Originally released in February 1973, Raw Power was the third, final and most brutal record by legendary Detroit rockers the Stooges. After being dropped by Elektra in 1971 due to the poor sales of their first 2 albums, 1969's self titled debut and the 1970 follow-up Fun House, the original group had for all intents and purposes disbanded. A meeting between frontman Iggy Pop and David Bowie led to Pop signing on with Bowie's management company and heading to London with guitarist James Williamson to start writing a Pop solo album. Unable to find a suitable rhythm section, they called upon the services of Stooges members Ron and Scott Asheton, with Ron switching to bass from his previous role as guitarist. The newly renamed Iggy & the Stooges began recording in earnest in late 1972.
There is not much that can be said about this album that the title doesn't already imply. From the opener "Search & Destroy" through the finale of "Death Trip" it is a fully charged, nihilistic behemoth of slashing riffs, primal rhythms and Pop's one of a kind yelp. The new Legacy edition features a remastered version of Bowie's original mix, which is quite different from the previously reissued 1997 version that was mixed by Iggy himself. While the Iggy version brings out all of the bottom end that was lost in the Bowie mix and gives the album an overall heavier feel, which I personally like better, this version of the Bowie mix is not without it's merits. With the vocals and guitar pushed way up in the mix it has a slightly more lo-fi quality that was definitely picked up on by the early punk rockers who lay just around the corner.
Also of special interest is the bonus disc, which contains a full show from October of 1973 at Richard's in Atlanta. With Iggy in prime audience berating mode the group plows through most of Raw Power's tracks and a few until now unreleased gems. Although the playing is great throughout the show, there are hints of the troubles that would destroy the band only a few months later. It's funny to hear at one point an audience member saying "I don't think he (Iggy) likes us very much." Truer words could not have been spoken.
The late Karen Dalton has been called a folk singer's folk singer. With a voice falling somewhere between the smokey jazz of Billie Holiday and the pure Appalachian folk of Jean Ritchie, Dalton was one of the brightest stars of the Greenwich Village folk scene in the early to mid 60's. Her ability to make any song from any genre her own made her a favorite of contemporaries like Fred Neil and Bob Dylan. Dalton's first solo album, It's So Hard to Tell Who's Going to Love You the Best, released in 1969, was a loose, folk-inspired album featuring traditional songs as well as those of peers Tim Hardin and Fred Neil. In late 1970 Dalton headed to Bearsville Studios in upstate New York with producer/bassist Harvey Brooks to begin her second album, In My Own Time. In contrast to the "playing in the living room" looseness of her debut, this sophomore effort featured well seasoned session players and an even more genre stretching song selection. Credit must go to Brooks whose skills at arranging and selecting songs keep the album flowing smoothly despite the disparity of the material. The musicians as well play with great finesse and restraint, never getting in the way of Dalton's voice, providing the perfect musical backing.
And what a voice. Never has the word "yesterday" sounded as heartbreakingly joyous as it does introducing the opening track "Something On Your Mind." And it only gets better from there. Next up is quite possibly one of the most unique versions of "When A Man Loves A Woman" ever recorded, her voice teetering on the edge of its range. After the first few tracks' slightly r&b feel, the mood switches abruptly, but somehow effortlessly, to 30's era Appalachia with "Katie Cruel," featuring Dalton on banjo and a lonesome fiddle off in the distance. Other highlights include a faithful rendition of the Band's "In a Station" and a glorious take on the country standard "Take Me," made famous by, among others, George Jones and Tammy Wynette.
Unfortunately after the release of this album, Dalton pretty much retired from the music business. Always a staunchly independent artist, she could never be pigeonholed to a specific genre which made her "unmarketable" by music business standards. She passed in 1993 without fully realizing the huge impact she would have on a whole new generation of artists.
