My Fav-O-Rite New and Old Records of 2017, Considered from the Position of Listening to Them to Ward Off Fear and Despair Throughout its First Three Quarters

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What can I tell you? I’d hoped things (i. e., our American life) would be much better by now, since I last posted a lazy list–for the time being, I cannot write, a kind of impotence I am sure is related to political distraction. However, “fury and fire” are the order of the day, so I guess I’ll be leaning even harder on music to get me from rising from my pillow in the morning to lowering my head back upon it at night. These records keep me believing in a decent future, and in a humanity that continues to evolve. Big ups to St. Louis’ Black Artists Group contingent, my research into which has been exciting; to the Golden Pelicans, who are the Black Oak Arkansas of hard-ass punk rock; to the ebullient Eno Williams, who powers the exultant Ibibio Sound Machine; to Tyshawn Sorey, who is always looking for a way forward; and to the indefatigable musical exploration of John Corbett, who’s damn-near supplanted every other music writer in my esteem. I’ve taken the time to link all the new releases to clips for you to enjoy (that is, except for Jay Z, because, as nice as his old-dude album is technically and artistically, I’m done for now with caring about the lives of the very rich), and I did my best to do the same for the older rekkids I am digging, but…shit, you know how to get to YouTube, correct?

Important Addendum: The Lost Bayou Ramblers crashed the Top 10 out of nowhere with the hardest-rocking, most eccentrically textured Cajun record in years, Kalenda–which is my favorite record right now, but it just dropped today (9/29/17). Also, against all my strongest, well-honed instincts, I’ve been broken by Lana Del Rey. A six-hour immersion in her catalogue justified the hype and more, though I would still opine that a little goes a long (but deep) way.

Kalenda

TOP 85 New Releases of the First 3/4ths of 2017:

  1. Zeal and Ardor: Devil is Fine
  2. Ibibio Sound Machine: Eyai
  3. Orchestra Baobab: Tribute to Ndiouga Dieng
  4. Lost Bayou Ramblers: Kalenda
  5. Lana Del Rey: Lust for Life
  6. Jason Isbell and The 400 Unit: The Nashville Sound
  7. Harriet Tubman: Araminta
  8. Various Artists: Miracle Steps (Music from The Fourth World 1983-2017)
  9. Golden Pelicans: Disciples of Blood
  10. William Parker: Meditation – Resurrection
  11. Preservation Hall Jazz Band: So It Is
  12. Rolling Blackouts Coastal Fever: Talk Tight
  13. Peter Perrett: How the West Was Won
  14. Rhiannon Giddens: Freedom Highway
  15. The Perceptionists: Resolution
  16. Steve Earle and The Dukes: So You Wannabe an Outlaw?
  17. Roscoe Mitchell: Bells for The South Side
  18. Mostly Other People Do The Killing: Loafer’s Hollow
  19. Sarah Shook and the Disarmers: Sidelong
  20. Angaleena Presley: Wrangled
  21. Various Artists: Battle Hymns
  22. Obnox: Niggative Approach
  23. Aram Bajakian: Dalava–The Book of Transfigurations
  24. Syd: Fin
  25. Steve Lacy: Steve Lacy’s Demo (EP) (Not the late jazz soprano master Steve Lacy, BTW!)
  26. Kendrick Lamar: Damn
  27. Sampha: Process
  28. Waxahatchee: Out in the Storm
  29. Jens Lekman: Life Will See You Now
  30. Burnt Sugar: All You Zombies Dig The Luminosity
  31. Thurst: Cut to the Chafe
  32. Filthy Friends: Invitation
  33. Cloud Nothings: Life Without Sound
  34. Arto Lindsay: Cuidado Madame
  35. Body Count: Blood Lust
  36. Les Amazones D’Afrique: Republique Amazone
  37. Maximum Ernst: Maximum Ernst
  38. Oddisee: The Iceberg
  39. Tamikrest: Kidal
  40. Tyshawn Sorey: Verismilitude
  41. John Escreet: The Unknown
  42. James Luther Dickinson: I’m Just Dead I’m Not Gone (Lazarus Edition) READ THE BOOK!
  43. (The Late) Mariem Hassan: La Voz Indominata
  44. Trio 3: Visiting Texture
  45. Gogol Bordello: Seekers and Finders
  46. Jay-Z: 4:44
  47. Randy Newman: Dark Matter
  48. Alice Coltrane: The Ecstatic Music of Alice Coltrane Turiyasangitananda
  49. Shabazz Palaces: Quazarz: Born on a Gangster Star
  50. New Pornographers: Whiteout Conditions
  51. Garland Jeffreys: 14 Steps to Harlem
  52. Ty Segall: Fried Shallots
  53. Tony Allen: A Tribute to Art Blakey
  54. Trio de Kali w/ The Kronos Quartet: Ladilikan
  55. Hard Working Americans: We’re All in This Together
  56. Randy Weston: African Nubian Suite
  57. Gato Preto: Tempo
  58. Tinariwen: Elwan
  59. Shina Williams: Agb’oju L’Ogun
  60. Let’s Eat Grandma: I, Gemini
  61. Ross Johnson and Lesa Aldridge: Lesa and Ross
  62. The Goon Sax: Up to Anything
  63. Hurray for the Riff Raff: The Navigator
  64. Various Artists: Mono No Aware
  65. Karreim Riggins: Headnod Suite
  66. Various Artists: Outro Tempo–Electronic And Contemporary Music From Brazil 1978-1992
  67. Omou Sangare: Mogoya
  68. Daddy Issues: Can We Still Hang?
  69. Nots: “Cruel Friend” / “Violence”
  70. Bob Dylan: Triplicate
  71. Pierre Kwenders: MAKANDA at the End of Space, the Beginning of Time
  72. Damaged Bug: Bunker Funk
  73. Tomasz Stanko: December Avenue
  74. Black Lips: Satan’s Graffiti or God’s Art
  75. Chuck Berry: Chuck
  76. Joe King Cologbo & High Grace: Sugar Daddy
  77. Don Bryant: Don’t Give Up On Love
  78. Public Enemy: Nothing is Quick in the Desert
  79. Shabazz Palaces: Quazarz vs. The Jealous Machines
  80. David S. Ware: Live in New York City 2010
  81. Thundercat: Drunk
  82. Elliott Sharp, Mary Halvorson, and Marc Ribot: Err Guitar
  83. Erica Falls: Home Grown
  84. Christian Scott aTunde Adjuah: Ruler Rebel
  85. Open Mike Eagle: Brick Body Kids Still Daydream

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65 Great Older Releases That I’ve Bought in ’17 That I Still Can’t Get Enough Of

(If it’s bolded, I’ve been hooked on the thing quite seriously)

