Crosby & Nash - Live at the BBC 1970

The early 1970s BBC series In Concert featured some of the greatest performers of the folk rock / singer-songwriter era, including Joni Mitchell, Carole King, James Taylor, Cat Stevens and Neil Young in front of intimate crowds at the old BBC Television Centre in London. In the case of each of the artists featured, the BBC sets are probably the very best records we have of these performers in their youthful prime. This is almost certainly the case with this gorgeous Crosby & Nash performance. It’s a stunner.
After the success of their monstrously popular Déjà Vu album, Crosby, Stills, Nash & Young,”the American Beatles” as they were often called (never mind that one was a Brit and another Canadian) broke up in the summer of 1970, with all four members of CSNY recording solo albums. Crosby’s If I Could Only Remember My Name and Nash’s Songs for Beginners appeared the following year. In the fall of 1970, the two toured as an acoustic duo previewing tunes from their upcoming albums and singing fan favorites.
The BBC set begins with Nash at the piano, pouring out his pain over the break-up of his relationship with Joni Mitchell in “Simple Man,” one of the loveliest, saddest songs in his canon. As you’d expect of a performance of this vintage–before cocaine wrecked their voices, I mean–the harmonies are glorious. There is pure eargasmic pleasure to be had here, I promise you. The inclusion of one of my favorites “Song With No Words (Tree With No Leaves)” from Crosby’s If I Could Only Remember My Name (truly one of the greatest, most under-rated albums of the era, now seen as a touchstone of the “freak folk” movement) was the cherry on top for me.  From: https://dangerousminds.net/comments/stunning_david_crosby_graham_nash_bbc_in_concert_performance_1970/

LaBelle - Lady Marmalade - The Midnight Special 1974

Hello, Patti. Should I call you Ms. Patti, or just Patti?

Patti is fine, but a lot of people call me Ms. Patti.

As a mark of respect?

Yes, to show respect. I love it when they call me that, but they also call me Mom, Auntie, Mother … a lot of fans think of me as their mother, which I see as a big compliment.

But don’t a lot of them also thrust their phones at you so you can talk to their friends?

It’s hard to talk on people’s cellphones – I don’t care for other people’s germs. I still haven’t got a cellphone. I’m talking to you on my landline – it’s as old as me. I’m old-school, I don’t need that. I haven’t got a computer, either. I like a lot of privacy. When I’m at home, I want to be at home alone.

Where are you now?

At home in Philadelphia. I still live here. I have a house in Los Angeles that I stay in when I’m there, and a home in the Bahamas, but I live in Philly, 20 minutes from my childhood home. I went back six months ago with Mick Rock and we chit-chatted about the old neighbourhood. It was weird being back there, sitting in front of my house. I don’t know who lives there now. I thought about knocking on the door, but I didn’t.

What can you see from where you’re sitting?

A suitcase is the first thing I can see – a Louis Vuitton big bag. There’s nothing in it, and it’s beautiful. I take two onstage with me to prop my shoes on. I love my pumps [high heels]. Five-inch, six-inch, there was a time I did seven-inch, but that was back in the day.

How did it feel when Labelle became the first black vocal group to be on the cover of Rolling Stone?

We were groundbreaking, and it was an honour. It was showing other black women that they could do it. But we weren’t trying to break a record, we were just being Labelle. I don’t think at the time we thought it was special – we thought we were worthy of the cover, and it was something we should have had and we deserved it. But only when you look back do you realise how groundbreaking it was. Young black female groups gave us props – Destiny’s Child did, TLC complimented us; they said Labelle was one of the reasons they formed their groups.

Did you save your Lady Marmalade costumes?

I have them in a case in the basement. They’re beautiful.  And the shoes!

Didn’t you get hot wearing them onstage?

Not at all hot. I never perspired in them. They weren’t heavy.

Is it true that when you recorded Lady Marmalade you didn’t know what it was about?

We really didn’t know at first. We thought it was a woman just walking down the street – it didn’t register that it might be about something else. We were very innocent, and I had no clue. I was very naive. Then we had some controversy about a nun being upset about the song, and we found out. I felt stupid … no, not stupid but naive. I didn’t know we were singing about a lady of the evening. Young girls today are so well versed because of the internet, so they’d never not realise, but it was different then. Thank God we did the song, anyway!

Yes, you’ll get royalties for the rest of your life.

You can call them royalties – I call them baby dollars. It’s depressing.

Do you still enjoy singing it?

Yes, I do. I have one of best bands in the world, and the way they play it, I get chills. I sing it differently every time – I can still get down at the age of 70.

A couple of years ago, you got emotional during an interview with Oprah and said: “I’ve been shut down, run down, talked about – but that never stopped me from being the true me.” What was that about?

It’s true – nothing anyone tries to do to me can bring me down. It never works. I’m so strong now, and nothing can run me down. I’m truly blessed.

When you announced your upcoming UK shows, you were worried that nobody over here wanted to see you. Why was that?

Oh, I know they want to see me, but I just haven’t been there in a long time – it’s 10 years. I’m loved more over there [in the UK] than I am here.

Barack Obama seems to love you, though. Was he self-conscious at being so close to you when you sang at the White House?

Not at all. I don’t think so. I think he was very happy to be in the room with all the talented women there. And he was sitting next to a very powerful woman.

