CD Collecting Is Next To Godliness….

I thought I would take a break from the usual blogging about semi-obscure artists and their recordings to tell you a little more about The Nerd, which is me. Specifically, how I go about CD scavanging and getting these wonderful CDs I write about.

First off, let’s be honest – like any person who “collects” things, sometimes I feel like my penchant for hunting CDs is actually a sickness or, maybe more accurately, a compulsion I cannot help. I have sometimes decided to buy CDs instead of pay a bill. Thankfully, these occasions are rare and usually I can control my spending, buying just enough to satisfy my herculean thirst for cool music without jeopardizing things like my home.

When I was a teenager and just starting to become obsessed with music, the way I would usually hunt down new albums was to start at the writer’s credits of the songs on the albums. For example, one of my favorite bands is the Rolling Stones. In checking out their records I would invariably find some songs written by a C. Berry or McKinley Morganfield. Well, most music fans would recognize these names as aliases of Chuck Berry and Muddy Waters. Once I figured these things out I would start by searching down those artists’ records and learning about them and their influences. I did that for just about every album I acquired, artists leading me to more artists, expanding my musical tastes as I went. I don’t collect much that way anymore, but I am still a compulsive liner note reader, as I believe most music freaks are. I am always scouring for more names, whether they be contemporaries or influences – anything to give me another lead to find music I might like.

Of course, collecting music can be much simpler than the way I do it. A music fan could just be interested in a certain artist and be determined to track down every release, whether it be import, domestic, single or album. Or, like some collectors I know, a person could just be fanactical about a certain genre, say metal, and be determined to seek out the very best stuff, no matter how obscure or rare.

I have noticed these days it’s getting easier and easier to find stuff you had to really search for years ago. Thanks to the Internet, the world is pretty much just an email or website away. Personally, unlike most collectors and music buyers, I don’t really use the Internet to find music I am looking for. I have always felt it was too easy. I take what I like to call a “zen” approach to finding music. I believe the music I am “supposed” to find is out there just waiting for me to get in the right store and find it. Being a music nut, I have a huge want list comprising many artists, genres, and traits. But when I go somewhere to search for music, be it flea market, garage sale, used CD store, thrift store, whatever – I am not trying to find anything overly specific. What I am looking for is for something to “jump out” at me and almost “command” me to buy it. It doesn’t have to be on my want list or anything, it just has to be something I think is going to be cooler than anything else I might find that day. Do I always have to leave a store having bought something? Not always, but I usually do. Any decent size store in my area (Charlotte, NC)- Manifest, CD Warehouse, Record Exchange, what have you – is going to have something I want, new or used, whatever.

I have found Charlotte, where I’ve lived for the past 11 years, to be a haven for music collecting. While only medium-sized, it is on the grow (damn, I should work for the city) and people moving here bring their CDs with them, only to trade them in when they buy an Ipod or if money gets tight. More people means better selection and I have found many rare items (especially Blue Note jazz)over the past few years I don’t think I would have found if not for the constant influx of new people.

Now, I have went to Atlanta several times and have tried to do some CD shopping at Little Five Points (I believe that’s what the area is called) and have found absolutely nothing each time I went. Maybe it’s not all about population – maybe Charlotte has something other places don’t, I don’t know.

So, is my music collecting jones sickness or passion? Often, I have no idea. What I do know is this – if you look hard enough in the music shops in Charlotte on any given weekend, you will find someone who looks just like me quickly flipping through the CD stacks looking for some sort of musical Holy Grail.

Just remember – if you find something cool for yourself in the stacks – I was there first and it wasn’t cool enough for me.

The Music Nerd Knows……

I Love A Good Organ

The title of this piece grabbed you, huh? Before you go and call the FCC or whoever controls that kind of stuff, I just want you to know I am talking about the musical kind of organ, specifically the Hammond B-3. Though I really dig the distinctive Hammond sound no matter who is playing, my favorite organist is Jimmy Smith.