  1. Allison, Mose: I’m Not Talkin’—The Song Stylings of Mose Allison 1957-1972
  2. Avengers: Died for Your Sins
  3. Les Amazones de Guinée: Au coeur de Paris & M’mah Sylla (Bolibana Collection)
  4. Anderson, Fred, and Hamid Drake: …together again
  5. Astatke, Mulatu: Mulatu of Ethiopia
  6. Black Artists Group: In Paris 1973
  7. Blythe, Arthur: Illusions
  8. Bowie, David: Cracked Actor (Live Los Angeles ’74)
  9. Carmichael, Hoagy: Music Master
  10. Case, Neko: The Tigers Have Spoken
  11. Cochran, Wayne: Wayne Cochran!
  12. Cohran, Philip: Armageddon
  13. Coursil, Jacques: Trails of Tears
  14. The Creation: Action Painting
  15. Curtis, King: Instant Soul–The Legendary King Curtis
  16. Davis, Anthony: Episteme
  17. Dion: Kickin’ Child–The Lost Album 1965
  18. Dion and The Belmonts: Together Again
  19. d/j Rupture: Minesweeper Suite
  20. E: E
  21. Eggleston, Cozy: Grand Slam
  22. Evans, Bill: Some Other Time–The Lost Session from the Black Forest
  23. Fela: The Best of Black President, Volume 2
  24. Fela: Live in Detroit
  25. Gibbs, Melvin: Ancients Speak(all hail Pete Cosey!)
  26. Gonzalez, Dennis: Idle Wild
  27. Gonzalez, Dennis: Nile River Suite
  28. Hemphill, Julius: Coon Bidness
  29. Human Arts Ensemble: Whisper of Dharma
  30. Ink Spots: These Cats Are High
  31. Instant Composers Pool: Aan & Uit
  32. Jamal, Ahmad: The Awakening
  33. JJ DOOM: Bookhead
  34. King: We Are King (would have been in my 2016 Top Ten had I been on the ball)
  35. Kyle, K. Curtis: The Collected Poem for Blind Lemon Jefferson
  36. London Jazz Composers Orchestra: Theoria
  37. McGann, Bernie: Playground
  38. McPhee, Joe: “The Loneliest Woman”
  39. Monk, Thelonious: Soundtrack to Les Liaisons Dangereuses
  40. Orchestra Regionale De Mopti
  41. Various Artists: Spiritual Jazz #7—Islam
  42. Patrick, Pat, and Baritone Retinue: Sound Advice
  43. Perry, Lee Scratch: Dub Triptych
  44. Perry, Lee Scratch: Presents African Roots
  45. Perry, Lee Scratch: Voodooism
  46. Prince: Purple Rain – 2017 Deluxe Remaster
  47. Prince Jazzbo: Ital Corner
  48. Pullen, Don, and Beaver Harris: A Well-Kept Secret
  49. Revelators: …we told you not to cross us (20th Anniversary Edition)
  50. Spontaneous Music Ensemble: Face to Face
  51. Stanko, Tomasz: Leosia
  52. Sun Ra: The Space Age Is Here to Stay
  53. This Heat: Out of Cold Storage
  54. Thomas, Luther, and Human Arts Ensemble: Funky Donkey Vols. 1 & 2
  55. Thornton, Clifford: The Panther and The Lash
  56. Morgan, Lee: Live at The Lighthouse
  57. Various Artists: After-School Special—The 123s of Kid Soul
  58. Various Artists: Hanoi Masters–War is A Wound, Peace is a Scar
  59. Various Artists: Killed by Death #5
  60. Various Artists: The Original Sounds of Mali
  61. Various Artists: The Poppyseeds–The Sound of Crenshaw
  62. Various Artists: Songs from Saharan Cell Phones, 1 & 2
  63. Washington, Dinah: Live at Newport 1958
  64. White, Ruth: Flowers of Evil
  65. Wray, Link: Three-Track Shack

GOOD TO MY EARHOLE: End of ’15, Start of ’16

These posts originally appeared on Facebook, where my potential audience is much larger than here. My thinking behind the somewhat-weekly series was to help people sift through albums from the past that might easily be forgotten in the tsunami of information about new reviews–as well as occasionally commenting on significant newer items. That concept is dressed up like simple reportage about what I have actually been listening to, by choice as opposed to in an attempt to stay on top of new thangs. Which I am struggling, like you, to do.

8 BOLD SOULS – 8 – I am hooked on Edward Wilkerson, Jr.’s arrangements for this terribly underrated AACM-sprung unit. They’re always interesting and fun and funky. The otherwise-reliable PENGUIN GUIDE TO JAZZ RECORDINGS doesn’t see fit to even mention them. Bullshit. Every one of their records are good-plus to excellent, and Wilkerson needs to be recognized as a luminary of the past quarter-century. Also: their name fits their musical enterprise.

AFRICAN HERITAGE SYMPHONIC SERIES, VOLUME II (Chicago Sinfonietta, conducted by Paul Freeman): Ulysses Kay/George Walker/Roque Cordero/Adolphus Hailstork/Hale Smith – 10 – I don’t know doodley-squat about classical music, but I can hear majesty, tension, fear, and desire when gathered musicians successfully convey it, as they do here. This was just what I needed this week, cranked to 8 in my truck cab. Pick to click: Smith’s “Ritual and Incantations.”

Laurie Anderson/HEART OF A DOG – 8.5 – A winsome, quirky, and disarmingly deep meditation on mortality, following death of mom, dog, and man. Closed down–and redeemed–by song written and sung by said man.

Erykah Badu/BUT YOU CAIN’T USE MY PHONE – 8.8 – A concept mixtape that shoulda been packaged with Aziz Ansari’s MODERN ROMANCE. Ms. Badu is a bit like The Stones–she has a knack for staying relevant over time, and even if you hate “phone world,” she sings and writes nicely here, and the rhythms are bumpin’.

Billy Bang Quintet Featuring Frank Lowe/ABOVE & BEYOND – 9 – There aren’t that many jazz violinists, and Bang, a Vietnam vet, was one of the best, able to play inventively both “inside” and “outside.” This 2003 record finds him in a Grand Rapids club with his long-time playing partner, tenor saxophonist Frank Lowe, dying of cancer, down to a single lung, but playing with scintillating vigor nonetheless–a “horseman, pass by” performance! Bang himself had only eight more years to fiddle on this turf, and his equally stellar playing make this one of the most moving jazz documents of the new millennium.

BeauSoleil/HOT CHILI MAMA – 9 – Like Robert Cray, Dwight Yoakam, The Roots, and Tom Petty, THE Cajun band can seem so consistently good as to be underrated. Don’t fool yourself and ignore them. Michael Doucet’s lively, insouciant fiddle and earthy vocals, bro Michael’s Doc Watson-gone-swamp picking, and the band’s fearlessness in adapting outside material is the recipe for aural orgasm. Yes: I wrote that on purpose.

Don Byas/SAVOY JAM PARTY – 9.0 – This Okie from Muskogee is here the very happy medium between the twin towers of pre-WWII tenor sax, the laggard Pres and the vigorous Bean. Stellar support, too, from Charlie Shavers, Slam Stewart, and Max Roach.

Leonard Cohen/CAN’T FORGET–A SOUVENIR OF THE GRAND TOUR – 8 – One souvenir of three, but this one features a vastly different set of songs, including some worthy newbies. Except for conceptually, he doesn’t get away with “Choices”(Bettye LaVette beat him to that Possum cover in the first place), and his already-threadbare voice has lost a little grain, but from the disarming cover art to a closing where he hugs mortality tighter than ever, you have no choice but to contemplate whether this’ll be his last. Respect your elders!

Elizabeth Cook/GOSPEL PLOW – 8.5 – Spunky-tough C&W singer-songwriter takes on spirituals by Blind Willie Johnson, Lou Reed, and anonymous geniuses and delivers, no small thanks to her (now ex-) husband’s rowdy guitar.

Jacques Coursil (trumpet) & Alan Silva (double bass)/FREE JAZZ ART (SESSIONS FOR BILL DIXON) – 9 – Near-trance-inducing, Asian-tinted, marginally differentiated performances by two crafty veterans. The music doesn’t sound all that free, but that may be the art. A colleague wandered into my office and demanded I email him the recording info so he could get it post-haste. That’s a good recommendation in and of itself. Thanks to Isaac Davila.

The Dead Weather/DODGE & BURN – 7.5 – Moved only to eye-rolling by Jack White, I can’t resist this raving project of his, mainly because of Alison Mosshart’s howling. But despite the abundant riffage, propulsion and attitude, I am not sure it adds up to anything. Docked .5 for a toe-dip into minstrelsy.

Dexateens/LOST & FOUND – 9 – Finally found this literally “lost” (master?)piece of modern Southern rock, and did it please me! From earworm riffs (“Mary”) to caught-me-short details (box fans!) to sly tales (“Altar Blues”) to their oddly Stonesish way with vulnerability, this keeps hitting me where I love, I mean live. For Eric Johnson

DIRTY BOOGIE–THE FORTUNE RECORDS STORY – 9.0 – Though it wisely skimps on flagship geniuses Nolan Strong and Andre Williams, forcing you to pick up their own official compilations (but, wait, where are those, again?), this three-disker ably highlights the lesser-known of the two totally classic Detroit labels of the 1950-1965 Golden Age. Unsurprisingly for a company sprouting up in a Northern industrial hub, it offered r&b, rockabilly, doo wop, country, a touch of jazz, and plenty of the title medicine. Secret hero: Roy Hall, of “Whole Lotta Shakin’ Goin’ On” fame.

Jim Dickinson/FISHING WITH CHARLIE – 9 – Running interference for both World Boogie and Mumbo Jumbo, Dickinson nails rumbling readings from such luminaries as Vachel Lindsay, Nick Tosches, and Larry Brown. Best in show: a haunting, vivid, loving cutting from Michael Ondaatje’s COMING THROUGH SLAUGHTER. Might be Dickinson’s unintentional epitaph.

Drive-By Truckers/IT’S GREAT TO BE ALIVE – 9 – A theme’s developing here. I didn’t think I needed a three-disc live Truckers set from our current year, but I must bow. A classic career summation, with numerous surprises (“Girls Who Smoke,” “Runaway Train”) and revisions (“Goode’s Field Road”), that lives all the way up to its title, mostly thanks to the irrepressible joy in Patterson Hood’s singing. Need I mention that the guitar is abundant, ragged, and lyrical? And that it’s one HELL of a bargain at $17?

