Friday, July 22, 2016

Closed Due to Shvitzing



It's to damned hot to sit in front of my computer.

Regular, non-weather related postings resume on Monday.

Have a great weekend, everybody.

Thursday, July 21, 2016

Your Thursday Moment of Why Didn't I Get the Memo?

From the Letterman show in 2007, please enjoy singer/songwriter Elvis Perkins and an insinuating tune from his debut album "While You Were Sleeping."



I was unaware of this guy until the other day, and you could have knocked me over with a feather when I learned he was the son of...this guy.


In all seriousness, in retrospect I can see the resemblance (although I think Elvis looks more like Robbie Robertson than Norman Bates).

The vocal quality is kinda like his dad, though. In any case, I like what I've heard of his music so far.

Wednesday, July 20, 2016

The Kids Are Alright

In this case, the teenage kids of an old friend and bandmate of mine.

From The Guardian UK, yesterday:


The background: One thing is certain: Lemon Twigs are going to divide opinion. This is, perhaps, a strange thing to say about a band who base a lot of their shtick on two of the biggest groups in pop music history – the Beatles and the Beach Boys – around whom there is unparalleled critical consensus. Nevertheless, there will be some who consider their reference-rich songs to genuflect too closely to the old masters. Others will simply recoil at their very presence, fearing them to be a hipster contrivance, too good to be true, cynically assembled by an evil record company eager to plug a gap in the market. Look at that image of the main members – Brian and Michael D’Addario – accompanying this article: they could be out of the Partridge Family as envisioned by Harmony Korine.

The D’Addario brothers are, respectively, 19 and 17 years old, and they’re astonishingly good at what they do. Talented, for sure. It’s obviously in their DNA: their dad, Ronnie D’Addario, was an all-playing and producing wunderkind of the Emitt Rhodes type who released a few albums of post-Beatles pop in the late-70s. The pair handle all instrumental chores on their forthcoming 4AD debut album, enlisting a little help from two friends when they play live (their first UK gig will be on 19 August at London’s Sebright Arms). Brian plays guitar, bass, drums, keyboards, horns and strings – he owns a trumpet, a violin and a cello and is a fan of the overdub. Michael has “merely” mastered “the basic band instruments” (guitar, bass, keys, drums). “Brian was really good at instruments from a young age,” Michael said. “I didn’t learn any instruments apart from drums till I was 13. Brian had already learned to play bass and drums when he was in elementary school.”

You can read the entire piece over at the Guardian website HERE.

And please enjoy two of the songs from the aforementioned debut album.



I should add that, apart from being annoyingly talented, they're also really, really nice kids. I should also add that if their dad's name sounds familiar, one reason may be that he sang the McCartney-esque backup vocals on The Floor Models' "Letter from Liverpool."

Tuesday, July 19, 2016

And This Just In (From Somewhere in Cleveland)

Apparently, this guy has at least one redeeming quality.



In related news, CD Baby informs me that Amazon, iTunes, Spotify and the rest of the usual suspects will be featuring Letter From Liverpool any minute now. By which they mean it could take as long as a week. In the meantime, if you are moved to purchase the EP in digital form (physical CDs will be available beginning August 1) you can do so HERE.

Monday, July 18, 2016

Your Monday Moment of Words Fail Me

Today we are an EP.


And even more amazingly -- a video.



This has been over a year in the making, and apart from the fact that I'm insanely proud of it, I would just like to thank everybody involved in getting it together. That includes ace engineer Brent McLachlan, my drummer and musical director for the last 50 years Glen "Bob" Allen, special guest Flo Mos J.D. Goldberg and Ronnie D'Addario, and singer, co-writer (with the late great Andy Pasternack -- that's him, sampled, on the Rickenbacker at the end of the song) and long-time bandmate Gerry Devine.

If you're moved to purchase the entire thing, for the moment it can be downloaded at CD Baby HERE; Amazon, Spotify, iTunes and the rest of the usual suspects will have it shortly. Physical CDs will be available by August 1.

