Tag Archives: raised eyebrows

Raised Eyebrows: The Jazzmaster (Randy)

May 13, 2016

1 Comment

Photo of Lizzy Mercier Descloux courtesy of

It’s May! Given the wonderful weather expected by this emerald month, I thought I’d investigate one of my favorite guitars, the Jazzmaster, and the music created by it. Making its debut in 1959, the Jazzmaster was first made to rival Gibson archtop guitars preferred by jazz musicians. It didn’t catch on, but over the years, it has found a home in a number of genres and on a ton of great records. Here’s a few highlights:

Johnny Cash – Katy Too (1959)

Luther Perkins of Cash’s Tennessee Three was an early user of the Jazzmaster. There’s some photos floating around dated as early as 1958.

Roy Clark – Twelfth Street Rag (1963)

Roy shreds on this! This comes from his 1963 album The Lightning Fingers of Roy Clark.

The Staple Singers – Whatcha Gonna Do? (1965)

Pops Staples does the tremolo Jazzmaster better than any other human being on the planet. This is proof.

Clarence Carter – Snatching It Back (1969)

Here the Jazzmaster surpasses country and blues to enter the wonderful world of rhythm and blues. The twined soapbar tone and Carter’s voice are a match made in soul heaven, and check out that album cover!

Danny James – Soul and Wine (1970)

I heard this on the Fai Do Do program on 91.7 KOOP recently. Came out on the Goldband Records label in 1970. Dude is holding a Jazzmaster on a compilation CD so I figure …”lay down some soul and get some cheap wine.”

Elvis Costello – Watching The Detectives (1977)

The Jazzmaster fell out of fashion in the 70’s. Les Paul’s and Strats became the norm until this nerdy dude named Declan MacManus declared himself to be Elvis Costello and sported a Jazzmaster on the cover of his landmark 1977 album, My Aim Is True.

Television – Foxhole (1978)

After their seminal 1977 recording Marquee Moon, Television brought their intergalactic guitar interplay back for the sophomore record Adventure. It doesn’t get the love that their classic does, but Verlaine’s guitar work on Foxhole is PURE HEAT.

Lizzy Mercier Descloux – Wawa (1979)

Legend has it, Lizzy (from Paris) decided in order to make it as an artist, she had to move to New York. There she met Richard Hell and bought a Jazzmaster. Her tune Wawa is a prime example of what the Jazzmaster was capable of, in both No Wave and New Wave.

The Cure – 10:15 Saturday Night (1979)

Believe or not, Robert Smith was known to sport a Jazzmaster early on in the career of The Cure. This track captures some of the harmonic uses of the Jazzmaster that other bands would take to further limits in the near future.

Sonic Youth – Silver Rocket (1988)

Almost ten years later, Sonic Youth hits with their biggest record, Daydream Nation. Here the Jazzmaster goes from being a cheap anomaly to an icon of underground rock that’s still being seen today. The techniques this band forged with the instrument helped to not only reinvent it, but also send its value soaring.

Luna – Sideshow by the Seashore (1995)

Sean Eden of Luna is a well known Jazzmaster user. This tune is a high mark for American rock music.

Yo La Tengo – Cherry Chapstick (2000)

Ira Kaplan wields a cherry red Jazzmaster for this tune at shows. One of YLT’s purest tunes.

Nels Cline – Cause for Concern (2002)

I was on the fence with Nels as a member of Wilco, but after hearing The Nels Cline Singers album Instrumentals, I was convinced the dude is one of the finest Jazzmaster players around today.

Marnie Stern – The Things You Notice (2010)

FACT: Marnie Stern is a completely unique Jazzmaster player. Her playing and approach is unlike anyone else and that makes her polarizing for folks. I’m down with the Marnie sound.

Noveller – Concrete Dreams (2015)

Sarah Lipstate has recently been seen sporting a Jazzmaster. Her solitary soundscapes are incredible examples of where the instrument could be headed. Her latest album Fantastic Planet is BEYOND.

Note: Yeah, I left off some people. Tell me who and why should they have been mentioned?


Continue reading...

Raised Eyebrows: Sound-Alikes (Randy)

April 8, 2016


As we approach “spring”, I thought we could discuss a more lighthearted subject of musical nerdery. This month we’ll discuss songs that sound-alike. There are some well known instances like Queen and David Bowie’s Under Pressure and Vanilla Ice’s Ice Ice Baby, but here we’ll take a closer look at 5 instances that I’ve noticed recently.

Cat Power – The Greatest vs Andy Williams – Moon River

I was a big fan of Chan Marshall’s 2006 LP The Greatest. It still stands as one of her best works. When listening to the title track, it has always reminded me of Moon River. The strings tag before each verse is almost identical to the beginning melody notes of Moon River. Take a listen and tell me I’m wrong.

Holy Modal Rounders – Nova vs Charlie Poole & The North Carolina Ramblers – Baltimore Fire

Folk music is a lot more forgiving of folks borrowing progressions and melodies for their own devices. It’s all part of the tradition. Here The Holy Modal Rounders steal directly from the North Carolina Ramblers 1929 recording of Baltimore Fire. The Rounders take the tune originally found in a 1905 songbook by the Ramblers and turns it on his head. Still using the same arrangement and melody, Weber and Stampfel discuss space travel, the CIA, and ocean waste.

Carson McHone – Bouquet vs Sandy Denny – Listen, Listen

Austin singer-songwriter Carson McHone has been making a name for herself both locally and nationally as of late. Her 2015 LP Goodluck Man boasted a simple beauty by way of charming vocals and narratives. After hearing Bouquet, I had to run over to the turntable and grab my copy of _Sandy_. It’s pretty clear when you play the two songs side by side how similar they are. Though it was probably coincidence of their likeness, it is not a coincidence at all to think that these two extraordinary women would find the same lasting melody.

Beck – Paper Tiger vs Serge Gainsbourg – Cargo Culte

From the beginning bass line, Beck’s Paper Tiger is an almost carbon copy of Gainsbourg’s Cargo Culte. Everything about Beck’s track nods to Gainsbourg, from the bass to the drums to the strings that emulate the subliminal guitar found on the OG. Thanks to Justin for the heads up on this one!

Songs: Ohia – Farewell Transmission vs Earth Opera – All Winter Long

Jason Molina’s passing in 2013 is still felt today. His music remains a beacon for those searching but not lost. Perhaps his highest point hit in 2003 with Magnolia Electric Co. It was interesting when I came upon Earth Opera, an SF band that contained both Peter Rowan and David Grisman, and heard their tune All Winter Long. It was almost immediate to hear the similarity to Molina’s Farewell Transmission.


Continue reading...

Raised Eyebrows: Film Music (Randy)

March 11, 2016


This month I thought I’d dive into some of my go-to film music. While film scores or soundtracks may not be the first place to reach, there is a wealth of rad stuff available to those willing to make the leap.