Cliff “Ukelele Ike” Edwards/SINGIN’ IN THE RAIN (ASV Living Era Series, for those that love that line like me!) – 8.5 – There’s some extreme corn in tow, but Cliff was an early pop star for good reason. Most will know him as the voice of Jiminy Cricket on “When You Wish Upon a Star,” but I will take his spirited “Fascinatin’ Rhythm” and “Singin’ in the Rain” over all the other versions I’ve heard, and his “Paper Moon” almost beats Nat King Cole’s. There’s more, including one of the first recorded versions of “California, Here I Come” and some very charming extreme corn (“Paddlin’ Madelin’ Home”).

Duke Ellington and His Famous Orchestra/FARGO, NORTH DAKOTA, NOVEMBER 7, 1940 (Deluxe Golden Anniversary Edition) – 10 – The impossibly great but short-lived Blanton/Webster band, on a radio broadcast the fidelity of which is stunning for the time. And the band is ON. Hear Duke’s exhortations, steppin’ feet, and the radio broadcaster as part of the music, feel the glory in 29 songs’ worth of prime Ellingtonia, and get stunned by a murderer’s row of genius soloists. Plus: I’ve heard drummer Sonny Greer maligned, but, damn, the engine room is on fire.

Freddy Fender/TELL IT LIKE IT IS–THE BEST OF THE CRAZY CAJUN RECORDINGS – 8.5 – We are still waiting for the ultimate Fender comp, but I really like this memento from his days with fellow eccentric Huey Meaux ’cause it displays his amazing range (and I don’t mean his inimitable singing): from classic r&b to standards to Doug Sahm honky-tonk to chart-rock from The Who (yes, The Who). In a single performance, you can hear in Freddy East Texas, South Texas, West Texas, and, of course, Mexico–I hope that sounds seductive to you, because it sure as hell does to me. Plus he could write a good one, and guitar-sling.

Chico Freeman and Von Freeman/FREEMAN & FREEMAN – 8.3 – The son, Chico, plays like a cocky street kid just dosed with a tab of Trane. Pops sounds like no one else but himself–a sneaky-smart old pro who loves to squeak, creak, and reach into your chest at a moment’s notice, right when you think he’s not going to get out of a chorus intact. And should your attention drift, there’s Jack DeJohnnete to rattle you to attention. Recorded live at the NYC Shakespeare Festival!

Erroll Garner/THE ORIGINAL MISTY and BODY & SOUL – 10 – A weekend of Garner’s magic piano in my ear elevated him above God (aka Art Tatum) in my esteem. I am not a musician, so you can take that for what it’s worth, but for joy, invention, touch, and surprise, I’ll stake my rep on it. Thank you, Whitney Balliett for putting me right.

Roscoe Gordon/LET’S GET HIGH – 8.8 – Memphis weirdo pianist invents ska, only he doesn’t realize it until much later!

GymShorts/NO BACKSIES! – 7.9 – If the idea of the Country Teasers (the only band I’ve ever heard that could CREATE a hangover with its music) fused with The Jesus & Mary Chain (who too quickly abandoned their knack for beautiful feedback overload) appeals to you, you might want to check this Rhode Island combo out. Their noise is VERY adulterated. Live, they are less weird and more together. More weird and more together is the next step. Fingers crossed.

Brian Harnetty/BAREHEAD AND BLOODYBONES – 8 – What could be more fun on a holiday than to listen to old field recordings of country kids telling very damn disturbing stories to piquant electronic instrumentation provided by the credited artist? Pick hit: the title track–it freaked me out a little, and it’s an ooooold story. From those hardworking folks at Dust-to-Digital Records.

Michael Hurley, The Unholy Modal Rounders, and Jeffrey Fredericks and The Clamtones – HAVE MOICY! – 15 – Last week I was scandalized to learn that several of my music-loving pals hadn’t even HEARD of this record–one of those rare ones for which you need a backup copy. It is a lot of things: a guidebook for living dangerously, an inquiry into the nature of things, a celebration of life’s simple pleasures, an outline of sexual adventure. But it’s much more. All that information is delivered with such gusto, drollery, seductiveness, insanity, and–occasionally–menace that you may have whole verses memorized after the first listen, which, if you listen, will be the first of many.

“Yeah, but what kind of music is it?”

Unhinged. But easefully unhinged. As if unhinged is a way of life.

Please go find this and buy it. (Note: the sequel, just released and reviewed here last week, ain’t no slouch.)

HAVE MOICY 2–THE HOODOO BASH – 8.8 – If you don’t have the first volume, make it a priority: whacked-out but subtly philosophical songwriting delivered with insane enthusiasm (alternating with subversive seductiveness) by ’60s freak folk heroes. The sequel is honorable: though two members have since stepped on rainbows and the subversively seductive Michael Hurley passed on the project, it’s full of joy and camaraderie, with Peter Stampfel opening the proceedings with a genius repurposing of a Del Shannon song, Jeffrey Lewis providing a paean to nonsense and tweaking the nose of intelligent design, and Baby Gramps Grampsing around mysteriously and channeling pirates on “Crossbone Scully.” Also, some butts are hilariously on fire on the “projected single.”

Clifford Hayes and the Louisville Jug Bands/VOLUME 1, 1924-1926 – 8.8 – Hayes gets lead billing, but blower Earl McDonald is the true star. I doubted a recently-encountered claim McDonald could get jazz out of a jug, then this made me shut up. Great appearances by Sara Martin and Johnny Dodds, too, and Hayes is mos def no slouch. Now–to the other three volumes!

HERB JEFFRIES: A COLORED LIFE (directed by Kim Clemons and Kimberly Dunn, 2008)– 7.8 – Blue-eyed Sicilian-Irishman from Detroit goes south to Chicago and west to Hollywood, passes for “colored,” sings Duke Ellington to his first mega-hit, and becomes Hollywood’s first “black singing cowboy.” Jeffries: “My father is Portuguese, Spanish, American Indian, and Negro. How in the hell can I identify myself as one race or another?” Indeed.

Lightnin’ Hopkins/THE GOLDSTAR RECORDINGS, VOLUME 1 – 8.8 – I know: how many Lightnin’ albums does one listener need? Frankly, it might just be impossible to track them all down even if you wanted to, but these very early recordings are trance-enducing, trickily differentiated in masterfully marginal ways, and–just when you are in a zone that’s humming through your ears to your brain–he moves to organ for a zany and addictive change of pace that makes you laugh out loud.

The Horribly Wrong/C’MON AND BLEED WITH THE HORRIBLY WRONG– 8.8 – I bought this record out of duty, out of loyalty, out of love for the Nashville band Natural Child, simply because Natty C’s bassist Seth Murray plays and sings on it. Suffice it to say that duty, loyalty, and love have their payoffs, and this is one. One of the BEST punk/trash-rock rekkids I’ve heard in years (it’s a 2010 release), and it’s from Indiana, too (attention ‪#‎ChuckEddy‬).

Soundtrack to the film THE HOT SPOT – 8 – I’ve never seen this Dennis Hopper film and somehow hadn’t heard much about the soundtrack until I read Charles Shaar Murray’s John Lee Hooker bio and discovered Miles, Hook, and Earl Palmer, the inventor of the rock and roll beat if anyone was, play together on MOST of the tracks. How bad could it be? Well, if you’re not expecting a masterpiece (super-sessions never are) you will dig it. The trumpeter and guitarist mesh pretty well, and the drummer holds the groove. And that’s what it is: a solid groove album featuring two of the most singular voices in our music. Even the lyrics are no disgrace.

Gregory Isaacs/EXTRA CLASSIC – 9 – First record I’ve ever bought on Keith Richards’ recommendation (see “Desert Island Discs”). Thought I had reggae’s Cool Ruler down cold, but only one of these songs, mixed in his classic lover man/social critic style, was previously known to me, and “Jailer” is the only one that overlaps my favorite Isaacs record, MY NUMBER ONE. He whispers in your eyes, then hips you to Babylon’s racket.

Vijay Iyer/MUTATIONS – 8.7 and rising – My first two spins left me distinctly underwhelmed–I love the man’s piano playing, but there’s a goodly portion of strings and electronics on this. He also runs with excellent drummers–and after three listens I am not sure there IS drumming on it. But before selling it, I tried it again at top volume in my lab (the cab of my truck) and I started getting Hassell/Eno aural mirages from it. I think I’ll keep it.