Over the course of a nearly two decade career, Will Oldham has released roughly 16 proper full length albums of, I guess we'll call it folk music, under various monikers such as Palace(Brothers, Songs, Music, etc.), Bonnie "Prince " Billy, and even a few under his own name. Add to that countless singles, e.p's, collaborations and live albums not to mention an acting career to boot and it's a wonder the man has had much sleep since 1992. An artist this prolific is usually in danger of being a poor self-editor, releasing songs as soon as they're written with little regard for quality control. This is not the case with Mr. Oldham. Though every song may not be a gem, each release contains a deep mine from which jewels may be extracted if the listener is so inclined. Treat each album as an adventure rather than just something to listen to. That being said, it could prove a daunting task given his extensive output. Provided below is a carefully thought out, but by no means definitive, guide to the wonderful world of Will Oldham.
Palace Brothers - Days In The Wake (1994) Will's second full length is "Brothers" only in name. Just Will's voice and simple guitar on ten musings on love, death and cinematography. Key tracks: "You Will Miss Me When I Burn," "No More Workhorse Blues," "I Am A Cinematographer."
Palace Music - Lost Blues And Other Songs (1997) His first compilation collecting various singles, alternate versions and previously unreleased material. The only place to find some of the early out-of-print singles. Key tracks: "Ohio River Boat Song," "Horses," "West Palm Beach," "Gulf Shores."
Bonnie 'Prince' Billy - I See A Darkness (1999) The first full length under the Bonnie Billy moniker and possibly his most well known work. A somber release to be sure but not without a giant dose of hope. Kudos also to brother Paul, whose stark recording style only adds to the quality of one of Will's best collections. Key tracks: "Death To Everyone," "Madeleine-Mary," "I See A Darkness," "Raining In Darling."
Bonnie 'Prince' Billy - Ease Down The Road (2001) Bonnie Will invites a busload of his musician friends along for a country rockin' good time ride through some of the most disturbing regions of his psyche. Topics include eating babies, marital infidelity, and, as always, a little death. Key tracks: "Careless Love," "A King At Night," "Grand Dark Feeling Of Emptiness," "Rich Wife Full Of Happiness."
Bonnie 'Prince' Billy & Matt Sweeney - Superwolf (2005) The best of Will's many collaborations. Here former Chavez and (ugh) Zwan guitarist Matt Sweeney adds his tunes to Will's lyrics and comes up with a winner. Some of the best layered guitars this side of Physical Graffiti, though it sounds absolutely nothing like Zeppelin. Key tracks: "My Home Is The Sea," "Goat & Ram," "Only Someone Running,"Rudy Foolish."
Memphis, and the music world at large, lost a true original with Wednesday's passing of Alex Chilton. He was 59 years old.
Chilton began his career in the mid-60's as the 16-year-old lead singer of the pop-soul group the Box Tops. The group had a number one hit with "The Letter," as well as several other major chart hits in the late 60's. The group broke up in 1970 and Chilton left Memphis for New York City for a brief period. Upon returning to Memphis in 1971, he hooked up with local musician Chris Bell's group Icewater, featuring bassist Andy Hummel and drummer Jody Stephens, which essentially turned into Big Star. The Chilton-Bell partnership created perhaps one of the greatest American pop albums of all time, #1 Record, which was released in 1972. Critics raved about the album upon its release but due to the usual record industry b.s. the album was poorly promoted and eventually pulled off shelves altogether. This, coupled with fighting among the members, led to Chris Bell's departure in late '72. A few months later the remaining three regrouped and began recording their second record, Radio City. With Bell gone there was an obvious sonic shift, with Chilton's rough around the edges songs taking center stage. Not that there was a total absence of pop sensibility, which Radio City still had in droves, but there was definitely a rawer, more rocking sound. Again, record industry chicanery led to poor sales and more ambivalence among the group, especially Chilton. In late '74 Chilton and Stephens along with producer Jim Dickinson headed back to Memphis' Ardent Studios to begin work on a third album. Although the resulting album, titled Third/Sister Lovers, went unreleased for many years, it might actually be the most complete artistic statement of Chilton's career, albeit a very incomplete kind of completeness. Many of the songs have a dark, druggy feel and were recorded in a style that at the very least can be termed "loose," almost to the point of collapse. The group formally disbanded not long afterward.