Ry Cooder – Paris, Texas

I can’t say enough on how rad this soundtrack is. It’s Cooder’s greatest accomplishment amongst his many soundtracks. Also do check out Cooder’s The Long Riders from the the film The Long Riders.

Bruce Langhorne – The Hired Hand

For Peter Fonda’s first film as director, Fonda asked the well-known sideman, Bruce Langhorne (Richard and Mimi Farina, Bob Dylan, etc.) to score the film. Langhorne got a copy of the film to work with by shooting an edit of The Hired Hand on a black and white camera and taking what was captured back home to work on. He composed in real time while watching the images captured with his camera and the results are both surreal and astounding.

Mark Orton – Nebraska

Much like Ry Cooder and Paris, Texas, I can’t picture Alexander Payne’s Nebraska going as well without the terrific score turned in by Mark Orton. Orton’s work makes this already enjoyable film all that more charming and most importantly… memorable.

Richard Thompson – Grizzly Man

Like all Herzog films, there is an ominous note to even the most playful scenes and characters. I can’t think of another musician who matches Herzog’s mastery of craft and artful vision except for Richard Thompson. Here the two masters collide and create a truly dark and inspired score.

Popol Vuh – Cobra Verde

Popol Vuh can be a tough nut to crack. Behind all the chanting and 19 minute ambient tracks, a listener can get lost. Their 1987 Herzog soundtrack Cobra Verde is a really good place to start for many and still the highest of their work with Herzog.

Jeanette – Porque Te Vas

Carlos Saura’s Cria Cuervos is a really wonderful film. The song is used to great effect in the film and it’s been one I haven’t been able to forget since.

The Byrds – Ballad of Easy Rider

The story goes that Peter Fonda was hounding Bob Dylan for a song for the film Easy Rider. He wrote this on a napkin and gave it to Fonda – “The river flows, it flows to the sea/Wherever that river goes, that’s where I want to be/Flow, river, flow.” He then told Fonda, “give this to McGuinn. He’ll know what to do with it.” He sure as hell did. An all-timer for me.

Jimmie Dale Gilmore – Braver Newer World

The first time I think I ever heard Jimmie Dale Gilmore was in one of my favorite films called Kicking and Screaming by Noah Baumbach. This one of several songs the film used and remains a remarkable song that only Jimmie Dale could sing. So fucking rad.

Les Barricades Mysterieuses

Terrence Malick’s Tree of Life uses F. Couperin’s Les Barricades Mysterieuses throughout the film. One of my favorite pieces of music ever composed.

Anton Karas – Third Man Theme

Played on a zither, Karas captures all the carefree aspects of life no matter the outcome.


Continue reading...

Raised Eyebrows: Modern Global Sounds (Randy)

February 12, 2016

1 Comment

This month I’m taking a look at some incredible global music. Though mostly Tuareg assouf music, there’s also some quality Zamrock, WAGM, Somali, and Malian folk blues represented. It’s important to note that ALL of these artists are keeping dying traditions alive and some are bravely speaking out against contemporary struggles. In some of these areas, popular music has been outlawed.


Terakaft (Caravan) is a Tuareg blues band following Tinariwen’s long lead into electric desert blues or what I like to call, sand rock. Also check out the album Chatma by Tamikrest.

Sahra Halgan Trio

Sahra Halgan comes from a long line of Somali folk singers. Her newest record, Faransiskyo Somaliland is full of rad grooves and good spirits, and some great guitar work by Mael Saletes.

Tal National

Tal National is West African Guitar Music at its most inventive. The grooves this group achieves on Zoy Zoy are part Victor Uwaifo and part Doc at the Radar Station.


On a record called Mississippi to Sahara, Tuareg guitarist Faris proves that Africa really is the birthplace of American blues by bringing 12 delta blues tunes to the Sahara. His version of Son House’s Grinnin’ in Your Face is revelatory.

Ngozi Family & Amanaz

Now Again Records has a monopoly on amazing Zamrock reissues. The label has put out a ton of must-haves unearthed from Africa’s psych-funk past. Ngozi Family’s Day of Judgment and Amanaz’s Africa are just two of the many stand out Zamrock releases available. Tikondane from the Ngozi Family sounds like an African VU and Nsunka Lwendo from Amanaz contains a truly burnt solo from Isaac Mpofu.

Imarhan Timbuktu

I got Akal Warled at Record Store Day 2015. It’s a reminder of my son in his first year of life.

Boubacar Traore

A Malian blues/folk legend. Kar Kar is still putting out records and though he began his career in the early 60’s, his first album wasn’t released til 1990. The song Mariama remains one of his finest works and a fave of mine.

Tony Allen

Tony Allen was the drummer for Fela Kuti in Africa 70. Brian Eno once said, “without Tony Allen, there would be no Afrobeat.” On Film of Life, Allen makes a unique statement. Ennio Morricone needs to hear this and so do you.


Continue reading...

Raised Eyebrows: 2015 Hangover (Randy)

January 22, 2016

1 Comment

I’m reluctant to leave 2015 behind. Admittedly, there’s plenty of junk that happened that I’m ready to forget about, but I am realizing there’s a good chunk of records that either I failed to give a fair shake to or missed entirely in the past year.

The Chills – Silver Bullets (Fire) (buy)

Pioneers of the “Dunedin Sound” in the early 80’s return with their first full length in almost 20 years! The results are impeccable and wildly contemporary for a band out of the spotlight for so long. I Can’t Help You is the album’s best song but don’t overlook Molten Gold or the title track.

Chuck Johnson – Blood Moon Boulder (Scissor Tail Editions) (buy)

2013’s Crows In The Basilica was a big record for me. Songs like Ransom Street Blues helped me turn on to more traditional forms of music. Blood Moon Boulder takes Johnson into deeper zones perfect for a drive down US Route 67 toward Marfa.

The Weather Station – Loyalty (PoB) (buy)

Tamara Lindeman wrote the best song of 2015 with Way It Is, Way It Could Be. Her lyrics and voice paint an incredible picture that is completely singular and original. The snakey guitar and rhythms add to the stealth beauty of the song. Stunning.

Julia Holter – Have You In My Wilderness (buy)

This record is one of the most interesting pop releases in a while. Silhouette is extraordinary. Side Note: Very similar artwork to Apple artist Mary Hopkin.

Twerps – Range Anxiety (Merge) (buy)

I hated this record when it came out. I still think it doesn’t reach the heights of what the band is fully capable of, with one exception, Shoulders. Julia McFarlane has written a present-day jangle pop stunner full of waver and grace.

