The Morton Report - New Music for Old People Archives

New Music for Old People: Churchill, Spin Doctors, Jeff Lynne, Emeli Sandé and More

2013-05-17T12:00:00Z

This column is like the title says - its intention is to fill the gap for those of us who were satiated musically in the '60s and then searched desperately as we aged for music we could relate to and get the same buzz from nowadaze. iTunes was the answer for me in 2003 and I have been following the new releases every Tuesday ever since I realized there was an endless stream of music I could enjoy there.

I also include older items that I felt were obscure originally and might not have been heard back then. The reason I am writing this column is to make sure others don't miss this wonderful music. These are not top ten items; but they SHOULD'VE been!

Below is a jukebox containing all the songs I picked this week. After you read about them below, go back and listen to whatever you like by just clicking on that title in the jukebox, or stream the whole playlist by clicking on the "play" icon at the top. It's free and it's the entire song. We're not selling anything. We're just in the business of hopefully making your days better by listening to great music.

We apologize to our readers/listeners who are trying to enjoy the playlists via mobile devices like iPhones/iPads and are finding that they can't; these are, unfortunately, circumstances beyond our control. At present, Grooveshark is not compatible with those operating systems, and in order to stream the playlist, you will need to use a PC or Mac.

TMR0517 by Lisa on Grooveshark

1. "Next to Me" — Emeli Sandé (3:08)

Well, I admit her photo got me at first. But this is a great CURRENT pop record and she shows signs of lasting if the songs and production remain at this level and she steers waaaayy clear of Chris Brown.

2. "Unconsolable" — X Ambassadors (3:35)

This is eerie at first but it rises up at the chorus and stays there. I also love words that people may have never used in songs before and the title may qualify. I also love the way “false start” is used in the lyric. There are other songs on this EP you will hear in the future. The group is currently on tour with Imagine Dragons.

3. "Remember Me This Way" — Edie Brickell & Steve Martin (3:29)

He is as good a banjo player as he is a comedian but he’s been banjo-ing longer. Well, we KNEW she was a good singer, but up to now maybe being Mrs. Paul Simon was a full-time job for the last 21 years. She sounds great on this — actually they both do. It’s rare to hear a banjo play seductively, but the comedian matches the subtlety of the vocal. A sympathetic duo with nary a backward glance to Victoria Tennant or Carrie Fisher.

4. "Change" — Churchill (2:38)

Other than the guitar squeaks in the quiet first verse, this is pretty much a perfect hit single including mandolin leads. They seem to have figured out how to sell records and be musically rewarding as well. There are three existing EPs and an album from 2011 (Happy Sad). Hopefully they can follow up the momentum of this hit single with a breakout new album in 2013. Bethany Kelly has a fine commercial voice and mandolinist Mike Morter knows exactly what to do. They’re from Denver, by the way.

5. "Blown Away" — Jeff Lynne (3:23)

Not the alpha, BUT the beta Beatle shows off what he can do anytime he gets ready. I think this is about 20 years old, but for understanding and replicating Lennon and Harrison, this is pretty damn good. Heard it again by accident the other day and just wanted to share it. Besides, it’s raining (and snowing) all over the world.

6. "Satisfied Woman/Satisfied Man" — Meg Love/Vernon Garrett (2:35)

It took me a few minutes, but Google says the maniac bassist on this vintage mid-'70s track is Billy Ray Charles. Never heard of him but I have heard this bassline in my dreams many times. This is a classic soul record and it takes me back instantly with each listen. While young and old are seduced by hit hop and rapped, I like to occasionally throw in old men’s sounds. Wadda ya expect from a grandparent?

7. "Fly" — The Child of Lov (3:11)

If you like "Gnarls Barkley meets sedated Sly Stone" you will surely enjoy this. The lyric is pretty gospel but the groove is basically un-religious and historical. This is one guy who shuns publicity, so I’ll judge him just by this track. He is GUILTY of reaching me before I knew it with some old tricks. Hope you share that experience with me. GREAT production, methinks...