Joseph Jarman, Glen Horiuchi, and Francis Wong/PACHINKO DREAM TRACK #10 – 8.5 – This is mos def an AACM jazz recording: it ain’t linear, it ain’t prefabbed, it ain’t easy, it ain’t without conch shell and shakuhachi–but it’s very, very live indeed, the lead artist conjures a restless peace regardless of what he’s playing, and the spirit of the artists’ cooperation led me away from yesterday’s outrage for a minute.

Katey Red & Dem Hoes/MELPOMENE BLOCK PARTY – 8.3 – Don’t call it “sissy rap” in her presence, or you might lose an appendage. What it says it is.

Kelela/HALLUCINOGEN – 9 – I am stubbornly resistant to electronica (or whatever this stuff is called), but I try not to give up on any genre. This EP delivers on the exotic promise such music is supposed to regularly extend: rich, expressive vocals, complexly carnal lyrics, and rhythms ‘n’ FX that support each. Three plays in 24 hours, plenty willingly.

KHAT THALETH–THIRD LINE: INITIATIVE FOR THE ELEVATION OF PUBLIC AWARENESS – 9 – Arab Spring rap. The music holds its own, easily, but you can download the translations. Consult Bandcamp–for a 23-song comp, it’s a bargain.

B. B. King/BLUES IS KING – 9 – LIVE AT THE REGAL you probably know about; it’s justly famous. But this ’67 show is a hair from its equal–plus a completely different (and surprising) set list. If you miss him, you owe yourself.

Earl King & Roomful of Blues/GLAZED – 8.5 – King was one of NOLA’s great R&B triple threats, as well as a bit of a griot. He wielded a deceptively mean guitar, he could write a great song (“Big Chief,” anyone?), and he sang with the slyness of a Sonny Boy Williamson. The white boys stay out of his way on this one and lay down the horny bedrock he needs to take off from.

KORLA: A FILM BY JOHN TURNER & ERIC CHRISTENSEN (2014) – 8.5 – Black man from ‪#‎ColumbiaMissouri‬ goes west to Hollywood, passes for East Indian, and becomes an icon of ’50s musical exotica. And stays in character for the rest of his life. A history lesson if nothing else.

John Kruth/THE DRUNKEN WIND OF LIFE: THE POEM/SONGS OF TIN UJEVIC – 9.5 – Vocalist and mandolinist Kruth, the words of the poet, and the musicians–all clearly glad to be alive. Dylanesque (sorry–it’s better than that augurs) with Croatian flavor. This will cheer you without bullshitting you. How’s that?

Los Lobos/GATES OF GOLD – 9.3 – Title’s kinda meh, cover art looks low budget, album’s only a goddam tour de force. Impassioned singing, outstanding material, and–did I mention they can play just about anything? Touches of bluegrass and bottleneck may even surprise the faithful. In my top 10 for 2015 after a single listen–a single listen that moved me. Ever heard an autumnal bar-band record? That’s kind of whatit is. For Peter Feldstein–thanks for motivating me to get it listened to!

Booker T. Laury/NOTHIN’ BUT THE BLUES – 8.5 – First heard Laury on the soundtrack to the cinematic abomination GREAT BALLS OF FIRE, but was too distracted by Jerry Lee remakes (imagine that!) to notice. If you like rowdy 88-rollin’, partake. And he hollers great, too. Also, let me know if you have his out-of-print BLUES ON THE PROWL, on Wolf Records, because I NEED IT. Been playing this side by side with Otis Spann and, though it’s a case of apples and oranges, Laury holds his own.

Matt Lavelle‬ and John Pietaro/HARMOLODIC MONK – 8.7 – I don’t care whose at the helm: I’ll sample anyone’s run at Thelonious Monk’s catalog. Though I’ve tried mightily, I don’t have a great grip on Ornette Coleman’s theory of harmolodics, but I can say with confidence that Lavelle, on horns, and Pietaro, on percussion, have fun using it to PLAY WITH Monktoons (something Thelonious would appreciate). The duo utilize “the freedom of two” to evoke damn near the whole of jazz in their interactions.

MEANWHILE IN MEMPHIS: THE SOUND OF A REVOLUTION (directed by Nan Hackman and Robert Allen Parker, 2013) – 9 – You might skeptical about the revolutionary claim, but not all revolutions are loud. In sound and style, this film does justice to its subject. Like all great docs, it raises a curtain on folks and moments even experts missed; for me, it’s Alicja Trout and the revelation that Tav Falco ‘s arrival on the scene was filmed. Plus: a terrific bonus disc. Please buy directly from Goner Records!

Jinx Lennon/30 BEACONS OF LIGHT FOR A LAND FULL OF SPITE, THUGS, DRUGS, AND ENERGY VAMPIRES – 9 – Irish force of nature needs just an acoustic guitar to wrestle the world to a draw. Dylanophiles strongly recommended to look into his oeuvre. But he ain’t no saint–even the Twin Towers’ collapse can’t avert him from Internet porn. Plus: a Christmas song for the ages.

Jeffrey Lewis/MANHATTAN – 9.8 – This eccentric, supposedly “anti”- folkie has never reached me, and I’ve only been to Manhattan once (and then I was distracted by 50+ junior high schoolers I was helping manage). However, when a peer from a Facebook forum I am fond of suggested that, with this new release, Lewis had picked up Lou Reed’s mantle if anyone had, I was piqued enough to lay down some cash. The best thing I can say is my peer is correct–if Lewis can keep this up. If you crave something like the “nice,” verbose, pre-TRANSFORMER Lou, or might want to try out a record that could be called a warmer, looser cousin to Reed’s cold-eyed, tight-rhythmed NEW YORK, pony up, I say.

Living Things/AHEAD OF THE LIONS and HABEAS CORPUS – 9 and 8.5 – Sorry to say, few reasons to be proud to be a Missourian these days, politically speaking, but this short-lived St. Louis brother band was one of the few rock units to unabashedly take on effed-up leadership, warmongering, and what I will call Christian hysteria in the heart of the ‘Oughts. These two are like the first two MC5 rekkids: the first explosive and expansive, the second compressed and relatively clean. But neither make apologies, nor take prisoners. Where ARE these boys?

Jerry McGill/AKA JERRY McGILL – 9.0 – Long-scattered and -squirreled-away recordings by an ur-“country outlaw,” including a very early “Desperadoes Waiting for a Train” backed by Mudboy and The Neutrons, some raw honky-tonk with Waylon Jennings on lead guitar, and some barely-together end-of-the-line howls from the hills (like “Wild Bill Jones”). Problem is, you gotta buy VERY EXTREMELY DANGEROUS (see below) to get yer hands on it. For me, that was not a problem. Tip: I got mine from Goner Records in Memphis.

Joe McPhee/SOLOS–THE LOST TAPES (1980 – 1981 – 1984) – 8.5 – What makes one blip-bleep-blat free jazz outing any different than the others? Well, imagination, conviction, and the savvy to mix in some great continuous improvisation with the pure sound.

Dan Melchior Broke Revue/LORDS OF THE MANOR – 7 – I’ve always found Melchior underrated in the garage punk pantheon, and he’s been quiet for awhile. At first I thought this was something kinda new: a garage punk GROOVE album. And it might be, but the extra-long cuts combined with the repetitive riffs eventually defeated my attention. Worth a chance, though.

NaturalChild‬/LIVE AT THE END–FREAKIN’ WEEKEND 5 – 8 – The country’s best least-reported-on band gets all their moves together on this $5 live cassette. Not too jammy, not too faux-country, and with a perfect dab of their twisted garage beginnings.

Natural Child/SHAME WALKIN’–THE EARLY AND UNCOLLECTED SINGLES – 10 – This record does not exist other than in my iPod folder (and I suspect a few other folks’). But the erstwhile cannabis-cooled country rockers ought to do the world a favor and make it real. From the, um, unusually reluctant “title” song to the Dad’s nightmare of “Crack Mountain” to the paging-Neil-Young “Mother’s Nature’s Daughter” to the affectionately bleary “Don’t Wake the Baby,” it just might be that Natty C’s best work does not appear on their very entertaining long-players. Petition them on Twitter at @naturalchild420, @naturalchild666, or @NATURALCHILDFAN

Phineas Newborn, Jr./HERE IS PHINEAS – 8.5 – Memphis is known for the raw, but Phineas (pronounced FINE-us or pronounced FEEN-us) demonstrated such pianistic facility as to rank with the late ’50s-late ’60s greats. Phineas is to Bud Powell as Sonny Stitt is to Charlie Parker–think about it, baby….

Herbie Nichols/THE COMPLETE BLUE NOTE RECORDINGS – 10 – The music of the ill-fated pianist and composer Nichols dances. I know you’ve heard that before, but these dances are tricky, witty, and surprising while never failing to swing you. And believe me, the drummers (last names of Roach and Blakey) know the steps.