Woolen Men – Rain Shapes (Loglady) (buy)

I always looped Woolen Men in with the whole garage rock trend happening seemingly everywhere. Another band of lost bros rebelling against nothing or possibly boredom. I was wrong. Rain Shapes contains four songs that will soon be considered classic. It’s one of the tightest and consistent releases I’ve heard from any band anywhere.

Salad Boys – Metalmania (Trouble In Mind) (buy)

I’ve been a fan ever since I heard I’m A Mountain from their self released cassette back in 2013. What is fascinating is, I’m not sure if the band is aware of the past sounds that they so wonderfully suggest or not. One thing is for sure, Metalmania rips.

Phil Cook – Southland Mission (Thirty Tigers) (buy)

I learned of this record through Hiss Golden Messenger. Cook is a member of the band and on his off time has made a wonderful record. For those of us that see music as church, this is the record you put on on Sundays.

Barna Howard – Quite a Feelin’ (Mama Bird Recording Co.) (buy)

Howard’s 2012 self titled album may be one of the best singer-songwriter albums of the new millennium. His sophomore album finds him among friends and feelin’ mellow. The title track is a road song that sits well next to Willis Alan Ramsey’s Satin Sheets. That’s a big deal in my world.

Tinariwen – Live In Paris (ANTI) (buy)

This band is sheer joy. Their desert blues/sand rock/ is trance inducing. I’m still hoping to see them live one day. This will have to do until then.


Continue reading...

Raised Eyebrows: The Most Wonderful Time Of The Year (Randy)

December 9, 2015


I love Christmas music. It something of a weak spot for me. The genre has long been a cash-in for artists looking to capitalize on their fame or for those past their prime. Despite this sad fact, there is some truly great Christmas jams out there to feast on each and every year. This playlist merely scratches the surface of the bounty of rad yuletide melodies available for those willing to dig a little bit. Merry Christmas Everybody!

Guided By Voices – Father Sgt Christmas Card (Pollard would be a great mall Santa.)

Cardinal – If You Believe in Christmas Trees (One of those obscure wonders that deserve so much more recognition.)

George Harrison – Ding Dong, Ding Dong (The best of The Beatles solo Christmas songs, even though they are all so good.)

Canned Heat – Christmas Blues (The Heat wish you a deep fried Holiday Season.)

Chuck Berry – Run Rudolph Run (It’s this, then Jingle Bell Rock.)

Jerry Lee Lewis – I Can’t Have A Merry Christmas Mary (Without You) (The Killer delivers serious on this one.)

Bob Dylan – She Belongs To Me (Self Portrait era Dylan deliverin”.)

Merle Haggard – If We Make It Through December (Merle says it all.)

Dolly Parton – Hard Candy Christmas (A classic Dolly cut.)

Willie Nelson – Pretty Paper (Willie gets it right here.)

Jerry Jeff Walker – Twelve Days of Christmas (Gonzo rewrites this classic for the cowboy in all of us.)

John Prine – Everything is Cool (A prime Prine outtake.)

Emmylou Harris and Neil Young – Star of Bethlehem (One of my favs.)

JJ Cale – What Do You Expect (Mumblin’ bout Santa Claus.)

Hiss Golden Messenger – I’ve Got A Name For The Newborn Child (This record doesn’t stop.)

Leo Kottke – Jesu, Joy of Man’s Desiring (Leo chills us out.)

REM – Deck The Halls (Athens outfit breaks out the sleigh bells.)

Alex Chilton – The Christmas Song (The BEST rendition of this song.)

Steeleye Span – Gaudete (An ancient carol from Hutchings and Co.)


Continue reading...

Raised Eyebrows: Thanks A Lot (Randy)

November 20, 2015


Thanksgiving is a brutal, yet rewarding endeavor. You cram a bunch of people together who share some of the same blood or have the same last name or some sort of wandering connection and they eat. They eat a lot. Too much in fact. This is the tradition and I’m not going to disparage it. Given all the shit in the world, it’s good that humans have set aside a day to tell others that they are appreciated. Every year there is a day where we eat too much, drink too much, talk about nothing in particular, argue, cry, laugh and fart. Thanksgiving is the best.

Here’s some tunes that’ll go good with basting turkeys and yelling at your Aunt Rose.

John Coltrane – A Love Supreme Part I – Acknowledgement (Coltrane makes you thankful for humanity.)

JJ Johnson – Horn of Plenty (The table centerpiece can be a big to do.)

The Byrds – I am a Pilgrim (Henceforth,  I will eat turkey to this every year.)

Bob Dylan – If Not For You (Nobody says it like he does, just nobody.)

The Cranberries – Ode to my Family (F Yes. Family and Cranberries.)

Dr. John – Peace Brother Peace (Sometimes things get crazy and Dr. John must intervene.)

Guy Clark – Texas Cookin’ (Guy gets funky when he talks about food.)

Bob Dylan – Country Pie (Country Bob in full on pie mode.)

New Lost City Ramblers – Hot Corn (I love this kinda thing.)

John Renbourn - Sweet Potato (November is sweet potato awareness month. RIP John.)

Ernest Tubb – Thanks A Lot (It says it all on the back of his guitar.)

Arlo Guthrie – Alice’s Restaurant Massacre (A holiday tradition.)

John Lennon – Cold Turkey (Day after sandwich jam.)

Steely Dan – Black Friday (Yacht rock while you online shop.)


Continue reading...

Raised Eyebrows: Halloween Blues (Randy)

October 29, 2015


In lieu of Halloween, I thought I’d put something together to jam for your Halloween festivities. I’m not a big Halloween fan, but I do really enjoy the idea of human beings entertaining the idea of wolfmen and witches. I also dig a good murder ballad and/or psychotic country song. What that says about me … I’m not sure, but maybe it means I dig on Halloween more than I think. This playlist is changing lives already.

Round Robin – I’m The Wolfman (Thanks to Mike Buck who jammed this on Blue Monday on 10/26/15, Sun Radio 100.1)

The Sonics – The Witch (Was reminded of this on Elk Mating Ritual, 91.7 KOOP.)

Howlin Wolf – Evil (The man’s name alone is enough for anything relating to Halloween.)

Terry Allen – The Wolfman of Del Rio (Fort Worth’s greatest treasure.)

Michael Hurley – Werewolf (Snock truly understands the wolfman.)

The Kossoy Sisters – Poor Ellen Smith (A rad murder ballad complete with blood stained lyrics.)

Roky Erickson – I Walked with a Zombie (Halloween is Roky time.)

The Rolling Stones – Too Much Blood (A disco song about blood.)

Porter Wagoner – The Rubber Room (A country song about a man inside an asylum – dig the slapback!)

Eddie Noack – Psycho (Leon Payne’s outrageous classic.)

Neil Young – Vampire Blues (A spooky Shakey number.)

Warren Zevon – Werewolves of London – Live (Warren talks about the werewolf looking to murder James Taylor – nuff said.)


