly, re-invented hip-hop, making it accessible to new audiences and contributing to its eventual adoption into mainstream pop-culture.

Internally, the group was beginning to disintegrate. Jarobi left regular contribution early, only retuning occasionally, Q-Tip’s cousin Consequence had joined and was beginning to contribute heavily. According to Phife Dawg:

“…I didn't fit in any more. Q-Tip and Ali had converted to Islam and I didn't. Music felt like a job; like I was just doin' it to pay bills. I never want my music to feel like just a job.”

Beats, Rhymes, and Life went platinum in ’98. The same year ATCQ announced their fifth and final album. Without divulging specific details at the time, they announced their farewell performances and new projects. They group has reunited several times, but no new recordings or tours have been announced.

In 2011, actor/director Michael Rapaport released the documentary film “Beats, Rhymes and Life: The Travels of a Tribe Called Quest". The movie has been widely critically acclaimed at festivals, and released to DVD in February 2012.

Thoughts:
I don’t usually like to cover bands as popular as ATCQ here on 365, but I know some of our readers don’t delve into the genre much. That’s a mistake. Ignoring rap is like ignoring country music… sure, a lot of the pop of both (any) genres at any given time is bad, but the there is genuine art in there. A Tribe Called Quest is some of that genuine art.

I was working in California when they hit the west coast, living and working with some hard-core hip-hop fans. It was the height of the west vs. east rap war, and these guys had all picked sides. But then ATCQ released “Bonita Applebum” and all sides called a truce. Here was something we never heard before in the genre; a song about a kid with a crush, nothing more. It was simple, sweet and silly – and it disarmed every single one of us.

I haven’t seen Rapaport’s documentary yet. Truth be told, I can’t stand the guy and was afraid he was exploiting the band. There was some minor controversy and Quest was refusing to let him release it. Apparently, it’s all been resolved, and by all accounts it’s a great movie. I have it queued up this week… take a look for yourselves for more detail on these guys.

Day 49: Peetie Wheatstraw

2012-02-18T19:30:00.001-05:00

(Blues Saturday... this week featuring my hands down favorite blues name ever.)

Peetie Wheatstraw

Peetie Wheatstraw was born William Bunch in 1902. Other than that, little is known of his early life- even what state he was born in is debated. He pretty much dropped out of the sky into St. Louis, Missouri in the early 1930s; claiming he'd sold his soul to the devil in exchange for musical success, and already using the moniker Peetie Wheatstraw. He began recording immediately, and on the majority of his releases he was billed as either Peetie Wheatstraw: The Devil's Son-in-Law, or Peetie Wheatstraw: The High Sheriff From Hell. Many believe that it was Peetie's story of selling his soul that inspired Robert Johnson to later claim the same; and it is definitely true that he inspired Ralph Ellison, author of 'Invisible Man', who named a character in that novel after Wheatstraw.

Peetie's recording output is considerable for a blues musician of his time. Reportedly only four other pre-war blues artists have larger catalogs. He was wildly popular in the St. Louis scene, and over the course of his career recorded with Kokomo Arnold, Bumble Bee Slim, Champion Jack Dupree... so many of the greats it would wear me out to type them all. Peetie was a piano player for the most part, and would typically utilize those other musicians as guitar accompaniment, though he did know how to play guitar & did so on some of his recordings. It's interesting though... only one photograph exists of Peetie, and in it, he's holding a guitar. This has led many people to believe it's him they're hearing on the strings, while it's rarely true.

Peetie's influence on the blues is immeasurable. Not so much his playing (which many write off as "repetitive")... but his lyrical strength & content (often dealing with current political events, rather than just drinkin & women- though he wrote his share of those tunes too), his loose, lazy vocals, and the persona he crafted of a demon dealing drifter. His trade mark was inserting an "oooh well well" into the third verses of his songs, which has become a staple for many subsequent blues artists.

Peetie passed away in December of 1941, in true bluesman fashion. It was his 39th birthday, and he was celebrating with friends. When it came time for a liquor run he jumped in the back seat of a vehicle with two of his buddies up front to head to the local market. At a railway crossing they got the notion they could beat the train & headed over the tracks... his companions died instantly & Peetie followed suit in a hospital several hours later. At the time of his death he was in high demand, lending credibility to his deal with the devil story.

My Thoughts:
So often All Music Guide takes the words out of my mouth- "Robert Johnson cribbed so many lyrical ideas from the work of Peetie Wheatstraw that it's not even worth going into specific examples of that derivation here." Thanks, Uncle Dave Lewis. Researching his career & legacy, I found some interesting contradictions. While many folks go on about his "demonic persona", there are just as many siting him as an integral part of helping blues to overcome it's "devil's music" association & bring it to a wider audience. Regardless, he recorded nearly 200 sides himself, and appeared on many other artists works as well- so there's a lot to go sink yr teeth into. Oh- one other little fact... To further add to the mystery of Peetie: his first recordings were a series of vocal duets in 1930, billed to himself & "Neckbones"- an artist that remains unidentified to this day. The devil himself...?

Day 48: Todd Snider

2012-02-17T21:53:00.001-05:00

(Todd’s got a long career, but not a lot of bio material out there for research. Stop laughing; we do research here. Really…)

Todd Snider

"I was just trying to come up with the best... most open hearted ... well-thought-out lyrics I could come up with. I wanted every song to be sad and funny at the same time, vulnerable and entertaining at the same time, personal and universal at the same time. I wanted every song to be as uniquely written as possible and then I wanted to perform them in a studio loose and rugged and hopefully as uniquely as I could. My hope is to be hard to describe and/or new…I'm not saying I am. I'm just saying that's the hope.” – Todd Snider

At 15, Todd Snider was a runaway, looking for his home in Portland, Oregon. He finished out high school there in Portland, and decided to join a band. He picked up a little harmonica along the way, and although he didn’t have a plan, he knew he wanted to be in a band. A few years, and a few home later, he moved to Austin. Legend has it, he went to see Jerry Jeff Walker in a small club there around ’82 or so. Todd was hooked. He decided right then and there that he didn’t need a band to be a musician, and focused on guitar and songwriting after that.

By the mid-80’s Todd had a regular gig in (yet another home) Memphis, Tennessee. Keith Sykes discovered Todd there and got him his start – mentoring Todd through the process of refining his act and starting to record. Sykes played for Jimmy Buffett’s band, and was a long-time friend of John Prine, and none other than Jerry Jeff Walker. Eventually, Buffet heard a demo and signed Todd to MCA.

Todd has 15 albums to date, and writes and tours regularly. He’s been compared to Dylan, Kristofferson, and Prine – but simply calls himself “a troubadour”. Todd is currently on tour supporting the release of his 15th album “The Storyteller: Live”.

Thoughts:
Todd lists Mitch Hedberg and Bill Hicks, among his favorite troubadours, although they were traditionally referred to as stand-up comics. You can feel that influence in his writing. Not humor in the joke-telling sense, but satire and observation delivered in a way that makes you remember how absurd, and funny, it is to be here in this place.

Todd’s the kind of musician I wish I could be; a workhorse writer and a genuine troubadour, a songwriter’s songwriter. Todd wandered for years before finding who he was, finding his home. I, for one, am damn glad he did.

Day 47: Stalk-Forrest Group

2012-02-16T20:47:00.000-05:00

(Not exactly my cup of tea... but definite 1-up on the music snob board for this one. Interesting stuff.)

Stalk-Forrest Group

The Stalk-Forrest Group were an interim band- the step between Soft White Underbelly, and Blue Öyster Cult. While not a household name (unless that house is occupied by a serious record collector) they're an interesting piece of rock history.

Their story begins in the late 1960s, at which point they were known as Soft White Underbelly. The members at that time consisted of guitarist Donald Roeser (aka Buck Dharma), keyboardist Allen Lanier, and drummer Albert Bouchard- all of whom would go on to be major parts of Blue Öyster Cult; along with bassist Andrew Winters, and vocalist Les Braunstein. Soft White Underbelly scored a deal with Elektra in 1968, and began recording a debut album. Stories differ- but for whatever reason lead vocalist Les Braunstein parted ways with the group before it could be released, and the album was completely abandoned by Elektra, and remains unreleased to this day. (Though I did find one track on Youtube- supposedly the only one to "survive".)

Braunstein's vocals were what had convinced Elektra the group was worth signing, and they were nearly dropped when he took off. The rest of the group managed to talk their way out of being outed, and brought in their equipment manager, Eric Bloom, to cover the open spot. They continued to perform as Soft White Underbelly, until reportedly several bad reviews of local gigs sullied the name. Following this, they briefly called themselves Oaxaca, before settling on Stalk-Forrest Group.

In 1970 the Stalk-Forrest Group headed into the studio to put down their debut LP. Though not a completely polished unit, they did record a full albums worth of material. As to what happened next... again, stories differ- but the facts are the same. Elektra opted to only release one single from that recording session ('What is Quicksand'/'Arthur Comics'), and that in only a few hundred pressings. The rest of the album was left on a shelf to collect dust, and the group was relieved of their contract- in other words, dropped. Almost immediately after that, Joe Bouchard came on as bassist, they changed their name to Blue Öyster Cult, and became widely successful- which no doubt led to much face-palming back at Elektra Records.

As for the Stalk-Forrest recordings- copies of some tracks circulated amongst music collector for years; then in 1998 a German only limited edition release was put out. Rhino Records rereleased 'St. Cecelia' (5,000 numbered copies of it, that is) in 1998, and like the German release, it is a highly sought after collectors item.

My Thoughts:
No clue where the name comes from. Soft White Underbelly was drawn from a Winston Churchill quote, Blue Öyster Cult is from a poem written by their manager (Sandy Pearlman)... but no word on Stalk-Forrest's origins. What I find the most interesting about this group is the fact that Eric Bloom, who became pretty much the center piece of Blue Öyster Cult, was simply working as the groups equipment & tour manager before being pulled into the ranks. There are so many what if to this story. What if their original vocalist hadn't left, and they had made it as Stalk-Forrest? Would Bloom have remained behind the scenes? Would we all have lived our lives fearing the reaper?!

Day 46: Rufus Harley

2012-02-15T17:44:00.003-05:00

(My old home town has given us some great music, some bad music, and some unique in all the world… This one takes some getting used to, but he was an astonishing individual)

Rufus Harley

“It was fantastic working with him. He understood exactly what we were up to… better than we did.” –Laurie Anderson on working with Rufus Harley

Rufus Harley was 33 years old when President Kennedy was shot. Rufus watched the Black Watch regiment of Scotland play pipes for the funeral procession. He was inspired. Rufus had been playing saxophone since his 20’s, and had some limited success as a jazz musician around the Philadelphia area, but that moment captured him and set him on a 43 year long path to being one of the most unique musicians in the world.

Rufus is known today as the only recorded Jazz bagpipe player on the planet. He’s also known as one of the few African American pipers of any kind of music. After that funeral epiphany, Harley scoured Philly for a set of pipes – eventually he took a bus to New York City to see if any were available he could afford. He was self-taught, gaining the ire and eventually the eviction notices of his neighbors as he taught himself the fundaments of jazz on his pawnshop pipes.

"I used to wait 'til the neighbors called the cops, then I'd hide the pipes and play dumb. 'Do I look Scottish to you officer?'"

Rufus started performing a year later, in ‘64 – both his own compositions as well as standards. The surprising combo of pipes and jazz got him a deal with Atlantic, who eventually released four of his records. By the late ‘70’s he was a staple of the Philly jazz scene. He began to pick up side session work (Laurie Anderson, Sonny Rollins, among others) and made regular tours of local schools, parades, and festivals. Through the 80’s and 90’s Rufus toured Europe, and the UK. He had a small, but very dedicated fan base, both at home and abroad, and was able to raise 16 children on his musician’s pay.

Rufus appeared on numerous television programs and even a couple of movies – his image with the kilt, patriotic red, white, and blue bagpipes, and Viking helmet were hard to resist for directors and variety show producers. He was a compelling character, musically, and personally. Philadelphia often called him it’s “Goodwill ambassador” and featured him in local parades regularly.

Rufus performed right up until his death in 2006, from prostate cancer. In 2008 a documentary was released titled “Pipes of Peace, The Rufus Harley Story”. There are now 6 albums available, and a compilation from Atlantic.

Thoughts:
I met Rufus on several occasions. Philly has a massive jazz scene, especially back in the ‘80s. At Ortlieb’s Brewery, the 23’rd st, or any other club Rufus was a regular drop in at jams. Watching the crowd was a hoot when Rufus showed up. Either you loved it, or you hated it – and it was hard to hide which side you fell on. Musicians were divided too. Rufus used to usually play in Bb minor – something you kind of have to know how to deal with. Improv with him was hysterical to observe, and standards could go off the rails very quickly… But, when it worked, there was nothing like it. Magic.

Check out this live version of 'Train's Love Supreme to see what I mean…

Pipers tend to hate him, jazz purists tend hate him… I’ve seen whole rooms turn on him. I love him, and feel lucky to have seen him play and gotten a chance to shake his hand. We need more like Rufus in this world.

Day 45: Sallie Ford & The Sound Outside

2012-02-14T10:05:00.002-05:00

(The thing about Sallie Ford is you’re either gonna like her or you’re gonna not like her, and you’re gonna know right away.)

Living in Asheville, North Carolina wasn’t working for Sallie Ford. She’d written a few songs and had performed at a handful of open mic nights, but she was having a hard time getting outside herself as a performer. Her father was a respected puppeteer (you don’t see those two words next to one another very often), her mother taught music, and her siblings all sang or danced. She said, "I was always overwhelmed by my performing family. I preferred to be the weird one." At the age of 23, Ford decided she would move to Portland, Oregon, re-invent herself and really embrace the performing life.

So she moved out to Portland, did a limited amount of busking and she met the guys who would end up forming The Sound Outside: Jeff Munger (guitar), Ford Tennis (drums), and Tyler Tornfelt (bass). Some friends she was staying with threw a house party and put her on the bill. “Right before the show I was like, ‘Well, if I’m gonna play a house show, I might as well write some songs.” It wasn’t long before the band produced and released their first EP, Not An Animal.

Armed with their EP and some great reviews from around the Portland/Seattle scene, Sallie Ford & The Sound Outside began touring all over the country, eventually catching the interest of roots rock darling, Seth Avett. The Avett Brothers invited Ford and her band to join them on tour , exposing their brand of shout-abilly swamp rock to larger audiences, who proved more than receptive and hungry for more. The band was signed by Partisan Records and released their first full length album, Dirty Radio in May 2011. Dirty Radio got great reviews all over the place, putting Sallie Ford & The Sound Outside on a number of up and coming lists and scoring gigs at Bonnaroo and David Letterman.

The first thing you’ll notice about the record are Ford’s vocals. A self-proclaimed belter who draws equal influence from Bessie Smith and Cat Power, Ford wields a power and dynamism that’s about as subtle as a sledge hammer. She’s not all about volume, though. She has range. As dominant as she is, it can take a little longer to uncover and digest the crisp, often understated contributions coming from the band, each of whom is responsible for writing their individual parts. Munger’s tasteful guitar breaks in particular provide interesting color and contrast. Taken as a whole, Sallie Ford & The Sound Outside are a cohesive unit which moves easily through a handful of different genres, while stamping everything they do with originality and credibility.

The band is currently on tour in Europe with plans to record a new album in the works.

Day 44: The Streets

2012-02-13T22:57:00.002-05:00

(Perhaps it makes me a bad person, but the first thing I thought when I heard of poor Whitney Houston’s demise was; “now we have to listen to those inane pop songs again for like two months”…)

The Streets

Mike Skinner’s passion for music and rhyme began, like many suburban kids – in his bedroom. In his early teens, he converted an old cupboard into a sound booth to work on his songs – he insulated it with an old mattress and installed it in his bedroom so he wouldn’t be disturbed. In his early ‘20s, he worked in fast food restaurants In Brixton while trying to start his own label.

Mike is the producer, writer, and creative force behind the UK rap group, The Streets. The band was formed in ’94, with Skinner and a few friends - Johnny Drum Machine and Kevin Mark Trail. Over the years the lineup has shifted, and fundamentally is a showcase for Skinner.

Skinner’s technique, subject matter, and sound are all unusual for the rap genre – even among British and European rap acts. The laid-back story driven approach was a unique approach; and eventually it got the attention of Locked On records. In 2001, The Streets first single hit number 18 on the UK charts. Critics, fans, and a flurry of tours followed.

Over the next ten years The Streets released six albums, most of which debuted high on the British charts (including a number two, and number one debut). The Streets never caught fire in the US the way they did back home. American rap fans couldn’t quite relate to the trials and tales of a white British rapper. They did catch the attention of college radio DJ and those looking for a new twist on the genre. Sales were significantly lower in the US, but a hard-core “cult” fan base did develop.

In 2011 The Streets went on a farewell tour to support the release of the last album “Computers and Blues”. Skinner didn’t state a specific reason for closing up shop, but he’s moved onto a new project he calls “The D.O.T.”.

Thoughts:
Rap is an interesting genre for me. American hip-hop has some tropes and cliché’s that usually leave me bored, or laughing. Something about the braggadocio and exaggerated purple rhymes… I have trouble taking a lot of it seriously. Not all – there are exceptions (and I’ll write them up this year too…).

The Streets is like the polar opposite. When I first heard it, I loved it – but did’t know what to make of it entirely. It was just so different; I was compelled to keep listening. Sure, he’s a British, suburban, white kid – so the content clearly changes, but there is more to it than that. Skinner has these Dickens like takes on his characters… he’s rarely autobiographical, and he’s got this novelists tone that I really dig. Add to that, his incredible talent on synth and mixing, and you get some genuinely unique art.

He may lack “street cred” with US rappers, but then again, so do most US rappers. The Streets was an incredible project, and I’ll miss it. I’m looking forward to D.O.T, and have no doubt that Mike will do something interesting.

Day 43: Bill Miller

2012-02-12T19:05:00.000-05:00

("Using three elements, my heritage, life experience and spiritual path, I share my vision: transformation through reconciliation." -Bill Miller)

Bill Miller

Native American Bill Miller was born on a Mohican reservation in Wisconsin in 1955. His tribal name is Fush-Ya Heay Aka, which translates to Bird Song. By the time he was a teenager, he was adept at both guitar & Native American flute, and he was also interested in art from an early age. After high school he won an art scholarship, and since that time has become a quite well respected painter- his work has been featured at the Smithsonian, amongst many other places.