8. "With Any Sort of Certainty" — Streetlight Manifesto (3:09)

I’m in it for the horns and the enthusiasm. This is new.

9. "Some Other Man Instead" — Spin Doctors (4:08)

They’re back! The good news is they’re stripped down and sticking with the basics. This is tasty and worthy of a weathered welcome.

10. "A Change Is Gonna Come" — Rick Vito (3:53)

In the early '90s I became aware of a comparatively new genre called Sacred Steel. The trademark guitar seemed to be vocalizing and it required skilled slide playing and a little knowledgeable foot pedal action. It was primarily limited to the black gospel field and its foremost practitioners were The Campbell Bros. and Robert Randolph. There is a compendium CD on Arhoolie of selected tracks from that era you may enjoy if you like this. Rick Vito is a bluesy white man who’s been around this wacky business for decades. We were friendly when we both lived in Gnashville. This is his belated nod to Sacred Steel and is beautifully performed in an understated manner. A great way to close.

I will try and return next week but I am still toiling away on the Mike Bloomfield box set. / AK

No Music for Old People: An Apologetic Explanation

2013-05-03T12:00:00Z

Howdy, music lovers!

It is with great sadness that I explain why there will be no column for the next two weeks. I am deep into producing, editing, mastering, cooking and bottle-washing the definitive Michael Bloomfield box set, From His Head to His Heart to His Hands. The set will consist of three CDs with an added DVD with a one-hour original documentary thrown in. There are many unreleased tracks as well as his solo audition session for legendary producer John Hammond, Sr. With liner notes by MOJO contributor Michael Simmons and photos galore, I hope it satisfies every fan or inquiring mind. But we are at the stage now where I simply have no time to prepare a proper column and I didn't wanna put up anything sub-par as I have been very happy over the last three years to share the innards of my collection with all of you.

So, please bear with me and I will be back (hopefully) on May 17 with more new goodies and obscure oldies to keep you rockin' as usual. Please forgive me as I admit I'm only human and can do just so much. If you click on the link below it will take you to a page that includes all the columns from the past year, and my author profile page contains links to all the columns back to 2011, so if you've missed anything, you can catch up while we are away.

Thank you all so much for being on board and I will be back ASAP.

New Music for Old People

Al's author profile page

New Music for Old People: Rob Crow, The Shouting Matches, Kim Richey, The High Dials and More

2013-04-26T12:00:00Z

TMR0426 by Lisa on Grooveshark

1. "Roll On" — The Night Marchers (2:47)

Rolling Stones luvvers "Keith out" on this honky tonk track with Velvet Underground-style lyrics. It's not a bad combo, actually. Former Rocket From the Crypt lead singer John Reis is in charge. This is their second appearance here with tracks from their new album, Allez Allez.

2. "Seven Sisters" — The Shouting Matches (2:15)

Justin Vernon from Bon Iver takes a side trip with this blues trio. They also like to make Keith noises (who doesn’t, really?) but their approach is a wee bit cleaner than that of the last band. No ethereal fallout remains from Justin’s other band; this is tight and right off their brand new album, Grownass Man. Tasty title, toughguys!

3. "The Remedy" — Josh Krajcik (3:59)

Now, I don’t watch any of those talent shows on TV 'cause I like to listen to what I want and not hear the endless covers hour. This week, until I started researching bios, I blindly picked two singers from X Factor without knowing it because I really enjoyed the tracks, and this is one of them. This doesn’t mean I’m gonna sit through Simon and Company — I’d still rather go see Josh play live at a local show with no commercials. This is a great track, well produced and certainly well sung. Welcome to the semi-real world, Josh — it’s nice to have you around.

4. "Army of Two" — Olly Murs (4:10)

Here’s the second track from the army of two TV guys. They should make them change their names if they win. This is a serious arrangement and production, but it doesn’t impede Olly from struttin' his stuff. I love records that sound like this — there aren’t many of 'em any more. Welcome to the semi-real world, Olly — it’s nice to have you around.