Continue reading...

Raised Eyebrows: Sonic Youth’s A Thousand Leaves (Randy)

June 10, 2015


Reminiscing about Sonic Youth’s A Thousand Leaves finds me recalling a short-lived friendship.

Like many, I had a friend who I spent a lot of time with for a short while. Hanging out with her was my first taste of punk rock in the sense that, she used to put the tops back on week old beers and give them to me to drink while Sleater-Kinney, Le Tigre or Bratmobile scratched out the speakers in her living room.

Somewhere in the haze of that time, she decided we should go to Austin to see her sister and A Thousand Leaves was brought along. The album’s hypnotic excess really jived with us then and made a proper soundtrack for our jejune escapades.

We arrived in Austin, very drunk, at her sisters around 3am. Her sister gave me a haircut while her boyfriend played Eric’s Trip records til morning. I could say more but the best thing that come out of it was me searching out a copy of Love Tara not long after the fiasco.

Not a great story, I know, but A Thousand Leaves was a fitting soundtrack for us then and continues to be an intriguing listen now. Tracks like Wildflower Soul and Hits of Sunshine (For Allen Ginsberg) are some of the best songs the band has written in some ways. Their long passages of fractured jamming reveal the later focused work found on Murray Street and moves forward some of the desultory work found on Washing Machine. Both songs exhibit SY’s slow progression away from cimmerian blasts of feedback towards more serene experiments – a path that would be taken even further on 2000’s NYC Ghosts & Flowers.

Lee Ranaldo’s song contributions on A Thousand Leaves (like on many SY records) are terrific.  Hoarfrost and Karen Koltrane are both wonderful compositions that not only show Lee’s strength as a songwriter but also SY’s willingness to take ATL to a truly meditative place. On both of these pieces, the band really allows themselves (and the listener) room to get pulled into the vortex.

A Thousand Leaves is still a polarizing record for many SY fans. Many reviews accused the album of being excessive, unfinished, and shapeless. Rolling Stone even wrote, “nearly every song is a supermonolithic bummer.” I never heard A Thousand Leaves as anything but a beautiful exercise from a band looking for (and finding) a new space to inhabit. It’s an exercise we all have try at some point in our lives or more accurately, at many points in our lives.


Continue reading...

Raised Eyebrows: Steely Dan’s Countdown To Ecstasy (Randy)

May 26, 2015


On considering Steely Dan’s 1973 smooth epic Countdown to Ecstasy, I’m reminded of my first steps into music geekdom.

My first run in with a real deal music nerd happened late in college. I worked at a record store and was also the music director for the local college radio station at the time. This timid kind of dude would stop by the store sometimes and special order things as well as cherry pick the $1 bin. Most of the shit he talked of, I had no idea about (The Beach Boys Friends, Nuggets, early Rod Stewart). I thought I had it all figured out and knew of most of the newest things going, but this dude was on another level. We became friends.

I was staying with a girl we both kinda knew and when we split, the guy put me up at his place while I figured out my next move.

I still remember the first few days over there. He had vinyl! Not many folks my age were carrying on the tradition in the late 90’s/early 00’s and he had a ton. Everything I looked at, I knew little or nothing about. There were Tom Verlaine solo records, a copy of The Replacements Let It Be and Costello’s Get Happy … the list goes on and on.

One of the records I recall him playing a lot was Steely Dan’s Countdown to Ecstasy. I didn’t really get it at first but the damn thing was on all day every day. After a while it became this comforting kind of thing and that’s never really changed for me.

I guess what i’m saying is that for me, Countdown to Ecstasy is the audio equivalent of sweet tea and I love sweet tea.

The record opens with Bodhisattva, a great supermarket rock track. Not too wild or righteous but that dual guitar coda remains pretty wicked and Dias’ solo out of the first verse is the only way to shop for produce.

Razor Boy follows and is where the record takes off for me. There’s a groove happening not unlike their previous top ten single Do It Again and later smash hit Rikki Don’t Lose That Number. The moves and melody in this song give discreet nods to their country rock contemporaries (Neil Young, CSN) while also creating an early blueprint for those artists looking to crossover into the genre without giving up their sound or chart success.

Your Gold Teeth is a  6+ minute Chevy Chase kind of burner built on fusion rhythms and sinister playing. Dias shines again (especially around 3:45 when he gets some eastern raga twinges going) and the modulation before and after the boys stretch out is stellar. One of my all time favs from The Dan.

My Old School follows the fairly successful single, Show Biz Kids and is another fav of mine. It dishes out some well crafted old school RnR without the Billy Joel schmaltz. Additionally, it may be the best and possibly only rock song ever written about Bard College.

What’s so striking to me about CTE is that not only does it contain some of the most perfectly recorded and arranged music the 70’s ever saw, it also captures a time for me that very few other records do. It’s part of a time when I first started realizing that my love for music was expanding and that I had a helluva lot still left to learn.


Continue reading...

Raised Eyebrows: Bob Dylan’s Hard Rain (Randy)

March 4, 2015


Meditating on Dylan’s 1976 live album Hard Rain, I get both inspired and embarrassed.

I had made a friend my first year in college who was a hippie kind of fella that I ended up hanging out with quite a bit. He played the tired old acoustic guitar/harmonica combo and sang Dylan songs all the time. I couldn’t admit to him at the time that I didn’t really know who Bob Dylan was and that I just hated all those fucking long ass songs he was constantly singing. I thought they were his songs! Let’s just say, your first introduction to Dylan shouldn’t be a guy in Birkenstocks and a beaded necklace singing his own nasal interpretation of The Lonesome Death of Hattie Carroll. He wasn’t all bad though, he knew girls, got me high and let me borrow Decade by Neil Young.

Somewhere along the line, this guy busted out a cassette of Dylan’s rough and tumble live album from 1976 called Hard Rain. He had bought it at a gas station for a couple bucks and just as soon as it began playing, I was enthralled. Was this the same legendary Dylan this dude was always talking about?

Maggie’s Farm starts the set with everyone kind of warming up before going for it. Dylan’s nasal vocals are bygone and the band behind him is in full rock mode despite being out of tune and not really knowing what the hell is gonna happen next. It’s evident in every refrain of the song’s chorus. They hang in there though, even when Dylan momentarily forgets where he is around the 3:40 mark.

One Too Many Mornings follows, sounding nothing like the folk version recorded back in ‘64. Keep in mind that I hadn’t heard any of that yet, this was the first I had heard of any of these songs and I thought they were exceptional. There was something approachable to the music that the folkier stuff still doesn’t possess for me. The sound of an out of tune telecaster was easier for me to copy than any acoustic fingerpicking.