Bill began recording music in 1983, but it was ten years & five albums later before he got his "break"- which came in the form of Tori Amos inviting him to open for her on an international tour. Since that time he's toured with many other big names- Richie Havens, Arlo Guthrie, Eddie Vedder. He's also continued to record heavily- his discography now includes nearly 20 LPs.

Throughout his career, Bill has always kept his heritage in the spotlight- collaborating with other, lesser known Native American musicians, implementing traditional instruments, pow-wow singing, and in his live performances, Native American dancers. Those elements were featured prominently in his 'The Last Stand' symphony which he composed, and has been performed as far away as Israel. He's composed songs for other musicians as well, including Peter Rowan & Nanci Griffith. The winner of several big time awards, a speaker at numerous events centered around Native American culture as well as environmental conservation.... an artist, a composer, a talented musician with a beautiful voice... Bill Miller is a light in an ever darkening world.

My Thoughts:
Bill Miller. Yeah. This man is something else. He's spoken at length about growing up in a home dominated by alcohol & violence, the anger it rooted inside of him, and the struggles to overcome that. Music & art were the ways in which he escaped, lucky for us. He's also quite committed to keeping his music true- despite the number of albums he's put out & the three Grammy's he's won he's managed to stay true to himself & his belief that “You’ve got to really recognize what something means to you before it becomes corporate, before it becomes taken for granted, when it truly is a joy and a gift.”

Day 42: Henry Townsend

2012-02-11T21:39:00.002-05:00

(Oh yeah… Blues Saturday once again. This time, a legend that played both the keys and the guitar… Three videos for Henry.)

Henry Townsend

There are many influential blues act out there. Thanks to revivals and conservation movements the form has been comparatively well preserved over the decades. In almost every single one of those decades, you can find Henry Townsend. Nine decades to be exact. He is the only blues musician (and possibly the only musician, although that is unconfirmed) to have recorded from the 20’s right on through to the 2000’s .

Henry Townsend was born in Mississippi, in 1909. His father used to beat him, and when he was only nine, Henry hit the rails and escaped Mississippi for St. Louis. He picked up guitar as a teenager, and by the 20’s was already recording for slide guitar songs Columbia. He eventually learned piano from the great Roosevelt Sykes, and together Townsend, Sykes, Walter Davis, Henry Brown, and others had begun to turn St. Louis into a first class blues city.

Henry continued to record all the way through the 40’s but by the late ‘50’s blues sessions were hard to come by. Henry did some session work, but it wasn’t until the big folk revival of the ‘60’s that Henry began to tour and stage a major comeback. Audiences were ready for blues again, and Henry was a perfect ambassador.

The next 30 years kept Henry working, representing St. Louis blues and playing to crowds of all sizes worldwide. He became a symbol of St. Louis blues, a living archive of the roots of the city’s musical culture.

Henry died at the age of 96. He hadn’t been playing much, but he still recorded and occasionally taught. One of his recordings won him a posthumous Grammy two years later, in 2008.

Thoughts:
No shootings, no prison time, no major drinking, womanizing or other self-destructive behavior – what the heck? Henry was nicknamed “the Mule” – he was stout, stubborn, and stalwart – and his playing is sort of the same. His long career, his “ambassador” status, and his unassuming persona all add up to one hell of a guy and one hell of a blues man – even without the mayhem and tragedy that usually accompanies the title.

Day 41: Tall Dwarfs

2012-02-10T19:29:00.000-05:00

(Watch out, readers. I picked up an old Encyclopedia of Rock at the libraries used book sale today. Lo-fi whozits coming your way!)

Tall Dwarfs

"Stay obscure long enough, and people might just cry when they finally hear you play."

D.I.Y.-ers, lo-fi-ers, experimentalists... call them what you will, the Tall Dwarfs formed in New Zealand in 1981. A duo composed of Chris Knox & Alec Bathgate, who had previously played together in Toy Love, they're known for switching around instruments- taking turns on guitar, bass and organ. As for drums... we don't need no stinkin drums! Instead they clap, or beat on various objects for percussion.

The guys began recording the same year they got together, and over the course of the 1980s released a whopping 8 EPs. Most tracks were recorded inside a house on a 4-track rather than in a studio; the quality (or lack there of) was completely intentional. It wasn't until 1990 they finally put out a full length album; five have followed since, one of which was billed to the International Tall Dwarfs. That album, 1997s 'Stumpy', is interesting due to the fact that the band had asked fans to "Send us your idea of a great T.D.throb"- in other words, rhythm tracks. Contributions cam e in plenty (from all over the globe- hence, the International Dwarfs), and were used on the album.

The Dwarfs have really always been a side project. Chris Knox has been hailed by just about everyone- referred to as "the most important figure in NZ indie rock", "one of rock's most prolific, eccentric, exciting & influential figures", etc. He played with both The Enemy & Toy Love before becoming a Dwarf, and began a solo successful solo career in the 1980s. He also authored the comic strip Max Media, which ran in the NZ Herald for over fifteen years, has hosted several television series, and founded his own record label (A Major Records). He recently (2009) suffered a stroke, and the benefit album that was released for him included contributions form Lou Barlow, The Mountain Goats, Bill Callahan (aka Smog), and Will Oldham. As for the other half of the group- Alec Bathgate began solo recording in 1995... and though he's pretty much always just been "the other guy in the Tall Dwarfs", he also played in both of Knox's other outfits, The Enemy & Toy Love.

My Thoughts:
It seems that if you live in New Zealand, you know exactly who Chris Knox is ("If Iggy Pop, Joan Jett, Robyn Hitchcock & Lou Reed were all the same person, that's how important he is to Kiwi [New Zealand] pop")... and if you don't, then you don't. He's done way more than what I mentioned here, and has received all sorts of critical acclaim. The Dwarfs have never officially broken up, but given Chris's health issues as of late, I would say that they're done. Most recent news I could find on how he's doing was from May of 2010, and it wasn't that good. The Dwarfs were pioneers in the lo-fi, D.I.Y. scene. They've been sited as an influence by Neutral Milk Hotel, Elf Power; and Chris' material has been covered by Frente! & Marshall Crenshaw.

The video below is a bit off- the sound cuts out at the beginning, but don't worry- that's not the actual song, which starts a little ways in.

Day 40: Chuck Prophet

2012-02-09T23:55:00.002-05:00

(Late post today kids... I had some technical difficulties. All good now. This one is even topical - he's released a new album this week.)

Chuck Prophet

Mid 80’s… At the sunset of the Paisley Underground movement, one of the few bright spots was the reconstituted cow-punk pioneer, Green on Red. It was essentially the guitar and writing of Chuck Prophet, with long-time friend and collaborator Dan Stuart. This was about the fourth incarnation of the group, and the one that was getting the most buzz with fans and critics. Prophet had been with the band since he was a teenager, and the skills he developed saved the band, and nearly killed him.

By ‘92 Stuart had quit music altogether, Green on Red had called it quits, and Chuck Prophet began his solo career. Like many a rock star before him, he also had a tenacious drug habit, and a self-destructive streak. Legend has it he once jumped through a sky-light, falling three stories onto the concrete floor of a mechanic’s shop while high. Chuck clams the stunt was to impress a girl. According to his website and several interviews, it’s a typical Chuck story; reckless, passionate, lucky.

Chuck spent nearly 10 years with Green on Red, and took his lumps in the music industry. His one-time agent stole the masters and the rights to Chuck’s early catalogue – eventually destroying all the originals. Chuck, lucky again, recovered the rights in court, and eventually moved on. He had a litany of record deals the outcome of which would be tragic in any other tale, but for Chuck, each disaster led to another opportunity, another record, another tour.

Eventually, he kicked drugs, and kept on cranking out the music. These days he writes with his wife, Stephanie Finch, and the couple claims to have a comparatively quiet life. On top of the 11 albums he worked on with Green on Red, he now has a cool dozen records of his own – including the February 7th 2012 release of “Temple Beautiful”, Chuck’s homage to his home city, San Francisco. He’s usually got more than one project on tap, and tours regularly.

Thoughts:
Chuck is at once punk, country and pop. His hooks are infectious without being too bubblegum, and his turn of phrase can sometimes give Leonard Cohen or Lou Reed a run for their money. He’s hip, without being a hipster – he’s got a rock mystique without the pretentious diva – he’s hard-edged without too much self-indulgence.

Put simply, I like Chuck Prophet. I always look forward to his albums, and his take on whatever subject he’s into at the time. I’ve heard a few cuts on the new record, and so far, I enjoyed the hell out of it. Dig in – I think you’ll like it.

Day 39: Moonshine Kate

2012-02-08T15:32:00.000-05:00

(Yes, she does have one of the coolest stage names ever.)

Moonshine Kate

Some Facts:
Rosa Lee Carson, aka Moonshine Kate (sometimes reversed as Kate Moonshine) is perhaps best known for accompanying her father, Fiddlin John Carson, on his recordings, and also for the musical comedy act they performed together. Born the ninth child of her parents in 1909, she was appearing alongside her entertaining Pa at no more than five years old, and by fourteen was an accomplished vocalist, guitarist & banjo picker. She spent her formative years touring the country with her father- playing along side him, as well as performing as a "spunky, devil-tongued mountain woman who frequently put the oafish character played by Carson in his place".

She first recorded solo in 1925, when she was a mere fifteen years old. One of her first tracks was 'Little Mary Phagan' (featured below)- a piece written by her dad which remains the track most associated with her name. It tells the true story of a 13 year old girl who was strangled by her factory boss... and if you're interested in true crime at all, look into the story- it's pretty interesting. The convicted was later kidnapped from prison by a lynch mob. But I digress.

The Great Depression hit everyone hard, musicians were no exception. So in 1932 Kate gave up recording & began working as a campaign entertainer. She worked with Eugene Talmadge on several gubernatorial & senate campaigns, and also took a job with the Atlanta Department of Recreation in Georgia. She later married & "settled down", opening a fishing lodge with her husband. In 1983 she was inducted along with her father into the Country Music Hall of Fame in Atlanta, and became a living link to the early country music scene- giving many interviews that have helped to preserve that history. She passed away in 1992 at the grand age of 83.

My Thoughts:
Many of the songs Kate recorded have a moonshine theme- go figure. She even collaborated with her father on a track called 'Moonshine Kate'. She didn't adopt the stage name until around 1928, so tracks recorded prior to that are billed to her given name. And I really, really wish there were more available, and of better quality, on the interwebz. It's a really fascinating part of musical history- she was one of the first females in the country genre. And her father? Well, he'll get his own feature here someday, don't you worry.

Day 38: Hot Rize

2012-02-07T19:43:00.004-05:00

(There is a paucity of great videos of this band from their early days. Get their live albums from your library. And remember, you’ll get better biscuits, cakes, and pies – with Martha White’s self-rising flour, that one all-purpose flour, Martha White's self-rising flour’s got Hot Rize!)

In 1976, Pete Wernick was working as a bluegrass musician in Colorado and had a record due out soon. His friend, Tim O’Brien had a record of his own coming out and each musician had played on the other’s project. Wernick placed a call to O’Brien with the idea of putting together a band to promote their two albums with a handful of dates over the summer. That’s what they did and by 1978, Hot Rize began its touring and recording career in earnest. Some 35 years later, Hot Rize continues as a going concern, and their influence on modern music reaches far and wide .

Hot Rize began with Wernick on banjo, O’Brien on mandolin and fiddle, Charles Sawtelle on bass, and the “Pete Best” of the group was guitarist Mike Scap, who was soon replaced by Nick Forster. Forster took over duties on bass, allowing Charles Sawtelle to move to guitar, finalizing the lineup that eventually played stages in nearly every state in the union as well as Europe, Australia and Japan. The group was noted for its ability to balance a deep rooting in traditional bluegrass with progressive arrangements that showcased each player’s unique style. Unlike a lot of their upstart “grassy” contemporaries such as New Grass Revival and Seldom Scene, Hot Rize relied less on speed and hot licks and more on precision, clarity and gorgeous three- and four-part harmonies. This band positively reeks of authenticity. They don’t thumb their nose at “establishment” bluegrass; they’re a big part of why “establishment” bluegrass has continued to evolve.

Hot Rize was a few years into their career when another band started showing up at their gigs. Whenever Hot Rize left for a set break, they’d be replaced by a swinging country western band called Red Knuckles and the Trailblazers . These guys didn’t play bluegrass, or even with bluegrass instruments. They played electric guitar and steel pedal guitar and bass and drums and they liked to play covers of songs like Your Red Wagon and Apache in addition to their own songs done in the western swing style. Red, Wendell Mercantile, Waldo Otto, and Slade dressed like comic book cowboys and made fun of Hot Rize between numbers. The story was that they were a mostly out of work band living without permission in the back of the Hot Rize tour bus. The truth was that Hot Rize sometimes felt like cutting loose from the strict structure of bluegrass and so they created an alter ego. The band would go off stage, change clothes, change instruments and come back out and deliver a completely different sort of musical experience. In the “joke’s on you” category, some fans found themselves preferring Red Knuckles and the Trailblazers to Hot Rize. Red and the boys ended up sharing space on a live album with Hot Rize and released a title of their own.

For 12 years, Hot Rize churned out #1 bluegrass hit after hit, played on national television and toured the world while winning awards and enjoying a reputation as one of the genre’s best bands. And then, in 1990 they decided to call it quits. Tim O’Brien went on to perform and record in a number of different organizations, as did Dr. Banjo, Pete Wernick, who also served as the president of the International Bluegrass Music Association for 15 years. Nick Forster went on to produce and host the popular public radio program, eTown. Charles Sawtelle lost a battle to leukemia in 1994. The band occasionally reunited in the late 1990’s with different guest guitarists (including Peter Rowan). In 2002, the band added Bryan Sutton as the unit’s official guitarist. Since that time, Hot Rize has been an on-again, off-again band, mainly playing the festival circuit and special dates, and there have been no new recordings.

My Thoughts:

They’re just incredible. The idea to have a different band within the band? Inspired. Each of these guys is an extremely talented multi-instrumentalist. And they can all sing. You don’t usually get both in the same band. The pedigree of this band truly is without peer. Check out their full bios on the Hot Rize site. To sum up Tim O’Brien’s career after Hot Rize by saying merely that he “went on to perform and record in a number of different organizations” is a scandalous sin of omission the size of which we as mortals lack the tools to measure.

Day 37: Lambchop

2012-02-06T23:04:00.002-05:00

(This is yet another one of those bands that can’t be summed up by two, or even a dozen videos… You really need to dig deeper)

Lambchop

A lot of bands deserve the title “unique” or “genre-defying”. Here at 365, we use those terms several times a week. Few acts deserve those monikers more than the 90’s quasi-country, quasi-alternative, quasi-jam-band, quasi-rock-band, quasi-etc, Lambchop.

Lambchop started, and remains as the primary creative outlet for it’s front man Kurt Wagner. Wagner and a few high-school friends began to play the Nashville clubs around 1986 as “Posterchild”. By ’93 they had been sued to change their name, signed to Merge records, and were busy carving out their own unclassifiable niche in the booming “alternative/alternative country” scene that was the early 90’s.

Labchop has a long and ever rotating roster of musicians, all collaborating and supporting Wagner’s stream-of-consciousness lyrical poetry. The end result is a stage performance that has been described as more “shamanistic spiritual event “ than concert. Lambchop has been compared to the Doors, Lou Reed, Tom Waits, which puts the group in it’s own category rather than the typical “alt-country” contemporaries (Allmusic.com points out that Uncle Tupelo and the Jayhawks hit at just about the same time, and the difference is staggering).

By 2000 Lambchop had five albums under its belt and a rabid fan base that kept Wagner and the band busy touring. They hit Europe like a hammer, and built a significant crowd of fans and critics alike – Outmatching the US success significantly and giving the group a steady steam of gigs throughout much of the next decade.

They now have over a dozen studio albums (including 2000’s “Nixon”, lyrically dedicated to the infamous former president of the Unites States), and another dozen live and compilation albums. Just this week, Lambchop announced a new record (dedicated to a friend of the band, the late Vic Chestnut ), and supporting world tour.

Thoughts:
I came late to the Lambchop party – I only discovered them in around 2005 when a fanatic lent me a stack of bootlegs. I was freaking hooked. Wagner is drunken poet buzzsaw – he’s a mainline right through pop-culture to the reptile underneath… He’s genius in my opinion, and if you gave up on them early, give them another listen.

They have a Seattle date on that ’12 tour; I’m going. You should come too.

Day 36: George Faith

2012-02-05T20:23:00.002-05:00

(I personally love coming across an audio track on Youtube that contains (a certain amount) of vinyl hisses & crackles. Hope it doesn't put any of ya off.)

George Faith

Some Facts:
Born Earl George Lawrence in 1946 in Jamaica; George Faith is the most widely recognized moniker of todays feature performer; though he also recorded as Earl George & George Earl. Raised in a working class family, his talent was first recognized while singing in his school choir. He was seventeen when he was first recorded, and over the next few years worked with various producers using the name George Earl. In the mid 1970s he hooked up with Lee "Scratch" Perry, who commented "You have a lot of faith. You should change your name to George Faith." Jamaica had just recently begun issuing 12" singles, and the first tune credited to George Faith was an almost twelve minute version of 'To Be a Lover'.

Shortly afterwards, George's first full length album was put out- which was released under the name of it's leading single, 'To Be a Lover', and in some pressings as 'Super Eight'. Between it's release in 1977, and the musical hiatus George began around 1981, another five LPs were released. With each he worked with a different producer, giving them all a bit of a different sound. One of those albums, 1978s 'One & Only', was credited to Earl George.

George spent a few years living in Canada during the early 80s, taking a break from the music scene. He returned home to Jamaica around 86, and jumped back into heavy recording. He had never really achieved a high level of success, and actually became even more obscure upon his return to the business. He maintained a strong fanbase in Brazil, and toured with big names like Gregory Isaacs, but spent most of his time playing the hotels of Jamaica. His final recordings were made in 1992, and eleven years later in 2003, he passed away from cancer.

My Thoughts:
In my opinion, George Faith has one of the most beautiful voices that's ever been utilized in the reggae genre. His vibrato just kills me- great example is the below feature ("Once upon a ti-ii-ime"). Though he did perform a good deal of original material, he covered a ton of stuff- I've always been partial to his interpretation of 'Lavendar Blue', a song/nursery rhyme which dates back to the 17th century. Unlike a lot of his peers, George didn't sing much about specific political events; he instead generalized upon the universal topics of love & unity.