5. "Harp 'n' Drums" — JJ Grey & Mofro (2:38)

I really like this band. You can tell, because this is at least their third appearance here in the column. This is a nice, semi-organized jam with JJ singing and playing harmonica. These guys make it all look/sound easy.

6. "Prepare to Be Mined" — Rob Crow (2:28)

Rob is the leader of one of my fave bands, Pinback. On this track from his most recent solo album, He Thinks He's People, he takes more of a Pinback approach. I love his fearless chord selections and time warps. Musically fathered by Captain Beefheart, he’s managed to eke out his own recognizable sound over the years and build a strong following. I still haven’t managed to see him live yet ... but a grown man can always hope.

7. "False Alarms" — Josh Groban (3:55)

Well, this is the cleanest-cut and poppiest we're gonna get this week, but this really caught my ear. This track is not for everyone who reads this — but arrangement and production-wise it's well done and the guy CAN sing. All in all, I truly enjoyed this guilty pleasure (pour moi).

8. "Morning's White Vibration" — High Dials (2:52)

The High Dials always have a great handle on mid-'60s psychedelia. This is the second track I’ve used of theirs and around here that usually makes me a fan. Kind of a mashup of "Paperback Writer" and "Ticket to Ride" musically, this track is ten years old but sounds almost 50 years old and that’s how the High Dials like it. Me too.

9. "Hey Lover" — Dawes (2:30)

This band came busting out a few years ago and got right down to business grabbing a large, loyal following. I like what they do for the most part. This is from their latest album Stories Don't End, and it’s safe to say they’ll probably be around as long as they want to be.

Dawes and the Family Dawg

10. "Everything's Gonna Be Good" — Kim Richey (4:00)

I’ve known Kim off and on for about 20 years. She’s a hard-working artist and one of the nicest women I’ve ever met, so it’s great to be swayed (suede) by a track from her latest album, Thorn In My Heart. This is a well-written song done just laid back enough to be fully appreciated. It also fills the role of the weighty closer for this week.

New Music for Old People: Al Green, Bombino, James Blake, Paramore and More

2013-04-19T12:00:00Z

TMR0419 by Lisa on Grooveshark

1. "Now" — Paramore (3:43)

This is music for younger people than us. I have nicknamed them “Powermower.” It sorta smacks of a modern-day Pretenders, only the vocalist is not as subtle as Ms. Hynde. They’ve been selling mucho albums for six years now, but this was my first peek. As we go to press, their new album is #1 in the USA.

2. "Retrograde" — James Blake (3:18)

Speaking of youngsters, this lad was born in London in 1988. He studied music in college and began releasing homemade music in the summer of 2009. The label that distributed him brought it to the attention of the BBC and his career ascent began. He won various awards based on airplay and later sales. This is the lead-off single from his second solo album Overgrown, released last week. Puts me to mind of a Peter Gabriel/Gotye combo artist, up to his waist in electronica. I really like this track.

3. "Chainsaw" — The Band Perry (3:33)

This is a country music trio hit-making machine. This track steps just to the right towards pop and if there weren’t pedal steel and fiddle on it, it would be a top ten pop hit. Well-written and produced a bit too cleanly, it will surely go top five in country. Their album, Pioneer, just came out last week as well. This photo looks like vintage Stevie Nicks flanked by a James Blake look-alike with an accordion (!) prop and a Badfinger twin on bass. On closer inspection, she could be naked from the waist up and they blacked it out — sorta.

No more accordions!