Like most of the classic organists, Smith started his musical career by playing piano before moving to the Hammond, studying the piano at several prestigious music schools. Once Smith heard the organ, however, it was love at first listen (I would think he probably heard some great Fats Waller organ stuff) and he rarely deviated from the organ from 1951 or so onward.

In a mere five years, Smith had begun making classic albums for Blue Note – 1960’s Back at the Chicken Shack and The Sermon, released in 1958, being just two of them. Then, after leaving Blue Note in 1963 and jumping to Verve, he made yet another round of classic albums between 1963-1972. What made his records special was Smith’s fusion of his influences. And, no, I am not talking about jazz fusion – which I absolutely detest. I am talking about Smith’s fusion of gospel music and blues into a brand of music you can’t help but smile and tap your feet along with while listening.

While the two albums above are great examples of what Jimmy Smith does when he is at his best, you can pick up any album he made between 1958 and 1974 and be completely awed by the quality of the music. Disco and the wane of funk-jazz did him in for much of the ’70’s and ’80’s, but Smith always toured and re-gained a lot of his success when Europeans stumbled across acid-jazz in the late ’80’s. Before his death last year, Smith had rightfully become a legend and put out a string of great CDs in the ’90’s reminding us age has nothing to do with the decline of creativity. Take that, Paul McCartney!

You can always tell a Jimmy Smith record from the masterful bass-lines and chordal accompaniment – not to mention the thrilling solos – which just about alter your body, turning it into nothing more than an adjunct of Smith’s organ. How else can you explain the reason I have to start dancing, jitterbugging, and jiving whenever I listen to Smith’s music? And that just happens when I listen to his ballads! The uptempo stuff makes me move around like I’m on crack!

There are other great orgainists as well: Jimmy McGriff, Big John Patton, Larry Young, Joey DeFrancesco – and the list goes on – but all pay tribute to Smith whenever they turn their organs on.

If you are a jazz or funk fan and want to hear some of the best music of your life, please check out Jimmy Smith if you haven’t already done so. All the classics are out there, most still in print, and really anything you pick up with Smith’s name on it is going to be great.

Do you love your organ?

The Music Nerd knows…….

Radios Appear on Wilshire Boulevard

Tickets are on sale now for the debut U.S. date for Radio Birdman, August 30. I never dared expect that my favorite band, and subject of the first music feature I ever wrote, would be kicking off their American tour at the art deco Wiltern in my home town of L.A., but it’s true. Tix are $25, and the BellRays open. See you there?

How Can The Killer Save Souls?

   Where:  Sun Record Company,                                                                                   706 Union Avenue, Memphis, Tennessee
                                                When:  October, 1957
                                                Why:  recording “Great Balls Of Fire”
Who:  Jerry Lee Lewis  (pumping piano)
           Sam C. Phillips  (producer extraordinaire)
           J. W. Brown  (bass, Jerry Lee’s father-in-law)
           Billy Lee Riley  (guitar)         
           J. M. Van Eaton  (drums)