Day 35: Slim Harpo

2012-02-04T19:04:00.001-05:00

(Bluuuues Saturday again… and yes, it’s actually Saturday this time.)

Slim Harpo

Many of the blues acts we cover here at 365 are influential, but still relatively obscure. They often struggled for recognition during their lives; only to be discovered long after they were gone. Slim Harpo is the exception – he was lucky enough to have some commercial success right at the birth of rock and roll, and consequently had mainstream longevity both during his lifetime, and well after.

Born James Moore in 1924, Slim grew up an orphan in Louisiana. He made his early living as a longshoreman, and started playing harmonica on the Baton Rouge bar circuit (under the name Harmonica Slim). Eventually, guitarist Lightnin’ Slim introduced Moore to Ligtnin’ Hopkins (Note: the lack of diversity in these particular blues names cracks me up), and Hopkins suggested Moore sit in on recording sessions.

By ’59, Moore had changed his stage name to Slim Harpo (there were several other “Harmonica Slims” playing various circuits), and began to write, record, and perform with his own group. He co-wrote most of his songs with his wife, Lovelle including his first hit “King Bee”, which hit number one in 1961.

Slim Harpo was easily digestible for Blues fans, country fans, and the newly minted Rock and Roll crowd. His smooth delivery and people pleasing stage presence made him the perfect crossover act for the time. Despite his commercial success, he never considered himself a full-time musician. Slim kept his own trucking business operational and worked all through the ‘60s – even during the height of his popularity.

Slim died of a heart attack in 1970. He was 46 years old, still working as a trucker, and still writing, recording, right up to his last day.

The Stones, the Kinks, Van Morrison, and many others have covered slim Harpo. He became a symbol of the blues revival of the ‘60s, and to many rock artists, he was an accessible version of the blues they could adapt directly to their commercial attempts.

Thoughts:
Slim was a safe, commercial, accessible blues player. Of course, that doesn’t mean he didn’t rip faces off with that damn harp. He smoked as a player – and his impact on rock and roll, country, and R&B cannot be overstated.

Slim broke racial lines, crossed over into fans that wouldn’t touch “black” music – and as a result gave us a foundation of blues that still hits other genres today. Even if you don’t know Slim’s songs, you hear his influence nearly every time you turn on the radio.

Day 34: The California Guitar Trio

2012-02-03T18:59:00.000-05:00

(They make this stuff look way to easy.)

The California Guitar Trio

Some Facts:
Despite their name, none of the members of The California Guitar Trio are from California. It is where they got together to form the band in 1991, however. The three originally met in England when they were all attending a guitar course hosted by Robert Fripp of King Crimson- a band they would later tour with, and whose label they release albums under. They struck up a quick friendship, and when they traveled back to the States, began playing the club scene together- dipping into every genre, and often fusing them together.

Since their inception, the trio has released 15 albums. They include a wealth of original material, covers that span from Bach & Beethoven to Lennon & Pink Floyd, and there's even a Christmas LP in there. Whatever they're playing, they're melting your face off. Their music was featured prominently during coverage of both the 1998 Winter, and 2000 Summer Olympics; and was also used as a pleasant alarm clock for the crew of the space shuttle Endeavour. They've toured with a ton of great acts- Taj Mahal, Leftover Salmon, John McLaughlin, and frequently King Crimson, as I mentioned before. Speaking of King Crimson, Tony Levin & Pat Mastelotto of KC often sit in with the Trio.

The guys are currently on tour, and if you're interested in learning more they have an awesome website that includes streaming music, blogs, set lists from previous shows, and behind the scenes videos.

My Thoughts:
I first heard the California Guitar Trio when I was maybe 12ish. I went with my dad to a King Crimson show, and they were the opening act. At the time, King Crimson was not at all my cup of tea... I only went because my mom was sick & couldn't attend, leaving an extra ticket. Hearing the Trio made the trip entirely worth while. I was completely blown away- I had no idea you could play classical music on the guitar like that. I had no idea the depth of the acoustic guitar. It was the first time I really took notice of technique- I had only listened to music before, but they inspired me to investigate it, to dissect it. It's difficult to explain, but it changed me. That's why these guys will always have a special place in my heart.

Day 33: Folk Uke

2012-02-02T15:53:00.005-05:00

(Wow – month two, year two already. Time flies at 365, yes it does… Not a lot on this band, so three vids for you.)

Folk Uke

"It’s really clearly not just about our musical skills, as much as that we’re having fun. And we get people to sing along with us. We’re having fun, and that carries into the audience." – Cathy Guthrie

“Novelty” acts that aren’t really novelty acts have been a bit of a theme here at 365, and this band fits that paradox perfectly. Ukulele, humor, children of super-stars – this group should be a joke. It has all the parts and punchlines… but to fans of Folk Uke, the charm is deeper than the sum of the parts.

Folk Uke is an acoustic duo featuring Amy Nelson, and Cathy Guthrie. They were founded in San Diego, when the girls met while working in a restaurant together. Cathy is the daughter of Arlo Guthrie, and Amy is Willie Nelson’s daughter. Once they made the connection they realized “our lives were the same – we came from the same place and became fast friends”. They began playing together and writing for fun, and eventually sat in on a set with Cathy’s sister Annie at “Woody Fest” in 2002.

After the first few nervous shows, and with some encouragement form both famous fathers, the girls decided to record an album. In 2005 they released the self-titled “Folk Uke” with originals from both members, traditional folk songs, and covers. It also features Arlo and Willie on guitar and backing vocals. The album was modestly successful, with some Internet buzz in the Americana/Folk scene – but never broke into mainstream interest. Critics loved it, and a core group of fans developed that can’t get enough.

Folk Uke still tours occasionally, and both girls perform with their families at festivals and get-togethers. Info is hard to come by, but rumors of a second album have been circulating.

EDIT:The second album "Reincarnation" was released in November of 2011. - Thanks for the correction dear readers...

Thoughts:
Novelty acts do exist, but again, like Dan Reeder, tUnE-yArDs, Tim Minchin and the others we’ve covered here, there is much more to Folk Uke than that genre label implies. They are novelty in the same way Loudon Wainright III is novelty – he uses humor, but there is a depth and honesty that pop music can’t touch. Folk Uke has that edge. Funny? You bet, but also real, and charming, and touching… Everything I want my “real” music to be.

I won’t pretend to know what it means to grow up a Guthrie, or a Nelson, but I’ll go out on a limb and bet those families value authenticity, humor, and passion, and Folk Uke has enough of all three to show others how it’s done.

I love that rumor of a second album… give me hope that more is coming. Ive covered "Fences" below - it's damn fine writing. And Adelle and I did a Youtube duet of "Shit Makes the Flowers Grow"... one of my all time favs.

Day 32: Bush Tetras

2012-02-01T20:18:00.001-05:00

(The Grateful Dead is holding a covers contest. If you would go thumbs up my entry on Youtube, I would truly appreciate it. I don't even care if I make the final cut- I just want them to hear me. Would be a dream come true.)

Bush Tetras

Some Facts:
A "one hit wonder" who had much more to offer; the Bush Tetras have been touted by the likes of Thurston Moore and Byron Coley- but are still devastatingly unknown by the general public of today, save for those that grew up on their music. Fronted by ex- James Chance & the Contortions guitarist Pat Place & vocalist Cynthia Sley, the group came together in 1979, and with their first single, 1980s 'Too Many Creeps', scored the biggest hit of their career. I use the term 'hit' lightly here- it only made it to #57 on the US charts... but Sley's half spoken vocals were fairly groundbreaking for a female vocalist of the time, and undoubtedly inspired many others. Despite it's low chart placing, it's still the song most associated with Bush Tetras.

The groups first album was a 1981 EP produced by Topper Headon of the Clash. It contained a second charting song ('Can't be Funky'), the last time the group would make it onto the Billboard. They returned two years later with a live release, before disbanding to work on other projects. Vocalist Cynthia Sley co-founded the Lovelies, drummer Dee Pop formed Deerface (who appeared on albums from John Cale & Tom Verlaine), and guitarist Pat Place began working with poet Maggie Estep on her spoken word projects. After the break up, the album 'Better Late than Never' was released- made up of demos & unreleased material.

The Bush Tetras first reunited in 1995- compiling their early work for the 'Boom in the Night' album, and releasing an all new album, 'Beauty Lies', the following year. They were next heard from in 2005- playing shows in NYC which quickly evolved into an international tour. In 2011 they suffered a terrible tragedy when original bassist Laura Kennedy died of liver disease, but they still continue to tour today. Word also has it they are working on new recordings.

My Thoughts:
The Bush Tetras are all good & stuff. They recently held a memorial concert for Laura Kennedy- acts on the bill included Lenny Kaye (Patti Smith Group), Jean Caffeine, Band of Outsiders, and of course, the Tetras themselves. In the late 70s/early 80s, Pat Place appeared in several films directed by experimentalist Vivienne Dick; along side Lydia Lunch & the Bush Tetras original lead singer (reportedly only for their first gig) Adele Bertei, who was also lead vocalist for Pat Place's first group, The Contortions (and yes, I really only this because I so rarely come across someone who shares my name. Even if she doesn't spell it correctly.)

Also:
Have ya noticed a bit of a change here at 365? We've upgraded! Not visually, and not our content either... but we do have a domain name now. The original blogger address will continue to redirect you, but feel free to update your bookmarks. We've also started to expand our 365 Facebook page... so far just a photo album of autographs we contributors have been lucky enough to score- we'd love for you all to contribute to it as well! And not just autographs... artwork, ticket stubs, posters, whatever ya got.

Day 31: Fareed Haque

2012-01-31T18:05:00.002-05:00

(Let me explain. No, there is too much. Let me sum up.)

Some facts:

Fareed Haque’s long history as a guitar virtuoso has been defined as much by his constant embracing of change and innovation as it has by his mastery of his instrument. He was born in 1963, and spent much of his early life traveling the world with his mother and father, who were of Chilean and Pakistani origin. After trying out the piano at age 8 and string bass at age 9, he picked up his first guitar at age 11. He started out studying classical guitar before moving his focus to jazz and winning a jazz scholarship to North Texas State University.

He soon ran through the entire jazz program there and transferred to Northern Illinois University, continuing his classroom education while at the same time gigging around the Chicago area and finding jam sessions to drop in on. He developed a clear command of both classical and jazz idioms and by the time he was 23, he’d joined the faculty at NIU. He’s still a professor with the university, but he’s found some interesting things to do in between semesters.

Like what? He’s put out some 13 “solo” cds, including 3 released by Blue Note. One cd he recorded, Déjà Vu, was a song by song cover of the album by the same title released by Crosby Stills Nash & Young. He’s won a laundry list of awards, published instructional videos, played in formal concert settings, and has become a mainstay of the festival scene, jamming with top level musicians from widely divergent backgrounds.

Fareed Haque is best known for his work with Garaj Mahal. The four piece unit he formed with Kai Eckhardt on bass, Alan Hertz on drums, and Eric Levy on keys was built with the mission to be a “sophisticated, danceable, well-played, hip music with a world music flair and a good pocket.” The vision was about creating a groove, finding ideas, and making the audience move more than about each member showing off their chops. Haque has said, “There is only so long that you can listen to someone play the shit out of the guitar before you’re like ‘Yeah, so what?’ Virtuosity is just a tool . . .”

Garaj Mahal raged with this line up for over ten years, playing all over the country and world, winning fans and critical acclaim, while somehow managing to get Haque back to NIU most weeks to keep up with his teaching. The band released 4 studio albums and 3 live compilations before the guitarist decided he was ready for a change.

He hadn’t exactly been stagnant. He’d been commissioned to write a few concertos, which were produced in 2004 and 2006. In between Garaj Mahal projects, he’d found time to form a Hindustani outfit, The Flat Earth Ensemble, with whom he’d released 2 cds. And when he wasn’t playing with either of those bands, he’d round up some friends and go out playing as The Fareed Haque Group.

But as members of Garaj Mahal began to gravitate more towards melody and singing, Haque was pushing to go further in the direction of electronica. He’d acquired a Moog guitar and was fascinated by the possibilities it presented. So he built a new band centered around the Moog and called it MathGames. MathGames played their first show in 2010, and released their first CD, We’re From the Future on Owl Studios in 2011.

My Thoughts:

This guy is amazing. You should know more.

Day 30: Uncle Monk

2012-01-30T20:58:00.003-05:00

(I have to take a second and give a shout out to a great friend of 365, Uncle Jeff. Not only is he a terrific musician and songwriter , but he’s one hell of a great guy. He reminded me of this band. He’s got good taste.)

Uncle Monk

Some rockers burn out. Some, as the story goes, fade away. Occasionally, they just keep on rocking – or in Tommy Ramone’s case they pick up a mando, and folk your face off.

Few would argue that Tommy Ramone was the brains as well as the drums behind the influential punk band “The Ramones”… Well, DeeDee would argue, but since Tommy is the last of the boys left alive, we’ll go with the original story. Tommy managed, and for the early Ramones years was the drummer for the band – he even wrote a few of their hits, and is largely responsible for the early marketing that brought the Ramones to everyone’s attention – and changed music forever.

Uncle Monk, by sharp contrast, is a quiet, unassuming folk-grass duo. If you saw them at a festival, there would be little to connect them with Tommy’s first band. Uncle Monk is Tommy on mandolin, and Claudia Tienen (formerly of the Simplistics) on guitar. They span traditional ballads, folk-rock originals, and even a few Ramones covers from time to time. Their simple, honest performances, and Tommy’s pedigree make them a favorite of folk festival across the US.

So far, they have only released one album, 2006’s eponymous “Uncle Monk”, and they continue to tour occasionally and play festivals.

Thoughts:
Yeah – ok, so if it wasn’t Tommy I may never have noticed them. But damn it – it is Tommy, and he’s got that punk heart that shines through. The lyrics of most of their songs are pretty terrific, and Tommy is more than competent on that mando.

I can’t help it – Tommy’s “star” influence aside there is just something so clean and authentic about Uncle Monk– I could see playing with a duo like this. No arrogance, no hot-dog bullshit, just pure music. I hope I get to see them live some day.

If by some chance they read this... More please.

Day 29: Lil Green

2012-01-29T19:00:00.000-05:00

(Blues Satur- er, Sunday. We'll get this shit straightened out sooner or later.)

Lil Green

Some Facts:
Born Lillian Green in 1919, Lil's musical journey was quite similar to many of her male peers in the blues genre. Growing up poor in Mississippi, she got her start singing in church. When her parents both died while she was still a teenager, she relocated to Chicago, which she would call home for the remainder of her life. Shortly after arriving there, she befriended Big Bill Broonzy, and the two worked the club circuit together. Lil was first recorded in 1940, and that very year scored her first big hit with an original composition- 'Romance in the Dark'. Not to be confused with the well known Billie Holiday recording of the same name, Lil's song went on to be performed by big names such as Nina Simone & Dinah Washington.

Lil's musical output was steady throughout the 1940s. Big Bill was a frequent contributor to her recordings, as was Ransom Knowling. The biggest song of her career was recorded in 1941- a cover of Kansas Joe McCoy's 'Why Don't You Do Right?'. Though now we may associate that song with other performers such as Peggy Lee, it was Lil who first made it her own- and though it's not her song, it is her song.

Reports of how Lil lived her life are varied. Big Bill Broonzy has stated she never smoke or drank & was deeply religious.... while R.H. Harris (of the Soul Stirrers) claimed she served time in prison for her role in a murder. In 1951 she got what might have been her big break when she was signed to Atlantic Records. But by that time her health was already failing, and after recording only two tracks for the label (that were released- 3 more were left on the shelf), she passed away in 1954 of pneumonia. She was only 34.

My Thoughts:
No one, myself included, is really sure why Lil has remained in the shadows of blues history. Her recorded output wasn't what you might call considerable... but is still larger than many blues artists who were, and are, touted by enthusiasts of the genre. Her vocals are similar to other popular artists who came after her; I can't say for certain she was an influence on them, but she certainly came first. So it's not lack of material, it's not her voice... I guess it's just a shame. It's interesting too, because Lil scored some major hits- she was quite well known during her time. Her story is the classic blues story, similar to her male peers, as I mentioned.... the rise from poverty to commercial success, the penning of a classic song that is still quite well known to this day, though not by her name, and an early death.

Day 28: tUnE-yArDs

2012-01-28T20:47:00.005-05:00

(Yep… she really spells it that way. Not a lot of info on this one, since she’s so contemporary, so I’ll break with form and post three vids. If Adelle fires me, you guys will come to my defense, right?)

tUnE-yArDs

Experiment (n) – to try out a new procedure, idea, or activity…

To call tUnE-yArDs simply experimental is to miss large parts of what makes the project so compelling. It is however, often the first descriptor used to explain the music and performance of Merrill Garbus. Merrill defies genre and brings a performance artists skills to bear on her music. tUnE-yArDs is collaboration, rhythmic loops, distorted baritone ukulele, post-punk lyrics, and passion by the bucketful.

Merrill started the “group” around 2008, merging her performance art with some musician friends, eventually performing live. The first tUnE-yArDs release was in ’09, originally limited on vinyl, and then re-mastered later the same year for CD. The critics paid attention. So did the venues. Garbus started playing live more and touring – from art-house shows to festivals and gaining some traction. Youtube helped drive interest, and in 2011, she released a second album “Who Kill”.

She’s played Jimmy Kimmel, been featured on commercials, and is currently on tour. Far from just being an experiment, tUnE-yArDs seems poised to make it's mark as a genuine musical phenomenon.

“What’s a girl to do if she’ll never be a rock star?”

Thoughts:
I love this band. Less a “band” than Merrill and whomever she can convince to tour with… which is part of the charm.
I have a soft spot for uke artists. I also hate most uke music. This contradiction makes me very wary of novelty uke acts. Garbus is not a novelty uke act. Her music punches most lazy uke-pandering garbage in the throat, then builds a tower out of it’s carcass, climbs to the top and screams “I’ll show you creativity, you heartless puppets…”

She runs the risk of going too far the other direction and being a pretentious, tiresome, “art-y”, hipster-whine fest – but the passion and talent pull her through. She’s just getting started too – I for one, cannot wait to see what she does next.

Day 27: Dr. Strangely Strange

2012-01-27T19:26:00.000-05:00

(In case you're interested in seeing how the 365 crew rolls, check Grumpy & I out covering a Devil Makes Three tune with some other members of our UCB family. I'm not gonna lie, it's sorta awesome.)