NUGGETS II: ORIGINAL ARTYFACTS FROM THE BRITISH EMPIRE AND BEYOND (1964-1969) – 9.5 – Lenny Kaye’s original U. S. NUGGETS comp gets most of the press, but the uncommon-even-for-Rhino care put into these four discs bring the set impressively close to its predecessor’s consistency. It’s interesting that the British Invasion giants cast a long shadow over both collections; where it’s the Yardbirds, Stones, and Beatles that haunt the U.S. version, it’s The Who whose presence dominates the British box. Or was it these bands that pushed The Who? It rocks, it trips, it gets a little twee or dotty at times–hey, it’s British!–but, mostly, it rocks. Recommended to seekers after the roots of Van Morrison, ELO, Yes, and many more. Secret weapon: The Creation!

Obnox/WIGLET – 8 – Lamont Thomas‘ music hits you like a runaway gar(b)age truck, like the Jesus and Mary Chain stripped of its candy. To my mind, you need a little of that every day just to feel really American, but Thomas’ reports are more specifically from Cleveland, which in the wake of Tamir Rice makes the medicine even more necessary. Surprise covers, too, from sources as diverse as Andre Williams and The Webs. I’ve said it before: Lamont’s the hardest-working man in punk rock.

Big Chief Juan Pardo and The Golden Comanche/SPIRIT FOOD – 8.8 – We are one day into Mardi Gras season, so let me advise you to buy a Mardi Gras Indian record every January. Currently, there are just about enough to get you to mid-century, and I’ve not heard one that’s bad, nor, despite the tendency for some chants to show up on nearly every tribe’s record, one that isn’t at least subtly distinct from the others. Such is the case here, where we get a vision of a Spy Boy rowing up the bayou in a pirogue and a guitar-touch of what Jelly Roll Morton called “The Spanish Tinge.” Speaking of, strong cases have been made that what we know and love as funk, soul, and r&b came straight out of this tradition, from a well maybe 215 years or more deep.

The Persuasions/SPREAD THE WORD – 8 – This ’72 gospel outing by the renowned a capella group is bookended by two halves of a bad pre-conversion Bob Dylan gospel song, but inside the sandwich are great examples of the irreverence for which they are too little known: a sly dig at a charismatic minister, an angry cry for a son lost to war and dope, a neat juxtaposition of flesh (“The Ten Commandments of Love”) and spirit (“The Lord’s Prayer”), an excavation of a prison song by The Larks, and a skeptical “Heaven Help Us All.” No surprise from a group that in the interim knocked Frank Zappa’s “The Meek Shall Inherit Nothing” out of the park. Every home needs a Persuasions rekkid.

Charlie Pickett & The Eggs/LIVE AT THE BUTTON – 8.5 – One very nasty Florida bar band. By nasty, I mean the attitude, the worldview, the guitar, and, sometimes, the sense of humor. 1982–needs a digital reissue.

Public Image Limited/WHAT THE WORLD NEEDS NOW IS… – 8.0 – Lydon’s grown into a Dutch uncle for the post-punk generation, unsurprisingly, and his new one is lifted by Mekon Lu Edmonds on guit and saz and new bassist Scott Firth. BUT–see ’em live on their current tour, and be astounded at how Edmonds and Firth pull together the wide-ranging sounds of Lydon’s post-Pistols career. Note: what the ellipsis leads to is…NSFW!

Pusha T/DARKEST BEFORE DAWN – 9 – From his thrilling sneer (thanks to Alfred Soto for that) to his lyrical inventiveness to his unerring flow, Norfolk, Virginia’s Terrence Thornton can blow away the most famous MCs like chaff. For the most part, he leaves the coke-rap behind (for the MOST part) and shares his thoughts about many contemporary concerns (my favorites are “F**k Donald and his pledge” and his vision of his mom maxin’ on vacation). And he’s only 38! Docked a point for being–too short.

Otis Rush/I’M SATISFIED: THE 1956-1962 COBRA, CHESS, AND DUKE RECORDINGS – 9.5 – The best collection of classic Rush currently available, though I will also point you to the excellent studio albums leading up to the stroke that’s taken him out. It’s got the annoyingly difficult-to-access “Homework” and (the original) “So Many Roads,” as well as the justifiably ultra-legendary “All Your Love (I Miss Loving)” and “I Can’t Quit You.” Thing is, they’re legendary for the string-bending, but Otis could sing out of the top of his head, with almost frightening passion, and his too-too relevant writing on “Double Trouble” might outlast all his tunes: “In this generation of millionaires/I can’t even find decent clothes to wear.”

Boz Scaggs/A FOOL TO CARE – 8 – God BLESS it, these comeback-cover exercises are so EASY even Don Henley can get away with them, especially when it’s the song-not-the-singer and the band’s crack. Boz’s degrees are not as silky as they usedta was, but he gets by on grit and feel, and with additional soul-dollops from women named Bonnie and Lucinda. Oh yeah, and the songs (originated by Mayfield, Green, Huey “Piano” Smith, and more good oles). But can we please call a moratorium on covers of Bobby Charles’ “Small Town Talk”?

Scarface/DEEPLY ROOTED – 8.5 – And he is. He is also a long-time practitioner of street psychoanalysis, and it’s clear from his perspective here that he is feeling the weight of twenty years of breaking down a g’s paranoia. And 2015 hasn’t helped. Get the BestBuy version with three worthy bonus tracks. For Brian Smarr.

Sonny Sharrock/GUITAR – 10 – One man, one guitar, who knows what effects, overwhelming beauty-in-chaos. Really, Hendrix’s inheritor–but his early death robbed our ears. In case you’re wondering, the guitar is PLUGGED IN.

The Sir Douglas Band/TEXAS TORNADO – 8.7 – It’s no secret I worship at Doug Sahm’s altar, and proudly, but somehow I’d overlooked this 1973 item he turned in for Jerry Wexler at Atlantic. This Rhino re-ish bumps the original releases’ 11 tracks up to 20, which, with the addition of a stellar cover of Ned Miller’s “From a Jack to a King,” some T-Bone blues, and the great lost single “I’m Just Tired Of Getting Burned,” turn a solid groove album to an intensely pleasurable really effin’ good one.

A SLICE OF SOUTHERN MUSIC – 9.5 – Never underestimate (or think you’re tired of) comps of Southern stuff. Here we have folks you know and folks you don’t, Booker T. Laury (see below) screwing the top off his hydrant-like piano, Jesse Mae Hemphill working her trance-y, Mississippi Hill Country magic, and Mose Williams demonstrating, what, the roots of Harry Partch?

Tyshawn Sorey/ALLOY – 8.8 – Easily one of the best jazz drummers and composers alive, he’s so committed to Morton Feldman and Zen that he almost (and sometimes literally) disappears from his own peaceful pieces. I mean that as a compliment.

Soulja Slim/THE STREETS MADE ME – 8.5 – Easily one of the best-produced albums ever to come out of NOLA’s Magnolia Projects (courtesy Beats By the Pound), it’s hard to listen to, knowing James Tapp didn’t live long enough to develop his already-unique flow further. Another claim: along with Mystikal, the only act under the Master P tent to hold up after a decade and a half.

Gary Stewart/GARY’S GREATEST – 9 – Forget Wayne Hancock–Stewart’s the closest to Hank we’ve seen in the last 50 years. This collection ain’t quite what’s advertised, but it is one of the few records that can induce me, at 53, to jump up and think I can sing. Then actually try. And fail. Inspirational Verse: “If someone else would tell me/What I already know in my mind/I’m afraid I’d start talkin’/With my fists….”

Sticky Fingaz/BLACK TRASH–THE AUTOBIOGRAPHY OF KIRK JONES – 8 – One of the most underrated concept albums in rap history, peaking with a desperate and deep conversation with God and featuring an early-career cameo from Eminem.

Cecil Taylor/THE WILLISAU CONCERT – 10 – Taylor dates are certainly not all alike. Here, the fidelity and piano are stellar, the intensity astonishing even for the supernatural then-70-year-old, the dynamic ideas his usual 53-card deck–and melodies that aren’t all micro. Not a bad place to start for the benighted.

Henry Townsend/MULE – 9.5 – In 1979, 50 years after making his first recordings, this blues multi-instrumentalist from Cairo, Illinois, and St. Louis, Missouri (by way of Mississippi), laid down the album of his life, with his vivacious, surprising, and rowdy piano holding off the staidness that has killed many such recordings over the last 40+ years. Good luck finding it, but, seekers, the quest will be worth it (I advise a browse to Discogs). And remember the words of Keith Richards: “It’s about the roll.” Which this has, in spades. As well as an inspired guest contribution from Yank Rachell.