4. "Lay It Down" — Al Green (3:24)

Yet another album with modern artists assisting Al surrounded by his original Memphis sound. There are cracks in the bodywork, especially his nervous laughter appearing in a total of seven (!) bursts throughout this one track. Not good for credibility, his most valuable commodity besides his amazing voice. If he dropped the unnecessary duets, rounded up the Hodges Brothers and Rhodes-Chalmers & Rhodes for backup, and captured his spirit the way late producer Willie Mitchell did, there is no reason why he couldn’t be knocking his many fans out once again. If ya need songs, you can call me, Al.

5. "Yukon" — Wheeler Brothers (2:54)

These guys are from Austin — they’re a three-Wheeler with two friends, and with their sophomore album, Gold Boots Glitter, on the street, they are making the touring rounds, including The Newport Folk Fest in late June. I love the guitars and their general approach which ain’t exactly folky. Good album, and I can’t wait 'til they hit Boston so’s I can have a look and a live listen.

6. "Niamey Jam" — Bombino (1:57)

This is one of my fave world music locations — Mali, in the Sahara region of Africa, where the guitars all have the same wonderful tone and influences. This lad suffered through two rebellions in his hometown area and had to escape twice but was finally able to return and play a celebratory concert. There is a documentary about him being readied and he is touring all summer (Newport Folk Fest as well) so check it out live — it will be even better than this comparative snippet.

Jeez, wouldja look at the size of his FINGERS!!!

7. "Silver Streets" — Boy (3:47)

I know, I know ... they were just in the column a coupla weeks ago. But what if I like more than ONE song?

8. "Stone Cold Coup D'Etat" — They Might Be Giants (2:44)

I know, I know ... they were just in the column a coupla weeks ago. But what if I like more than ONE song?

They look like they might be The WHITE Keys in this photo.

9. "Vacation" — Griffin House (3:13)

I know, I know ... he was just in the column a coupla weeks ago. But what if I like more than ONE song?

10. "I'm Not Sayin'" — The Replacements (2:45)

They have a new album! They haven’t changed much!! Paul Westerberg LIVES!!! See ya next week!

New Music for Old People: The Maccabees, Arthur Conley, The New Mastersounds, Elisabeth Withers and More

2013-04-12T12:00:00Z

TMR0412 by Lisa on Grooveshark

1. "Inheritance" — The Last Bison (1:00)

A lovely intro piece from a seven-piece Chesapeake, Virginia band of friends and family. I believe film soundtracks will be in their future as well. This is the title track from their first album which is out now! This segues perfectly into...

2. "Idris" — The New Mastersounds (2:48)

Now this is totally rockin’ music to move to. These lads have totally grasped the zeitgeist of their predecessors in a way that most bands don’t. This isn’t like the real thing — this IS THE REAL THING! From Leeds in the UK — but not so British. This will keep your Meters runnin’.

3. "Let Nothing Separate Us" — Arthur Conley (3:01)

The creator of the song “Sweet Soul Music” tears up this ballad in a way only the originator can. In a career that included a recording partnership with Otis Redding, Arthur made quite a name for himself. A Georgia native, he relocated to the Netherlands in the ‘80s and died of cancer comparatively young at 57 in 2003. His music will live on forever.

4. "Why" — Elisabeth Withers (3:25)

After graduating with honors from the Berklee School of Music, she picked up a degree at NYU and got discovered by Oprah, who cast her in the B’way version of The Color Purple. When you hear her voice soar on the chorus of this great track, it will explain why I don’t have to write any more — but wait for the chorus!

5. "Everything I Build" — The Stills (3:16)

Sometimes I’m too slow. This band existed from 2000 to 2011. They were from Montreal and rose to the top of the Canadian music scene. I like the simplicity and originality of this track. Key members started a new band called Eight & A Half a year ago. I shall investigate...

6. "Comin' Home" — Delaney & Bonnie (2:44)

With Eric Clapton in tow, playing lead guitar and taking vocal instruction from Delaney, this band knew what to do. The Dominos came out of this aggregation eventually, back when Eric was Derek. If you’ve never heard this you’ll probably enjoy it. If you know it already, bet you haven’t heard it in awhile.