Dr. Strangely Strange

Some Facts:
Often incorrectly described as an offshoot of The Incredible String Band due to their contribution to the ISB's 'Changing Horses' album early on in their career, Dr. Strangely Strange is an Irish "experimental" folk group. They came together as a duo in 1967, but before the release of their debut album two years later were up to a four piece. Of the members, multi-instrumentalist Tim Goulding is perhaps the most famous. An accomplished artist, he has also gone on to a solo music career. It was the home of his girlfriend that the band used for practice space- a building referred to as 'The Orphanage', which is interesting to mention as it's the same place that inspired Phil Lynott & Gary Moore's band of the same name, which Strangely Strange member Tim Booth was also a part of.

Two Dr. Strangely Strange albums were released during the groups "hey day". They disbanded for the first time in 1971 under somewhat unusual circumstances- Tim Goulding taking off for a Buddhist monastery, Ivan Pawle (bass, keyboards)) & Tim Booth (vocals, guitar) teaming up with Gay & Terry Woods for a tour. They've gone on to reunite several times- most notably in 1996 for a third LP (with all the original members, even!), and within the last several years for various "special" concerts, including one celebrating the music of The Incredible String Band in London. In 2007 the album 'Halcyon Days' was released- featuring all unreleased material that was recorded between 1969-70.

My Thoughts:
Usually terms like "experimental" annoy me, but it's hard to describe Dr. Strangely Strange without using it. I'm not sure if the drugs aren't as good as they used to be, or if they've just gotten more expensive, resulting in lower consumption per sitting. Though it's incorrect to say they were an Incredible String Band offshoot, it's understandable that people would think so, besides the album connection. I mentioned Gay & Terry Woods... they were also briefly members of Dr. Strangely Strange, partaking in the groups "final" tour before the split in 71.

Day 26: Dan Reeder

2012-01-26T00:13:00.000-05:00

(This is one of those acts… more than meets the eye here - much. I really recommend more than just the two featured videos.)

Dan Reeder

I’m a painter who writes music, because there are some things you can’t paint… - Dan Reeder

Creativity is not always a focused compulsion. Sometimes, a polymath comes along in the arts too. In Dan Reeder’s case his passions are painting, luthiery, and songwriting. He is accomplished at all three – but non-traditional in all three as well. He’s a DIY/low-fi poster-boy – creating his own instruments and recording equipment – and an “outsider artist” in both paint and songwriting.

Dan started writing later in life, and had considered himself (and still does) a painter first. He was living in Germany (his wife is native German) and experimenting with recording techniques and equipment configurations – making home-made cassette tapes. Legend has it, that somewhere around 2002 one of those tapes made it into the hands of John Prine – who loved the work so much that he signed Dan to Prine’s “Oh Boy” label.

In 2003, Dan’s first album was released; the mater-of-fact delivery, blunt and sometimes crass lyrics, humor, and simple DIY sound left many assuming Dan was a novelty act. Critics who took the time to listen however, generally agreed that Dan was a master of the form – one to be taken at more than face value.

Dan released his second album in 2006, and continues to paint, build, record, and experiment. Youtube has given renewed interest in Dan’s work, and his albums continue to sell well as “cult” favorites.

Thoughts:
Dan is no novelty act. Sure, he’s got a wicked sense of humor, and swears like a sailor, but he’s no more a novelty than Charles Bukowski was a stand-up comic. Dan has depth to those simple songs, that foul language. There is genuine social observation in Dan’s homespun drawl – real, honest writing. Sure, it’s funny, but only because the human condition is absurd, and he knows it.

Dan hand builds every instrument he records with – he also considers his songs as just an “un-paintable” facet of his painting. It’s not novelty – In my opinion, it’s art.

Day 25: Big Heavies Double Post

2012-01-25T19:42:00.004-05:00

(We fully intended to double post on the last day of the month, but then we drank heavily for three days, so you get this; hangover double post for you. Yay.)

"Big Heavies"

1972 “Rock Today with the Big Heavies” was released. The album was an eclectic mix of garage and cover bands from all over South Africa. It heralded a briefly influential movement of progressive metal and rock from the Capetown scene, which would come to be known as “The Big Heavies”.

“Women sometimes sicken me with their lyin’ and cryin’…”

Suck was not the most prolific of the bands from this era, but their name has kept them from disappearing completely into pop culture oblivion. They only released one album o their own “Time to Suck”, but it’s worth the listen for the early (and in my opinion, terrible) cover of Sabbath’s War Pigs alone.

Also a good example of the Big Heavy sound, the Otis Waygood Blues Band by contrast, was one of the top live bands of the Cape Town scene. They eventually toured Europe and the UK, finally making a home in London. They shifted the focus of the band from prog-metal to Reggae, changed their name to “Immigrant” and then finally called it quits in 1979.

Thoughts:
Yes Shawn, this is real. In my opinion, they sound like every 70’s garage metal band I ever heard in small town America, but the difference is – these guys got radio play … and shows… and fans. There are whole blogs dedicated to talking about The Big Heavies. I won’t call it good; “Suck” was actually the least sucky band on the record. But I will call it compelling from an anthropological/musical history point of view. You be the judge.

Day 24: Abigail Washburn

2012-01-24T16:00:00.008-05:00

(Adelle and Grumpy are taking Tuesdays off - and you can, too! Or, read on. As you like.)

Abigail Washburn was born in Evanston, Illinois in 1979, but I took no notice. It was much later, in the fall of 2005 when I finally got on board. I received an email from the owner of the local cd/vinyl shop, alerting me to a special in store performance by Abigail Washburn, whom he described as a banjo player with an amazing voice and a style “beyond bluegrass.”

Washburn was on tour that fall promoting her first solo album, Song of the Traveling Daughter. Her approach to blending American folk instruments with Chinese folk melodies and lyrics had found a small but receptive audience among critics and smart, hip folks like you and (eventually) me.

She’d developed a love of Chinese culture while studying there and the time spent abroad also deepened her love of things she thought of as intrinsically American. The banjo proved to be one such touchstone, and she bought one when she returned home, listening to a lot of Doc Watson, and learning a few songs on her new instrument. She was preparing to return to China to study law at the University of Beijing when she stopped in at the International Bluegrass Music Association’s Convention, played the few songs she’d learned to some girlfriends in the hallway, and was offered a record deal on the spot.

Because that’s the sort of thing that happens every day. To everyone.

But that’s what happened. Béla Fleck was the cd’s executive producer, and the album was featured on NPR, and next thing you know, the aspiring Sino-American ambassador had become a touring musician. She came to my town and the few songs my family heard at the in store sounded amazing. We bought the cd and since she was just standing around, we chatted her up and asked her to sign our new cd. She did, paying special attention to our daughter, Grace, and asking us if we knew about her girl band, Uncle Earl.

We did not. I mostly walk around not knowing much. It turned out that Uncle Earl is an old time string band that was founded in 2000 by mandolinist KC Groves out in Colorado. The band had gone through a number of lineup changes as it sought to gain traction in the festival scene, but had recently settled on the quartet of Groves on mandolin, Washburn on banjo, Rayna Gellert on fiddle and Kristin Andreasson on guitar. When possible, the four were joined by either Sharon Gilchrist or Bryn Davies on bass.

Uncle Earl had released a handful of self-produced records and EPs, but were picked up by Rounder Records (home of Alison Kraus, The Jayhawks, etc.) for their first major release, She Waits for Night. Washburn shared lead vocal duties with the other band members, but was memorably showcased on the gospel song, Warfare. She Waits for Night did attract attention from many quarters, and the profile of the G’earls increased, so much so that for their next studio project, Uncle Earl were in a position to recruit John Paul Jones to serve as producer. JPJ makes a cameo in a link below, so keep a sharp eye.

What you need to know about the second Uncle Earl cd (Waterloo, Tennessee, released in 2007) is that it includes a song called Drunken and Promiscuity Blues, another song called Drinker Born, and a Chinese language song about Mao Zedong’s favorite dish, which is a small streak of lean meat with a big hunk of fat. And that song is to the tune of a song called Hell Broke Loose in Georgia as played by the Skillet Lickers, an American folk act from the turn of the 20^th century. So once you know those few facts, you can figure out for yourself that Waterloo, Tennessee is basically a carbon copy of every other cd which was released in 2007.

Not willing to be limited by the opportunities afforded by Uncle Earl, Abigail Washburn set her sights on a different ensemble, called Abigail Washburn and the Sparrow Quartet. The Quartet was comprised of Ben Sollee on cello, Casey Driessen on fiddle and banjo maestro Béla Fleck, whom Abigail wisely chose as the band’s musical director. The group, and especially Washburn, caught the attention of the US State Department, who sponsored their tour of China and Tibet, making them the first musical act to be so honored. 2006 saw the release of a self-titled EP, which was followed by 2008’s full length album, also titled Abigail Washburn & the Sparrow Quartet.

Whereas Uncle Earl draws its power from spare arrangements which allow each instrument to be heard and each player to shine, the Sparrow Quartet relies more on the tension between rhythm and melody created by the banjos and violins (a cello is properly termed a violin or violincello, so don’t go getting copy-editor on me). The violins provide the sweeping sustain while the fiery banjo runs provide an insistent counterpoint. This provides a base for Washburn’s soaring vocals, the beauty and range of which are unmatched in today’s folk music.

As her star continues to rise, Abigail Washburn has released a second “solo” album, called City of Refuge, embarked on one of the Silk Road tours with a loose group of American and Chinese players known as The Village, and in a move that surprised exactly no one, she married her friend and collaborator, Béla Fleck.

My thoughts:

I love everything Abi does (I call her Abi – we’re real close) and I think you should check her out. If you’re not into old-timey string band music, the Uncle Earl stuff may not be for you, but if you can’t find something of hers to like, there may be something fundamentally wrong with you. Next time I go to chapel, I’ll light a candle in your name.

Day 23: The Goldbrick Noodle Boys

2012-01-23T21:55:00.005-05:00

(Good news at 365 headquarters, the indomitable Ukeyermind has agreed to join our writing staff. The job only pays in comments and adulations, so please make him feel welcome for his debut tomorrow. For now, you can look forward to his posts every Tuesday, until we convince him to take over the whole project.)

The Goldbrick Noodle Boys

Goldbrick ( n ) Someone who does not do his or her share of the work. "That goldbrick sits in his office all day and doesn't do a lick of work."

Noodle( n ) The head. "Ow! I just bumped my noodle on that pipe up there."

The Goldbrick Noodle boys began their inconsistent career when Wilfred Farthing, and Wilfred “Wallaby” White met in the trenches of France during WWI. The Willfreds became quick friends while battling debilitating cases of trench foot. They passed the recovery time by sharing folksongs and entertaining fellow casualties with impromptu vaudeville style routines.

Upon returning home to the States Wallaby, having no family to speak of, joined Farthing & settled in his home town of Blue Ball, Pennsylvania. There the pair hooked up with Anthony “Right-Eye Tony” Magalia, a childhood friend of Farthings. Magalia had been unable to join the war effort due to a farming accident that left him blind in one eye, hence his nickname. Right-Eye spent the war years honing his skills as a puppeteering clown, entertaining orphan children for the Quaker Charities all across the North Eastern United States.

The Appalachian Folk Music and Historical Preservation Society first recorded the Boys in the late 1920s. They toured up & down the East coast vaudeville circuit through prohibition and into the 30s. The boys blend of humor, stage antics, and “delightful racism” earned them audiences from Atlantic City to the early resort towns of Florida. Like many vaudeville acts of their time, they rotated members- at one point adding female dancers, jugglers, and “animal acts”. Their family members would also join in on the performances- wives, children… some shows featured as many as 15 entertainers in multiple segments.

By the 1960s, the boys act no longer matched with the political climate in the United States. Songs like the below feature, ‘Chicken Pie’, with it’s reference to “darkies” resulted in protests, and being banned from several venues. While this may have seemed the most likely cause for the demise of the band, it was actually Right-Eye’s puppet cabaret & dancing act that caused them to be banned from the entire state of Florida. At that point, the founding members were well into their 70s, and Wallaby had succumbed to dementia. His fits of “inappropriate behavior”, including at least one incident of indecent exposure, combined with the lack of willing venues, spelled the end for the Goldbrick Noodle Boys. They faded into obscurity, except for Right –Eye Tony, who went on to be a headliner of the Mexican carnival circuit, until his death at age 97.

My Thoughts:
Acts like these can’t necessarily be called influential, but they certainly were controversial. Though their recorded work is scant, their live performances were legendary, and really where the magic happened. I doubt we’ll ever see an act quite like The Goldbrick Noodle Boys in our time… but maybe that’s a good thing.

Day 22: David Zollo

2012-01-22T20:18:00.001-05:00

(“There are a lot of people out there who are every bit as talented as I am and more who don’t get a chance to play their music for a living … Every time I get on stage or perform, I am grateful for that experience.”)

David Zollo

Some Facts:
David Zollo hails from Iowa, and started out on the piano at the age of four. He grew up performing for family & friends, anyone who would listen. At 21 he began making a name for himself in the music industry, forming the band High and Lonesome in 1992. They put out three albums before being derailed in 1994 when Dave underwent surgery to remove tumors from his vocal chords. As he waited for his voice to heal, he formed the label Trailer Records, and also joined Todd Snider's backing band for a year long stint. In 1998 he was fully recovered, and released his first major label solo album, 'Uneasy Street'. Though well received, it would be another four years before he released another solo effort, as he kept quite busy in the meantime.

Dave not only appeared on albums from other artists during the late 90s/early 2000s- Todd Snider, Dave Moore, Bo Ramsey, Greg Brown, Kelly Pardekooper, and many more; he also became a quite in demand producer for up & coming artists. Acts he worked with in that capacity include Brother Trucker and The Pines, and of course he also produces his own work. His label has grown to host many artists (and forgive me here for dropping names I just dropped) including Greg Brown, Bo Ramsey, Eric Straumanis, Patrick Brickel, Susan Shore, and Catfish Keith, to name a few.

Zollo has released six albums of solo material, almost entirely made up of original songs. He currently performs with his band The Body Electric- which references 'I Sing the Body Electric', a short story penned by Ray Bradbury, and also the title of a Walt Whitman poem. He's currently working on a new release, the first featured video is actually an unreleased track set to be included on it. Tour dates are currently on the calendar, some of which he shares the bill with William Elliot Whitmore.

My Thoughts:
What is it that David Zollo has? I believe the kids these days refer to it as "swagger". That head movement when he's playing... it's unintentional, subliminal... it's swagger. It's "cool sophistication" (thanks, Urban Dictionary). It sorta reminds me of Harry Connick Jr's attitude while playing, 'cept Dave does it with about 95% less douche bag than Harry does (and I actually adore Harry, don't think I'm hatin). He even has swagger while simultaneously looking like a Dungeons & Dragons nerd, as in the vid below. I first became aware of him through his work with Greg Brown (who I can't recommend enough), and now thanks to Dave I'm also a fan of artists on his Trailer label- specifically the Brother Trucker. Dave's an excellent lyricist, and while he hasn't quite "made it" yet, he's huge in the "underground roots" scene, or "indie-Americana"- whatever you'd like to call it.

Day 21: Black Ace

2012-01-21T19:27:00.000-05:00

(Ba-ba-bluuuues Saturday. If there's any genre that deserves to be featured on a weekly basis, it certainly is this one. Ya know, the one that started it for all the others we feature...) (Also: this is the first time that I get to cover for Grumpy Coyote. So glad to finally be able to return the favor, as he's saved my ass many times.)

Black Ace

Some Facts:
Babe Turner was born in 1907, and over the course of his career recorded under many names including his own given one, BK Turner, and beginning in the late 1930s, Black Ace- the pseudonym he's most recognized by. Growing up in Texas, he not only taught himself how to play the guitar, he built his own to learn on. He spent his early years playing local dances & other community functions, and during the 1930s began working extensively with Smokey Hogg & Buddy Woods. The three would tour together, and you could say that Black Ace's style was a combination of the other twos- influenced by Woods' ground breaking lap slide (more on that in the thoughts section), and Hogg's folk blues picking & storytelling.

Ace first recorded in 1937, cutting a series of sides including the tune 'Black Ace'. Shortly afterward he began hosting a show on a Fort Worth, Texas radio station & used the track as its theme song, as well as his own performing moniker. With two crafts now in his repertoire he chose to try his hand at a third, and made his acting debut in the 1941 film 'The Blood of Jesus'. He was then drafted by the US Army, and upon his return took an extended break from music.

It's reported that during his hiatus he appeared in more films, but I couldn't verify that. He returned to recording in 1960 at the urging of Arhoolie Records owner Chris Strachwitz, and at that time finally recorded his first full length LP. He performed publicly for the next two years- his final performance documented in the 1962 film 'The Blues'. He passed away ten years later of cancer, having spent the interim working as a field laborer.

My Thoughts:
Gotta start by talking about the first featured vid real quick. Not only is it a smoking performance, and one you must hear if you're going to listen to anything by the Ace... look at that little boy! The expression on his face is priceless. I wonder who he is, what he went on to do... a blues musician, by chance? Anyway... Black Ace was one of the earliest lap steel players. He's been referred to as Buddy Woods' protégé- and Buddy is credited as being the "primary force behind the creation of this whole genre" (genre being lap bottleneck slide). Ace's style has been called "Hawaii meets the Delta"- it's believed that the lap slide style was inspired by the appearance of some Hawaiian musicians at the 1893 Worlds Fair in Chicago. He's not one of the big names of the blues, but he was a pioneer, and extremely talented.

Day 20: Michael Hedges

2012-01-20T20:14:00.000-05:00

("I try to add one note that is a little more colorful. That’s kind of my crusade, I guess. I just want to hear new voicings." -MH "I feel I can always hear his heart when he plays." -Pete Townshend)

Michael Hedges

"His music transcends genre and trend." -Steve Vai

Some Facts:
Perhaps being a New Year's Eve baby ensured that Michael Hedges would be made of magic. Born in 1953, he was a skilled pianist by age four, and took on flute, clarinet, cello, and guitar before he hit his teenage years. His college days were spent studying classical guitar & composition, the nights making a name for himself in the local club scene. He was discovered in 1980 by Will Ackerman, founder of the Windham Hill label, who immediately signed him & issued his 1981 debut, 'Breakfast in the Field'. By that time he already had his own unique style of playing, which he continued to develop further with each additional album.

