Garland Jeffreys says, “Wild in the Streets is my pride and joy. I consider it my “first” Rock ‘n’ Roll record, written and released in 1973, and recorded with Dr. John and his band, with Alan Freedman, Michael Brecker, David Sanborn, David Spinozza, David Peel, Produced by Roy Cicala.”
Some test pattern music from me today because outbursts such as the one below are a common occurrence at my pad. So why not share? In this case I was testing the new Logic update (and yes, it was right after blasting “Dok” by Oval* whilst doing the dishes). It’s also a test to see if I can get away with this kind of tomfoolery around here, ha! In any case, it’s a long dreamy piece. Maybe even relaxing in an odd sort of way ?
The legendary Fred Frith, he of the iconoclastic Henry Cow/ Art Bears/ Slapp Happy axis has since 1974 also had a sideline as a solo guitar manipulator. It’s not enough that he can play anybody under the table in any trad style you can mention. No, Fred brings a massive battery of extended techniques, each more personal and unlikely than the last. Below is a nice little clip which hints at a vocabulary scarcely touched upon by any other guitarists before or since. Long may he mangle.
bonus cut from the “Guitar Solos” LP (1974) “Out Of Their Heads (On Locoweed)”
In his Los Angeles live solo debut, goth legend Steven Severin (he of Siouxsie and the Banshees fame) will be appearing at the Cinefamily/Silent Movie Theater for two evenings, adding moody live scores to several surrealist silent shorts (including Germaine Dulac’s “The Seashell and the Clergyman,” a collaboration with Antonin Artaud). The second night will see Severin premiering a “trance-inducing” new score for Jean Cocteau’s 1930 film “Blood Of A Poet.”
Jan. 13-14, $15 on Jan. 13; $17 on Jan. 14; 8 p.m., Cinefamily at Silent Movie Theater, 611 N Fairfax Ave., Los Angeles; (323) 655-2510
Here’s a wonderful half hour of high-quality footage from one of the greatest bands of the last decade: the mighty Deerhoof. Compiled from a few shows at Northsix in Brooklyn circa ‘04-‘05, it’s a sweaty good time for all. Greg Saunier has to be the most riveting drummer since Keith Moon and the dual guitar workouts are right up there with Beefheart, Television and uh, Bubble Puppy !
Since Michael Jackson and the Beatles are, respectively, the best and third best-selling artists of the decade (with music that wasn’t even recorded this millennium in Jackson’s case and that is four decades old in the case of the Fab Four) the record industry seems to have realized that (Taylor Swift aside) most people actually want good music rather than bland, marketing department driven ditties. Or is that the reason? Of course there is also the old music biz adage that “the only good artist is a dead artist” (lookit Elvis, for f’s sake, to say nothing of Tupac and Biggie Smalls). There’s big money in death, it’s a great career move (although one difficult to enjoy), so it comes as no real surprise that the Jimi Hendrix estate announced today that they’d be releasing a 40 year old bunch of recording Jimi made with Billy Cox and others back in ‘69, called Valleys of Neptune. There has been a fair amount of posthumous Hendrix material ranging from great to not so great. Who knows, this Band Of Gypsys era material seems like it may actually be pretty good.
South African native Eddie Kramer was the lead producer on the album, and he was also the engineer in the studio with Hendrix during the original sessions. Kramer spent months using vintage analog approaches and the latest digital tools to excavate the material. “I felt like an archaeologist using a brush who finds, underneath the dust, this marvelous gold artifact,” he said.
Kramer said the music of “Neptune” comes primarily from 1969, a time of “both frustration and real excitement” for Hendrix as he pushed his way toward “a new direction.” The guitarist had brought in an old friend, bassist Billy Cox, to play on some of the tracks; on Friday, Cox, now living in Nashville, said he is giddy at the prospect of hearing the results of his work with Hendrix.
“I can tell you that Jimi was on his way to a powerful new thing, a new direction completely, he was going back to his roots and he wanted a sound with more soul,” said Cox, later in Hendrix’s Band of Gypsys. “Who can say where it would have led him if he hadn’t died?”
Superb Beyonce cover by Antony and the Johnsons. Astonishing how Antony can take a song like this and quite simply stated, make it beautiful. Video directed by Joie Iacono with footage of Pink Lady by James Elaine.