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RIP ALLEN TOUSSAINT: SUGGESTIONS FOR THE BENIGHTED

Allen Toussaint/THE BRIGHT MISSISSIPPI – Toussaint ranges across jazz both from the Crescent City and elsewhere, with a nod to gospel. Great production by Joe Henry and absolutely crack accompaniment, not least by Allen’s own 88s. My only beef is that Henry didn’t include the classic “Tipitina and Me” that he got from Toussaint on the Katrina benefit OUR NEW ORLEANS (also a stone-stone-stone cold classic).

Allen Toussaint/SONGBOOK – It’s just Toussaint alone at the piano, rambling through his songbook, but here you get a great sense of his warm, peculiar, quiet personality, which matches his piano style, especially when he’s accompanying. Pick to click: A “Southern Nights” graced by a reminiscent reverie about his youthful home.

Lee Dorsey/YES WE CAN – Allen’s work with the great Lee Dorsey is fairly consistently amazing, but no release has gathered all the essentials (cross-licensing is a pain) to my satisfaction–Charly has made a good stab, and there’s an out-of-print, single-disc on Music Club that damn near does it. This one ain’t perfect, but it unites the winning singing of Dorsey, the inimitable funk of The Meters, and Toussaint’s marvelous piano, backup singing, some of his best tunes, and great arrangements.

THE MINIT/INSTANT STORY – Toussaint didn’t write, produce, or play on EVERYTHING here, but he was an influence on those he didn’t, and the bulk of the tracks define his seductive, good-humored, and gently soulful approach. The ultimate answer to the ill-considered theory that rock and roll died with Buddy Holly’s crash, Elvis’ enlistment, Chuck’s arrest, Jerry Lee-s black-balling, and Richard’s conversion. (If you can’t afford two discs, go for EMI’s single-disc FINGER-POPPIN’ AND STOMPIN’ FEET.)

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The Velvet Underground/THE COMPLETE MATRIX TAPES – 10 – This is why old farts like me are slow to rouse to new rock, punk, indie, or whatever bands. This, young farts, is the gold standard band, playing at the peak of its powers, with one of the greatest songwriters of all-time reveling in the midst of a period of amazing fecundity and making his guitar talk. For a four-disker, cheap. The sound is fabulous for a ’69 document, and even the stage patter is good. Pick a cool niece or nephew and gift ’em. Their lives might be changed by rock and roll.

VERY EXTREMELY DANGEROUS (directed by Paul Duane, 2012) – 8.5 – Sun Records-recorded Memphis reprobate Jerry McGill battles cancer, the director, his fiancee, his pharmaceutical demons and the rest of the world to a finish I can’t report. Difficult, but, like a car wreck, impossible not to watch. A must for fans of producer Robert Gordon’s IT CAME FROM MEMPHIS and William Eggleston’s STRANDED IN CANTON.

Sonny Boy Williamson/KEEP IT TO OURSELVES – 9.3 – The great harmonica player, singer, and bullshitter, not far from gone, recorded these tracks in 1963 in Denmark, with old pals Matt “Guitar” Murphy and Memphis Slim. The spare production pushes his verbal wit and instrumental genius to the fore–in fact, even if you ALREADY thought he could blow the hell out of a harp, you might easily recalibrate your amazement. As I was sharing with my wife the other night as we discussed how newer stuff stacked up to the old pros, if you’re strictly a Wolf/Muddy/Bo/Chuck/Buddy Chess Records listener, you best attend to Mr. Aleck Miller.

Wreckless Eric/AMEricA – 8.5 – The Brit who gave us the eternal “(I’d Go The) Whole Wide World” sounds as if little time has passed (instead of almost 40 years) on this wonderfully wry and sometimes troubled American travelogue. If you’re emotionally invested in boy bands or “white bread,” he may hurt your feelings–but has anyone else on the planet written a sad, beautiful song about “Sysco Trucks”?

X_X/ALBERT AYLER’S GHOST LIVE AT THE YELLOW GHETTO – 9.5 – Rude, crude, blunt, and socially unacceptable, this offering is more proof that Ohio is the secret capitol of rock and roll (paraphrasing my friend Ken, who knows). Their irreverent but loving title nod to Cleveland Heights’ own tenor giant makes Marc Ribot’s sound genteel; their farmer’s blows at Dylan and Young breath-takingly segue into unkempt rockers such as we ain’t heard much this year. And, before you know it, just like in the old days, it’s over.

JOE BUSSARD PRESENTS THE YEAR OF JUBILO–78 RPM RECORDINGS OF SONGS FROM THE CIVIL WAR – 9 – The world’s most enthusiastic old-time collector lays a social studies teacher’s dream at our feet. Discover the less-than-sober roots of “The Battle Hymn of the Republic”–which also has roots in “John Brown’s Dream”! Celebrate (temporary) Emancipation not once but twice with two versions of “The Year of Jubilo”! Pass a whiskey bottle around and dance uncomfortably around the fire on “Rebel’s Hornpipe”! And thank whom- or whatever for Joe Bussard.

 

 

First Third o’ 2015 Top Twenty Albums, in Pleasure-Order:

First Third o’ 2015 Top Twenty Albums, in Pleasure-Order:
  1. Willie Nelson and Sister Bobbie: December Day (Legacy) – Still picks, sings, and writes better than professionals a quarter of his age. Nails down a concept album second only in 2015 to the next item–wait, maybe it is better. I can’t remember….
  2. Kendrick Lamar: to pimp a butterfly (Aftermath) Sprawling, manic depressive, multi-masked masterpiece seems to include voices of a whole city, plus 2Pac’s (from beyond the grave). Also, offers cautious consolation to the despairing and a quiet, level warning to the rest. What we were wanting from D’Angelo on Black Messiah, in a way, but didn’t really get. Bonus: Best employment of Robert Glaspar than even on Robert Glaspar albums.
  3. Jack DeJohnette: Made in Chicago (ECM) – Never count an old jazzman out–never. Jack and Muhal Richard Abrams keep a loose lasso around reedmen Threadgill and Mitchell.
  4. Kate Tempest: Everybody Down (Big Dada) – Skeptical about poetry with music? Me, too. Very. BIG exception that proves the rule.  
  5. 79rs Gang: Fiyo on the Bayou (Sinking City) – 7th and 9th Ward NOLA Injuns join forces for one of the best Injun albums in years? Wait: there’s that many of them? YES. Also: support this label!
  6. Low-Cut Connie: Hi Honey (Ardent) – Very weird, frequently funny indie roots band powered by sly boogie piano and an odd UK/US duo who always sport at least a Hollywood loaf.
  7. The Close Readers: The Lines are Open (Austin) – New Zealand novelist-led band needs you only to do this to be hooked: click the link and follow along. “Hardcore” – Husker Du’s so loud…
    I can’t hear the engine failing
    Driving to your house
    Got a sense of trepidation/You tell me Bob Mould’s gay
    You read it in the paper
    But you say it in such a way
    Trying to cause me aggravation/I say I don’t care who he’s with
    Or if he does it upside down
    Zen Arcade’s still a gift
    it’s the record of our generation/So put on some Little Red Rooster
    Get some words from Thus Spake Zarathustra
    We’ll make another killer tape loop
    Our group is good
    Our group is strong
    Our group’s the greatest
    Group to come along/When you sat on the edge of my bed
    Leaned back against the wall
    Then you put your hand on my leg
    I said, Boy is that all?
    Boy, are you hard
    Are you really hardcore?
    Hardcore, hardcore, hardcore/Let’s put on some Minutemen
    Cos we need a change of pace
    You like Mike Watt’s laugh, George Hurley’s hair
    And D. Boon’s surprising, lovely,
    D Boon’s inviting, lovely
    D Boon’s kind, inviting face
  8. Nots: We Are Nots (Goner) – Mean-mama punks from Memphis. I do mean “punk.”
  9. Heems: Eat Pray Thug (Megaforce) – My favorite half of Das Rascist waxes a record that’s been needing to be made for 14 years.
  10. Sleater-Kinney: No Cities to Love (Sub Pop) – They’re a bit too much of a sober, hectoring machine for me, but they give the drummer some, and does she give back.
  11. Pop Staples: Don’t Lose This (Anti-) – They didn’t. Pops’ last session, and, yes, they got some shake on his guitar.
  12. Ornette Coleman and New Vocabulary: New Vocabulary (System Dialing) – “New” means 2009, but we may not hear this certified genius again, and he’s in fine form bouncing off youngsters’ constructions, electronic and otherwise.
  13. Bob Dylan: Shadows in the Night (Sony) – He’s my hero, but he’s a hustler. And this is a hustle. A very seductive one–and it ain’t no joke. Pick to click from Bizarro Ol’ Blue Eyes: “The Night We Called It A Day.”
  14. The Paranoid Style: Rock and Roll Just Can’t Recall (self-released) – If you know who Wide Right was (Buffalo’s finest!) and Sally Timms is, and you’d like to hear a great song called “Master Jack,” step right up.
  15. Courtney Barnett: Sometimes I Sit and Think, and Sometimes I Just Sit (Mom & Pop) – Clicked play gritting my teeth, came out of the last track charmed, delighted, satisfied. A smart, funny, and ebullient one from Oz.
  16. Dead Moon: Live at Satyricon (Voodoo Doughnut) – It is not fair for me to review a Record Store Day exclusive, but maybe you can still get it. It’s only a well-recorded, intense live show from 1993 from the ultimate “family values” garage rockers of all-time–who happen to be playing some reunion dates. Long live the Coles and their drummers Andrew (Dead Moon) and Kelly (The Pierced Arrows).
  17. Bob Marley & The Wailers: Easy Skankin’ in Boston, 1978 (Tuff Gong) – Do you need another live Marley record from this period, especially since the estate’s gonna release a bunch more? YES, when the times are like they are now, and when this concert opens with six intense calls to revolution that’d make 25,000 hackey sacks hit the ground and a legion of stoned frat boys turn tail.
  18. Obnox: Know America (Ever/Never) – The hardest-working man in midwestern punk rock backs up his title command with nasty noise, wry imprecations, and music that’s seldom made like this by spades. His other (other?) 2015 album, Boogalou Reed (on 12XU), is only 1/119th less excellent. Don’t fight the raver who needs you (click here)!
  19. Various Artists: Burn, Rubber City, Burn (Soul Jazz) – Akron: Future home of The Punk Rock Hall of Fame. Copies of this will be handed out at the grand opening. Yes, I know I have used the word punk several times in these descriptions–it’s deliberate and, as Roger Sterling would say about his mustache, “IT’S REAL!!!!” And it ain’t going away anytime soon.
  20. Barry Hannah: i have no idea what tradition i’m in. don’t care. (The End of All Music) – It’s not a reading from one of Hannah’s many great stories. But his ramblings on sundry topics here are definitely rock and roll.