Jerry Lee LewisH-E-L-L.
Sam C. Phillips
I don’t believe it.
J. W. Brown
Great Godamighty, great balls of fire!
Billy Lee Riley
THAT’S RIGHT!
JLL
That’s it, that’s it.  That’s it!
SCP
I don’t believe it.
JLL
It says, it says MAKE MERRY with the joy of God, only!  But when it comes to worldly music, rock ‘n’ roll –
BLR
ROCK IT OUT!   
JLL
— anything like that, you have done brought yourself into the world, and you’re in the world, and you hadn’t come from out of the world, and you’re still a sinner.  You’re a sinner – and unless you be saved — and borned againand be made as a little child and walk before God — and be holy, and brother, I mean you got to be so pure!  And no sin shall enter there:  No sin!  For it says, no sin!  It don’t say just a little bit, it says, NO SIN SHALL ENTER THERE — brother, not one little bit!  You got to walk and talk with God to go to Heaven.  You’ve got to be so good.
BLR
Hallelujah!
SCP
All right.  
BLR
You’re right.  
SCP
Now look, Jerry.  Religious conviction doesn’t mean anything resembling extremism.  All right.  You mean to tell me that you’re gonna take the Bible, that you’re gonna take God’s word, and that you’re gonna revolutionize the whole universe?  Now listen!  Jesus Christ was sent here by God Almighty.  
JLL
Right.
SCP
Did He convict, did He save, all of the people in the world?
JLL
No, but he tried to.
SCP
He sure did.  NOW, WAIT JUST A MINUTE.  Jesus Christ came into this world.  He tolerated man.  He didn’t preach from one pulpit.  He went around, and did good.
JLL
That’s right!  He preached everywhere!
SCP
Everywhere!
JLL
He preached on land!
SCP
Everywhere!  That’s right!  That’s right!
JLL
He preached on the water!
SCP
That’s right, that’s exactly right!  Now –
JLL
And then He done everything!  He healed!
SCP
Now, now – here’s — here’s the difference
JLL
Are you followin’ those that heal?  Like Jesus Christ did?
SCP
What do you mean, I, I, what –
JLL
Well, it’s happening every day!  
SCP
What do you mean?
JLL
The blind had eyes opened.  
SCP
Jerry
JLL
The lame are made to walk.
SCP
Jesus Christ —
JLL
The crippled are made to walk.
SCP
Jesus Christ, in my opinion, is just as real today
J. M. Van Eaton
Let’s cut it.
SCP
— as He was when He came into this world.
JLL
Right, right, you’re so right you don’t know what you’re sayin’.
SCP
Now, then!  I will say, I will say more so
JMV
It’s very commercial…
BLR
Let’s cut it.
SCP
You see, you see –
JVE
We’ll cut it ourselves!
SCP
No, we’ll be with you in a minute.  
JWB
It’ll sell.  It’s very commercial.    
SCP
But look.  Now, listen.  I’m tellin’ you outta my heart.  And I have studied the Bible, a little bit –
JLL
Well, I have too.
SCP
And I have studied it through and through and through and through and Jerry, Jerry, when you, listen, when you think that you can’t, can’t do good, if you’re a rock ‘n’ roll exponent
JLL
You can do good, Mr. Phillips, don’t get me wrong –
SCP
Now wait a minute, wait a minute, now when I say do good –
JLL
YOU CAN HAVE A KIND HEART!
SCP
I don’t mean, I don’t mean just –
JLL
You can help people!
SCP
YOU CAN SAVE SOULS!
JLL
No – NO!  No, no!
SCP
Yes!
JLL
How can the, how can the Devil save souls?  What are you talkin’ about?
SCP
Listen, listen –
JLL
Man, I got the Devil in me!  If I didn’t have I’d be a Christian!
SCP
Well, you may have him –
JLL
JESUS!  Heal this man!  He cast the Devil out, the Devil says, Where can I go?  He says, Can I go into this swine?  He says, Yeah, go into him.  Didn’t he go into him?
SCP
Jerry.  The point I’m tryin’ to make is – if you believe what you’re sayin’ —  you got no alternative whatsoever – out of – LISTEN! – out of –
JLL
Mr. Phillips!  I don’t care, it ain’t what you believe, it’s what’s written in the Bible!
SCP
Well, wait a minute, what you believe
JLL
It’s what’s there, Mr. Phillips.
SCP
No, no.
JLL
It ain’t what you believe, it’s just what I —
SCP
No, by gosh, if it’s not what you believe, then how do you interpret the Bible!
BLR
Man alive –
SCP
Huh?  How do you interpret the Bible if it’s not what you believe?!!

 

For the answer to these and so many other musical questions of the ages,  
where can you turn but to Time-Life Music’s utterly essential new triple-disc Jerry Lee Lewis: A Half Century Of Hits, available wherever real rock ‘n’ roll is still sold.