From: https://www.theguardian.com/culture/2015/nov/12/patti-labelle-lady-marmalade-woman-walking-down-street

Planxty - The Good Ship Kangaroo

Originally released in 1979, the re-release of Planxty’s ‘After the Break’ on CD is given as 1992, but it dropped onto my doormat a few short weeks ago. There's a bit of a mystery here, but I'm not complaining. This was, is and always will be one of the classic, defining albums of the folk revival. In those far-off days my experience of Irish music seemed to be defined by the sweateriness of the Clancy Brothers, the tweediness of the Chieftains and the beardiness of the Dubliners. Great music, great songs, but a bit formulaic and stereotyped. Then along came Planxty and the formulas and stereotypes were blown out of the water. They were just so undeniably groovy, I suppose.
"After The Break" celebrates the five-piece, with Matt Molloy's wonderful flute complementing the breathtaking skills of Christy Moore, Donal Lunny, Andy Irvine and Liam O'Flynn. The album consists of five tune sets and five songs, all arranged with impeccable taste and played with unerring flair. It's an impossible job to pick a standout track - as each new piece begins it supplants the previous one as the all-time favourite. Andy and Christy sing out of their skins, Matt and Liam play their socks off and Donal keeps the whole shebang in safe, sure hands. Nowadays, with Celtic music as an all-conquering globe-spanner, it's difficult to imagine the impact that Planxty had in their day. Listen to "After The Break" and all becomes clear. Groovy or what?  From: https://www.livingtradition.co.uk/webrevs/taracd3001.htm

Sleepytime Gorilla Museum - Hush, Hush

It must have been 2005 or 2006 that I first came into contact with Sleepytime Gorilla Museum, one of the most beautifully bewildering bands to ever grace the globe. Constructed around a narrative of a fictional dadaist and futurist performance troupe, the one-of-a-kind group from Oakland gained a loyal cult following over the span of three records. After seeing half a show in 2007, I took home a T-shirt, and I still have a vivid memory of getting the most mind-blown reaction from a fellow fan in a random hallway. Sadly, the band dissolved before finishing their fourth album, Of the Last Human Being. Its members went on to other projects, like Rabbit Rabbit Radio and Free Salamander Exhibit, many of them good, none of them scratching the same itch. Until last year, when the band decided to pick up where they left off and finish the album with a little crowdfunding assistance.
And indeed, Of the Last Human Being sounds like the band never left. But what that sounds like beguiles description for the many people not privy to Sleepytime’s history. An absurd mixture of instruments, some of them home-made, conglomerates into a surreal nightmare, tethered to reality tenuously by the dulcet tones of mad preacher Nils Frykdahl and hissed insanity of Carla Kihlstedt, who often sing in duet to truly maddening effect. At turns you may be reminded of Mr. Bungle (“Save It!”), UneXpect (“S.P.Q.R.”) or the most unhinged tenets of Diablo Swing Orchestra (“We Must Know More”). Most of the time, it won’t remind you of anything at all. Kihlstedt’s violin frequently duels with the guitars in riffs and leads that always sound unnatural, but never sound aimless. Quieter moments conjure unease with xylophones and wind instruments while the lyrics hang around in the venn diagram where schizophrenic manifesto and poetry overlap.
Structurally, though, Of the Last Human Being is less beyond the pale, and it helps balance out the plethora of wildly imaginative textures and flourishes. “Salamander in Two Worlds” is a powerful opener, working its way up from hushed vocals and brass to a feverish, almost sludge-like cacophony with atypical, ricocheting percussion and tremolo riffs, yet featuring an actual chorus. “S.P.Q.R.” is even more frenzied, Frykdahl and Kihlstedt shouting an unhinged lecture on Romans in tandem, but repeat stanzas guard the track’s cohesion. This high energy stands in stark contrast with the quietly sanity-unspooling creepiness of “Silverfish,” featuring Kihlstedt quavering between bouts of shrill violin, or the sardonic grandstanding folk of “Old Grey Heron.” Even the shorter tracks and interludes spin bizarre imagery and leap from sad to surreal to sinister.
Though Sleepytime Gorilla Museum only has 3 prior albums to its name, it’s worth measuring Of the Last Human Being against these, if only to see whether the intervening years have done anything to diminish the troupe’s unique qualities. I‘m happy to say that they largely haven’t, though this comes with a few liner notes. Just like before the hiatus, this is heady music, and whether you’d call it pretentious is entirely dependent on your tolerance for theatrical excess, specifically with its dadaistic influences on full display, like a minute and a half of ringing bells serving as an interlude. Though, to this I should add, this might still be the most accessible album Sleepytime has ever made. In the context of all the weird, offbeat, and characteristic songs in the tracklist, “El Evil” sounds almost normal.  From: https://www.angrymetalguy.com/sleepytime-gorilla-museum-of-the-last-human-being-review/

Lo-Pan - Savage Heart

Lo-Pan was pumping out records very quickly for a while there, but Subtle is the first record in five years – why the long gap?

Subtle is indeed our first full length in five years. We released an EP in 2017 called In Tensions. The gap is mostly due to lineup changes. Prior to 2017, our method of writing was somewhat different than it is now. We used to write songs very quickly and let touring shape them and mold them for a year or so before recording them. This time with our new permanent guitarist Chris Thompson we did things very differently. We took our time becoming close friends with Chris. And in many ways, I think we used that time to re-establish a relationship amongst the rest of us too. Years of mindlessly touring had left us a little haggard. I think we needed this time to sit back and decide what direction we wanted to take as a sort of re-launched band. It feels like a rededication now. It feels exciting again.

Working with James Brown is pretty impressive for an indie band – how did you come to work with such an esteemed producer for Subtle?

The guys from our record label, Aqualamb, had an established friendship with James. Internally we were already considering some pretty awesome choices for recording location and producer for the new record. But at Aqualamb’s request, we had a Skype call with James. It was an instant connection. We could tell he was a laid back guy with a sense of humor that matched ours. And even more importantly his work ethic was similar to ours. Get good base level sounds. Do it right or do it twice. Have fun with it. Experiment where it makes sense and otherwise just trust your gut with the material. After an hour-long call with James, we knew we found our guy. Working with him was one of the great thrills of my creative life. He works smart. He knows how to get the sounds you want. He was an outstanding collaborator and made insightful suggestions. And dynamics-wise he fit right in. I actually missed him when we were done recording. We really couldn’t have had a better person behind the controls.

To what does the “subtle” in the title of the album refer?

Honestly it’s just a comment on how very Un-subtle this band is. We play loud. We play hard. Everyone but Chris is a total asshole. We swear more than we need to. We say what’s on our minds and it’s not always nice. So, basically our gruff personalities led to a tongue in cheek title like Subtle.

Subtle comes across as a pretty uplifting record, to me, but I also detect some discontent, and an underlying theme of class struggle in the lyrics – am I off-base there? And if the class struggle is part of the lyrical message, how did that come to enter the music?