His first two releases were absolutely ground breaking in the world of acoustic guitar, the second even earned him a Grammy nomination ('Aerial Boundaries', 1984). He described his style as "violent acoustic", "deep tissue gladiator guitar", and "heavy mental". Whether he was playing his custom double neck acoustic/bass guitar, harp guitar, the parlor guitar, or just a plain ole guitar, he most commonly did so with alternate tunings, and employing a variety of non traditional techniques. Will Ackerman put it well- "Michael did to me what he does to everyone, just sort of tore my head off watching the guitar being reinvented."

Michael's third release ('Watching My Life Go By', 1985) saw the addition of vocals, a decision that critics frowned upon, but he kept up on his fourth LP as well. That fourth album was released in 1987, a compilation of live performances, and would be the last of his LPs to be released during his lifetime. Michael died tragically in a car accident in 1997- he was thrown from his vehicle as it plummeted over a cliff after skidding off the road, and it was days before his body was discovered. Recordings he had been working on were completed with help from longtime friends Graham Nash & David Crosby, and several other albums have been released posthumously. The Nomad Land foundation was established to fund raise for his children, and many many musicians have expressed their deep love, respect, and awe of Michael's music.

My Thoughts:
Michael Hedges was simply one of a kind, and simply a genius. It's interesting to note that though he was left handed, he played guitar right; also that his first three albums were all recorded live in studio. He was married to renowned flutist Mindy Rosenfeld for quite a few years, and she appears on some of his releases. Other musicians he collaborated with include David Crosby- Michael appeared on his 1989 LP 'Oh Yes I Can'- and Leo Kottke, whom he toured & did some killer duets with. I don't want to bore you too much with technical terms- but if you've watched the first video you know that his technique was crazy, and not the norm. Two handed slaps, hammer-ons & pull-offs to make you swoon. "He saw himself as a composer who played guitar, rather than a guitarist who composed music."

"His playing has a feel and timbre all its own – technically brilliant, but always organic and true." -Joe Satriani

Day 19: Love and Rockets

2012-01-19T17:21:00.003-05:00

(Yeah yeah, another 80’s band… it wasn’t a decade tottaly devoid of good music. Close, but not totally.)

In 1985, the remnants of UK Goth pioneers Bauhaus decided to reform and give it another go. Daniel Ash (guitars, saxophone, and vocals), David J (bass and vocals), and Kevin Haskins (drums and synthesizers) had a rough time making music after Peter Murphy left Bauhaus in ‘83, and the new project started as an experiment – just to see if they had potential. They not only had potential, but also went on to be one of the most talked about and eventually respected pop/goth groups of the late ‘80s.

The first Love and Rockets album “Seventh Dream of Teenage Heaven” was released in ’85 and represented a significant sound shift for the band. Rather than the dark ambient pulse of Bauhaus, L&R broke form and added more of jangly guitar /pop feel – complete with more accessible lyrical hooks. While die-hard Bauhaus fans were surprised, critics took notice. The band had managed a sound that wouldn’t surface again until the “alternative boom” of the 90’s – nearly a decade later.

The name “Love and Rockets” comes from the incredibly successful cult comic by the Hernandez brothers. The band was not associated in any way with the comics, and in fact were not the first band to use the name. The resulting confusion led to a few brief lawsuits, and Gil Hernandez speaking out against the group. Eventually the controversy settled.

American audiences were introduced to L&R largely through the #3 hit “So Alive” . The band released several more albums and went on two lengthy world tours.

In 1995, the studio and home of L&R burned to the ground in a suspicious fire. The band lost all of their gear, and most of the studio masters for the sixth album. The band managed to release two more albums, but between legal battles, tour exhaustion, and accusations of arson – they finally announced a breakup in 1999.

The group has reunited, both as Bauhaus (with Murphy), and Love and Rockets, but no further recording as L&R has been announced. New Tales to Tell: A Tribute to Love & Rockets was released in 2009, with 14 bands covering some of L&R’s hits.

My thoughts:
Love and Rockets may be the only band I can think of that changed music without realizing it - twice. They invented a genre, simply by pop-ing up what they invented the first time. Many bands do both things much better than Bauhaus and L&R, but none of them did it first.

Incidentally, I always loved the comic too... and came down on the side of the Hernandez clan in the dust-up over the name. Go read 'em if you ever get the chance.

Day 18: Wellwater Conspiracy

2012-01-18T21:14:00.000-05:00

(If you like the internet, speak out against SOPA. Not sure it will affect you? It will. And it would certainly affect this blog, as Youtube would most likely be shut down, or at least no longer able to host videos which contain copyrighted material- which is just about everything on there aside from kittens riding skateboards. It's a whole big mess of bad. Read up on it, then contact your government & tell them how you feel.)

Wellwater Conspiracy

Some Facts:
Seattle, 1993. Three members of the group Hater, a side project in itself, decided to branch out yet again to form Wellwater Conspiracy. Matt Cameron (drums, ex- Skin Yard, Soundgarden), Ben Shepherd (bass, ex- Soundgarden), and John McBain (guitar, ex- Monster Magnet) surprised some fans with Wellwater's sound, which isn't really similar to any of their previous bands. An avenue for a more psychedelic garage rock, lo fi sound; they made their first recordings in Matt Cameron's basement- releasing a series of singles in the mid 90s. Their 1997 debut album 'Declaration of Conformity' was met with high praise from music critics, and I would have to site it as my favorite of their albums.

Before their next release, Ben Shepherd, who had supplied lead vocals for the group, quit the band. It's drummer Matt Cameron you'll hear on the rest of their albums, despite the fact that he joined Pearl Jam in 1998 & has quite the busy schedule. He debuted his vocals on 99s 'Brotherhood of Electric: Operational Directives', and proved he's got what it takes- another very solid LP there. It also features contributions from Walkabouts keyboardist Glenn Slater.

This decade has seen another two Wellwater albums, which include appearances from Kim Thayil (guitar, Soundgarden), Eddie Vedder (c'mon, you know who that is- but he went by C. Addle, like we wouldn't recognize his voice), and Josh Homme (guitar/vocals, Queen of the Stone Age, Kyuss). Matt Cameron has continued to stay busy besides Wellwater Conspiracy (and Pearl Jam), playing on albums from Temple of the Dog, The Smashing Pumpkins, Geddy Lee, Peter Frampton, and many more. It's also definitely worth noting that he's a prolific composer, writing the music for many, many songs for both Soundgarden & Pearl Jam. John McBain also has other projects, having recently begun a solo career.

My Thoughts:
I don't believe that listening to this band cold you would guess any of the connections. Listening to their first album in particular, you might even have trouble guessing the decade it was recorded in. (And you should really click that link- awesome cover of a Syd Barrett tune, 'Lucy Leave'.) My buddy Shawn made a good point recently on another blog post about the Wood Brothers- "I often think that "side" projects like these yield some of the best music. The pressure to be "that band" is off, but the audience is already there. I feel like that lets artists do what they want instead of what they've been pigeonholed to do. And then good things happen." I completely agree, and feel like it applies well to Wellwater Conspiracy. In it, the band members got to play the music that influenced them, the music they grew up with, rather than the grunge that was hip at the time, and that they played with their other outfits.

Day 17: Guy Clark

2012-01-17T22:34:00.002-05:00

(Adelle’s power went out tonight, so I’m filling in… Winter storms in the northeast make me think of Austin…)

Some facts:
The fallout of the “Great Folk Scare” of the 50’s and 60’s left the genre fractured and reeling from over exposure, over commercialization, and too much corny music.

Down in Austin, the “Outlaw Country” scene was a direct rejection of the squeaky clean “Revivalists” like the Weavers and Peter, Paul, and Mary. The Austin folk movement was centered in country tradition, but infused with the poetry of Dylan, Guthrie, and the beats.

Guy Clark was born in Texas, and as a child, learned his love of music by playing Spanish folk songs on a Mexican guitar. When he hit his teens, he played the Houston club circuit with the likes of Townes Van Zandt, Jerry Jeff Walker, Lightning Hopkins, and Doc Watson. Guy honed his songwriting in those Texas bars, and credits that time with teaching him to craft songs from a personal place, not just the commercial. They all shared songs, stories, techniques, and as a group, began to change both folk, and country.

"It was pretty 'Bob Dylan' in the beginning. Nobody was really writing."

Clark moved briefly to LA and signed with and RCA imprint. The contract didn’t go anywhere, and Guy was looking to move on. Nashville seemed like a logical choice, and by ’72, Jerry Jeff Walker’s cover of Clark’s “LA Freeway” had charted, minting Guy as a genuine songwriter. Nashville hadn’t heard anything like this before, and together with Walker and Van Zandt, they began to define the “Outlaw Country”. They defied the traditional forms of contemporary pop country and reached for it roots. They embraced the cowboy poet image, and represented everything that Nashville was not.

Guy moved back to Austin, has released over 20 records, written for dozens of acts, and been covered by dozens more. He mentored Steve Earl – giving the 19 year old Earl his start as a songwriter. He’s been the subject of several documentaries, won countless awards, and continues to write and tour today.

In December 2011, Music Road Records released “This One's For Him: A Tribute to Guy Clark”, a tribute album featuring over 30 artist and friends of Guy’s covering his catalog.

Guy was in the center of a new genre. He blazed a trail with some of the legends of Folk/Country songwriting that changed the landscape of musical art; from refugee of the “Folk Scare”, to influential iconoclast, and beyond.

My thoughts:
Guy is amazing. I have a soft spot for the whole era he’s largely responsible for, and I’ve always loved Clark’s music. He played an interesting role in the group he ran with. Guy is no teetotaler himself, but when contrasted with Towns and Steve Earle, he comes out looking like the responsible older brother. Which, by all accounts, was a role he sometimes took to heart.

If you get a chance, go watch the documentery, Heartworn Highways.Not only is it an utterly fascinating look at this movement as it was happening, but there is a Christmas party at Guy’s house that has some of the best casual musical performances ever recorded by humans. I can’t get enough. In fact, I’m going to go watch it again right now.

Day 16: Youssou N'dor

2012-01-16T21:30:00.006-05:00

(The thing about writing for this blog is, I never ever wind up writing about the act I start researching. I always get sidetracked into unexpected directions… I love that)

“My music is like a spinning ball, ... It can turn in one direction, and then it comes back to its origins.” – Youssou Ndour

In West Africa, there is an entire bardic caste – the Griot. Griot are part storytellers, part historians, part teachers… and hold the social commentary for their community. Youssou Ndour was not raised a Grio, but there is little doubt that he meets the definition as voice and conscience for his people.

The man that Rolling Stone would eventually call “perhaps the most famous singer alive” was born in the Senegalese capital of Dakar in 1959. He learned the Griot tradition from his siblings, and by age 12 he was playing regularly in the “Miami Club” with headliners “The Star Band”.

The exposure eventually led to his own band, and even more popularity than the Star Band could offer. By ’79, Youssou’s “Étoile de Dakar (Dakar Star)" band was the first Senegalese pop sensation. Youssou’s vocal acrobatics and the band’s blend of Cuban, African, and American R&B eventually led to them becoming one of the most popular acts on the continent and attracting world-wide attention.

Youssou wanted to do more than just make music. In ’85 He organized a massive concert to free Nelson Mandela, and by ’88 he was a regular at Amnesty International events worldwide.

Western audiences were introduced to Youssou through the mid 80’s activism and collaboration with Peter Gabriel on “Shaking the Tree” in 1989. This exposure and the booming western interest in “world music” gave Ndour the traction he needed to open his own studio and launch his own record label, “Jololi”.

Youssou has over 20 records released to date, uncounted millions of fans, and significant critical acclaim for both his music, and his politics. In 2011 Youssou announced that he would be running in the 2012 Senegalese presidential election. Like the Griot he grew up around, Youssou still tries to be the voice and conscience of his people.

My thoughts:
Youssou Ndour is in the news a lot these days, but they rarely actually feature his music. I thought you folks might want to hear it.

Back in the 80’s I saw a poor quality VHS of Lou Reed and Youssou Ndour doing a version of “Biko” by Peter Gabriel. It was an Amnesty International tour, and the performance blew me away. I had no ideas who Ndour was. Later, when Youssou surfaced on “Shaking the Tree”, I was slightly disappointed (I didn’t care for the record), but went on a hunt to find more of his stuff. I haven’t kept up with his musical career – but his politics are hard to miss.

He shows every sign of winning the election in February (here’s hoping the violence settles and the polls are not rigged) – and I’m fascinated to see it play out. From poverty, to pop star, to international activist, to president; an astonishing ride.

Day 15: The Love Language

2012-01-15T20:46:00.001-05:00

(Figured I could find a quote that used the phrase "language of love" for an opener. After reading a few (Smiles are the language of love!) I threw up in my mouth a little bit. Now this is your intro.)

The Love Language

"You can walk all over me, just don't walk away"

Some Facts:
Fairly new to the scene, The Love Language came about because of some less than desirable circumstances the groups front man, Stuart McLamb, was going through. His girlfriend broke his heart, and before long he found himself moving back in with his parents, and drinking heavily. He then was kicked out of his current band (The Capulets) for showing up to practice drunk & smashing some gear. Determined to snap out of his funk, he rented a storage unit in 2007 & recorded some original songs on a 4-track, which he passed around to friends. "Those songs were never intended to be for anyone except my ex-girlfriend. That was my outlet, and at one point, it caught fire."

Members of the group The Rosebuds got a hold of a copy, and invited him to open for them on their next tour. So he put together a backing band, and they hit the road. In 2009 McLambs's four track efforts were released as the groups self titled debut, and soon after he signed with Merge Records. ("As of yesterday I've overdrawn my bank account by $200, my girlfriend dumped me, and my car won't start. I think this Merge deal could be a real turning point.") Merge released 2010s 'Libraries', which again featured mainly McLamb. He played nearly all the instruments, and again wrote all of the material. The Love Language is basically his AKA, as the band members have been ever changing, and are more there for touring purposes rather than recording.

My Thoughts:
My last post was a "watch this band" one too, huh? Ah well. What I really love about the Love Language is Stuart McLamb's attitude & approach to making music. He's spoken at length about being "more interested in capturing the energy than spending your own energy on figuring out tones" & also has said "I like the Band's Big Pink philosophy- you should have a dog on the floor of a basement while you're recording." The first featured track here, it just immediately grabbed me. He's a very honest song writer. Some people are story tellers, but McLamb draws from a deep dark personal place- he's described his song writing process... long bouts of nothing until "it's like a phoenix- coming out under stress. There's got to be easier ways to get the wheels turning!" I can definitely relate to that sentiment. I mentioned that he was drinking heavily before beginning to record solo work... it's slightly more epic than you might have imagined. After a long night of it he relates this story: "I came to... I was in a friends apartment in handcuffs with my ankles bound, not knowing how I got there. That was a pretty ugly night, but it was also a turning point."

Day 14: Freddie King

2012-01-14T20:42:00.003-05:00

(Bluuuues Saturday… This week, one of the 3 “Kings” of blues, the Texas Cannonball himself - the others being B.B. and Albert)

"The lord sure enough put you here to play the blues" – Howlin’ Wolf to Freddie King, 1950

Legend has it, Ella May King’s grandfather once told her “…she would have a child that will stir the souls of millions and inspire and influence generations”. Her boy Freddie was born on September 3rd 1934, in rural Texas.

King’s family was poor, his mother unmarried. His mother, his uncle Leon, and her family raised him. Leon and Ella taught Freddie how to play guitar at an early age, and by 6 years old he knew he wanted one of his own. He went to the general store and tried to place a “Roy Rogers” acoustic guitar on his mother’s account without her permission. The shopkeeper ratted Freddie out, but the only thing his mother said was “if you want a new guitar you will have to work for it”. Freddie used to say in interviews, “I picked cotton just long enough to by that guitar”.

Freddie learned how to mimic records (Louie Jordan was a favorite, as was Lightnin’ Hopkins), copy local blues songs, and began to develop his trademark Texas shuffle rhythm style. In ’49, the family moved to Chicago – a town that gave Freddie a whole new repertoire of blues styles and players to draw from.

At 16, Freddie snuck into a nightclub on a dare, and bet his friends that he could sit in and play his acoustic with Howlin’ Wolf’s band. He won the bet. Wolf was so impressed that he saved Freddie from getting bounced for being under age - “the kid is with me…”

Wolf introduce Freddie to legends like Muddy Waters, Eddie Taylor, Jimmy Rogers, Little Walter , Sonny Boy Williamson - and Freddie played, learned, and grew as a blues man. He formed his first band, “Every Hour Blues Boys” and by 18, he was working regularly as a sideman.

King singed with Federal Records in 1960, cut his first major-label recordings, and had a top 5 R&B hit with the instrumental “Hide Away”. By ’62 he had thirty more instrumentals under his belt and was on his way to becoming an R&B legend. He began to tour aggressively, and word spread quickly with fans and critics alike – Freddie was something special.

King’s influence went on to inspire players like Clapton, Garcia, Page, and by ’69 Freddie’s band was playing the Texas Pop festival – sharing a stage with Led Zeppelin, among others.

In ’73 King and Eric Clapton finally met face to face, and began to collaborate and tour together – bringing King to an even broader audience and cementing him as “The guy who taught Clapton the blues” – It wasn’t true, but the legend stuck.

Dozens of records later and multiple bands, Freddie was touring nearly 300 days of the year and by ’76, the schedule caught up to him. He developed ulcers, and pancreatitis, had to cancel shows, and just after Christmas that year, Freddie died suddenly. Friends say his regular diet of Bloody Mary’s instead of food before shows, and his grueling schedule just became too much for his health to bear.

His grandfather's prediction had come true though, and then some - Freddie had gone on to "stir souls, and inspire millions". He still does.

My thoughts:
Yeah. Here’s a guy that would drink his food (with lots of vodka) so it wouldn’t “slow him down”. That’s a blues man. And that sound – like Jimmy Rogers and B.B. King had a love child… Which they sort of did. You can hear all those influences, right back to Jordan – Freddie took styles, techniques, and tones and blended them into his own thing – a groove all his own.

The Clapton connection is always a little overstated, they were great friends and collaborators, but Freddie’s career is so much more than just what he gave to Eric.

I can taste the Texas dust, and feel those Chicago streets when Freddie plays. I can almost hear Howlin’ Wolf say “the kids’s with me…"

Plenty of footage of Freddie out there, and of course his massive discography – lots to dig into if you want to follow up.

Day 13: The Hackensaw Boys

2012-01-13T19:45:00.000-05:00

(These guys are the real deal, and definitely a band to keep your eye on.)