Now you'll have to excuse me -- I'm getting verklempt.

Friday, July 15, 2016

Sound Effects

My hero Roger McGuinn turned 74 this Wednesday.


If I had to pick the one musician in my lifetime who's meant the most to me, it's him. And for a very simple reason: Because a Rickenbacker 12-string, well-played, is in my opinion the most beautifully occurring sound in nature.

Here's the definitive stereo mix of The Byrds' epochal "Mr. Tambourine Man" to illustrate what I mean.



And (via Wiki) here's Roger on the genesis of that sound.

While "tracking" The Byrds' first single, "Mr. Tambourine Man", at Columbia studios, McGuinn discovered an important component of his style. "The 'Ric' by itself is kind of thuddy," he notes. "It doesn't ring. But if you add a compressor, you get that long sustain. To be honest, I found this by accident. The engineer, Ray Gerhardt, would run compressors on everything to protect his precious equipment from loud rock and roll. He compressed the heck out of my 12-string, and it sounded so great we decided to use two tube compressors [likely Teletronix LA-2As] in series, and then go directly into the board. That's how I got my 'jingle-jangle' tone. It's really squashed down, but it jumps out from the radio. With compression, I found I could hold a note for three or four seconds, and sound more like a wind instrument. Later, this led me to emulate John Coltrane's saxophone on "Eight Miles High". Without compression, I couldn't have sustained the riff's first note."

"I practiced eight hours a day on that 'Ric,'" he continues, "I really worked it. In those days, acoustic 12s had wide necks and thick strings that were spaced pretty far apart, so they were hard to play. But the Rick's slim neck and low action let me explore jazz and blues scales up and down the fretboard, and incorporate more hammer-ons and pull-offs into my solos. I also translated some of my banjo picking techniques to the 12-string. By combining a flat pick with metal finger picks on my middle and ring fingers, I discovered I could instantly switch from fast single-note runs to banjo rolls and get the best of both worlds."

Happy birthday, Rog, and many many more.

Have a great weekend, everybody.

Thursday, July 14, 2016

That Was the Year That Was

From the just released -- on the wonderfully monikered Team Mensch label -- album Guilt By Association Volume 4: 1966, please enjoy the incredibly great Mike Viola (yes, the guy who sang lead on "That Thing You Do") and his truly remarkable cover of Dusty Springfield's hit "You Don't Have to Say You Love Me."




As you may have guessed, the album itself consists of covers of songs originally released in that seminal pop music year, and like most tribute albums it's, shall we say, inconsistent. On the basis of the Viola track, however, I think we're going to have to face up to the fact that the guy is one of the best singers alive and deserves to be a household name.

The album doesn't seem to be available via Amazon yet, but you can find out more about Team Mensch over HERE.

You're welcome.

Wednesday, July 13, 2016

Closed for Monkey Business


It's too damn hot to work.

Never fear -- regular tanned, rested and ready postings resume on the morrow.

Monday, July 11, 2016

Who Wants to Be a Patron of the Arts?

So Creem (aka America's Only Rock 'n' Roll Magazine -- and yes, it really was) is finally getting the documentary film it deserves.


Here's a little promo clip that's part of the Kickstarter project to fund the doc. Act now!



I'm proud to have had a couple of reviews published in Creem at its peak, and I actually auditioned -- unsuccessfully, alas -- for the guitar slot in Creem's resident genius Lester Bangs's band. (For what it's worth, I did teach them the right chords to the Velvets Undergound's "Femme Fatale," for which I am justifiably proud even now.)

And as you can see, I also gave Creem a lot of free promo back in the day. (Don't worry -- I'm no longer as cute as I was then, so there's no chance I'll be in the movie.)


Nevertheless, this is a film that really, really needs to be made, and I urge you to send them some coin at the link HERE. I know I will.