You aren’t too far off base. I think musically and lyrically most of these songs come from a viewpoint of frustration with the status quo. But with a side of “all is not lost.” I always write from my point of view with Lo-Pan. And I think my general outlook on life is “wow, shit is totally fucked up in the world at large.” But there has to be a way out of the swirling cauldron of shit. And that way comes from within myself. I grew up in a poor family. My mother worked as a teacher and made very little money. And she had two kids that refused to make anything easy. But I grew up happy. Because she made it that way. And she taught me to make it that way. So yes, there is an underlying class resentment that exists in this music somewhere. But there is hope to be found in the way you choose to live your life. And that is the uplifting side for me. The TL;DR answer to that is: Don’t let the bastards keep you down.

Speaking as an Ohio native myself (I was born and raised in Toledo) the Buckeye state doesn’t get a lot of love, nationally, as a heavy metal or hard rock state, even though bands like The Black Keys and such have come from there. Has Lo-Pan experienced any flyover state opprobrium? What is your relationship to Ohio and its culture?

I think people overlook Ohio for art and music at their own peril. Some of the best heavy bands I have ever seen have come from this state. Bands like Rebreather from Youngstown. Fuck You Pay Me from Cleveland. EYE is another band from Columbus that will set your whole world on fire. Ohio will never be that Mecca for art or culture like LA or NYC. But in many ways, the fact that we are overlooked or ignored just informs the music. We have definitely had experiences where people underestimated us. But I sort of enjoy being underestimated. I wouldn’t know what to do with myself if Columbus starting acting like cities where people backstab one another to get ahead. There are assholes everywhere, but I think there is a genuine spirit that exists in places like this. When you talk to people here you can immediately tell who is full of shit and who isn’t. That’s my style all day.

From: https://www.decibelmagazine.com/2019/05/15/interview-lo-pan-people-overlook-ohio-for-art-and-music-at-their-own-peril/

 

Euphoria Station - Reverie

In the world of progressive rock music several musical combinations can be found. Many bands already work with the combination of metal music and progressive rock, or the combination of folk music with progressive rock. Or what about progressive rock and religion, others used progressive rock in combination with blues, jazz or classical music. But what to think about a mix between Americana and progressive rock. I never heard of it. Well the American formation Euphoria Station used it to write their compositions. A band which I actually wasn't familiar with. Maybe a bit strange because in 2019 they already released their second album, titled The Reverie Suite, after coming up with their debut One Heart two years earlier.
On the bands website you can read that Euphoria Station was formed in 2014 by the couple Saskia Binder (vocalist/ lyricist) and Hoyt Binder (guitarist/ songwriter) who share a passion for deep music with hooks that easily connect. They spent years playing acoustic sets in Hollywood, CA working out material that would eventually wind up on their debut album. Being big fans of the progressive movement in the late 60s as well as the eclectic nature of 70s rock, they sought to recruit world class musicians that also felt music was a very spiritual matter. The resulting sound was a mix of everything under the sun from pop, rock, jazz and classical. After that the two of them began exploring the many acoustic sounds from 70s rock and pop that seemed more in tune with their other passion, nature - especially the vast and beautiful southwest of America. This in one way or another led to the formation of a brand new backing band which they named The Americana Day Dream Revival Orchestra. It features the Dutch keyboard player Ronald Van Deurzen, harmonica player Tollak Ollestad (who has also some Dutch roots), flutist Rebecca Kleinmann, violinist Trevor Lloyd, bassist Paulo Gustavo, drummer Chris Quirarte, background vocalist Mike Disarro and percussionist Bobby Albright.
Together they were responsible for making The Reverie Suite a great sounding concept album. A concept album which is based on the life of the bands female lead singer, who has her roots in one way or another also in the Netherlands because of the Kraft van Ermel family. The story she tells goes from her childhood days (Reverie) through the road she takes to become a grown up person. Dreaming of what might become of herself (Bridge Of dreams). Travelling through the beautiful American nature (Paradise Road) and seeing how nature changes all the time (Seasons). In the end it all turns out well for her and has a happy life after all (Content).
Music-wise the album has enough to offer for a true progressive rock lover as myself. The combination with Americana works very well. Because the use of the banjo, mandolin, violin and harmonica, which you can hear in this style of music, gives the band and their music an identity of their own. The progressive rock sound comes mainly by the use of electric guitar, Hammond organ, piano, flute and violin. Moving the band into a musical style which reminded me sometimes of acts such as Kansas and Jethro Tull. Just listen to songs such as the beautiful instrumental opener Prelude/ She's Calling, Bridge Of Dreams, Queen Of Hearts, Paradise Road (beautiful piano playing and great guitar solo) and Seasons and you know what I mean! A special mention goes out to the beautiful crystal clear voice of the bands female lead vocalist. Her voice has a lot of emotion but also bring so much happiness to the music. Most of all on the more poppy sounding tunes such as Reverie, Heartbeat and Content she shines all the way!  From: https://www.backgroundmagazine.nl/CDreviews/EuphoriaStationTheReverieSuite.html

Dada - Dizz Knee Land

"Dizz Knee Land" is the debut single by Los Angeles-based alternative rock group dada. It was the first single taken from their debut album titled, Puzzle. This is what bassist Joie Calio had to say on the Westwood One radio program On the Edge: The song isn't about Disneyland at all. It has nothing to do with Disneyland, actually. It has more to do with the craziness of the juxtaposition of the state of your every day. Just looking around you. You could see a guy's head being chopped off and, you know, a leg flying away and someone embracing someone in a lovely kiss and then flip the channel and then a chainsaw goes buzzing through, you know, some butter and it accidentally cuts your mom's head off and then you flip again and they're making love and then you flip again and it's Montana going 'I'm going to Disneyland'. You know, it's just that whole thing, how insane it is, but you know, it's just the natural state. I don't think we're making a, we're not pointing our fingers. We're just... it just is, and we're just singin' it.
Joie said this about the song in a Chicago Sun-Times interview: "It's our best-known song, but it's not our best song. I got the idea for the song in a dream where I saw this word "Disneyland" on a bus. I heard the melody and then I woke up, wrote it all down and called Mike up to finish it up." The music video for the song mostly features the band playing on an empty stage. During the video, there are several shots of several random objects moving. Some of these objects include leaves, hard candy, nuts and bolts, rusty tools and a flatiron. This stop motion technique has been used before in the music video for Peter Gabriel's "Sledgehammer".  From: https://en.wikipedia.org/wiki/Dizz_Knee_Land