The Hackensaw Boys

Some Facts:
The name Hackensaw Boys doesn't come from a surname, but instead from the actions you perform on a mandolin (hack) and a fiddle (saw). Coming out of Charlottesville, Virginia, the original four members got together after meeting at an Old Crow Medicine Show concert. They began hitting the coffee house scene & busking on the streets, members passing in & out. More in than out, though- the group started as a quartet but at one point had a dozen members. In 2000 when they laid down their debut album, 'Get Some', they were down to a nine piece. Recorded in a living room on a reel-to-reel & self released, it was reissued in 2006.

At this point, the Hackensaw's are down to seven members, and have released a total of five LPs, and three EPs. They've opened for a variety of bands- De La Soul, the Flaming Lips, Camper Van Beethoven, Railroad Earth, Modest Mouse, Cake, and more. They also backed Charlie Louvin on national tour. They've hit up Bonnaroo, Telluride, the Lowlands- many prominent festivals, and the current events on their official website include them favoring PBR over imports. Currently on tour, all the members of the group are quite involved- to quote their official bio "Everybody sings a bit of lead, everybody sings a bit of harmony, and most members know when to shut up."

My Thoughts:
Interesting to note that Tom Peloso, one of the groups founding members, has gone on to become a member of Modest Mouse. The Hackensaw Boys are fantastic. Though you've pretty much gotta stick em under bluegrass, they draw from a variety of genres. As member Jesse Fiske put it in an interview- "As long as we speak to someone, it doesn't really matter what the genre is." There's been a nice resurgence over the last ten years of so of really fantastic new bluegrassy bands- I love it. Seeing these young, talented musicians playing such old music... it warms my heart. By all accounts their shows are awesome, high energy affairs- they're known for getting the crowd on their feet. You can (legally & freely) download over 100 shows at Archive, if you're interested in hearing more- they also have their latest two EPs currently on sale for $5 each.

Day 12: Carter the Unstoppable Sex Machine

2012-01-12T22:20:00.010-05:00

(Seriously, it's 2012 already? Really? I still can't deal with that. Here. Have a band that I listend to while saying "Seriously, the 90's already? Really?...")

“In a bar Johnny drinks, Johnny drinks Johnny Walker – and runs up a bill the pope couldn’t pay…”

Some facts:
In the dim, dwindling days of the 80’s the UK music scene had taken an undeniable turn for the pop. The “alternative” bands had yet to break out; punk was struggling, and the pastel MTV vision was dominant. Grunge had yet to arrive from the states. The new Manchester sound was just being hatched. Bands like the Smiths, and the Cure were still relevant, but aging quickly. The UK music scene was having an identity crisis.

Still, in clubs, dance halls, and warehouses, the kids - as they always do - were making music. It was a transitional time, and things were being thrown together – sometimes just to see what would happen.

One of the casualties of the times was “Jamie Wednesday", a “jangle-pop” group that had some local traction around Lambeth and a few records. When half of the band bailed out on a show at the last minute, the guitarist (Jim "Jim Bob" Morrison) and bassist (Les "Fruitbat" Carter) decided to stick it out and play as a duo. The resulting band would release 7 albums over the next decade, and embraced the UK’s musical identity crisis in profoundly entertaining ways.

Drawing on pop, electronica, dance, punk, metal, and rock – Carter the Unstoppable Sex Machine was just right mix to pull fans through to the 90’s and into something new. Lyrically diverse and dark, and musically eclectic, Carter USM gave voice to classic themes of alienation and rage, but with an approach that reflected the clashing styles and sounds dominant at the time.

The band hit huge with their second album in 1991, gaining critical and commercial success in both the UK and the US. By ’95, tastes had begun to crystallize on the “alternative” rock scene, and the band's next few albums failed to live up to sales expectations. While critically acclaimed, the group just didn’t have the commercial pull needed, and Chrysalis Records dropped them.

They signed with Cooking Vinyl, released three more records, and then finally in 1998, announced a farewell tour. After several reunion shows over the next ten years, the band reunited, and are currently back on the road and recording.

My thoughts:
Underrated, under-exposed (at least in the US), and under-appreciated for as influential as they became. Carter came to the US around ’91. We were all hung up on Jane’s Addiction, Nirvana, etc… Then here came these two clown princes in tracksuits. Lyrics that hit like smart bombs, ripping guitars, and… keyboards?... dance beats? … what the? We were floored. It was high energy, high-voltage, high-irony and we loved it.

I still listen to “30 something” and “Worry Bomb” regularly – if you are looking for starting records, those two albums are a great choice.

Day 11: Nick Gravenites

2012-01-11T18:50:00.000-05:00

(From the "need to know" file...)

Nick Gravenites

Some Facts:
There's a good chance you've never heard of Nick Gravenites, but it's near impossible that you've never heard one of his tunes. Perhaps you're familiar with 'Work Me Lord', 'Born in Chicago', or 'Buried Alive in the Blues'? Then you know Gravenites, even if you didn't know that you know ;) Trying to chronicle his life wouldn't leave room to mention all that he's done musically- so let's skip the early years & get right to the gravy, shall we? Oh, and speaking of gravy- that's one of Nick's nicknames, a take off on his surname.

As far as his own work goes, Nick co-founded the famed Electric Flag in 1967 along with Mike Bloomfield- a group which made their debut performance at the Monterrey Pop Festival. Though short lived & with a limited discography, they are often described as legendary. In 1969 he moved to Big Brother & the Holding Co; taking over Janis' position as vocalist for a three year period. That year he also released his debut solo album- five more have followed. He's also worked with Jon Cipollina (Quicksilver Messenger Service) as the Nick Gravenites- John Cipollina Band; they never did record but toured extensively.

Among the bands that Nick wrote for, he's best known for his work with the Paul Butterfield Blues Band, and Janis Joplin. Nick & Paul got to know each other in the mid 1950s when Paul was still in high school, and Nick penned such classics as 'Born in Chicago', 'East-West', and 'Buried Alive in the Blues' for the Blues Band. The latter of those was also performed by Janis Joplin, who did other Nick compositions including 'As Good as You've Been to this World', 'Work Me Lord', and 'Ego Rock'. Nick also wrote songs for Quicksilver Messenger Service, and produced their first album. Other artists he's produced include Otis Rush, Brewer & Shipley, Janis (again) and James Cotton. He's appeared on albums from Mike Bloomfield, Pete Sears, and more. In 2003, he was inducted into the hall of fame. Rightly so.

My Thoughts:
What do I think? I think Nick Gravenites is the shit. I might have to go with 'Work Me Lord', or possibly 'As Good as You've Been to This World' for my favorite thing he's written. For all that he contributed to music (and I didn't even come close to mentioning it all), he's sadly remained unknown by the general populace. When we start getting into all the artists that have performed his tunes besides those already mentioned... Howlin Wolf, David Crosby, Roy Buchanan, Elvin Bishop... why don't more people know this mans name?! He's worked on film scores ('The Trip', 'Steelyard Blues')... according to AllMusic, he's appeared on over 50 albums from other artists. But it could very well be that he prefers to stay in the background- not everyone wants to have a spotlight on them. He gets a mini one from the blog today though, whether he likes it or not ;)

Day 10: The Silk Road Ensemble

2012-01-10T23:18:00.006-05:00

(You will get your culture, and you will like it…)

“Lands that were once considered distant are no longer thought so—we are all becoming neighbors.” —Yo-Yo Ma

Some Facts:
Yo-Yo Ma is as close to a household name as classical musicians get these days. In 1998 he was enjoying enormous popularity, and wanted to branch out in a new direction He founded what he called “The Silk Road Project”, inspired by the old trade routes that spread culture and art across the east and west.

“…[The Silk Road Project] promotes innovation and learning through the arts. The Project's activities in concert halls, museums and classrooms take inspiration from the historical Silk Road trading routes, employing the Silk Road as a modern metaphor for sharing and learning across cultures, art forms and disciplines.”

The Silk Road Ensemble is a loose collection of musicians and composers that act as ambassadors of sorts for the Project, and includes story, dance, visual art as well as music to “connect composer, musician and audiences, around the world.”

The ensemble has been a creative collective for over 60 musicians and two-dozen composers, and employs traditional and classical instruments from over a dozen regions and cultures. They have released 5 CDs to date, and make regular appearances both in concert and as part of educational outreach year-round.

My thoughts:
First, stop. Look at this list of some of the different instruments this group employs. They find the absolute best representatives of that instrument on the planet – then they put them together. Yep. It should be a mess; or at least boring; it’s neither. Say what you want about "classical ensembles", this group takes it to a new place.

This is not “Yo-Yo Ma’s band”. I realize that with a name as big as his, he overshadows many projects he touches, just by gravity alone. The fact is, he does not play, record, or tour with the ensemble these days – it is it’s own entity, and that’s by design. He didn’t want it to be his band either – he had a much, much bigger vision for the project and the group.

It’s sort of a shame I couldn’t find vids without him. Not because he’s bad in any way (he’s astonishing), but because it would have illustrated how amazing this group is even without Yo-Yo’s direct hand and bow. These guys consistently, and constantly amaze me. The depth, breath, and deft they exhibit while melding sounds that are so disparate they should be awful together, is nothing short of miraculous. This should just be noise – instead, it’s balanced, passionate, and moving art.

The project is a non-profit by the way, focused on cultural and musical education. Go visit the site. There are worse ways to spend a few charity dollars, if you are so inclined.

Day 9: Victoria Williams

2012-01-09T22:08:00.001-05:00

(Today is my sons fourteenth birthday. He's now the proud owner of a Fender bass guitar & amp. Who knows- maybe some future music blogger will be writing him up one day!)

Victoria Williams

Some Facts:
Victoria Williams spent about 10 years playing small clubs before she first recorded in 1987. By that time, she was nearly 30 years old, married to Peter Case of the Plimsouls (whom she later divorced), and was perhaps already a bit disillusioned with the music business. Why? Well she at one point signed a contract with the EMI label which she never recorded for but they didn't drop- meaning she couldn't sign or record with anyone else until it ran out. When it did, she released her debut album, which was followed by a short bio-documentary. One further album came in 93, as well as an a role in the film 'Even Cowgirls Get the Blues'... but by then, her life was already beginning to change drastically.

In 1992 Victoria spent some time opening for Neil Young. During the tour, she began having bouts of numbness in her hands. When she eventually visited a doctor, she learned she had multiple sclerosis. Uninsured & in need of serious medical treatment (she deteriorated so rapidly she was in a wheel chair almost instantly after getting a diagnosis), an incredible group of musicians came to her aid to record the benefit album 'Sweet Relief'. On it, her songs were covered by such big name artists as Lou Reed, Evan Dando, Pearl Jam, Buffalo Tom- and the effort was so successful that the excessive funds raised were used to establish the Sweet Relief Fund which assists other musicians facing medical issues. It also brought Victoria to the public eye.

By 94 she was walking again, and returned to the studio. Another five albums have hit the shelves since that time, making her solo discography 7 albums strong- besides the numerous compilations she's contributed to, and the many appearances on albums from other artists. She also performs along with her second husband Mark Olson of the Jayhawks as The Original Harmony Ridge Creekdippers- who have seven albums out themselves. Over the course of her career, she's performed with many of the greats- Steve Earl, Emmylou Harris, Lou Reed, Vic Chesnutt... the list goes on & on. She's widely recognized as one of the greatest living songwriters.

My Thoughts:
If it wasn't for MS, Victoria might well have remained in the shadows- one of those artists that your favorite artists might name drop in an interview as someone they enjoy, but you've never heard of. It's really incredible the amount of support she had so early on in her career... two albums out & ya got Lou Reed covering your song for a benefit album? Pfff. Awesome. Victoria is a walking quirk. Her voice, her "look", the way she carries herself, the way she speaks. There's no gimmick, you get Victoria & that is that. I could spout off more cliches here about it being love or hate, I could go on about her eccentric genius... but who am I? You trust Neil Young, Lou Reed, Evan Dando... right? Dig deeper into Victoria's work- some of my favorite's aren't on Youtube, but I've always been fond of her cover of the great Harry Nilsson's 'The Puppy Song', if you need a starting point.

Day 8: X

2012-01-08T21:47:00.006-05:00

(I need to pace myself. If I dump all my favs into January, by March we’ll be reviewing nothing but 80’s hair metal. Meh… on second thought, have another fav.)

Some Facts:
1977 – Billy Zoom and John Doe placed ads in a local paper. The ads were nearly identical, except one was looking for a guitarist (Doe); the other was looking for a bass player (Zoom). The pair got together, partied, and jammed a bit – playing a few shows with a collection of drummers and names. Eventually Doe brought in some of his girlfriends poetry as lyrics. That girlfriend, Exene Cervenka, eventually joined on vocals and brought the band it’s signature edge that set it apart from the rest of the “First Wave” American punk scene. They found a permanent drummer (DJ Bonebrake), settled on a name, and hit the LA club scene like a hammer.

Zoom’s cutting guitar, Doe and Exene’s energy, and Bonebrake’s anchoring rhythm soon made quick work of the local clubs, and for a time, X was the LA punk scene. The group signed with Dangerhouse records and released their first singles.

The first three albums, produced by Ray Manzarek of the Doors, were huge hits (by early punk standards), and gave the group the momentum they needed to bridge to the early ‘80s intact.

John and Exene married, then divorced, but kept the band as a priority and by the time MTV rolled around, X became a staple of the fledgling video network.

The next two albums, propelled by MTV airplay were hits as well, but by ’85 Doe and Zoom were ready to explore new ventures, and the group took a break. (More about Doe’s other bands and Solo stuff soon here on 365, stay tuned). John and Exene had already released a side project under the name “The Knitters”, and all the members had producing, writing and performing they wanted to explore solo.

X reunited briefly for another album, but dismayed by the pop direction, Zoom left the band entirely in 1986. A couple of more albums and a parade of guitarists followed, until X finally took an “extended hiatus” in 1989.

Over the next 20 years, there were two more X (and a Knitters) reunions, and three more albums. X is currently on tour opening for the latest Pearl Jam tour.

My thoughts:
Like many of my generation, I found X through MTV. I didn’t know this kind of music existed. I had heard the Ramones, the Clash, and the Pistols – but this was something altogether weirder and new. This… this was something even my musically tolerant parents immediately hated… and I absolutely loved.

So there I was, 12 years old or so, and there was Exene… I didn’t know if I was attracted, afraid, or repulsed. I was utterly fascinated by her, and the music. I decided, ultimately, she was the single coolest girl I had ever seen, and lamented, well into my high-school years, that there was no one even close to her that I could hang out with – let alone date.

Then there’s John – who is the hardest working man in punk. We’ll cover many of his other projects later, but suffice it to say – not only did he helm one of the most influential American punk bands in X, but he’s been behind dozens of creative and important projects that shaped American music over the last 30 years.

These vids and this paltry review of facts don’t really scratch the surface. Go watch X: The Unheard Music, the documentary for the real deal on this absolute powerhouse band.

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/iframe&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Day 7: Willie Nix

2012-01-07T20:48:00.001-05:00

(We're still working out the details for this years "special features". This is the first of the Saturday Blues Days.)

Willie Nix

Some Facts:
Born in 1922 in Memphis, Tennessee, Willie Nix has been described as one of the first "urban poets", and though he was never really a household name, recorded with many blues legends. He began public performance at the age of 12- but not as a musician, as a tap dancer. During his teenage years he toured with the Rabbit Foot Minstrel Show, whom many of the greats passed through, as a tap dancing comedian. The 1940s saw him in a variety of other shows, as well as performing on the streets of Memphis.

In 1947 Willie made his "break through"- performing on an Arkansas radio station with Robert Lockwood, Jr. This led to work backing other artists such as BB King, Big Walter Horton, and Joe Hill Louis; and also with Sonny Boy Williamson II, Willie Love, and Joe Willie Wilkins- who together with Nix were known as the Four Aces. In 1951 he made his first solo recording, and over the course of that decade wrote & released such well known blues numbers as 'Prison Bound Blues', and 'Nervous Wreck. He also continued to work heavily as a session man- adding Elmore James, Memphis Slim, and Johnny Shines to the list of artists he recorded with.

Near the end of the 50s, Willie did a short stint in prison, though I couldn't find why. After his release, he never did return to recording- though he performed publicly, albeit sporadically, for the next 20 or so years. He reportedly traveled the country becoming more & more eccentric as his health declined- spinning crazy yarns about his life & living like a hobo. He passed away in 1991, and his music is still be included on compilations today.

My Thoughts:
Willie's nickname was the Memphis Blues Boy, and as far as I'm concerned, he was unique in the fact that he played two instruments- guitar & drums- besides being a vocalist. Most of his backings mentioned in this entry feature him on drums. His original songs have been covered by various blues artists, as you might expect... but also by The Who, which I did not realize & found to be fairly interesting. Willie has a very unique voice- once you become familiar with it, it's easy to recognize. His delivery, and the beat that is featured in much of his music, is also quite unique; and the majority of his lyrics were a bit more clever than many blues musicians.

Day 6: Booker T & the MG’s

2012-01-06T13:59:00.003-05:00

(I have, on occasion, been accused of being soulless – I present the following in my defense…)

Arguably, there would be no Southern R&B, no Memphis Soul, at least not in the recognizable sense, without Stax Records . There would be no Stax Records without Booker T & MG’s.

Serving as house band and signature sound for some of the most famous recordings of the era, Booker T. Jones and the band helped set the sound for acts such as Albert King, Wilson Picket, Otis Reading, Sam and Dave, and Bill Withers.

More than just the studio sound, the band was a hit making powerhouse in it’s own right. Founded by the then seventeen-year-old Booker T. Jones (organ, piano), and joined by Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson, Jr. (drums), the MG’s didn’t even have a name when they became a smash hit on Memphis radio. “Behave Yourself” and “Green Onions” were just a casual between-session jam the boys were “goofing around with”. The president of Stax liked the riffs enough to hit the record button, and eventually passed the record onto WLOK. Legend has it, not only was it popular, the DJ loved the record enough to play “Green Onions” four times back-to-back. Before the year was out, “Green Onions” went gold and hit the top of the R&B charts. By the end of 1962, the MG’s released their first full album and were a bona-fide sensation. In ’65 Donald “Duck” Dunn replaced Lewie on bass, and the hits kept on coming.