The big highlights for me continue to be Oh, Sister and You’re a Big Girl Now. Both of these particular readings are not only the most well played tracks of the whole set but are also overwhelmingly ardent. Shelter From the Storm is close behind. Between the groovy/spastic bassline of Rob Stoner, Mick Ronson’s melodic guitar lines and the aimless slide work of Dylan himself, the song gets an uplifting makeover.

Hard Rain is without a doubt my favorite Dylan record. It caused to me think differently about the possibilities of song. To later hear the original versions of these songs and really understand how much the compositions had been changed was sort of a revelation. It doesn’t matter that I first heard it at a hippie guys house, does it?


Continue reading...

Raised Eyebrows: Sonny Sharrock’s Ask The Ages (Randy)

January 20, 2015


This year I’ve decided to take the route of nostalgia here at SOTO. Though the term was recently discussed by Jandek on his Hardly Sound episode (watch the whole shabang here) as some kind of neurological disorder that needs to be rectified, there are some surprising records and stories that go along with them that I can no longer overlook. I’ll be discussing 12 records from various points of my listening life, the personal stories that go along with them and how they struck me then and now. So here goes …

When pondering Sonny Sharrock’s 1991 masterpiece Ask The Ages, there’s a few things I associate with my first interaction with it, including possible minor injury.

I used to be in a band (weren’t we all) and was heading to a gig in San Antonio. I recall traveling in the passenger seat of a 1970 Dodge Van when the driver, a jazz head/behemoth, pulled out a CD he had just got and was stoked about. The record he held in his hand was of course, Ask The Ages by big boy Sonny Sharrock.

The record began and before the first passage of Promises Kept was finished, everyone in that damaged bucket of a car was enamored with the leaden sounds flying out the speakers. Then Pharoah Sanders began his skronk and by that point I’m not sure if anyone was aware of anyone else’s existence.

Who Does She Hope To Be? followed with some meditations that were well needed after the thrash of the lead off track. Sharrock’s runs (on this track especially) spoke directly to the core of what we were on our way to do. Playing music is a game of chase. Much like most aspects of life, there are moments that give you enough essence of existence to get through the rest of the performance/day/task and you continually look for that. On Who Does She Hope To Be?, Sharrock bottles that longing and gives it audibility.

I recall the driver getting way into the intro of Little Rock and drumming on the dashboard, doing a sort of Neal Cassady bit when all of the sudden, in the midst of Sonny and Pharoah dueling it out mid song,  we took a turn off the highway and my door swung wide open! Pavement was rushing under me and the driver had me by the shirt with me hanging half ass out the car. “Oh yeah, It does that sometimes.” smiled the driver and off we went to eat tacos at a car wash before the gig.

Not much of a story, I know, but the scenario unfailingly plays out every time I listen to this record. It continues to be one of my all time favorite jazz recordings and puts Sharrock in line with the greats. One listen to album closer Once Upon A Time and you get a sense of all the avenues music still has left to explore and conquer. Sonny said it best, “I’m just a horn player with a really fucked up axe.” To my ears ‘taint nothing fucked about it.


Continue reading...

Raised Eyebrows: Rockpile (Randy)

August 20, 2014


Ju Ju Men: The Story Of Rockpile

Rockpile were not just an extension of the pub rock established by Brinsley Schwarz (see my column on them here) in the early 70’s. The group would undoubtedly play an integral role in the UK new wave/punk scheme being hatched in the mid to late ‘70’s in England by creating music that was shrouded in tradition yet written/recorded/performed with abandon.

The band was founded by former Brinsley Schwarz member Nick Lowe and former Love Sculpture guitarist Dave Edmunds. Edmunds first met Lowe in 1974 when he was producing the Brinsleys final album The New Favourites of … Brinsley Schwarz. The mixture of Edmunds’ classic pop production mixed with Lowe’s then blooming talents as a unique songwriter (see: The Ugly Things and The Look That’s In Your Eye Tonight) created an album that seemed somewhat dissociated from the group’s previous output. Though not commercially successful, the band did manage to turn in a modern classic with (What’s So Funny ‘Bout) Peace, Love, and Understanding – a song that would be brought into fashion by Elvis Costello & The Attractions in 1979.

LISTEN:  Brinsley Schwarz – (What’s So Funny ‘Bout) Peace Love And Understanding

The Rockpile name originated in 1971 with the release of Edmunds’ first solo album aptly titled Rockpile. The album contained Edmunds’ #1 UK single from 1970 – a cover of the Smiley Lewis original, I Hear You Knocking. Edmunds put together a band to tour the album and high-charting single under the name Dave Edmunds and Rockpile, but the band broke up shortly after tour. The band included former Man and Love Sculpture drummer Terry Williams. Interestingly, the backing track for I Hear You Knocking was first intended as a cover of the Wilbert Harrison original Let’s Work Together but Edmunds was beat to it by Canned Heat. Edmunds then tailored the arrangement to suit Lewis’ song and had a hit.

LISTEN:  Dave Edmunds – I Hear You Knocking

With the Brinsleys’ demise glaringly evident, Edmunds and Lowe soon joined forces on the 1975 album Subtle as a Flying Mallet. Brinsley Schwarz would make an odd appearance as Edmunds’ backing band on the same album for two Chuck Berry numbers, No Money Down and Let It Rock, before dissolving completely in ‘75. Edmunds would also produce Terminal to the Taxi Zone by Ducks Deluxe this same year.

1976 found Edmunds and Lowe beginning work on what would become the classic Jesus of Cool LP. Though not released until 1978, these sessions would create a tight-knit unit that would come to be known as Rockpile – featuring Edmunds and Lowe as well as Terry Williams and guitarist Billy Bremmer. Stiff Records was founded at this time and Nick Lowe was the first artist signed to the now famed label. Though the label promoted Lowe’s ties to Edmunds, Edmunds would sign to Led Zeppelin label Swan Song due to a rocky relationship with Stiff co-founder and Lowe manager Jake Riviera. 1976 also saw Rockpile opening for Bad Company, Edmunds producing the power pop staple Shake Some Action by The Flamin’ Groovies and Lowe releasing the first ever single for Stiff with So It Goes.

LISTEN:  Nick Lowe – So It Goes

Released in 1977, Get It would be Edmunds’ first album for Swan Song and featured an early incarnation of Rockpile (Lowe/Edmunds/Williams) as well as songs co-penned by both Lowe and himself. The album also featured songs written by Lowe, Graham Parker, as well as country funk giant Jim Ford’s tune Ju Ju Man – first covered by Brinsley Schwarz in 1972.

Lowe would also release the first EP ever for Stiff Records in ‘77 with Bowi. The title was a quip at David Bowie’s 1976 album called Low. Lowe thought it only natural to return the favor to Bowie, without the e, just as Bowie had done with his release.