Children of the Sün - Lilium

Lilium talks about life and death. The way humans view and celebrate life and death in different ages and cultures, is something we found very fascinating while making this record. We watched some documentaries about cults in the tour van during our tour in Spain, and in the studio out in the country house. It would be easy to write about, and emphasize, death to make an impact (in a sign of the horns and skulls kind of way) but what all comes down to are those ancient questions. Life and death; as a concept; a shared factor.  From: https://childrenofthesunofficial.bandcamp.com/track/lilium

Hello Forever - Everything is So Hard

In what feels like a tumultuous time when it can even be a bit of a bummer to look at the news headlines, one band are channelling enough good vibes to see you all the way through until the sun decides to start shining again. Art pop collective Hello Forever have been making waves with their infectious feel-good pop tracks: packed to the rafters with joyous melodies, introspective lyrics, and sun-drenched psychedelic hues. With their debut album, Whatever It Is – a collection of love songs about connection – out today, we caught up with the band on their influences and their debut album Whatever It Is.
 
When did you first realise you wanted to make music?
It’s kind of always been a thing. I’ve been singing, dancing, and listening to music since forever.

Who did you listen to growing up?
All kinds of classic pop music: The Beatles, The Beach Boys, Aretha Franklin.

How would you describe your genre?
That’s a good question. I feel like we’re making contemporary, psychedelic pop music, inspired by a lot of music we love from the 60s, and all the music throughout history that we’ve had access to through the internet.

What inspires your music?
Everything. The music itself, the people around us and the people we love, the sky, ancient history, the universe and the way we feel.

Where did the name Hello Forever come from?
It was just kind of a feeling. It’s about wanting to stay connected to people on an eternal level. It’s also about letting go of everything and greeting that eternity on the other side.

How was it putting out your debut album?
Cathartic. It’s a celebration and a mystery. This is the first record we’ve ever put out and it’s our distinct joy to share music with others.

Do you have a favourite track?
You can’t pick a favourite child. We love them all and love playing the songs live. We’re actually pretty deep in the next couple of albums right now, so our art has changed already and there are some songs that still feel more relevant than others. We’ve tried really hard to let go of any judgements that come out of us. A favourite implies that there are those we like less. We just want to let it be and be grateful for the process. “Get It Right” is pretty chill though.

What’s the best feedback you’ve ever had on your music?
We just love hearing from people all over the world who have been hearing our music and enjoying the experience. The support we’ve already received from the small amount of music we’ve put out is really flattering and we’re stoked.

From: https://www.wonderlandmagazine.com/2020/02/21/new-noise-hello-forever/

 

Mary's Danish - Live Cleveland, OH 1992

There’s no one named Mary. Nobody’s Danish, either, and they aren’t very sweet. It’s Mary’s Danish, a hard-edge band fronted by a couple of smart girls heading for a smart venue--the Anaconda Theater. That’s the place right next to UCSB and all those students who love that so-called “alternative rock,” which is basically the cool stuff mainstream radio is too dumb to play. Mary’s Danish, a band with 5 1/2 years experience, got its big break in 1989, when KROQ picked up on their single “Don’t Crash the Car Tonight.” That tune quickly spawned an album, “There Goes the Wondertruck,” on small, independent Chameleon Records. The newly released “American Standard” on Morgan Creek Records (perhaps named for the funniest movie of all time, “The Miracle of Morgan’s Creek”?) is the band’s third album. For years, it seems, the band has had to deal with the “Next Big Thing” label much like the Blasters, X and Los Lobos before them.
“I don’t know about that--it makes me uncomfortable,” Gretchen Seager said in a recent phone interview. “I don’t like to think about that stuff. I don’t like to categorize things. I’m too close to it. I don’t describe our music.” Someone has to: Remember Exene Cervenka, the shrill-voiced singer from those raucous rockers, X? Imagine Exene in stereo, and you’re getting close to what Mary’s Danish sounds like. Seager and Julie Ritter trade vocals, share vocals, and generally have the power of an air-raid siren that would shatter grandma’s china in a heartbeat. But that’s exactly the attraction of the group, or the detraction, depending upon how you hear it. Throw in some thrashy garage rock to back the two lead singers, and that’s Mary’s Danish. Seager and Ritter formed the band while students at UCLA, but they met at Cal Berkeley where they were both French literature majors, a field offering about as much hope for a career as Rich Person on the Beach in a world filled with convenience store clerks with social sciences degrees.
“Yeah, my parents were wondering the same thing,” said Seager. Not into the “scooby-doo-the-sky-is-blue-I-love-you” kind of rock, the band is not afraid to take a stand and offer an opinion. In fact, they’re pushier than a busload of New Yorkers late for a hockey game. They took on the lead singer of Guns N’ Roses with a cynical song off their last album, “Axl Rose Is Love.” On the new one, they take on TV evangelists, gun nuts and all sorts of lousy relationships to the point of making J. Geils’ “Love Stinks” almost seem like a Doris Day song. There’s 20 “don’ts” and seven “can’ts” on “Leave It Alone.” And the musicianship has never been better.
“I think we’ve grown as a band,” said Seager. “I think every artist hopes to become more sophisticated. I think we’re just a better band even though none of our records have done well enough to keep us on the road for any length of time. We just want to make good music that’s saying something important, but sometimes it’s tough to handle the business affairs.” Of course, it’s no fun if you can’t complain, but Mary’s Danish have never been afraid to put their time where their mouth is. Three years ago, their first single was a natural for RADD--Recording Artists against Drunk Driving; lately, the band’s been on the road to support Rock the Vote.
“We’re not as involved in RADD as much as we were, because certain other things have moved to the forefront, like Rock The Vote,” said Seager. “We just finished a two-week tour for Rock The Vote, and it went really well. People came in droves to register, and they seemed very enthusiastic. Although Tipper Gore probably wouldn’t wear a Mary’s Danish T-shirt, do you not vote for Clinton because of his running mate’s wife? We need a new person to lead the country, and we need to win the big battle first and worry about the little battles later.”
There’s a lot more to the rock star scene, however, than working an hour a night twice a week, driving around the country and picking up those big checks in the mail. Remember, “fan” is short for “fanatic.”
“Yeah, we have groupies, but not in a mean way,” said Seager. “They give us flowers or jump on stage and give us a kiss on the cheek. But sometimes, it’s very frightening to be a small girl and have some big guy charging you. I’ve had many a tooth chipped by a stage diver who hit me in the face and knocked the microphone into my mouth. We do have a dental plan at Morgan Creek, however.”
Could this be the career for you? Flowers? Kisses? A bop in the chops? Here’s what Seager’s experience says: “Just stay true to what you do, and don’t compromise just to get signed. Don’t try to be the Flavor of the Month. Right now every band wants to be like the Red Hot Chili Peppers or Nirvana.” And as a former student of both Cal and UCLA, well, so much for sports, and they both are bears. “I don’t root for either. I don’t go to football games and I just don’t really care.”  From: https://www.latimes.com/archives/la-xpm-1992-10-22-vl-886-story.html