7. "Girl I Wanna Lay You Down" — ALO feat. Jack Johnson (2:52)

To me this is a perfect track. All elements are addressed tastefully and having Jack front the Animal Liberation Orchestra was a great idea. Perfection from start to finish.

8. "Pelican" — The Maccabees (2:54)

First off, the name is not derived from Beatle Paul, but rather from a Biblical tribe in the REAL old days. I caught them on late night TV and thought they might, with luck, become U3, if Bono keeps taking years off. This is from their third album, released in 2012, Given to the Wild.

9. "What'd I Say" — Bunny Sigler (2:54)

How many times ya think people aped the Ray Charles original with the same arrangement, etc.? Hundreds, maybe ? So it’s nice to hear someone come up with an original arrangement that in some ways holds up to the original. Bunny has been a favorite of mine for decades and this is from his Philadelphia-International period in the '70s. It stands up well today.

10. "Glamour Girl" — Jimmy Vivino, Al Kooper and the New Rekooperators, Live in Albany, NY 3/16/13 (7:23)

This was from our recent Mike Bloomfield Tribute Tour and since it got bootlegged, I call this fair game. This was a pretty good night for us. The vocal is hard to hear at first because showman Vivino usually sings this without using the mic at first because we can play very softly if we wanna. With Jesse Williams on bass and Ralph Rosen on drums, Jimmy shows how his early background included studying Bloomfield with more intensity and detail than any college course. It’s thrilling for me to have gotten to play with BOTH these mavericks in my lifetime. And don’t forget, we are hard at work right now on a four-disc Bloomfield boxset, with a great deal of unreleased work from the master himself. It will be on SONY-Legacy, and just don’t ask when it will be out because the answer is when it’s good and when it’s ready. Here’s almost seven and a half minutes of people imitating the real thing with a wee bit of entitlement. File your taxes (speaking of the blues) and we’ll see ya next week!

Al Kooper (L) and Jimmy Vivino (R) with the New Rekooperators, Albany NY, 2013

New Music for Old People: Simple Kid, Billy Bragg, The Feeling, Jo Mama and More

2013-04-05T12:00:00Z

TMR0405 by Lisa on Grooveshark

1. "Golden" — The Squirts (2:39)

I’m starting out this week with three tributes to '60s psychedelia. First is by a band called The Squirts. Formed in 2003 by session musicians Matt Bissonette (bass and lead vocals), George Bernhardt (guitar) and Rodger Carter (drums), they released a self-titled debut album that same year. This is from their 2006 album Resquirted, which appears to be their second and final release.

2. "Life As It Happens" — The Pillbugs (2:51)

A Toledo, Ohio band from the late '90s bathed in the '60s psychedelia category. By the mid-2000s they were accomplished at writing the equivalent of The Byrds' first originals circa 1965. This is a great example.

3. "Staring at the Sun" (Al’s Edit) — Simple Kid (2:53)

To finish the last third of our neo-hallucinatory music, up pops Simple Kid, an Irish lad from Cork. This is from his first album and he’s quite adept at getting the appropriate settings for his songs. I think he probably plays everything and engineers it all as well. This is from 2003-4 and I wish more people in 2013 were making home studio records that sounded this good. And deceptively $imple, kid... However, in the accompanying photo it looks like he’s speculating about what Bob Dylan would look like doing an AC/DC tribute.

4. "Swallow My Pride" — Billy Bragg (2:46)

Billy has reached the second leg of his career where his influences have changed from Woody Guthrie to Jackson Browne. This is not a bad thing. His former rough edges are now replaced by better personal songwriting and much more care in production albeit still charming simplicity. I am now less of a casual listener then I was before, but I hope the reverse is NOT true for diehard original fans.