It’s Gotta Have A Hooks

As I sit here still suffering from computer woes, I have to tell you about a great little CD I heard a few weeks ago by the young soul artist Ellis Hooks.

It’s called Godson of Soul and it came out on the Evidence label last year. I ran into it a few weeks ago during one of my frequent record store CD hunting expeditions and it quickly became one of my favorite CDs.

Hooks is a relatively young (late 20s) Southern born gentleman who has the uncanny ability to channel Sam Cooke and Al Green whenever he wants to. That’s right: he plays vintage soul of the highest order but does it in-the-now, baby. This ain’t old sessions from an unknown found and released – this is the freshy fresh done with the old school flava!

Old rock hand and (I am sure) friend of co-blogger Gary Pig Gold (yes, Gary – Intercourse is what I am talking about – the album, that is!) Jon Tiven and his wife Sally have produced all of Hooks’ albums including this one and done an excellent job of capturing the old Stax and Hi Records’ sounds. Tiven himself is worth a few columns and his soul tributes on Razor and Tie featuring Gary Pig (among many others) paying props to Don Covay and Arthur Alexander are delightful.

But Hooks is what I am writing about today. By the way, search out his other three records. Most are on Evidence but I believe his debut from 1993 is out only as an import. I have searched them out in the past few weeks and they are all equally great.

To see a new artist go after the old sound and be unashamed about it is refreshing and wonderful as hell. Artists like Hooks and Joss Stone are giving me faith in the music business again. A bonus with Hooks is he can write some hellacious lyrics and with his good looks and talents there is no reason he shouldn’t be able to put the puzzle together and hit it really, really big. I believe he just needs an “in” right now – to do some work or a duet with some established artist on a “big” album. He could do it on his own, but let’s face it – he’s fighting all of the scum in the music business.

If you are a fan of old soul like Green and Cooke and would like to hear what they did done on a contemporary level without all of the Michael McDonald/Taylor Hicks/Michael Bolton cheesiness, check out Ellis Hooks – you won’t be sorry.

The Music Nerd Knows……..

Rebecca and the Sunnybrook Farmers

There are many odd things about the sole release from Rebecca and the Sunnybrook Farmers. First of all, the album was recorded in one weekend. The band drove up to New York from their hometown of Pittsburgh, recorded the album, and went home. Secondly, the album’s label, Musicor Records, was primarily a country label. The only other hippie band on the label was the equally obscure Tingling Mothers Circus. Third, the bluegrass sounding band name; while hippies often DO have farms (especially indoor ones), the band name is hardly an indicator of the freakiness present on the album. And that’s just the beginning: there are two Ilenes in the band (although one is really Lauren Wood), no one is actually named Rebecca, there is a violin player, and the band is nearly eclectic to a fault. And yet, the album holds together under the weight of all this strangeness, managing to deliver a solid set of songs that are enthsuiastically and imaginatively played.

Side One is especially strong. “Two Blind Sisters” is a beautiful, baroque tearjerker, “Endless Trip” is a nice slice of West Coast pop, and “David and Sally” fairly represents the band’s kooky, old-world side. Side two veers away from pop, with only slightly less success. “Better Dead than Red” starts off innocuously enough in a reflective, soft-psych mode, only to explode into a barrage of gunfire sound effects, whistles, and cacophonous drumming.

If you can track down a copy, I highly recommended this album, especially the songs composed and sung by Lauren Wood, a gifted songwriter who still plays to this day.

French sunshine pop & continental bubblegum

Hi

I’m working on a new book for the french publisher, Les cahiers du rock-
So for the first time i think i’ll write about French bubblegum & sunshine pop-
I will write about US & UK bubblegum & sunshine pop too- Keep in mind that no such book was published in France on that topic, so i will be the first-
What i would like is your help for this book!! So if you can find me great info & tips i’ll send you copies of the book & put you on the credits-
I’m working on a comp too-
More news soon-
Please contact me:
d-luxe@wanadoo.fr

Get The Hinton

I sit here today on a friend’s computer a sad, broken man after the remnants of a thunderstorm totally fried mine this past Sunday. I have pretty much lost everything I have ever written, that is to say, the originals, how they were before all the evil editors I have worked with in the past tried to ruin them, destroy my thoughts and ideas. I still have the print copies, expurgated and diluted as they tend to be. It is not enough.