Note: I have been very inattentive to this blog. I do work two real jobs, but I have also been suffering from a lack of inspiration and the sneaking suspicion that it’s just not possible for me to capture the essence of a record as I would like. However, for some reason, I awakened this morning ready to peck and quip. I hope you see something you’re moved to hear.

Overeem’s 2014 Picks to Click–75% of the Way Through this Bloody Calendar

I am not listing labels, since you can copy and paste the titles into a browser and find ’em in a few seconds. I haven’t written about all of them: for example, Ty Segall’s Manipulator is growing on me day by day–surprisingly, since I thought he and I were through–but I don’t yet know what to say other than he’s gotten all of his predilections embraced securely and has put together a tour de force that might be the best thing he’s ever done. Maybe that’s enough. Anyway, here’s what’s been repeatedly ringing my bell:

Long Players:

mulatto-radio-front-coverty-segall-manipulator

1. Wussy: Attica!
2. Allen Lowe: Mulatto Radio–Field Recordings 1-4
3. Chris Butler: Easy Life
4. Ty Segall: Manipulator
5. Bo Dollis, Jr. and The Wild Magnolias: A New Kind of Funk
6. Obnox: Louder Space
7. Latyryx: The Second Album
8. Ross Johnson and Monsieur Jeffrey Evans: Vanity Sessions
9. Neneh Cherry: The Blank Project
10. Phil and Dave Alvin: Common Ground–The Songs of Big Bill Broonzy
11. Marc Ribot Trio: Live at the Village Vanguard
12. Orlando Julius with The Heliocentrics: Jaiyede Afro
13. Natural Child: Dancin’ with Wolves
14. John Schooley: The Man Who Rode the Mule Around the World
15. Leo Welch: Sabougla Voices
16. Tinariwen: Emmaar
17. Big Freedia: Just Be Free
18. Billy Joe Shaver: Long in the Tooth
19. The Stooges Brass Band: Street Music
20. Mr. and The Mrs.: Radiation Street Blues

Singles:

1. Bobby Rush: Upstairs at United
2. Marc Ribot w/Deerhoof: Who Sleeps, Only Dreams
3. Heavy Lids: “Gravity Reverse” b/w “This Horse”

Old Stuff/Reissues:

1. John Coltrane: Offering—Live at Temple University
2. Various Artists: Haiti Direct!
3. John Schooley One-Man Band: Schooley’s Greatest Hits
4. Bob Wills & The Texas Playboys: Riding Your Way–The Lost Transcriptions for Tiffany Music 1946-7
5. Various Artists: Angola 2
6. Various Artists: The Rough Guide to the Music of Mali, Volume 2
7. D’Angelo: Live at the Jazz Café, London
8. Sid Selvidge: The Cold of the Morning
9. Gories: The Shaw Tapes—Live in Detroit 1988
10. Charlie Burton: Rock & Roll Behavior
11. Various Artists: Dylan’s Gospel—Brothers & Sisters
12. Various Artists: Go, Devil, Go—Raw, Rare, Otherwordly Gospel

Music Docs:

1. AKA Doc Pomus
2. The Case of the Three-Sided Dream

Good to My Earhole: The Last Half of June

ObnoxLightnin'+Hopkins+-+1954+-+The+Herald+Recordings+-+Sealed+-+LP+RECORD-506533

I absolutely love storming guitars. That’s why I love these two rekkids.

Something old, something new. Sam “Lightnin'” Hopkins two-volume Herald Recordings (mine are on Collectables; I think they are available on other labels as well), recorded in that very significant year of 1954 (not ’55), make the Houston blueman’s claim to being a father of rock and roll–that’s how much steam he works up on classics like “Blues for My Cookie,” “My Little Kewpie Doll,” and “Lightnin’ Don’t Feel Well.” Though there are no late-night changes of paces, there are some rather amazing instrumentals, like “Hopkins’ Sky Hop.”  On Obnox’s Louder Space (on Austin’s perfectly named 12XU label), guitarist/drummer/vocalist Lamont Thomas (formerly of that unjustly obscure band of Ohioan ravers, This Moment in Black History) continues his assault on all things genteel–hey! it’s freaking taken over beyond neighborhoods, can’t you see?–with 12 hard-charging, fuzz-layered, no-let-up toons that conjure memories of prime Stooges, Big Black, and Dirtbombs. There’s a fonk-bomb called “How to Rob (The Punk Years)” (my personal favorite), there’s a redefinition of “Riding Dirty,” and the rekkid closes with a great dirge, titled, with perfect justification, “Feeling Real Black Today.” I just played the whole thing thing three times in a row. I think Lightnin’ would have loved it.

sinatra jobim the complete reprise

Frank Sinatra and Antonio Carlos Jobim: The Complete Reprise Recordings (Reprise)

I am half-deep in Will Friedwald’s Sinatra: The Song is You, which veers from near hagiography–I have never seen so many absolutes (“always,” “never”) from such an esteemed writer–to glowing, revelatory descriptions of classic sessions that argue that, in contrast to, say, Elvis, Ol’ Blue Eyes was in near-total control of his art, from modulating his justly-legendary voice to stopping sessions to make astute suggestions to producers, conductors, and musicians. When he got his own label, he went a little nuts, recording way too often with too few heads to butt against, resulting, with the help of the normal hell aging wreaks on a singer, in many records you could skip (can’t say that about his previous Capitol output). This one, though, is a real beauty. Sinatra comes to bossa nova a little late (1967–Getz got there in ’64), but I would argue this is the most fully realized statesize stab at the genre, and if you take umbrage with the claim Sinatra was a jazz singer–that his instrument was flexible to the degree of experimentation–well, gather yourself for this aural rebuttal. He’s close-miked, his every exhalation–no common matter with bossa nova!–sustained sibilance, and register-dives part of the music, and Jobim’s lighter vocal accompaniment and nimble guitar surround and respond to him just like those Nelson Riddle arrangements used to on Capitol. It’s a masterpiece. I am not sure I don’t like it better than In the Wee Small Hours of the Morning. On a vocal level alone, no self-respecting George Jones fan should be without it.