5. "Long Time Gone" — The Civil Wars (3:43)

This is for a movie and the original billing was listed as The Civil Wars feat. T Bone Burnett. I don’t think he’s singing lead, so I removed his credit as I don’t think the producer should have a featured credit. Jeez, I played organ on “Free Bird” but it didn’t say Lynyrd Skynyrd feat. You-Know-Who. Anyway, Mr. Burnett did a fine job coaching his team here and it’s a nice sounding track and probably works well in the film I assume he scored. However, this band has graced this column before and remains capable of doing it again no matter who is ‘guiding’ them. If I’m wrong, please punish me in the Comments section, 'cause I do so hate to be wrong. This photo was taken at the diner where The Civil Wars seem to be having one after dessert at their wedding rehearsal.

6. "When I Return" — The Feeling (3:36)

The Feeling have a few genres in their arsenal. This is their folk-pop category and it’s very well done. It builds quite well into a chorus that features mighty backup vocals. Very pleasant on the ears and makes one curious to hear more, which is the object of the whole game, innit?

7. "Another Love" — Alice Smith (2:45)

They must make her show ID when she checks into a hotel with a moniker like that. This is a great track that I’m walkin' around chirping involuntarily lately. I especially like the piano part which puts me to mind of 1950s Latin piano playing in records by Randy Carlos or The LaPlaya Sextet (loved them!) to name but two. I’m hoping Alice is the pianist because that makes her a stronger artist and writer. There are a few other good tracks on her latest album She, which is out NOW.

8. "Midnight Rider" — Jo Mama (3:12)

No, this not the Gregg Allman tune...calm down! I’ve always liked this and heard it recently — a few decades from the '70s where it’s actually from. Jo Mama (cute name) was an LA band formed by guitarist Danny Kootch that featured his paramour at the time, Gail Haness, on lead vocals. Gail does some mighty fine vocalizing on this track with great keyboards by Ralph Shuckett as well. This came out in 1970, with a second album following in 1971 and then poof — Jo Mama was nobody’s mama no more. Kootch was good at short-term bands. Off the top of my head, The Flying Machine, The King Bees, The City, The Section, Attitudes, Slo Leak are more than a few that come to mind.

9. "Let the Love In" — Sam Sparro (2:38)

Sam is 30 years old, raised in Australia, with time spent in London and Los Angeles. His music is very dance-oriented with a bit of electronica thrown in for good measure. This is from his 2012 album Return to Paradise. I think it’s just a matter of right time and right place and he could be on the topomost of the popomost. This track is a good example of what he's about. Keep your ear on the Sparro. And let’s hire a male photographer next time, okay ?

10. "Pusher Love Girl" — Justin Timberlake (3:46)

Boy, am I gonna get it for this! Fact is, I miss vintage Prince and don’t quite understand what Prince is planning career-wise nowadaze. So Justin jumped into that space with this track from his current too-mucho-hyped album and, on its own, it actually fills the Prince gap quite nicely. Play it for someone without telling them who it is and see what happens. Because something is happening here, but I DO know what it is — do YOU, Mr. Prince? Please forgive me and I’ll see ya next week!

New Music for Old People: David Bowie, Blonde Redhead, Griffin House, Boy and More

2013-04-01T14:35:00Z

This column is like the title says — its intention is to fill the gap for those of us who were satiated musically in the '60s and then searched desperately as we aged for music we could relate to and get the same buzz from nowadaze. iTunes was the answer for me in 2003 and I have been following the new releases every Tuesday ever since I realized there was an endless stream of music I could enjoy there.

I also include older items that I felt were obscure originally and might not have been heard back then. One reason I am writing this column is to make sure others don't miss this wonderful music. These are not top ten items; but they SHOULD'VE been!

TMR0329 by Lisa on Grooveshark

1. "This Is the Beginning" — Boy (2:06)

I love when the titles on the openers and closers are like this one. Boy are two girls who met at music school in Hamburg, Germany — singer Valeska Steiner (from Switzerland) and musician Sonja Glass; they write and sing all the songs on the album. They got together in 2007 and by 2011 had their first album, Mutual Friends, climbing the German charts. Now the Nettwerk label bought the American rights to that album (which this is from), and we'll see what happens here. I never care where music comes from if I like it.