Hundreds of sessions later, five albums, and for Booker – a music degree from Indiana University – found the band playing the Monterey Pop festival in 1967 and gaining new fans with the “Hit the Road, Stax!” world tour. By ’69, they were invited to play Woodstock (Jackson refused to fly in a helicopter, so they declined), and had met and collaborated with the Beatles. Another legend tells of John Lennon dragging the rest of the Beatles to meet the MG’s just so they could each get on one knee, and kiss Steve Cropper’s ring.

In 1971, after recording an album of Beatles covers - Booker and Cropper left Stax records. The rest of the band recorded briefly under the name “The MG’s”. By ’75 the original members decided to reunite and work for three years on new material.

In 1975, just a few weeks after the reunion meetings, two masked intruders murdered Al Jackson Jr. in his home. Rumor and speculation point to his estranged wife (she was still living in the house at the time, with a divorce pending) and two acquaintances setting the attack up, but the official explanation is “burglary”. The alleged shooter was shot and killed the following year, and the case remains officially unsolved.

In ’77, the remaining members asked Willie Hall to join them on drums, reformed and released one more album before disbanding again.

Interest in the band never really waned – Cropper and Duck Dunn were the house band for the “Blues Brothers” (without Booker), they toured with Bob Dylan, Neil Young, and in ’94 released another album under the name. In ’04 they were asked to be the house band for Clapton’s “Cross Roads Guitar Festival”. They continue to play, tour, and record with acts of all kinds, earning the nickname “the greatest house band in the world”.

My thoughts:
We use the term “influential” a lot here at 365. Music works that way, one thing leading to the next. But here is a band who not only was a hit machine for decades, but inspired the rest of the bands we normally talk about as influential. They influenced the influencers. They are more than the trite compliment of being a “band’s band” – more than just the Stax sound - they literally drove the sound of entire generations of American pop music. Even if you never listened to a Booker T & the MG’s record, you’ve heard them behind some of your favorite songs.

It’s no accident that they were the house band for the Rock and Roll Hall of Fame when the museum opened – they were the house band for rock and roll. I have yet to see them live, but they are on my list of “must see” bands.

Confession: that track below actually has no Booker on it. That's Isaac Hayes sitting in while Booker finished up his degree at college. I Love it though - for the story as much as the groove.

Day 5: Max Romeo

2012-01-05T20:38:00.000-05:00

(Hey- did I mention that Grumpy & I co-wrote a song a couple months back?)

Max Romeo

Some Facts:
Born Maxwell Smith in 1947 in St D'Acre, Jamaica; Max Romeo spent four years cleaning out irrigation ditches before winning first prize in a local talent contest at the age of eighteen prompted him to pursue a career in music. He quickly hooked up with Kenneth Knight & Lloyd Shakespear to form the group The Emotions, who released their debut single in 1966. Two years later they had a list of hits, and Max felt ready to embark on a solo career (though he did record briefly with The Hippy Boys (who later became The Upsetters) before doing so). He made waves almost instantly with 1969s original tune 'Wet Dream' (featured below), which has been credited with launching an entire subgenre of reggae full of innuendo & double entendre. Max released several similarily themed singles over the course of the year, as well as his debut album.

The early 1970s were a troubled time for Jamaica, and during that time Max switched his focus from naughtiness to politics, even penning 'Let the Power Fall on I', which was used by the socialist PNP party during the 1972 election there. He released several albums by the close of that decade, and also moved to the United States. Landing in NYC, he co-wrote & starred in the Broadway musical 'Reggae', backed the Rolling Stones on their song 'Dance' & collaborated with Sly & Robbie, besides all the solo recordings he also put out. But as the 70s turned into the 80s, Max disappeared from view. Reportedly he recorded two albums during the 80s that were never released, and also worked a "regular" job in an electronics store.

He did return however- touring in 1990 (which he has continued to do, as recent as 2010 that I could confirm), and releasing a slew of albums, the most recent in 2007. Throughout his entire career he's always been especially popular in the UK, and some say he was the ground layer/inspiration for Judge Dread- the UKs most popular reggae performer (by chart standings- more hits than Bob Marley, even. And that video link has boobies in it- NSFK, NSFW). He worked with many of the best producers such Bunny Lee and Lee "Scratch" Perry, toured with Bob Marley, and his music has been sampled by several artists (Prodigy, Jay-Z). The first featured track here, 'I Chase the Devil', appeared in the popular Grand Theft Auto San Andreas video game, which has helped to renew interest more recently in Max's work. All together he has released nearly twenty albums, not to mention the dozen plus compilations of his material... so go get you some!

My Thoughts:
Max's 'Wet Dream' was banned by the BBC, which really only attracted more attention to it. It ended up making the top ten in the UK & stayed there for almost six months. But what I really wanted to tell you was that when the BBC banned it- Max tried to change their minds by claiming the song was about a leaky roof. That cracked me up. Nice try. Quite an ingenious cover story, really. Check him out explaining, here. It's a really great song, not just cause it's dirty. It's got an incredibly catchy rhythm & chorus. Something else I think is worth mentioning...? The track 'Watch This Sound' (starts about 10:20)- a reggae-fied version of Buffalo Sprinfield's 'For What It's Worth'. It's actually pretty fantastic. Other interesting facts: Keith Richards co-produced & has a cameo on his 'Holding Out My Love to You' album. He supposedly had some big falling out with Lee "Scratch" Perry during the mid 70s, and some say Perry's track 'White Belly Rat' is about Romeo (others say Bunny Lee). It's also been reported that Perry had a photo of Max on his wall which he wrote "Judas" across.

Day 4: the Sopwith Camel

2012-01-04T18:35:00.000-05:00

(‘60s psychedelic power pop you ask? Ok. Take this… Remember, you asked for it.)

“…that house was a sort of nucleus in the developing San Francisco psychedelic scene. The first rock dances were in the basement of 1090 Page, which was organized by Chet. All the longhairs used to go there. It was an amazing experience for me, because I knew just about every single person in the place... and there were three or four hundred people.” - Peter Kraemer, sometime in the ‘70s

Some facts:
1090 Page Street, San Francisco, California – arguably the pot in which the bulk of the American psychedelic music scene was stewed, and incubator of some of the most famous rock-bands of all time. Jefferson Airplane, The Grateful Dead, Big Brother and the Holding Company… And the Sopwith Camel.

“Who,” you ask?

The Camel was formed by Peter Kraemer, Terry MacNeil, Norman Mayell, and Martin Beard. Kraemer and MacNeil met in the “Big Little” bookstore in San Francisco, they hit it off and began to jam together. They found Mayell playing drums in an abandoned theatre on Hyde Street.

Beard was a recent UK immigrant, living with his parents, he placed an ad for a bass player in the Chronicle:

"I wanted to form a band, and decided to place an ad in the paper. My father called it in for me. Well, you've got to know that in England, they say 'full stop' instead of 'period'. The guy at the paper took it down as he was told. So the ad came out, 'Bass player. Full stop. Needs work. Full stop.”

They had yet to form an actual band but the group started hanging out and jamming with Chet Helms and the Page Street crew. According to Peter:

“He had a band that he was trying to launch, and we all came up with names for it. My idea was Sopwith Camel (a famous WWI biplane model). Everybody laughed at me; they thought it was trite and dumb. Their band was finally named Big Brother and the Holding Company. Ours became the Sopwith Camel."

The Camel played the San Francisco scene, riding the wave with the rest of the groups and was the second San Francisco band to be signed to a major label (right behind the Jefferson Airplane, and just before the Grateful Dead). They were the first to gain national attention. They traveled to New York city to begin recording. “Hello Hello” was a massive commercial hit – months before an actual album released. The Camel toured with the Stones, the Rascals, and the Loving Spoonful – playing huge crowds and taking full advantage of the label’s PR machine to promote the record.

When they returned home from the East Coast, they were accused of being “sellouts” by many of their old friends – and what was meant to be a triumphant return turned into the band’s demise.

"We were headlining over the Airplane and the Dead. The Dead did one of their long, long sets, and by the time we were on, we were only able to do three tunes before the cops pulled the plugs before curfew. We took it to be a sign of some sort."

The band broke up, becoming both the most popular, and shortest-lived bands of the scene. They split before their first album was released (getting together briefly to finish recording), and with the exception of “Hello, Hello” disappeared from pop culture in the wake of the mega-groups their contemporaries would become.

In the early ‘70’s Burger King wanted to use “Hello, Hello” as a commercial jingle. Peter and Terry sold the rights, and while the money went quickly, they were convinced that they could “make it” as a group. The Sopwith Camel reformed in 1971 releasing a second album “The Miraculous Hump Returns from the Moon”, before disbanding again in 1974.

My thoughts:
I hate bio-pics. I hate band bio-pics more than any other kind. However, if I had to make one, it would be about the Camel. The cameo appearances alone could drive the thing. The Dead, the Airplane, Ken Kesey and the Pranksters, Chet, Janice, and the whole Page Street gang, the Matrix house parties, the Fillmore shows… then of course the arc of drama in the band itself. Just great stuff.

Drama aside, these guys were damn good examples of the genre. It’s rock-solid psychedelic with all the humor, spark, and funk of the others. What did them in, in the end, was the social dynamic of “sub-culture” when it bumps up against “mainstream” acceptance and ceases to be avant-garde. That friction point always causes casualties, the Camel was just the first from this era.

Click that link to the Page Street blog - cool stuff on the whole scene.

Day 3: Tappi Tikarrass

2012-01-03T18:56:00.000-05:00

(I swear that this year isn't going to be all WTF bands- stop looking at me like that!)

Tappi Tikarrass

Some Facts:
Many are aware of the fact that Icelandic sweetheart Björk was making music long before she made it big- but have you heard of Tappi Tikarrass? Probably best known for being the first serious (and recorded) of Björk's bands, they came together in 1981, though at the time she was not their vocalist, that role was held by Eyþór Arnalds. She came on board in time for their first release though, as keyboardist & co-vocalist. It's worth noting she was only 16 at the time. The bands name translates to "Cork the Bitch's Ass", which is hysterical & awesome, and reportedly came from bassist Jakob Magnússon's father, who said their music "fit like a cork in a bitch's ass". (Which is, again, hysterical. Though I have no idea what it means.)

Tappi Tikarrass' debut release was the 1982 EP 'Bítið Fast í Vítið' (translates to "biting hard into knowledge"). It features their one and only tune sang in the English language, the above feature 'London'. That year they also made an appearance in the documentary 'Rokk í Reykjavík', and contributed two tracks to its soundtrack. 1983 was similar- an LP release, 'Miranda', and another film appearance. This time it was a comedy- 'Nýtt Líf'- and again, two of their tracks made it to the soundtrack. Shortly afterward, the group disbanded & went their separate ways- though in 1984 two live tracks were found & included on the Icelandic compilation 'Satt 3', and they reunited for a concert in 1987.

After Tappi Tikarrass, bassist Jakob Magnússon joined Das Kapital, then MX-21, and has also released a solo work. Vocalist Eyþór Arnalds was a member of Todmobile as well as Bong, released solo work, and more recently went into politics- sitting in as a town council member in Árborg, Iceland. Guitarist Eyjólfur Jóhannsson played with Dá, The Wunderfoolzs, and S.S. Sól. Drummer Oddur F. Sigurbjarnason was a member of Foringjarnir, and more recently Santiago. Immediately after Tappi Tikarrass, Björk formed the group KUKL, and I believe we're all aware of her work with the Sugarcubes, and her solo career, that came later.

My Thoughts:
I shall start with some confession time. I have a giant crush on Björk. Not her music, her adorable little face. She's the first & only female I've ever been seriously attracted to. When she "broke out" in the US in 95 with the 'Post' album I was 14 & hanging her pictures on my wall in confusion & awe. Since that time I've come to the definite conclusion that I'm heterosexual... but man, if Björk knocked on my door today I'd probably take it all back- the awe part is still there. She's just ridiculously cute- was at 16 too with Tappi Tikarrass, as is shown below. It's interesting that this band doesn't get much mention in discussions of her career. Obviously the Sugarcubes were way more successful, even KUKL was... but I would've thought that her first would've been of more interest than it is to biographers. (This is where I like to image myself sweeping in with my 365 cape on & some "dun dun duuun!" hero type music plays.) Also- I can't wait to drunkenly yell "that fits like a cork in a bitch's ass!" to some random stranger someday.

Day 2: Kelly Joe Phelps

2012-01-02T18:20:00.006-05:00

(Welcome to year two of the 365 bands project folks. Adelle recruited me to give her a hand this time around. Honestly, I’m just hired help. She does all the hard stuff. She pays me in rot-gut whiskey and links to new bands… I think we’ll be tag-teaming posts every-other day for a while. )

"Kelly Joe Phelps plays, sings, and writes the blues. HOLD UP before you lock that in - forget about songs in a twelve bar three chord progression with a two line repeat and answer rhyme structure - though he can certainly do that when he wants to. I'm talking about a feeling, a smoky, lonesome, painful - yet somehow comforting groove that lets you know that you are not alone - even when you're blue. Play on brother." – Steve Earle

Some facts:
After his early life in Sumner, Washington Kelly Joe Phelps started out as a jazz musician, concentrating on free jazz guitar. He eventually discovered a passion for lap-style slide and found himself focusing on folk and blues.

Kelly spent a few years studying traditional blues forms, developing his singing voice (something he never did in the jazz world), and working on his lap-style.

In 1990, at age 29 Phelp’s wrote his first song – inspired by the birth of his daughter. He didn’t know it at the time, but his career as a singer-song-writer was underway. Kelly’s first album was released in ’95, staying with solo lap-style and adding a few covers, blues critics were impressed. He toured heavily; playing every small venue he could in the states and built a modest following of loyal fans.

He began to add more “standard” guitar playing into his repertoire, and on successive albums added drums, bass, mandolin and other accompanists to his songs. His performances kept him and his guitars front and center for the most part, and that minimalist approach to his solo tours continues to be his signature. His concerts are often described as “mesmerizing”, “haunting”, and “supernatural”. His improvisational style is such that each song is rarely the same from one night to the next.

Kelly has 5 albums under his belt, and is often on the road performing live. Recently he often performs with fellow singer-song-writer Corrine West, adding vocal harmonies and collaborative songwriting to his already impressive arsenal. Kelly is currently on tour in the KY, OH region.

My thoughts:
In 1996/97 I was visiting a friend in Rochester NY for the weekend. We got invited to what was called something like “the acoustic coffee-house concert series”. It turned out to be held in a tiny church, no coffee to be had. It was some displaced group of acoustic music fans who moved the concerts around to whatever venue they could find. There was a “headliner” I can’t recall – some breathy girl who was interesting, but forgettable. Also, “some blues guy”, as my friend put it.

We arrived a bit early, there was a homeless man sleeping in the back pew; ratty jean jacket, wool watch cap, three-day beard. As the crowd shuffled in, the homeless guy woke up, stretched, walked to the stage and picked up his guitar. Kelly Joe.

The next 45 minutes was an astonishing experience for me. Kelly Joe takes the blues form and explodes it in to a surreal loopy collection of poetry and passion. There is no “primitive” music here. It’s nuanced, improvised, and thoroughly modern – yet authentically blues. I was hooked.

I didn’t post any of his slide videos, I strongly recommend you go sample some other videos – or better yet, go see him if you get the chance.

Day 1: Speed, Glue, and Shinki

2012-01-01T19:23:00.000-05:00

(Let's set the tone for 2012 with something from the slightly odd file.)

Speed, Glue, and Shinki

Some Facts:
Guitarist Shinki Chen was known as "Japanese Hendrix" by the time he was 21. He'd already played in a variety of groups (Powerhouse, Foodbrain, etc) when he released his solo self titled debut album in 1971. Shortly afterward, his producer (Ikuzo Orita) drew upon the talents of bassist Masayoshi "Glue" Kabe (ex Golden Cups) & drummer Joey "Speed" Smith (who reportedly was discovered by Orita playing at a shopping mall), and Speed, Glue & Shinki was born. To state the obvious, the boys were quite fond of things like speed & glue sniffing, and drugs would be a considerable topic in their music.

The groups debut album, 'Eve', was released in 1971. By all accounts, the band & their producer were all very certain that it would shatter the charts... and when reviews began to come in, very mixed, they were extremely disheartened. Low sales added fuel to that fire. (The fire that was destroying their souls, that is.) They played a few gigs to support the release, but bassist Kabe (who it seems was the most interested in illegal pharmaceuticals) would often just disappear for days at a time & eventually quit the group, while Shinki quickly became completely jaded with the whole "rock n roll" scene. It was the third member, Smith, who was the most motivated- basically gathering up Shinki & delivering him to the studio to begin work on a sophomore album, with Mike Hanopol, formerly of Zero History, taking the bass lines.

It's unclear whether Speed, Glue, and Shinki disbanded before or after that album hit the shelves. 1972s self titled was a double LP that some say features the best of Shinki's recorded guitar work, though the album itself was most definitely propelled by Joey Smith, who wrote nearly all of its material. After the break up, Smith & new member Hanopol moved to the Philippines where they formed Juan de la Cruz, and eventually became regarded as pioneers of the rock scene in that country. They also both went on to successful solo careers (Smith being known as Pepe Smith). Original bassist Masayoshi Kabe popped up in 2004 with a solo album. Shinki Chen attempted to form a group right after the disbanding, and accounts differ as to what happened to him after that. Some say he did session work, but I couldn't find info to back that up. Others claim he's still out there performing live to this day- but I couldn't back that up either.

My Thoughts:
You'd think these guys would have made more of an impression based on appearance alone- they were all over six feet tall, and Shinki had a huge afro. Then you've got the name, and the song titles. My features aren't the only "colorful" ones- there's also 'Sniffin & Snortin' (which I don't believe references having a cold), and 'Stoned Out of My Mind'. It's also interesting to note that while they are a Japanese group, none of the members were full fledged Japanese. Shinki was half Chinese, Kabe was half French, and Smith was 100% Filipino. They still have quite the cult following- all be it composed primarily of those who like to partake in recreational medicine (Pretty much any fan is going to preface their recommendation with a drawn out "Duuuuude..." & close it with "Best music to get stoned to, ever.") Still, an interesting piece of rock history to be sure. You've now heard Japan's answer to Hendrix, and if you clicked through some of those links you may also have seen their attempts at Cream & the Beatles ;) Also quite the conversation piece of a group name- definite +1 on the music snob board.

Day 365

2011-12-31T19:56:00.001-05:00

Happy New Year!!

Oh, dear readers. We've made it- it's the end of 2011. I hope you've all enjoyed this daily journey into music as much as I have, and will stick with me (and Grumpy) throughout 2012.