Pinnick Gales Pridgen - Every Step Of The Way

Less than 18 months after the release of their debut album Pinnick Gales Pridgen, PGP are back with a follow-up record that matches the supergroup’s earlier work in fervor and intensity. Of their first record, bassist and vocalist “dUg” Pinnick (King’s X) described the collaboration as natural, effortless and “built upon raw energy.” For PGP 2, listeners will come to the instant understanding that none of the band’s initial energy was lost in the time that lapsed between the two releases. PGP 2 is energetic and ambitious, a dynamic creation by musicians whose high performance levels are simply second nature.
Guitarist and vocalist Eric Gales (of the Eric Gales Band and Lauryn Hill’s band), drummer Thomas Pridgen (formerly of The Mars Volta) and Pinnick don’t waste any time bringing their A-game to this 2014 follow-up. PGP 2 kicks off with Gales’ howling guitar on “Every Step of the Way” as Pridgen and Pinnick support. Gloomy lyrics on “It’s Not My Time to Die” pull the trio into dark territory as Pinnick recounts speeding through sharp turns in his car and surviving a brutal stabbing. As each dismal scenario unfolds, Pinnick remains determined, ending each chorus with a resolute, “It’s not my time to die.”
Pinnick and Gales work in tandem on lead vocals throughout the record, passing the role back and forth from one song to the next. As Gales’ smooth baritone voice lends an edge to “Every Step of the Way,” the vocal harmonization by Gales and Pinnick at the beginning of “Have You Cried?” acts as that one standout element that makes the track truly memorable. Yet for all there is to be said about the album’s lyrical delivery, few songs place the vocals as the single point of focus. “Psychofunkadelic Blues” speaks to the sonic blend the trio achieves in their work as they mesh influences from Cream and Jimi Hendrix to Stevie Ray Vaughan and Stevie Wonder into one simultaneously complex and seamless package. Softer instrumental numbers like the delicate “LaDonna” and album closer “Jambiance” reveal the expansive range of a group that seems to hit the mark every time they strike a chord.  From: https://bluesrockreview.com/2014/06/pinnick-gales-pridgen-pgp-2-review.html

Petra Haden - Petra Haden Sings The Who Sell Out (full album)

01 Armenia City in the Sky
02 Heinz Baked Beans
03 Mary Anne with the Shaky Hand
04 Odorono
05 Tattoo
06 Our Love Was
07 I Can See for Miles
08 I Can't Reach You
09 Medac
10 Relax
11 Silas Stingy
12 Sunrise
13 Rael
14 Track Records

Petra Haden Sings: The Who Sell Out is an album by Petra Haden, an entirely a cappella interpretation of the 1967 album The Who Sell Out by English rock band The Who. Haden supplies all of the vocals. It was released in 2005 on Bar None Records. The recording was suggested by Haden's friend Mike Watt, who ranks Sell Out as one of his favorite albums and gave Haden an 8-track recorder she used to create the album. Haden formed a ten-woman choir, dubbed Petra Haden & The Sellouts, to perform songs from the album live.
In the Boston Globe on 13 March 2005, Pete Townshend, The Who's guitarist and principal songwriter, spoke positively about Haden's album: I was a little embarrassed to realize I was enjoying my own music so much, for in a way it was like hearing it for the first time. What Petra does with her voice, which is not so easy to do, is challenge the entire rock framework ... When she does depart from the original music she does it purely to bring a little piece of herself -- and when she appears she is so very welcome. I felt like I'd received something better than a Grammy. In his book Paddle Your Own Canoe, actor Nick Offerman recommends the album as ideal to listen to while building canoes.  From: https://en.wikipedia.org/wiki/Petra_Haden_Sings:_The_Who_Sell_Out

In the 21st century, the Who have become spokesrockers. "Who Are You", "Won't Get Fooled Again", "Baba O'Riley"-- as themes for CBS' "CSI" franchise the songs are meaty enough and beaty enough to match David Caruso's ego, while being big enough to hook baby boomers into Tivoing the clunky procedural crime dramas. Someday a CBS! Miniseries! Event! will unite the three "CSI" casts in an epic struggle against GSR residue and Dan Cortese's career as a character actor, and its theme song will be the 10-minute Tommy epic "Underture". When that happens, the Who will have reached Kravitzian levels of licensing overexposure. But in the meantime we can still enjoy the band's music for its strong points-- thundering power chords, machismo blending with naughty British schoolboy humor, ambitious flights of pop songwriting, and a conceptual scope that was as enviable as it was flawed.
All of that's wrapped up in Petra Haden Sings: The Who Sell Out, the Los Angeles singer's a capella interpretation of the Who's 1967 album. Haden recreates the entire record with only her voice and an eight-track recorder, from the flatulent trumpets and "What's for tea, darling?" drop-ins of fake advert "Heinz Baked Beans" to the swirling psych-rock of classic rock radio staple "I Can See for Miles". On the latter her harmonic selves suggest a Mellotron while she sings the lead in a voice that's clear and bright, but also a little deadpan. And that wryness is important for Haden, because it's both a connection to and a departure from her primary source. While Who Sell Out was a gleeful lambaste of advertising and radio, it also featured some really strong songs. Haden understands both aspects, but knows she can't retell it accurately with her limited materials. So she doesn't. She uses suggestion instead, and a fan's emulation, and her own sense of humor, too; she makes something that loves its predecessor but has no intention of resembling it exactly. And at that, the baby boomers and rockists breathed a little easier.
As the story goes, Mike Watt put Haden up to this project in the first place. She'd already done an a capella record-- 1996's fanciful Imaginaryland-- and Watt wondered what she might do with one of his favorites. There's no purism in that backstory. Petra Haden Sings: The Who Sell Out is just a fun exercise, the work of a daydreaming geek girl who sings like an angel and makes cool guitar noises with her mouth. Its casual "Why not?"-ness is its greatest strength. But there's attention to detail here, too. "Face the music with Odorono", the original Sell Out's fake ad copy smirked beneath a shot of Townshend mugging with an enormous can of the stuff. "The all-day deodorant that turns perspiration into inspiration!" But at the same time, the actual song "Odorono" exemplified the songwriter's emerging flair for epic pop. Haden has fun recreating the album art, and the songs on Sell Out, too. Of course, since she's the only instrument, this is done with lots of layers and a general knack for hitting the sweet spot of Pete's famous fanfares. "Triumphant!/ Was the way she felt/ As she acknowledged the applause..."  From: https://pitchfork.com/reviews/albums/4005-petra-haden-sings-the-who-sell-out/