The release of Nick Lowe’s now classic Jesus of Cool (released as Pure Pop for Now People in the US) in 1978, first credited Rockpile on both the live recording of Heart of the City and the studio version of They Called It Rock. The album also contains yet another Jim Ford composition in 36 Inches High and the irreverent Lowe/Edmunds tune Little Hitler.

On the other hand, Edmunds’ Tracks on Wax 4 was the first full blown album to feature all four members of Rockpile for its duration. Bremmer penned two of the songs on the album under the surname Billy Murray, including the killer Trouble Boys (later covered by Thin Lizzy), and Heart of the City has the same backing track as Lowe’s cut on Jesus of Cool, only with Edmunds on vocals. This year also marked Rockpile backing former Legend frontman Mickey Jupp on his 1978 solo Stiff LP titled Juppanese and Edmunds producing Now by The Flamin’ Groovies.

In 1979, Rockpile simultaneously recorded Edmunds’ Repeat When Necessary and Lowe’s Labour of Lust at Eden Studios in London. The BBC filmed during the recording of both albums, creating a one hour documentary special in 1979 called Born Fighters.

Repeat When Necessary created two high charting singles for Edmunds with Elvis Costello’s Girls Talk and Hank Devito’s Queen of Hearts. The album also contained a blues number written by Huey Lewis, and a reading of Ronnie Self’s Home in my Hand – a song covered by Brinsley Schwarz in both 1972 and 1973.

Labour of Lust led off with the US hit Cruel To Be Kind – a song co-written by Lowe and former Brinsley bandmate, Ian Gomm. The tune was originally recorded by Brinsley Schwarz for an album called It’s All Over Now in 1975 but Schwarz broke up and the song was never officially released until 1978 as the B-side to Lowe’s Little Hitler single. Labour of Lust also included a cover of Mickey Jupp’s Switchboard Susan and the Rockpile collab Love So Fine.

LISTEN:  Nick Lowe – Cruel To Be Kind

Rockpile also made an appearance at the Concerts for the People of Kampuchea in 1979. They performed a scorching version of Graham Parker’s Crawling From the Wreckage and were joined on stage by Robert Plant for an offhand reading of Elvis Presley’s Little Sister. ’79 also produced an impromptu performance with Keith Richards of Chuck Berry’s Let It Rock at The Bottom Line.

In 1980, Edmunds assembled Twangin’ to fulfill his Swan Song album contract, freeing up Rockpile to finally release an album under their own name. The Edmunds album consisted mainly of covers with the exception of the Lowe/Carter/Edmunds tune (I’m Gonna Start) Living Again If It Kills Me and Rockpile’s I’m Only Human. The influence of Mickey Jupp continued with a cover of his tune You’ll Never Gonna Get Me on One of Those where the backing track sounds almost identical to the one cut by Rockpile in 1978 for Jupp’s album.

Once free to record under their own moniker, Rockpile released Seconds of Pleasure on Jake Riviera’s label F Beat in 1980. The album had a charting single in its lead off track Teacher Teacher. The album also contained Lowe’s Play That Fast Thing (One More Time) – a tune first played by Brinsley Schwarz on 1973’s Please Don’t Ever Change. The LP additionally included the Difford/Tilbrook (of Squeeze) penned Wrong Again (Let’s Face It) and an 7” EP was packaged with the album entitled Nick Lowe and Dave Edmunds Sing The Everly Brothers.

Also in 1980, Rockpile served as the backing band to Lowe’s then wife, Carlene Carter on her album Musical Shapes. The record contains the Carter/Edmunds duet Baby Ride Easy, originally composed by Tyler, Texas songwriter Richard Dobson.

After multiple appearances, including the Montreaux Jazz Festival and the Heatwave rock festival in 1980, Lowe and Edmunds had begun to have had enough and Rockpile disbanded by 1981. The only other official Rockpile release came posthumously in 2011 and is a live recording of their performance at Montreaux in 1980. The album includes a phenomenal live rendition of Jim Ford’s Ju Ju Man that features the strength of each member of the band in their top form.

LISTEN:  Rockpile – Ju Ju Man

Rockpile took the vitality of pub rock and transformed it into something containing the roots/essence/you-name-it of UK new wave and punk. Thanks fer the tunes, boys.

Stream the companion Spotify playlist.


Continue reading...

Raised Eyebrows: Brinsley Schwarz (Randy)

July 8, 2014


It Ain’t Easy Being Brinsley: A Short History Of Brinsley Schwarz

Brinsley Schwarz’s history is an important one to the genre of Pub Rock and beyond. Though they may seem rather unassuming as far as rock bands go … Brinsley Schwarz without question represent an important intersection of music that would precede the influential pub rock and new wave scenes that occurred during the mid to late ’70s in the UK. There are a few bits and pieces of excitement in their chronicles to be sure, with mentions of sharing a rehearsal space with The Band in ‘69 , a ‘hyped’ gig across the pond opening for Van Morrison and Quicksilver Messenger Service at the Fillmore East in 1970 that failed miserably, and performing as the opening act for both Wings and Hawkwind respectively in ‘72.

Stream Brinsley’s tracks mentioned in this article here …

The idea of the band originated at the Woodbridge School between Nick Lowe and Brinsley Schwarz as early as ‘64. The name Kippington Lodge was assumed with the release of a single (Shy Boy) on the Parlaphone label in 1967 – their second single Rumours, was the first to showcase Lowe. With no charting hits and few record sales, the band was able to scrape by while backing Billie Davis for several singles and acting as the supporting band at the legendary Marquee Club in London through ‘68 and ‘69. The band renamed themselves after Schwarz in 1969 as a means to perform new material that was separate from Kippington Lodge.

Brinsley Schwarz released two very different albums in 1970, Brinsley Schwarz and Despite It All. The former remains a head-scratching attempt at marrying folk and prog while the latter stands as an overlooked cosmic country touchstone that redefined the early hype given to the Brinsleys and showed a promising new direction to the sounds being made by Lowe, Schwarz, Billy Rankin and Bob Andrews.


By 1971, songwriter/guitarist Ian Gomm had joined the group as they embarked on a tour with solo artist Ernie Graham and English rock band Help Yourself as part of a package called “The Down Home Rhythm Kings.” The Brinsleys and Help Yourself acted as Graham’s backing band on his incredibly underrated lone solo LP, Ernie Graham, and Graham wound up joining Help Yourself for one album, Strange Affair, the following year. Graham would be briefly resurrected by Stiff Records with the release of one single in 1978 – Romeo and the Lonely Girl / Only Time Will Tell.

LISTEN: Help Yourself – Strange Affair

Brinsley Schwarz also had loose ties to country/soul/funk extraordinaire Jim Ford, covering Ford’s Ju Ju Man and Niki Hoeke Speedway on their 1972 album Silver Pistol (the first album to feature Gomm). An additional Ford song, I’m Ahead If I Can Quit While I’m Behind was well performed on their sole live release, Greasy Truckers Party, in 1972. The album also features performances by Man and Hawkwind. Man drummer Terry Williams would later go on to play with Lowe in Rockpile.