It is in times like this when I turn to some pretty deep music to try to erase the evil thoughts in my mind. The ones telling me to kill.

Once again I turn to Eddie Hinton.

The last, and really, only great white hope of deep soul music, Hinton wrote songs like Dan Penn, sang them like Otis Redding and played guitar like Steve Cropper. Only better. He spent a lot of time in the big recording studios in the deep South when the soul music boom of the late ’60’s/early ’70’s was at it’s peak. He played and wrote songs for artists like Percy Sledge, Johnny Taylor, Aretha Franklin, Sam and Dave, the Staple Singers and the list goes on and on. All this was just the start, though. It is where he shaped his sound and honed his craft.

All for one reason: to strike out on his own. He got his chance around 1977 or so. The original Capricorn label wanted an album from him and he was only too eager to deliver. He poured his heart and soul, his sweat and tears, everything he had into the album and it was released. And it was fucking great. Sadly, the label started experiencing legal woes around the same time and the album trickled out to almost no response whatsoever.

It broke him. Shattered his mind to the point he was a mere shell of himself. Another band followed and some recording time but soon he was homeless. A friend found him, luckily, and helped him regain a measure of himself and also helped him put out some records for Rounder Records’ subsidiary Bullseye. While decent, these albums are scattershot – his vocals worn and ragged and his songs mere sketches. His guitar playing remained genius, pouring out of what was left of his shattered soul.

He managed two albums before he found peace in 1995. What we have left are rare albums that are the hopy grail of soul music. I implore you to find anything with his name on it and study it. Inside those grooves are the soul of a man who could do anything before the music business ripped his life from him and left him a limp husk.

Keep an eye out for an exceptionally good 3 CD series of songwriting demos put out by Zane records of Austrailia. Google them and buy those CDs. Both works-in-progress and finished songs are featured and the CDs are riveting. Also find Hard Luck Guy which was released in 1997 on the revived Capricorn label. Twenty years after screwing him and two years after his death, the label released what may actually be his best album – comprised of what he was working on before his death, it is a bittersweet listen – he seemed to have located his genius and was on the verge of putting it all back together.

Listen to these albums before you sign that record deal. And anytime you just don’t feel good about what’s going on. They are classic cry in your beer albums from an artist who could have been a legend many times over. Part of me hopes you never get sad enough to appreciate them.

The Music Nerd Knows……

DVD Review; The Willowz – seeinsquares

I have had a DVD in my possession & the best of intentions of writing about it. You know how it is with life and laziness beating you down daily. Well, that is hardly a good excuse, so let’s just get on with it.

We all like music, right? I mean you don’t come here for updates on my 1 year old daughter’s newest, cutest trick. (Let me know if you want to hear about them, because I can provide stories in Technicolor detail). I love music. I have come to a point in my life where my favorite songs are made by some of my favorite people. That is living a rich life, friends. Sometimes the music is slicked up, shiny, major-label fare, but mostly it is folks doing what they love and throwing it out there into the world and seeing if anyone claps. Now, I am not one of those lo-fi DIY religious fundamentalist that can’t look past the spinning reel-to-reel machine to see the virtues of Pro-Tools and a good promoter, but there is something to be said for just getting stuff done without hemming & hawing over obstacles, monetary or otherwise.

I am in awe of prolific artists who are always 3 projects ahead of themselves, filled with so much creative energy that each work is thrown out there not so much for the awaiting masses, but because they must move on to the next thing or else he or she might explode from within. If you fly under the radar, it seems much easier to purge your creative inventory without hindrance. I have heard plenty of stories of records being held back for a "season" or a timed release or having to wait in the queue for a fellow label mate to have their moment to shine. It is frustrating and ultimately stifling for a work-horse artist to sit it out in the stable of label-limbo. So when you get your hands on evidence of a band cranking not only quantity, but quality you must take pause and tip your hat.