Robert Palmer - Hey Julia / Sneakin' Sally Through the Alley

If you mention Robert Palmer today, the first thing you think of is the influential music video for his song "Addicted to Love." Because of the heavy airplay on MTV, the song became an international sensation and the signature song of his career. The downside of this success is that his early work tends to get overlooked. Sneakin' Sally Through The Alley is his debut album and probably the most under-appreciated work in his discography. In 1974, after a three-year stint in the British rock/R&B band Vinegar Joe, Palmer left the group and signed a solo deal with Island Records. His next task was to search for session players for the album.
The quest took him to New York City and New Orleans to find these musicians. Palmer stated to Fred Shuster of the L.A. Daily News in 1996,  "Here was this white English kid coming to New Orleans and New York to work with bands I had only heard on vinyl. I first knew Stuff (guitarist Cornell Dupree, drummer Bernard Purdie, keyboardist Richard Tee and bassist Gordon Edwards) when they were called The Encyclopedia Of Soul, the seminal New York Rhythm and Blues band. They had been on loads of records and still had that raw edge. So, I jumped in the deep end and asked if they would be up for some sessions. They didn't know me from Adam and, at first, they wouldn't even say hello. But eight bars into the first tune, Purdie turned around and said, 'Sir, excuse me, what did you say your name was?' From then on, it was great."
Palmer struck gold in New Orleans, where he managed to wrangle the Meters (comprised of drummer Zigaboo Modeliste, bassist George Porter Jr., guitarist Leo Nocentelli, and keyboardist Art Neville) and Lowell George of Little Feat into the fold. Palmer wanted to capture a funkier sound relative to the music that he had previously made with Vinegar Joe and it doesn't get any funkier than having this incredibly accomplished group of musicians backing you up. Throughout his career, Palmer proved to be an excellent interpreter of other people's material and he did not fail to deliver on Sneakin' Sally Through The Alley. Even though his career went off in many different directions, his solo debut album was a sign of great things to come later.
Sneakin' Sally opens up with one of the best three-song sequences heard on any album. "Sailing Shoes,” penned by Lowell George and originally performed by Little Feat, kicks things off into high gear. This version is more uptempo and funkier (with a huge assist from backing vocalist Vicki Brown) than the original, which leaned towards the more bluesy and slower end of the pool. "Sailing Shoes" flows seamlessly into the second track of the trilogy, the sublime but clever "Hey Julia", written by Palmer and highlighted by the vocal interplay between him and the aforementioned Brown.
The final piece of the opening trilogy is the title track "Sneakin' Sally Through The Alley,” penned by New Orleans legend Allen Toussaint and originally sung by Lee Dorsey of "Working in a Coalmine" fame. Backed by the Meters with Simon Phillips on drums and Lowell George on slide guitar, this song is one of Palmer's best vocal performances of his illustrious career. The power and confidence of the then 25-year-old singer leaps off the vinyl and into your eardrum. After the three-song opening, you're buying the water Palmer is selling. Despite the fact that "Hey Julia" was recorded with different musicians, these three songs mesh together perfectly.  From: https://albumism.com/features/robert-palmer-debut-solo-album-sneakin-sally-through-the-alley-album-anniversary

Paper Bird - Don't Want Half

Hailing from Denver, Colorado, Paper Bird is a band that has been on the rise for a number of years now. Their latest self-titled release, off of Thirty Tiger/Son Of Thunder Records, is a record that will have listeners hooked on the first spin. The album is extra special for the group as they called upon the legendary John Oates to join them in the studio. The opening track “To The Light”, features a strong vocal performance by lead vocalist, Carleigh Aikins, showcasing her powerful voice. To the listener, this song rings true in life sometimes with the lyrics: “The world is full of broken hearts. The world is full of hard times.” Let’s be honest, we’re all going to go through some hardships at some point, but we just need to keep looking “to the light”. The track is a testament of how Paper Bird’s dedication to their craft has brought them to where they are today. Lending his masterful skills on guitar, Paul DeHaven, shows off his craft, in the foreground of the opening number.
The hidden gem on this eleven track self-titled album is “Heavy Road”. All three singers' harmonies are “A+” on this number and the musicianship is top notch from all. Drummer Mark Anderson keeps a strong background beat on Aikins and vocalist Genevieve Patterson harmonizes flawlessly on, “Don't Want Half”. The six-piece displays its wide range of influences with “The Run”, DeHaven’s down and dirty guitar work compliments Caleb Summeril’s thumping bass lines well as vocalist Sarah Anderson, along with her counterparts Patterson and Aikins, display why three vocalists are a perfect fit for the group. “Waiting For You” closes out the Colorado based quintet's best release to date. This record shows that hard work and a passion for the music is what takes a group like Paper Bird to the next level in their musical endeavors.  From: https://www.215music.net/paper-bird-album-review.html