LISTEN: Brinsley Schwarz – Ju Ju Man

‘72 and ‘73 saw The Brinsleys creating what may be THE quintessential Pub Rock albums with Nervous On The Road and Please Don’t Ever Change. Tracks like Happy Doing What We’re Doing, Nervous on the Road (But Can’t Stay At Home) and Surrender to the Rhythm trade some of the band’s previous country leanings for more of a southern groove similar to The Band or Allen Toussaint – Toussaint even receives a capricious reading of I Like It Like That by Lowe and band on the record. The additional release of Please Don’t Ever Change in ‘73 cemented the Brinsleys spot as one of the top bands in England – strangely both albums feature fantastic treatments of forgotten rockabilly songwriter Ronnie Self’s Home in My Hand.

LISTEN: Brinsley Schwarz – Home In My Hand


Brinsley Schwarz’s final album, The New Favourites of … Brinsley Schwarz, came in ‘74 just as the band had reached their peak. The LP was produced by former Love Sculpture member Dave Edmunds, who would soon find a foil in Lowe with Rockpile. Though commercially unsuccessful, the album remains a highly influential work, containing the cult classic (What’s So Funny ‘Bout) Peace, Love and Understanding which was brought to prominence by Elvis Costello and The Attractions in 1979.

A mysterious additional album entitled It’s All Over Now was released in 1975, but was quickly pulled. A few copies still exist after a small repress in 1988, some copies used the pseudonym Raime Schwarz. Tracks from the album have appeared on a number of Schwarz bootlegs over the years, one in particular is the original version of Lowe’s 1979 hit single Cruel to be Kind, co-written with Brinsley bandmate Ian Gomm.

LISTEN: Brinsley Schwarz – (What’s So Funny ‘Bout) Peace Love And Understanding


Lowe would go on to begin session work with Edmunds in 1975 on his Subtle As A Flying Mallet album. Ian Gomm would begin a solo career and start a home recording studio that would before long host the likes of The Stranglers, Peter Hammill and Amon Duul. Brinsley Schwarz and Bob Andrews would soon form The Rumour and back Graham Parker. Billy Rankin would join fellow pub rockers Ducks Deluxe for their final tour in ‘75. What happens from here is something labeled Pub Rock, a genre the Brinsleys pioneered and gave coherence to and a soon-to-be band called Rockpile would come to define.


Continue reading...

Raised Eyebrows: Bad Records (Randy)

May 7, 2014


Every band seems to have a sore thumb or two sticking out of their discography that either you love, hate or have little opinion of. Seemingly undeterred by bad reviews, harsh criticism, and/or disapproval by fans or the artists themselves, these records find their way into your hands and sometimes earn a special place in your psyche.

Maybe these records are your first introduction to a band or maybe a band can be so talented that even a debilitating release with mass distribution makes a lasting impression. It could just be you are a “warts and all” collector who is so devoted to an artist that you manage to find something admirable in every record. Regardless of how they show up, these records exist and they can stay with you. A couple come to mind for me and a few other folks as well.

By the way, you can stream all of the cuts from this article in one mighty playlist, HERE.

Also, if you have a bad record you love, then hit us up in the comments to discuss!

The ReplacementsAll Shook Down (1990)

Widely considered to be Paul Westerberg’s first solo album, All Shook Down shows the Replacements limping on their last legs. The bad reception of their previous album, Don’t Tell A Soul followed by a crummy tour with Tom Petty & The Heartbreakers led the band to this album and to their eventual demise. The album is filled with studio musicians and guest appearances (John Cale on Sadly Beautiful, Terry Reid on Someone Take The Wheel and Johnette Napolitano on My Little Problem). The wearied Attitude being the lone cut on the album with all of the members of the band playing together. Many consider this record a total flop, but I wholly disagree. This album was the first thing I ever heard by the band and while I eventually got Let It Be and consider it to be the classic that it is, All Shook Down still ranks high personally among the band’s discog.

I worked at a record store at the time called The Ear Doctor in Huntsville, Texas and found this in the cassette section of the store. I took it home and was instantly hooked. The more I listened, the more I saw where contemporary bands of the time (Wilco, Whiskeytown) were pulling from and there was the additional zap of Westerberg’s lyrics.

Nobody expertly depicts attending the wedding of a lost love, the line “You’re still in love with nobody/And I used to be nobody,” paints a clever picture. Someone Take The Wheel encapsulates where Paul’s head was at with the band at the time and contains the classic Westerberg idiom rewrite “Anywhere you hang yourself is home.” While not as ripe with lyrics as other cuts, Happy Town remains another fav of mine. The hammond build into the solo on this song is one of the best moments on the album.

All Shook Down is said to be Westerberg’s stab at a Rod Stewart LP. PW is known for loving Every Picture Tells A Story which explains the album’s more acoustic leanings (When It Began) and it’s overall laid back appeal (The Last). This being my introduction to the band explains why I tend to prefer the albums that led up to this record (Pleased To Meet Me, Tim) and maybe why I still sometimes scratch my head when listening to Sorry Ma and Hootenanny. It all depends on where you begin I guess.

Lou ReedRock N Roll Heart (1976)

Released the same year as Coney Island Baby in 1976, Rock N Roll Heart’s release had something to do with Clive Davis bailing Reed out of bankruptcy by signing him to Arista. The album features two Velvet Underground throwaways in A Sheltered Life and Follow The Leader. It also contains the only rock instrumental in Reed’s vast catalog with Chooser And The Chosen One (a fav of mine).

I’m not sure how I came across this one but it was purchased on LP not too incredibly long ago at Antone’s Record Shop in Austin. The record starts off with two nonessential feel good tracks, I Believe in Love and Banging On My DrumYou Wear It So Well plays like a Neil Young track, Zuma being a record Reed admitted to liking around this time. Ladies Pay and Vicious Circle are highlights, simple tunes that epitomize Reed’s strengths as a personal songwriter. The title track is filled with VU swagger and has that oh so familiar talk singing that only Lou can do. It should be stated here that Reed is in great voice throughout and is the sole guitar player for this entire ride – he more than keeps up to say the least. There’s a couple of tracks that have a Bob James kind of feel (Senselessly Cruel and Claim To Fame) but I like the theme from Taxi so I say, bring it on!

While there are many records that are superior to Rock N Roll Heart, it’s a record in Reed’s discography that deserves revisiting. It’s a straightforward take on the artist and has a consistent vibe. You could do a lot worse (Mistrial, Growing Up In Public) but that’s up for debate. For me, this is one of Sweet Lou’s best.