Chilton moved to New York in 1977 and continued to play with various musicians and released his first solo album, Like Flies On Sherbert, in 1979. The album mixes Chilton originals with obscure covers, ranging from r&b to the Carter Family. Needless to say the obscure covers and ramshackle performance insured the album went nowhere.
Upon moving to New Orleans in the early 80's, Chilton worked a series of tree-trimming and dishwashing jobs before returning to music full time mid-decade. His solo releases from this period show a musician fully adept in a number of musical styles, with strong singing and guitar playing throughout. In 1993, Chilton and Stephens reformed Big Star, along with Jon Auer and Ken Stringfellow from Big Star disciples the Posies, eventually releasing a new album, In Space, in 2005. In fact, the group was scheduled to play one of the final shows of the South By Southwest music festival in Austin this Saturday.
Arbouretum mainman David Heumann's J. Mascis meets Jerry Garcia guitarwork has shown up on releases by the Anomoanon,Bonnie 'Prince' Billy, Cass McCombs and a host of other less well known indie rock groups. Being a highly sought after session player may be the reason why his own group has only released three full length albums in their seven year existence. While the group's two previous releases, Long Live the Well-Doer and Rites of Uncovering, featured a revolving line up of players, their newest release, Song of the Pearl, has a consistent line up throughout. Absent also are the sprawling instrumental passages that made up large portions of their previous albums. None of Song of the Pearl's eight tracks much exceed the six minute mark, focusing much more on the actual song than extended guitar workouts. Not that they don't still rock out, as evidenced on the track "Infinite Corridors," where Heumann and fellow guitarist Steven Strohmeier duel a la Neil Young and Danny Whitten circa 1969.
Heumann's songwriting shows a strong British folk influence, especially that of Sandy Denny and Fairport Convention. The track "Down By the Fall Line" mixes a haunting, celtic-inspired melody with a thick almost grunge-like musical backing. Elsewhere, the group experiments with a string arrangement on the title track and two drummers on "Thin Dominion." These embellishments never get in the way of the song, however. They only serve to further enhance the atmosphere of each piece.
The album concludes with an opium-paced version of Bob Dylan's "Tomorrow is a Long Time." Though the idea of covering one of the most covered artists of all time may seem suspect, Heumann and co. pull if off with restrained beauty. A perfect ending to a great album.
Check out this video for "Down By the Fall Line" and let me know what you think. Cheers.
Hello friends. Time for another installment of the music that's blessed my ears in the past week.
First up.....
Richard & Linda Thompson -I Want To See The Bright Lights Tonight (Island 1974)--a great mix of bleak musings on life ("The End of the Rainbow") and the need for a good weekend bender (the title track), held together by Richard's arabesque guitar work and wife Linda's beautiful voice. RIYL-late 60's British Folk, existential doubt
Nicolai Dunger - Tranquil Isolation (Overcoat 2003)--an exquisite folk rock masterpiece made by a Swedish ex-footballer? Yup, that's right. Dunger heads to Shelbyville, KY, hooks up with the Oldham clan (Will & Paul) and channels his inner Van Morrison. Perfect for those lazy twilights that seem infinite. RIYL-Moondance-era Van Morrison, Kentucky bourbon.
Palace - Arise, Therefore (Drag City 1996)--continuing the Oldham theme, here we find Will "Bonnie 'Prince' Billy" Oldham researching the darker parameters of the human condition. A stark release, even by his usual standards, but one of his most interesting. The fourth track, whose title is unfit to print, is one of my favorites in his entire oeuvre. RIYL-hmmmm, that's tough. Maybe the darkest, slowest Neil Young times ten without the Neil.