Wussy

Heartless Bastards: “Got Down Last Saturday Night” b/w Wussy: “Breakfast in Bed” (Shake It Records)

This is the third in a four-45 tribute to the Muscle Shoals guitarist Eddie Hinton. I am not a huge fan of the Heartless Bastards, but the only thing they do wrong here is wind up too early; right as you are loving it, it’s over. Actually, though, I bought this as a gamble: the original “Breakfast in Bed,” which Hinton played on but did not write, was one of the many highlights of Dusty Springfield’s Dusty in Memphis, and Springfield sings it so exquisitely, with such a lethal combination of compassion, soul, and delicate raunch, that no singer in his or her right mind should ever go near it. Lucinda Williams, the Americana Joan Baez, tried, and had her limitations ripped out and shown to her the second before she–figuratively, of course–fell dead on the studio floor. How would Wussy’s Lisa Walker, whose imprecise pitch strikes one as either extremely fetching (if you are me) or a deal-breaker (if you are just mean), fare against the memory of a singer so ethereal, hip, Southern, and, it’s true, geisha-like–at least on that one album–that many listeners didn’t realize she was white and British? Like her band (“our people,” as partner-singer/songwriter Chuck Cleaver calls them), up against similarly daunting and virtuosic predecessors in Memphis’ American Studios session men, she puts her head down and attacks the song like it’s happening to her. Ragged and passionate, she and the band do justice. An essential pickup for Wussy fans, and a victory against the insidious musical creep of technophilia and gentility.

The original, to hear what they were up against:

big Wood

The American Song-Poem Anthology (Bar/None Records)

Once upon a time, you could scribble down your song lyrics, send ’em off with a check, and professional musicians would create a song around them–even if, in your song, you thought tangerines were yellow (and your song was called “I Like Yellow Things”). I am late to the party on this strange, strange compilation, but it is oddly unsettling, and infernally catchy. Example: the title song, which at first struck me as surreal and unhinged, then earwormed me for a few days, then had its mystery revealed by my wife Nicole, who matter-of-factly stated what the difference was. I will leave it to you as an enducement to try this very American, very weird record. Do you know the difference between big wood and brush? And do you know musical geniuses killed themselves trying to make these records for people like you?

Phil’s Faves: A Mid-Year Report

 

These are the “new” recordings that I’ve enjoyed the most in 2014.

1. Allen Lowe: Mulatto Radio–Field Recordings 1-4, or: A Jew At Large in the Minstrel Diaspora – This is the most ambitious recording of 2014–if not the decade, or the century. That difficult-to-love high school principal of jazz, Wynton Marsalis, pissed off Lowe, as ardent a student of our country’s musical history as you can find, in a conversation about jazz that, of course, ventured into areas of race, appropriation, and creative rights. Lowe responded with a four-disc (five, if you ordered it early!) tour de force that’s more alive and interesting than anything Marsalis has recorded in years, if ever. You don’t have to love jazz to be fascinated with the result, which easily lives up to its provocative title and tours every nook and cranny of the genre. And, in this listener and thinker’s view, it wins the argument. Check out my buddy Ken Shimamoto’s much-more-wise commentary at his Stash Dauber blog (he’s a writer/muso like Lowe).

2. Bo Dollis, Jr. and The Wild Magnolias: A New Kind of Funk – What happens when you run a line of serious wattage into a Mardi Gras Indian practice.

3. Obnox: Louder Space – Continuing the fine Cleveland/Columbus tradition of ugly noise and urban protest. Lamont Thomas, with a serious punk pedigree to deepen his geographical birthright, makes a racket to light a fire under Mick Collins’ ass. Euphonious racket!

4. Latyrx: The Second Album Who cares if their first album dropped 17 years ago? Lateef and Lyrics Born are still two of the most unique rappers spittin’.There ain’t no “Balcony Beach”–how could there be?–but there is “Deliberate Gibberish”!

5. Ross Johnson and Monsieur Jeffrey Evans: Vanity Sessions – Out to prove the Memphis rock and roll underground is still nuts now that the Oblivians have grown up, they win, four falls out of six. The title of the opener–“Three-Beer Queer”–says more than any review can.

6. Wussy: Attica! – Robert Christgau calls them a blending of VU and the Flying Burrito Brothers, which is absurd. What they are, with the star- and shock-power of rock and roll browning out, is the voice of far less polymorphously perverse and doomed adults than Reed and Parsons ever were, negotiating the 21st century into a draw and constructing a passionate but unflashy soundtrack to back their bargain. That’s probably absurd, too, but if you are a rock and roll fan of a certain age (say, if you actually walked the Seventies teenage wasteland), and are feeling just a little embattled, this Ohio band is for you.

7. Marc Ribot Trio: Live at Village Vanguard 2012 – Two Aylers, two Tranes, and two sentimental faves, socked home by, arguably, the country’s most daring guitarist.

8. Neneh Cherry: The Blank ProjectStill in a buffalo stance. This mid-forties mama can roll with the zeitgeist–just ask Robyn, who spices up one of the best tracks here.

9. Sonny Rollins: Road Shows, Volume 3 – Old Man River just keeps rolling out the cadenzas. All three volumes are musts.

10. Tinariwen: Emmaar – How many Tinariwen albums does one need? Well, remember what they have always said about ol’ Hank and the Ramones, and ask yourself how many notes it takes you to recognize “Ramblin’ Man” or “Beat on the Brat.” This band has a sound, a groove, and a brood in their wake, not to mention that, politically and aesthetically, Saharan blues is good for what ails ye.

11. The Stooges Brass Band: Street Music – I believe New Orleans music gets short critical shrift because the city’s always been teeming with such traditional music that it’s assumed its innovations are long past. I won’t argue that this band of Stooges is all that innovative, but brass-band toons with the lyrics and cultural weight of “Why They Had to Kill Him” and “We Gotta Eat” aren’t everyday creations. And these guys work in a damned HOT crucible of competition.

12. Natural Child: Dancin’ with Wolves – I admit it: I am a sucker for these Nashville no ‘counts, and even I regard their countryward turn with a tinge of dubiosity. But they are so fun-loving, so unselfconscious, so unambitious, so charming that if I didn’t laud them I would have to turn in my Sir Doug Fan Club badge. Face it: unselfconscious men are hard to find these days.

13. Roscoe Mitchell and Tyshawn Sorey (with Hugh Ragin): Duets – Mitchell’s 73, Sorey’s 33, they both know their Cage and Feldman, and, if you’re not into the sound of becoming–the sound of sound–you best shop elsewhere. But this hands-across-the-generations team-up is relentlessly interesting. All I’d ask is that Sorey played more drums.

14. Parquet Courts: Sunbathing Animal – See Pitchfork. But it’s even better than they say. You gotta watch that groupthink.

Singles (Record Store Day double-header):

Bobby Rush: Upstairs at United – 81 years young this coming November, the inventor of folkfunk and seriously randy grandy is still one of our country’s underappreciated masters, and with the blues influence in our music trickling down to drops, you best get out to see him if he shows up in your ‘hood. But fathers, watch your daughters. Note: he also put out a full-length this year, and we’re only halfway through!

Marc Ribot w/Deerhoof: Who Sleeps, Only Dreams – When our age’s heir to Sonny Sharrock appears, attendez-vous!

Old Stuff/Reissues:

Various Artists: Haiti Direct! – Rhythm nation. And, oh, those guitars and horns.

John Schooley One-Man Band: Schooley’s Greatest Hits – The instrumental fulcrum of two-count-’em-two great lost garage punk bands, The Revelators and the Hard Feelings, Schooley will deliver all of the excitement and relentless rock of Bob Log and his ilk with none of their bullshit. Aaaaaaaaaaaaaaaaand — it’s free!

Bob Wills & The Texas Playboys: Riding Your Way–The Lost Transcriptions for Tiffany Music 1946-7 – The best band in the USA, circa 1946-7. Camaraderie, versatility, chopsmanship, rhythm, and high times–plus, of course, you can dance. Aaaaaaaaah-HA!

Various Artists: Angola 2

Various Artists: The Rough Guide to the Music of Mali, Volume 2

D’Angelo: Live at the Jazz Café, London – His band and back- up singers work harder than he does, and it’s still a great show.

Gories: The Shaw Tapes—Live in Detroit 1988

Sid Selvidge: The Cold of the Morning – A Memphis cult hero, his voice was silenced by cancer on May 2, 2013. This reissue of a ’70s Peabody Records release captures him in his prime, comfortable with everything from Furry Lewis to Jimmie Rodgers to Fred Neil and boasting a very flexible, very American voice that gives off not a whiff of minstrelsy or strain.