I've learned so much this year. I now know that Houndog Taylor has a freaky extra finger, Joe Ely is also a painter, Thelonius Monk's real name actually is Thelonious Monk, and I even know how to make those little dot's over the letter U now, like this: ü. I sincerely hope that every one of you has also learned something worthwhile, and don't just remember me for posting something whacky like The Shaggs ;)

As I mentioned in a recent post, I've saved some of (what I consider) the best groups for the coming year. And having Grumpy on board as a fulltime collaborator not only means a much lightened workload for me & added snarkiness for you- it also means that the mix of bands just got mixier. 2012 is going to kick ass here at 365.

For my year end post, I have to go with the only band I love enough to tattoo my body with references to. I know you've all heard of the Grateful Dead, and I also suspect that you are in two camps when it comes to learning more about them: already know it, or don't care. The Grateful Dead is simultaneously the most loved, and the most written off band ever. So today, for me, will ya just try them? Just listen to a few songs, with an open mind? You might just be surprised. They have many sides to them, and I'd like to hilight a few...

Take this for example- an original tune with Ron "Pigpen" McKernan on vocals. Pigpen was the frontman of the group during their early days- but sadly, he passed away in 1973, at the age of 27. I've always been particularly fond of the Pigpen era- I dare say it's my favorite "section" of the Dead- and I've often wondered how the band would have evolved if he hadn't died so early on. Give it at least a full minute before you form your opinion- that's when the other "part" kicks in ;)

"Gotta find a woman be good to me- won't hide my liquor try to serve me tea!"

Now let's try a Bobby tune. Bob Weir is the Dead's longtime rhythm guitarist, resident hot pant wearer, and wanna be cowboy. Naw, I love him- he's just the easiest member to poke fun at. Bobby's songs tend to be, well, cowboy-ish. He likes to sing about gambling & cheating, women and... more women ;) Not exclusively, but certainly a lot. This tune has always been one of my favorites of his.

"You can't close the door when the wall's caved in."

And last, but not least, would you be willing to listen to my favorite Dead song of all time? It has a guitar hook that never fails to give me goosebumps. And the lyrics? Well, they were penned for the late Janis Joplin, and are absolutely beautiful. Being an acoustic performance I believe it also hilights the entire groups talent... and of course besides it being my favorite, I couldn't not post a Jerry tune.

"Sleep in the stars... don't you cry, dry your eyes on the wind."

I hope that if nothing else, at least one of these songs has changed your opinion of the Grateful Dead in a positive way- even if you don't run out & become Deadheads ;) Pretty much all of their tracks that have made it to the radio, we hardcore fans are less than fond of- songs like 'Touch of Gray', 'Truckin', and 'Casey Jones'. I can't really explain to you why I love the Grateful Dead, because I don't understand it fully myself. To say "there's just something about it" is cliche, but it's true.

I feel fortunate to be a Deadhead- to have something in my life that can move me with such force, always- no matter what. My son recently said to me "I wish I could find other music that makes me feel the way the Grateful Dead does." All I could do was shake my head and say "Me too, buddy... me too."

I look forward to tomorrow- to starting this wonderful journey into the heart of music all over again. I hope to see you there. (And I apologize if this post seems anti-climatic... it's really only the halfway point now though, not the end.) It would make my day if perhaps some of you would comment on this post- you don't even have to pretend to like the Dead ;p... I'd just really love to hear about a band you first learned of here that you now own albums by, or some fact that became lodged in your brain after reading a post... anything you've gotten out of this project, I would love to hear about.

Day 364: Tampa Red

2011-12-30T19:29:00.000-05:00

(Below you will find the original recording of a tune you have undoubtedly heard before. Tampa deserves his props.)

Tampa Red

Some Facts:
Hudson Woodbrigde was born in 1904 in Georgia, but when both his parents died during his youth he moved to Tampa, Florida to live with his grandmother. He eventually adopted her surname & spent most of his life going by Hudson Whittaker; and his nickname of Tampa Red comes from the obvious fact that he lived in Tampa, while the red half is debatable. Some say it was because his hair had a reddish tinge, others claim it was due to his lighter skin tone. Either way he grew up emulating his older brother who also played guitar, and by the mid 20s had established his own slide techniques. In 1925 he moved to Chicago & soon found himself in a studio for the first time. His career began with quite a bang- backing the great Ma Rainey.

Tampa began solo recording in 1928 with the single 'It's Tight Like That'. Also that year the first National steel resonator guitars were manufactured, and Tampa was one of the first to acquire one. A humble man, he chose to go with a gold-plated model, and quickly became known as "the man with the gold guitar". Over the next several years, Tampa further developed his unique slide style on the instrument, and continued to record- often collaborating with Thomas Dorsey, aka Georgia Tom. The two recorded under the name The Hokum Boys, and also backed up acts such as Lil Johnson, and Frankie "Half Pint" Jaxon.

Beginning in 1932, Tampa took a two year break from music. I found it funny to read that his return was due in part to the repeal of prohibition, though not terribly surprising. He jumped right back to recording in 1934, and was soon the best seller on the Bluebird record label. His home also became well known in the blues community- not only as a meeting place for big names like Big Bill Broonzy, Big Joe Williams, Lester Melrose, and Blind John Davis- but also for his willingness to take in newcomers or down on their luckers. He would let them stay as long as they needed, and Mrs. Tampa Red was always more than willing to prepare them a meal. He also continued to record steadily throughout the 1940s & into the 50s- right up until the death of his beloved wife in 1954. It completely devastated him, and he turned to the bottle for support. He spent the remainder of his life basically drunk & alone before being placed in a nursing facility where he passed away in 1981.

My Thoughts:
Yes yes- the first recorded version of 'Hurts Me Too' was none other than Mr Tampa Red. He also did the first version of 'Love with a Feeling'. All together Tampa recorded over 200 sides- he reportedly released the most 78s for any performer in the blues genre. Oh, and speaking of genres... hokum. "Hokum blues lyrics specifically poked fun at all manner of sexual practices, preferences, and eroticized domestic arrangements." Tampa wore the label proudly- I mentioned he & Georgia Tom performed as The Hokum Boys, and Tampa also would play out & record with others as Tampa Red's Hokum Jug Band (alternately Hokum Jazz Band). Occasionally Tampa would be listed as Papa Too Sweet on recordings, as well. I had a really hard time deciding what video's to feature, as he has some great, great songs (ended up going with one that hilights his guitar work). So check out 'What is That Tastes Like Gravy?', 'I'm Gonna Get High', 'You Can't Get That Stuff No More, or 'She Wants to Sell My Monkey', for starters.

Day 363: Dr. Feelgood

2011-12-29T19:06:00.000-05:00

(I apologize for the fact that a Motley Crew song is most likely stuck in your head right now.)

Dr. Feelgood

Some Facts:
Dr. Feelgood came together in 1971 in Canvey Island, Essex. Composed of vocalist Lee Brilleaux, guitarist Wilko Johnson, bass player John "Sparko" Sparks, and drummer John "The Big Figure" Martin; their name was drawn from a song of the same title, originally recorded by Willie Perryman (who also went by the name Dr. Feelgood, as well as Piano Red) & often covered. They began as all bands do- playing the club & bar circuit. Within a few years they'd established quite a buzz & following, and were able to take their pick of record labels. After deciding on United Artists they released their debut LP, 'Down by the Jetty', in 1974.

'Malpractice' followed in 75, but it was 1976s 'Stupidity' that was their break through album, reaching number one in the UK. They returned the following year with 'Sneakin' Suspicion', after which Wilko Johnson left the group, and was replaced by John "Gypie" Mayo. Though they did score a considerable hit with Mayo on board ('Milk & Alcohol', featured below) many feel that Johnson's departure was too big a blow to overcome, and also marks the beginning of the end. Mayo stuck around for three LPs all together, none of which sold terribly well, before departing in 1981. The following year founding members John Martin & John Sparks also left- and for the remainder of Dr. Feelgoods existence, the line up was ever changing.

Heavy recording & touring continued throughout the 1980s & even into the 90s. Members that passed through include Kevin Morris (drums, Discharge), Dave Bronze (bass- recorded with Procol Harum, Eric Clapton, etc), and Pat McMullen (bass, The Count Bishops). Dr Feelgood's final album was recorded in early 1994, a mere three months before lead vocalist & founder Lee Brilleaux died of cancer. Since his passing the group has continued on using the name Dr. Feelgood, and there is also an annual memorial concert held on Lee's birthday that raises money for a hospice in Westcliff-on-Sea. In 2009 the film 'Oil City Confidential' was produced, chronicling the bands early days.

My Thoughts:
After leaving Dr. Feelgood, original guitarist Wilko Johnson played with a bunch of groups before moving to solo recording. He's currently on tour. Gypie Mayo went on to record with the Yardbirds, and continues to play in local bands around Somerset. It's interesting to note that Dr. Feelgood's debut album was a UK release only. The next three were also released in the US, but when they failed to sell sufficiently there, they stopped releasing to the American market- just gave up on it. As to the band's name- many say it was a Johnny Kidd & the Pirates tune they named themselves after- but ch'yeah- it was a cover they were doing, Willie Perryman (aka Piano Red) not only wrote the song, he's the original Dr. Feelgood. Others speculate that it was in reference to it's slang use- Dr. Feelgood being a doctor willing to prescribe unnessesary, feel-good medications. I'm not sure how I feel about the group continuing on without Lee Brilleaux, who, by the way, put up the money that the founders of Stiff Records needed to get that label going- he was the founder behind the curtains. The guys who play in the current version of the band... the musicians have all been members since the 80s, I guess after that long they feel entitled to the name Dr. Feelgood. The current vocalist came on in 99. I don't know. I think after your frontman dies, you really oughta change your groups name. Take what Gypie Mayo, and founding members John Sparks & John Martin did in the 1980s when they began performing together as Dr. Feelgood's Practice- perfect example of carrying on with due credit without being asses.

Day 362: Labi Siffre

2011-12-28T20:17:00.000-05:00

(This man is incredible, but the things he's remembered for most commonly today? A true, true shame...)

Labi Siffre

Some Facts:
Born in London in 1945, Labi Siffre is a man of many talents. Unlike many of the artists I feature, he doesn't come from a musical family- and actually grew up attending Catholic school. He knew early on he wanted to be a musician, however. He spent his late teens/early twenties working a series of odd jobs including time in a warehouse, as a filing clerk, and a delivery man, while waiting for his break in the music industry. In the early 60s he scored a gig at the famed Annie's Room, which led to a slot opening for Jackie Edwards on his next tour. He then settled briefly in Amsterdam, playing the club scene there.

Before long, all the time playing small clubs payed off. Labi signed his first recording contract in 1969 & the following year his self titled debut album was released. He continued to record heavily during the 1970s, releasing five more LPs, and scored quite a few hits. He toured internationally with such artists as The Supremes, The Carpenters, and the Hollies, not to mention numerous television appearances. In 1977 he relocated to Los Angeles, and decided to take a break from music to concentrate on his writing. He returned in 85, writing one of his most withstanding songs with 'Something Inside So Strong'. Considered an anti-apartheid anthem, it's the perfect song to play for someone that has never heard of Labi, as it showcases his feelings against bigotry & oppression- the general theme throughout nearly all of his music, the half that isn't about love, that is.

It was also around that time that Labi began writing poetry, though his first book, 'Nigger', wasn't published until 1993. All together he's released three volumes of poetry, as well as the 1997 play 'DeathWrite', and the 2000 essay 'Choosing the Stick They Beat You With'. He's also continued to record fairly heavily- another 5 albums on top of those already mentioned, for a grand total of eleven. His music has been featured prominently in television, and has been widely covered by artists such as Kenny Rogers, Olivia Newton-John, The Flying Pickets, and of course we can't forget Madness, who charted higher than Labi himself did with 'It Must Be Love' (he cameos in their video). Beginning in 1999 his work became the interest of hip hop artists in need of samples- Eminem relying heavily on Labi's 'I Got The' on his first hit 'My Name Is', and now artists including Jay-Z & Kanye West are added to the list who have borrowed from him.

My Thoughts:
Check out Labi's incredibly awesome website, where he posts his poetry! So what else can I tell you? He's a heavy donator to London's Atheist Bus Campaign, and he's also been quite openly gay throughout his entire career. He met his partner in the early 60s, and in 2005 the two were able to wed under the Civil Partnership Act. As to my intro statement about him being remembered for the wrong things... I'll be damned but nearly every bio I read felt the need to mention the Eminem connection in the first paragraph. Really pissed me off. The man has been in the business for over 40 years, has a considerable discography, has spent his life writing & singing for those who don't have a voice... but oh my god his piano hook was featured in 'My Name Is'- stop the fucking presses. Funny story about it though- he was approached by Eminem & Dr Dre about using the sample, and he said no. Actually, he did better than that. He said "Attacking two of the usual scapegoats, women & gays, is lazy writing." Eminem & Dre had to edit the track until Labi felt it was acceptable, and then they were allowed to use his sample.

Day 361: The Crows

2011-12-27T18:33:00.000-05:00

(Oh my. Four days till the end of the year. If I wasn't planning on continuing this project into 2012, I'd be absolutely panicking trying to make sure that I featured all the groups that are essential listening. But instead, I've actually purposely saved some of the best for next year!)

The Crows

Some Facts:
Though it can't be argued that The Crows were a one hit wonder, it also cannot be argued that they are an extremely important piece of rock history. The five piece vocal harmony group came together in New York City in 1951- singing on street corners, anywhere they could. They were also frequent faces at the Apollo Theater's weekly talent show night, and it was there they were "discovered" by a talent agent. Through that agent (Cliff Martinez) they were quickly put together with producer George Goldner, who had only recently formed the label Rama Records; and The Crows were the first act signed to the budding label.

Their first recordings were backing up vocalist Viola Watkins, who also co-wrote The Crow's first (and only) hit song. 'Gee' was recorded during the groups first solo session in early 1953- reportedly written in mere minutes by Watkins & the Crow's baritone, Bill Davis. It was released as the B-side to 'I Love You So', and therefore didn't get much airplay initially. Slowly though, radio DJs realized it was the better of the songs, and sales began to creep up higher & higher- selling 100,000 copies just around it's one year anniversary. Finally in mid 1954 it was fully recognized, and charted on both the R&B & pop music charts- earning The Crows the recognition of having the first ever rock n roll hit.

With 'Gee' on the charts, Rama Records began releasing more Crows singles, but none attracted any attention. Just months after making music history, The Crows disbanded- most likely due to the lack of continued success & "the inability to perform regularly to support their recordings". Though many hoped they would possibly reunite at some point if only for a few shows, the group prided themselves on maintaining their original line up through out their career in a time when vocal groups pretty much came equipped with revolving doors- and when Gerald Hamilton (bass) & Daniel Norton (lead) passed away in the 60s & 70s respectively, those hopes were dashed.

My Thoughts:
The first rock n roll hit is a pretty big claim to fame. And of course, who actually had the first hit rock & roll song is highly debated, and probably always will be. Those who site The Crows as the first clarify that it was the first original charting rock song, and many become confused & shout out "Nuh-uh!" because they don't understand that the claim is merely that they had the first charter, not the first song, and were not the first with a #1 (they only made it to #2 on the charts). At any rate- I'm not a music historian, just an enthusiast, and I'm only reporting what's been said by others.

Day 360: The Edgar Broughton Band

2011-12-26T19:57:00.001-05:00

(Edgar Broughton is currently working on a project called "A Fair Days Pay for a Fair Days Work". Check it out. You basically pay him what you earn from your job in one day (plus room, board, and a plane ticket) & he will come play for you in your home, anywhere in the world. Neat, huh? If anyone goes for it- they best invite me!)

The Edgar Broughton Band

Some Facts:
In the mid 60s in Warwick, England, brothers Steve (drums) & Rob "Edgar" Broughton (vocals/guitar) put together a group originally called The Edgar Broughton Blues Band. They established a fan base around their hometown through live performances, but the public interest was shifting away from their blues oriented sound to more psychedelic material. So in 1968 the group packed up & headed to London- dropping the "blues" from both their name & sound, and almost instantly acquired their first recording contract with the newly formed Harvest Records. Their first single was actually the labels first output- 1969s 'Evil'.

The bands debut album, 'Wasa Wasa', was released later in the year; and with their next (1970s 'Sing Brother Sing') they scored their first Top 20 hits with 'Out Demons Out', and 'Apache Drop-Out'- the latter of which is featured below, and is a smash up of Captain Beefheart's 'Dropout Boogie' & the Shadows 'Apache'. Four more LPs followed before the close of the decade, with lyrics becoming increasingly political. Though there were some hits, overall sales were less than desirable, and the bands lineup was ever changing.

In 1979 they began billing themselves simply as The Broughtons, releasing two more albums under the new moniker. They continued to tour all the way up until 2007 though no more albums were released (well, their original albums were reissued)- and officially disbanded in 2010. Over the course of their career, members of the Broughton Band included Victor Unitt (guitar, The Pretty Things), John Thomas (guitar, Cardboard Brains), Mike Oldfield (guitar, solo artist), Andrew Lewis Taylor (guitar, recorded solo under the names Sheriff Jack, Lewis Taylor, and Andrew Taylor), and Terry Cottam (guitar, played with many groups including Chameleon and The Jess Upton Soul Band).

My Thoughts:
Loved this little blurb in reference to their 'Apache Drop-Out' being a mix of Beefheart & the Shadows tunes- "It was played (to astonished & puzzled reactions)...". I bet. So... Edgar Broughton is a crazy looking mo-fo, am I right? Lots of comparisons were drawn to the late great Captain Beefheart when the group was in their heyday, both vocally & visually. I really wanted to feature this video- but both the audio & video are fairly poor quality. But... it really gives you the full experience of what seeing them live would have been like back in the day- and it was their live performances they were always known for. They struggled throughout their career to produce an album in studio that had the same amount of energy & passion. Interesting tid bit: in their early days, the Broughton's mom used to drive their tour bus, er- tour van. As Edgar explained in an interview- "I wouldn’t call it a “tour bus” back in the day. It was a little Morris JT van that eventually turned into a transit, but yes she drove us around and my Dad helped with the equipment, I mean he did all kinds of things and between them they were fabulous. When most people were telling us to get our hair cut, Mum and Dad were saying “don’t you get your hair cut you’ll spoil your image”. They were great! John Peel always used to make a bee-line for our van at festivals because he’d get a cup of tea and a sandwich. They were quite well known in their own way."