Nina Simone - To Be Free:The Nina Simone Story (Sony 2008)--one of the greatest voices in the history of American music, bar none. Whether it's jazz, blues, folk, pop or other, Nina makes a song her own. Equally at ease with a Gershwin standard ("I Loves You Porgy") as she is with fiery protest ("Mississippi Goddam"). Oh yeah, she's also an AMAZING pianist. RIYL--just get some of her music ok? If you have a pulse and functioning ears you'll love it.
Dinosaur Jr. - You're Living All Over Me (SST 1987)--guitars, guitars, guitars, guitars. But buried underneath all those guitars is some of the best pop music this side of the Atlantic. RIYL--Marshall stacks, fuzz pedals, furry things.
There you have it folks. Another list of essential listening from the vaults of the illuminated Don. Keep on the lookout for fnords.
1. Papa M - Live From A Shark Cage (Drag City 1999)--hands down my favorite bedtime listening. Neither live, nor in a shark cage. Just beautifully layered guitar meanderings and some found sounds.
2. Leonard Cohen - Songs From A Room (Columbia 1969)--although his debut is also good bedtime listening, this starker sophomore effort is ideal for a good night's rest or a rainy afternoon snooze.
3. Brian Eno - Ambient 1: Music for Airports (EG 1978)--like aural Ambien. I don't think i've ever actually heard the second half of this album as after the first 20 minutes i'm fast asleep. Great for long layovers as well.
4. Dirty Three - Whatever You Love, You Are (Touch & Go 2000)--maybe not everyone's cup of warm milk as it can get slightly raucous in parts. Classical violin, layered guitar and ramshackle percussion intertwine as you drift into dreamland.
5. The For Carnation self-titled (Touch & Go 2000)--ya know how you always wanted to go to sleep listening to Spiderland but always woke up in a fright as soon as the loud parts kicked in? Fret no more. Brian McMahan and co ease off the throttle and deliver a spooky, sexy bedtime masterpiece. Not just for sleeping either (wink wink, nudge nudge)
I know there's a lot more great sleepy music out there. That's why you should leave a comment and list some more. And remember, in the words of David Berman, "sleeping is the only love."
--hadn't listened to this one in a while but recently got back into it after watching the Burma documentary Not A Photograph. Good to know they're back together and still putting our great albums. RIYL-Gang of Four, Wire
--after all the recent praise surrounding Smog man Bill Callahan's Sometimes I Wish We Were An Eagle, i decided to go back to the album that got me into the man in the first place. Classic mid-90's indie misanthropy. RIYL-early Leonard Cohen, kittens
--perhaps influenced by my previous selection, pulled out this disc that i've not listened to in some time. Outsider pop with immaculate production. RIYL-sounds that make your earhole feel good
--one of my favorite releases of the last year. Eco black metal from the forests of the Pacific Northwest. Need i say more? RIYL-full moons, winter solstice
What music are you currently grooving/driving/sleeping to? Drop me a comment yo.
In most cases, anniversary reissues of classic albums are just a way for record companies to make money off a product they know will sell while offering nothing new to the consumer. Once in a while, however, a deluxe reissue will come along that is actually worth the price tag. Such is the case with the new 40th anniversary deluxe box set of the Rolling Stones classic live album Get Yer Ya's Ya's Out. Of course you get the original album remastered plus the ubiquitous unreleased tracks as well as a dvd of said bonus tracks with previously unreleased footage shot by Albert and David Maysles. But what really makes this set unique is the third disc, which contains 12 previously unreleased tracks by concert openers B.B. King and Ike & Tina Turner. This disc is almost as good as the Stones' material.
This album has long been heralded as one of the best concert recordings of all time, and, according to late rock critic Lester Bangs, possibly the best Stones album altogether. The versions of "Jumpin' Jack Flash" and "Midnight Rambler" better their studio counterparts by a long shot and their version of "Little Queenie" might even give Chuck Berry's original a run for it's money.