Otis Redding - Pain In My Heart

Otis Redding’s second single, That’s What My Heart Needs, sold reasonably, but the youthful singer with the mature voice dropped a bomb with his third release for at Stax, Pain In My Heart, a heartbreaking wail of love gone bad that was a smash in the autumn of 1963. His song prompted a cover by British up-and-comers The Rolling Stones and triggered a row with New Orleans’ R&B kingpin Allen Toussaint, who’d written Irma Thomas’ Ruler Of My Heart on which Otis had based his hit. No matter: the record helped establish Otis as a major force.
Sessions continued with Stax’s regular musicians, Booker T & The MGs, plus Johnny Jenkins on guitar, saxophonists Packy Axton and Floyd Newman, and trumpeter Wayne Jackson. Everyone at Stax was struck by the creativity and sheer life force of their new star. His debut album was set for release at the start of 1964. Otis had arrived… Well, up to a point. Pain In My Heart sold reasonably well for a debut album by a black artist of the era, just failing to broach the US Top 100. However, Otis was soon drawing attention abroad, particularly among the UK mod movement, and in one of those curious slow-burning successes that sometimes occur in music, the album saw a British release three years after its US pressing and hit the Top 30.
The music Otis’ new fans enjoyed was a bit of a mixed bag. Apart from the three singles, there were plenty of covers. Otis put his stamp on The Dog, an R&B hit by his labelmate Rufus Thomas. He took on one of the great early soul ballads, offering a beaty, stripped-back version of Ben E King’s Stand By Me which showed off some of the vocal tics and nuances that would soon become so familiar. His voice was even more distinctive on You Send Me, written by one of his all-time favourite soul artists, Sam Cooke; Otis would go on to cover Cooke on several more albums, including 1965’s Otis Blue/Otis Redding Sings Soul, which had initially been intended as a tribute to the lost soul originator. There was a frenzied version of Richard Berry’s Louie Louie, clearly an influence on Toots And The Maytals’ reggae version eight years later. And Otis dipped into his immediate past as a Little Richard apostle on the rock’n’roll pioneer’s Lucille and his own Hey Hey Baby.
Just to remind us that Otis was a great writer in his own right, there was the bright and poppin’ Something Is Worrying Me, with a beautifully gentle vocal from the soon-to-be king of soul; the tender and intimate That’s What My Heart Needs, which is a confession straight from Otis’ troubled mind, with the singer breaking – unusually, for him – into James Brown-style wailing towards the end; and his fourth single from Pain In My Heart, Security. This latter soul groover was a modest hit but should have been bigger. Etta James recognised its potential and landed a Top 40 hit with her version of the song in 1968.
Packed with soul and feeling, Pain In My Heart was not so much a modest introduction to a major talent, more a banging on the door with both fists. Otis was already able to show the broad range he was capable of; within months he’d honed his talent further and sharpened his style. But all the original ingredients of his unique sound were in place and he already looked unstoppable. A year later, he’d become such a fixture on the soul scene that it would be impossible to think of him as a comparative newcomer. The legend started the moment he confessed to the pain in his heart.  From: https://www.thisisdig.com/feature/pain-in-my-heart-otis-redding-album/

Sam Phillips - Circle of Fire

Sam Phillips (not to be confused with the Sun Records impresario) is many things: a gifted singer-songwriter, an underrated alt-rock goddess, a composer of incidental television music (all those “la, la la’s” on Gilmore Girls) and a performer with a stage presence that’s both warmly confident and magnificently eerie. In recent years, she has also become a fiercely independent artist, almost an iconoclast of sorts—a quality one can trace back near the start of her career, when she recorded Contemporary Christian music under her birth name, Leslie Phillips. After four well-received albums in that genre, she concluded she no longer wanted to be “a cheerleader for God” (as she bluntly put it in one interview) and switched over to secular pop music (and professionally adopted a childhood family nickname). Whether brought on by an actual crisis of faith, feeling discomfort from that boxed-in community, or by meeting musician T-Bone Burnett (who became both her longtime producer and romantic partner after helming her final Leslie album), her decision to leave one world behind for another continually enhances the cultural, philosophical, and yes, spiritual nature of much of her subsequent catalog.
Transitioning from religious to secular music, her artistry immediately flourished. The Indescribable Wow (1988), her debut as Sam, is a near-perfect ten-track album of sly, sighing retro pop. A little more tart and perhaps a few shades darker, Cruel Inventions (1991) kicks off with the clever confession, “If I told myself I believed in love, and that’s enough / I’d be lying,” and concludes with a gorgeous manifesto against uniformity (“Where The Colors Don’t Go”). Both records are very good, though the former’s production sometimes feels a little dated and the latter is occasionally a touch too internal (it could use a little more sweetening). By contrast, Martinis & Bikinis is an important step forward, not only for Phillips’ growing confidence and agility as both a lyricist and a tunesmith, but also in how effortlessly it balances her affable persona with an ever-cunning acidity (just look at that album cover).
Following “Love and Kisses”, a minute-long apéritif whose lyrics contain the album’s purposely frivolous title, Phillips doles out one catchy, tightly constructed pop song after another. Practically every instrumental and vocal part provides some sort of hook, from the clipped barre chords of “Signposts” and the elastic bass line of “Same Rain” to the declarative opening riffs of both “When I Fall” and “Same Changes” (the latter almost as effective as the one in The Beatles’ “Day Tripper”). And yet, only roughly half of Martinis & Bikinis is strictly guitar pop. As with the Fab Four, Phillips doesn’t shy away from adornments inspired by a spectrum of musical genres. “Baby I Can’t Please You”, for instance, has a Middle Eastern flavored, Van Dyke Parks string arrangement (along with plenty of sitars and tablas), while ecological lament “Black Sky” aims for Tom Waits-style, post-apocalyptic minimalism, with Phillips’ vocal almost entirely carrying the melody over a stark, clanging percussion-heavy backdrop. Both are pop songs that also expand the idea of what such a thing can contain.  From: https://hauntedjukebox.com/2015/12/06/sam-phillips-martinis-bikinis/