Admittedly, I had not heard of The Willowz until I got the DVD in my hands. Judging by their myspace page I am about 31,363 people behind. No matter…I can’t keep up with it all, man. What am I, Pitchfork? Any way, this is probably for the best because I had no idea what this band sounded like, looked like or even that they are from Anaheim.  All I knew was that Michel Gondry directed one of the bands videos and used 2 songs in Eternal Sunshine for the Spotless Mind. That is a pretty good endorsement.

The Willowz released a record last year called "Talk in Circles" that apparently was a hit, making it onto Rolling Stone’s best 50 albums of 2005 list. Ok, that is cool, I don’t get Rolling Stone any more, well I do, but they still show up at my parents house in Birmingham, Alabama and I can’t make them stop (for perspective I haven’t lived there since the first Clinton Administration, so that is a whole other story). Recorded in the bassist’s brother’s garage, the record is a sprawling, 20-tracked opus that jumps around genres with ease, but always remains energized and focused. A regular band would be pleased, maybe move onto to make a few video promos for the singles. They are on the smaller, but notable label Sympathy for the Record Industry, so I suspect the money hose is not drenching these kids. Oh yeah, they are all barely drinking age. Trust me, I did my research – all of this is old news, especially if you are from Orange County – I am not.

Well, you can’t stop art. The band has, somehow, managed to wrangle some of the video art-worlds hottest directors and on a thread of a budget, released a companion DVD to "Talking in Circles" called, cleverly, "seeinginsquares." Yes, all 20 tracks get 20 videos…and if I’m lyin, I’m dyin, not a single one is filler. The smart move was getting a different director/directing team for each cut and giving them, I don’t know, $100 to make a video (well not really, but it wasn’t much). The results are some of the best examples of low budget visual trickery you will find.

The first track, “Ulcer Soul” is a prime example of the “how-they-do-that” treatment. Director Ace Norton (who I think is like 12 or something…maybe early 20s) delivers the band in what appears to be their natural habitat, a practice space in some split-level in the suburbs, playing the song while suspended in air, like the pause button is stuck…I can’t even begin to explain it, think time lapse times 100. I read in the additional materials on the DVD (thankfully all directors have a bio and a bit of info about their respective projects) that the band had to jump in the air some 200 times to create the effect. Work-ethic? Yes, it seems so.

That is what I loved most about the DVD as a whole; the band seemed to really take an active part in creating the magic. Watching almost 2 hours of videos featuring the same band can be daunting, and often exhausting. I mean you really have to love a band to sit through every minute and I bet you a dollar you hit the skip button at least once. I have to say I didn’t do it; I sat down and watched the entire DVD without touching the remote. It was almost, and I swear I mean this as the highest of compliments, like watching an extended episode of the Monkees. The Willowz are such a unique looking band, that you will never mistake them for any other out there: Richie, the guitarist/singer/what appears to be ring-leader, is going to get the leading role in the future bio-pic about J Mascis, Alex is preparing for his role as the next fair-skinned baddie in Lethal Weapon 5 and Jessica, well she is the prom queen of 1972 that all the A/V club geeks wanted to date. They are all funny and charismatic alone and tear it up as a collective band. And again, none of them are any where near 25 years of age.

I could go into all of the infamous dirt on these guys, but why bother…you can read plenty of that stuff with a simple google search. Get the DVD and enjoy.

Medium Image

John Cale, Hackamore Brick… and the LITG reissues keep on coming

Just pulling your sleeve to a couple of Lost in the Grooves-featured albums newly available on shiny silver disk.

Most prominently, John Cale’s eleganza classic Paris 1919 gets the expando reissue treatment with alternate arrangements and one outtake.

And a bootleg of the late-Velvetsy Hackamore Brick album is floating around, available from most of the usual specialty mail order sources.