Although the original album was released in September 1970, which would make it a year shy of 40, the concerts themselves were recorded in late November of 1969, during the Stones' first US tour in four years. The tour came to a horrific end just weeks later at the infamous Altamont concert, documented in the film Gimme Shelter. Fortunately the performances contained here give no hint of the shambolic ones to come. And nobody in the audience got killed.
In 1968 the band Moby Grape headed to New York to begin recording their second album Wow. While there the group's guitarist, Skip Spence, attempted to break down the hotel room door of two of his bandmates with an axe, reportedly under the influence of LSD. He was subsequently sent to Bellevue Psychiatric Hospital for six months. Upon his release he purchased a motorcycle with money advanced to him by Columbia Records and, still in his pajamas, headed to Nashville to record his first and only solo album.
That, in a nutshell, is the backstory of Oar. Recorded in just three days in December of 1968 on an old 3-track machine at Columbia's Nashville studios, Oar is quite possibly the purest artistic statement ever released by a major label. Spence wrote the material during his six month stint at Bellevue and plays and sings every single note on the record. Stylistically, the record ranges from the country-folk sounds of "Cripple Creek" and "Weighted Down" to the 9 minute psychedelic drone of "Grey/Afro." The ramshackle quality of the recording reflects Spence's mental state during the period; an aural simulation of the schizophrenic mind. Often music can take us to the edge, but very rarely does it describe the fall.
Oar went virtually unnoticed upon its release in May of 1969 and Spence, apart from a handful of Moby Grape reunions in the 70's, fell even deeper into drug addiction and mental illness. He passed in April of 1999, just days shy of his 53rd birthday. Over the years, Oar has taken on a cult-like status, influencing artists as diverse as Beck and Tom Waits. In fact Beck, along with members of Wilco, recorded a version of Oar this past year which is available on his website.
Forty years after its original release, Oar continues its influence.
Few records of the last 20 years have made such an enormous impact, yet remained so mysterious, as Spiderland, the second and final release by Slint. The band formed in 1987 in Louisville, Kentucky from the ashes of hardcore band Squirrel Bait. The original group consisting of Brian McMahan (guitar/vocals), Britt Walford (drums), David Pajo (guitar) and Ethan Buckler (bass) recorded their debut Tweez in 1987 with legendary engineer Steve Albini. The record featured bizarre arrangements, spoken/yelled vocals, and extreme dynamics and was virtually ignored when released in 1989. The following year the group, with bassist Todd Brashear replacing Buckler, began recording their follow up with producer Brian Paulson. The one word that best sums up the music on Spiderland is spooky. From the black and white cover of the four members' heads floating in an Indiana quarry to the mysterious, otherworldly songs within, the record is unlike anything before or since. It is just as far removed from the members' early 80's hardcore roots as it is from the glam/hair metal popular at the time. The almost jazz-like arrangements and quiet/loud dynamics inspired a whole generation of "post-rock" bands. Beginning with the chiming guitars that introduce "Breadcrumb Trail," it is immediately clear that this is a wholly original music with little outside influence. Strangely enough, Pajo has mentioned that the band had been listening to a lot of Leonard Cohen and old country music around the time of the album's recording, which may account for the somewhat haunting sound of the record. Listen to the closing track "Good Morning Captain" alone in a darkened room and try not to get a little spooked. The band dissolved shortly after the record's release for undisclosed reasons, with members going on to other musical projects such as Papa M, The For Carnation and Palace Brothers. In 2005 McMahan, Pajo and Walford reunited for an eighteen date tour and again in 2007, performing Spiderland in its entirety at the All Tomorrow's Parties and Pitchfork Music festivals. Check out the clip below of "Good Morning, Captain."