Here’s a few picks from a few other folks:

Robyn Hitchcock & The EgyptiansQueen Elvis (1989)

It wasn’t the first record by Hitchcock I got – that would be Globe of Frogs. I couldn’t quite wrap my head around that one, but there was enough appeal for me to tune in when 120 Minutes debuted Madonna of the Wasps, the first single from Queen Elvis. I dug that a lot. MTV then had Hitchcock host Post Modern MTV, their nightly version of 120 Minutes, and he played solo acoustic versions of Wax Doll and One Long Pair of Eyes. I was hooked. I bought Queen Elvis and it’s remained a firm favorite ever since.

So imagine my surprise to find that in the Hitchcock entry of the Trouser Press Record Guide (my music bible for a good decade, and still a frequently referenced research tool) Queen Elvis is described as “the nadir of his…body of work.” “The song structures are overly familiar,” writes Ira Robbins (or whoever kept the entry going after his initial efforts), “the weirdness seems forced and, worst of all, the emotions don’t seem real.” I personally would level those last two accusations at Globe rather than Elvis, and I still find the latter much more enjoyable and closer to my heart than Perspex Island, the much-acclaimed follow-up. Perhaps if I’d been listening to Hitchcock’s [pre-major label work with the Egyptians before I found Elvis I’d feel differently. But Queen Elvis is the first Hitchcock record that made sense to me, and as such I still love it more than just about anything else in his catalog.

by Michael Toland – writer for The Austin Chronicle, The Big Takeover, Blurt, Sleazegrinder

Black SabbathNever Say Die! (1978)

I recently picked up Never Say Die!, which is generally considered one of the worst – if not the worst – LP by the original Black Sabbath lineup. It was released in 1978, and lacks a lot of the doom-laden vibes Sabbath fans had come to expect. The band recorded it in Toronto, and were allegedly dealing with serious substance abuse issues. Ozzy Osbourne has said that he’s embarrassed by it. But despite all that, it’s a great sounding record. The songs are generally pretty upbeat, almost punk-like (maybe because of all the coke?), and loaded with inventive melodies, massive hooks, and fantastic guitar work from Tony Iommi. Ozzy’s voice is in fine form, as well. Highlights include the title cut, Hard Road, and album closer Swinging the Chain. As an added bonus, the album art – developed by Hipgnosis, the design team responsible for the covers of Houses of the Holy and Wish You Were Here, among others – totally rules.

by Brandon Gentry – writer for DCist and author of Capitol Contingency: Post-Punk, Indie Rock and Noise Pop in Washington D.C. 1991-1999

13th Floor Elevators – Bull of the Woods (1969)

This was one of my first CD purchases and, growing up in Houston with the legend of the band along with Roky Erickson’s then-recent reissues and tribute compilation Where The Pyramid Meets The Eye, it was an easy purchase for the rare time I had $12 on hand. Reliably stocked in the bins when I would look for the albums that I’d actually heard/heard about, I gave it a shot and liked it. I defended the record for its breezy chooglin’ that satisfied an intense need for actual psychedelic music I didn’t feel was represented by The Grateful Dead or others of that time. Obviously, I grew to learn what made the more Roky-attended records historically significant, but I still don’t shy away from BOTW and that 60’s Texas boots-meet-weed-leaf-tshirt sound – still a weird record if mostly dismissed.

by Aaron White – leader of Denton proto roll band, Old Snack

 Carcass - Swansong (1996)

I bought this on cassette at a movie rental store in Snyder, Texas that just happened to have a large selection of extreme metal albums on CD and cassette. I’d heard that it was the worst album of the band’s career, but I had loved everything else they had done so I bought it. I put it in my trusty tape player and cranked it up super loud. The riffs were more rock-oriented, but I just loved everything about it. You can’t go wrong when you open your album with a song titled Keep On Rotting In The Free World.

by Daniel Markham – Denton by way of Lubbock singer-songwriter

The Magnetic Fieldsi (2004)

I’d resisted getting into MF for years despite lots of urging from friends in the know because I’d been going through a deep acoustic/rock & roll songwriter phase of my life. The record had just come out and a friend who shared my prejudices against electronic/synth/computer-y music recommended it to me. I still resisted but when someone put on the record while hanging out at their apartment and I heard the first track I Die, with its delicate acoustic arrangement, bitterly self-effacing lyrics (“Having forgotten how to cry/I die”), and melancholy vocal delivery, something struck a serious chord. The album is widely considered a disappointing follow-up to their breakout 69 Love Songs, but to me it was a revelatory entry point into their canon, highlighting Stephin Merritt’s juggernaut songwriting abilities in a way accessible to the singer/songwriter junkie in me. Though it falls short of the invective and conceptual prowess of MF’s 90’s discography and indicates the ebb in the vitality of their output over the past decade, I still feel many of the songs on the record are among their best. Tracks like I Don’t Believe You, It’s Only Time, and I Wish I Had an Evil Twin, accentuate the band’s hallmark deliberateness, fantasizing, and pessimism while still offering meta commentary and genre referencing that I find deeply satisfying.

by Adam Hilton – recording engineer and leader of Austin grump rock band, Linen Closet

Tom Petty and the HeartbreakersEcho  (1999)

I don’t know if this record is considered bad by people, but the reviews were real mixed as i remember, and it was not a big success by Tom Petty standards. I was living in Seattle and I went to the record store in Ballard where I lived and got it. The first thing I recall was sticker shock. With tax this CD cost $20! The second thing was not liking the opener,  Room at the Top very much. I have since come to like the song, but this happened slowly, over years. I later read that Petty had just split up with his wife and was in a deep depression when he wrote the record, and it was longtime bassist Howie Epstein’s last album with Petty before od’ing on heroin. It has a kind of embattled vibe, more than usual even. The ‘breakers sound awesome on these tracks still. Mike Campbell even takes a lead vocal on I Don’t Wanna Fight. I’m real biased…I  find something to like on almost all Petty albums.

by Mike Nicolai – Austin/Minnesota songwriter and leader of The Bremen Riot

Gary NumanTelekon (1980)

For starters I’m old enough that I used to shop at record stores in the malls as a kid. Every record store back then had the “cut out” bins .These are filled with vinyl by artists whose records bombed! The record companies would sell them off really cheap. So after the huge success of Pleasure Principal, the next three Gary Numan records were all over pressed. So with my very low budget/allowance my first Gary Numan albums were Telekon, I, Assassan and Dance. I really love these records. In fact it was years before I bought the “good” ones. In fact, when I recently met Gary Numan at a signing event at Waterloo I had him sign Telekon. When I told him this record changed my life and it was my favorite, he looked at me incredulously and said “really?”

by Bill Jeffery – buyer extraordinaire at Waterloo Records and vocalist/trumpeter for Ichi Ni San Shi


Continue reading...