Soundgarden - Burden In My Hand

I think all the opinions of this song are taking the song way too literally. If you know anything about Chris Cornell, his bout with heroin was his monkey on his back, and the "Burden In His Hand". He refers to the object of his addiction, (heroin), as "her", but that doesn't mean it is a woman or female creature. Below is a copy of the lyrics, and my interpretation. As a songwriter, lyricist and producer of 40 years, I have a good understanding of where the pain of many artists come to write about... and remember, this was in the days of the "Seattle Grunge Invasion", where most of the big musicians were into heroin. (Layne Staley, Kurt Cobain, others)

"Follow me into the desert As thirsty as you are Crack a smile and cut your mouth And drown in alcohol"

--- he's asking you to follow his story of desperation regarding his addiction, his "desert". If you "smile" you "cut" your mouth because the smile is fake. You are desperate too. Drowning in alcohol is only the legal "painkiller" you can buy freely, which is why the 30% of the world population can be considered alcoholics. Drowning in booze is just another path to self destruction he knows he's on, and his "go to" solution if he can't find his heroin fix. He never admitted to using "heroin" and made his comments about his addictions strictly about "alcohol", but this song was released after his friend Kurt Cobain committed suicide, and Layne Staley overdosed, along with several other close friends he saw dropping due to addictions.

"'Cause down below the truth is lying Beneath the riverbed So quench yourself and drink the water That flows below her head”

---the "riverbed" is the source of Life, and below that, even if the riverbed is dry, you can dig "below" for water and find "truth", but there is a "lie, a deceit" that "flows below her head". What is the first big hint at what the song is in this phrase, "her head" --it means the tip of the syringe needle. He's saying you think you'll find satisfaction and relief in heroin. You think you're drinking water of "truth", but notice it's "below her head". Who is "her"? Heroin. Also, take notice that the "truth" is "BENEATH" the riverbed. It's not the real water flowing in the riverbed, its the dried up riverbed that forces you to dig to find release to your emotional pain.

"Oh no there she goes Out in the sunshine The sun is mine, sun is mine --- I am shooting up, the day is not rainy because I'm high and the "sun is mine"... said TWICE.

"I shot my love today Would you cry for me I lost my head again Would you lie for me

--- then he actually states he "shot" (shoot up) his "love" (heroin or other drug). Will you cry for him and his lack of control, and spiral to these depths of self-destruction? He lost his head, and if you were his friend or "hanger-on", would you "lie" for him?

"Close your eyes and bow your head I need a little sympathy 'Cause fear is strong and love's for everyone Who isn't me

--- "close your eyes" to his addictions, his failures, bow your head and say a prayer for him because he "needs a little sympathy". His fear is strong, and he thinks everyone else gets love that "isn't him".

"Kill your health and kill yourself And kill everything you love And if you live you can fall to pieces And suffer with my ghost

--- If you follow his path, you will "kill your health and kill yourself and kill everything you love". If you "live", you will still "fall to pieces" and suffer with his own "ghost", predicting his own death, and if you're on his same path of self destruction, you will "suffer" with the memory of him dying, regardless of his rockstar status, he died unhappy, addicted, and his addictions will be his "ghost" following you.

From: https://songmeanings.com/threads/c/73016153927/

Hekate - Einarvollsgråen

Hekate consists of Silje Liahagen, Malin Alander and Synnøve Plassen. Each one has been showcasing their unique styles of singing on scenes all around Norway, and now they have come together to perform as a trio, wanting to use the traditional dance music as the base for their powerful sound image. After their debut-concert at a night club at Riksscenen in Oslo, Norway, they have become a hot name in the music industry. In the summer 2024, they won the open class contest at the Norwegian championship of folk music. They are releasing their debut album in June 2025 on Heilo Records.  From: https://www.hekate-trio.com/about

Arcadea - Silent Spores

A synth-rock record about a futuristic society from the drummer of Mastodon, you say? As elevator pitches go, it’s an intriguing one. Intriguing, yes, though not necessarily promising. Lest we forget, several of those hallmarks characterised Mastodon’s 2014 album, Once More ’Round The Sun, which, despite intergalactic expectations, is now considered a relatively by-the-numbers offering from a band known for continuously taking ambitious leaps.
Admittedly, this second album from Arcadea is Brann Dailor – joined by Core Atoms and João Nogueira – trying to avoid crossing the streams of his projects, attempting something more fun and danceable than their self-titled debut, released in 2017. In that regard, this is pretty successful, at least in its ability to provoke listeners to trip the line fantastic, thanks to tracks like Fuzzy Planet and 2 Shells. You’d have a hard time throwing shapes to Starry Messenger with any less than eight limbs, given how speedy its electronic undulations are.
It’s less proggy and po-faced than its predecessor. It’s certainly jauntier, with Gilded Eye and Planet Pounder seemingly relishing their own absurdity, sounding as they do like several video game soundtracks being played at the same time. Both tracks also benefit from being more suited to Brann’s vocals, which work best when darting in and out of big, busy arrangements.
The Exodus Of Gravity is an album of niche pleasures; despite sounding different to its predecessor, it is unlikely to appeal to many beyond Mastodon’s fanbase. It would be a shame if it doesn’t, as its brain-bending arrangements and eccentricities will appeal to those for whom music is for space exploration, not billionaire bellends like Jeff Bezos.  From: https://www.kerrang.com/album-review-arcadea-the-exodus-of-gravity

Katy Perry - Firework

This Fourth of July, we’re taking a look at the meaning behind Katy Perry’s apropos song, “Firework.” As much as you hear the popstar’s hit single during the holiday weekend, the song really has very little to do with America. Instead, “Firework” has to do with a more morbid concept: death, or more specifically, Katy Perry’s death. In a Billboard interview the singer said, “when I pass, I want to be put into a firework and shot across the sky over the Santa Barbara Ocean as my last hurrah.”
But where did Perry get this idea? She explained that she was inspired by the great American author, Jack Keuroac, and his 1957 novel, On The Road. “My boyfriend showed me a paragraph out of Jack Keuroac’s On the Road, about people that are buzzing and fizzing and full of life and never say a commonplace thing. They shoot across the sky like a firework and make people go ‘Ahhh.’ I guess that making people go ‘ahhh’ is kind of like my motto.”  From: https://americansongwriter.com/the-meaning-behind-firework-by-katy-perry/