According to a variety of news outlets, Aerosmith singer Steven Tyler has apparently quit the group. Upon returning from a recent concert in Abu Dhabi, guitarist Joe Perry learned of Tyler's departure online. He has not spoken directly with the singer as Tyler frequently does not return his phone calls. Comments made by rhythm guitarist Brad Whitford that the group plans to replace the singer have been "taken out of context" according to drummer Joey Kramer. Tyler fell from the stage at a concert in South Dakota in August, injuring his shoulder. A number of concerts were canceled as a result. This isn't the first time members have quit the band. Both Perry and Whitford quit shortly after the release of 1979's Night in the Ruts but re-joined the group in 1984. It remains to be seen whether or not Tyler will do the same. Feel free to comment with any new developments and check out this footage of the infamous fall.
The corporate rock behemoth known as Kiss is back with their first studio album since 1998's Psycho Circus. They're also hitting the road for their Kiss Alive 35 World Tour. The new album Sonic Boom was released October 6th exclusively through Wal-Mart. Reviews thus far have been mostly positive, liking it to their 70's output. I've checked out a few of the clips and while I don't find them to be as good as the older material, it's definitely better than most of the records they've put out in the last 15 or 20 years. That being said, it is full of the same cliched lyrics that have been the group's stock in trade for the last 35 years, i.e. lots of "oh yeahs," adolescent sexual innuendo and whatnot. Not that that's necessarily bad. Kiss has never been known for their thought provoking lyrics. Musically, the album is standard meat and potatoes rock. No fancy time signatures or orchestral overdubs here. It's music made to sound good blaring from an '83 Camaro or shaking the foundation of a 10,000 seat arena. Although original drummer Peter Criss and guitarist Ace Frehley are long gone, their replacements, Eric Singer and Tommy Thayer respectively, more than step up to the plate. Singer/guitarist Paul Stanley, who also produced Sonic Boom, insisted that all four members write and record together, as opposed to the use of outside songwriters and studio musicians. As a result, the new album sounds more cohesive than past releases. Time will only tell if Sonic Boom stands up to classics like Destroyer and Love Gun, but I'm sure Kiss' legions of fans will not be disappointed. Provided below are some clips of the new album. Check it out and let me know what you think.
Forget about the Library of Congress, the greatest collection of American music lies in a basement near Frederick, Maryland. For nearly 60 years Joe Bussard has travelled the backroads and hollers of Appalachia to amass a collection of over 25,000 78 rpm recordings, many of which are among only a handful left in existance. The documentary Desperate Man's Blues tells the story of one man's obsession with preserving what he feels is this country's greatest gift to the world. But don't mistake Joe for just another packrat who obsessively collects every record he comes across. Bussard is a true music lover whose deep passion for the music of the 20's and 30's began at a young age when he first heard the music of Jimmie Rodgers. Ever since then he was hooked. As a teenager in the early 50's he could not stand rock and roll. In Bussard's opinion there has not been anything resembling real music since 1950, when cutting records direct to disc went out the window in favor of the new wave of multi-track recording. So Joe took the next logical step and started his own small, independant label called Fonotone. He recorded mostly old time string band music and country blues featuring himself and his musician friends. A young John Fahey made his first recordings at Joe's makeshift, basement studio.
Some may find Bussard's opinion of all post 1950 music as garbage to be a little close-minded but I don't find that to be the case at all. He is just passionate about an era that has influenced every subsequent generation of music but was almost lost forever due to record company neglect and the changing tastes of the times. If not for Joe and a few other of his ilk, an entire chapter in American culture would become extinct.
Originally released in February 1973, Raw Power was the third, final and most brutal record by legendary Detroit rockers the 
2 comments
The late 
Over the course of a nearly two decade career, 
Palace Brothers - Days In The Wake
Palace Music - Lost Blues And Other Songs
Bonnie 'Prince' Billy - I See A Darkness
Bonnie 'Prince' Billy - Ease Down The Road
Bonnie 'Prince' Billy & Matt Sweeney - Superwolf
Memphis, and the music world at large, lost a true original with Wednesday's passing of 
Nicolai Dunger