2. "The Man Who Never Was" — Rick Springfield (2:59)

Dave Grohl has won me over little by little, culminating in this amazing track from his documentary about famed Southern California recording studio Sound City. I think it was genius to resurrect Rick Springfield, who peaked with "Jesse's Girl" centuries ago and showed no signs of ever returning. And he sounds perfect on this song that sounds Grohl-composed. It's a perfect track and I'm walkin' around singing it all the time. How 'bout choo?

Dave Grohl (blue guitar); Rick Springfield (sleeveless)

3. "You're on Fire" — They Might Be Giants (2:22)

Lyrically, they might be Talking Heads on this track — VERY David Byrne-influenced lyrically, but the music still sounds like classic TMBG. This is produced well and the guitar arrangement in the verses is quite tasty and well-recorded. All in all, one of their best tracks career-wise, and pretty humorous as well. Combustible heads, unite!

4. "Dirty Boys" — David Bowie (2:52)

This was totally unexpected for me. An excellent arrangement just skirting the avant garde, but the entire concept is just Bowie moving along, improvising along the way. I have been in his presence when he has played sax and suspect that might be him blowing away at the end. I still hate that iTunes doesn't ever attempt to have any credits on their tracks. And nobody up there particularly cares. Their "new" upgrade has infuriated many of us and we'll see how long we can last with the old format. Sorry, David, I lost control for a sec — LOVELY TRACK!

5. "Don't Blame the Man" — Roy C. (2:20)

A Georgia lad, Roy C. Hammond was born in Newington (wherever THAT is) in 1939. He had fringe hits here and there (the UK) throughout his long career, including a stint in The Genies from Long Island who had a hit called "Who's That Knockin'" in 1958 when I was just starting out. But this is the song he is truly known for as Roy C. It's on the verge of reggae but stops just short. Someone should do this reggae, it's a natural. They probably did and I missed it. Lemme know if you know. This was out in 1971 and I still love to drag it out every now and then. Hope you like it.

6. "You Got Me Crying" — Boz Scaggs (4:08)

The Boz is back! His album is called Memphis but this track is a blatant emulation of Chicago's Jimmy Reed. Jimmy had a unique guitar and harmonica sound that plastered many hits on the R&B charts and influenced many blues acts. I'm sure Dylan appropriated the harmonica rack around Reed's neck so he could play guitar and harp at the same time as well. So I was surprised that the harmonica solo deviated sharply from the patented Jimmy Reed sound since Boz followed the blues-print up to that point. Guess that's why production retirement is my next selected future plan.

Boz be breakin' bad

7. "Whatever Turns You On" — Daniel Norgren (1:58)

You can't tell on this track, but this singer is a Swedish lad with a taste for the blues. Born in 1983, he prefers the one-man band sound and usually performs in this mode. Unless he has four hands and feet, there are other musicians on this track, or he might have played all the parts by overdubbing. He has a great feel and strong respect for the past and it serves his purpose well. His last album was released in 2011. I hope he comes over here to play, as I am a fan just from this short track. Sometimes feel is everything.

8. "Equus" — Blonde Redhead (3:13)

There are at least three bands that subscribe to this genre which I call neo-avante garde and I consider Captain Beefheart to be the founder. Deerhoof and Don Caballero are the other two and I enjoy the envelope-pushing of all three. Deerhoof and Blonde Redhead are REALLY similar because they are both fronted by a female singer. This is a good choice for you to see what BR is all about — a great deal of guitar exploration and lead vocals that tend toward a feline sound. This is NOT for everyone, but maybe there's a few of you out there.

9. "Under the Weather" — The Rescues (2:57)

Conceptually only, this reminds me of Fleetwood Mac — two women, three men writing and blending together in a team effort. These are former Berklee students who headed for the palm trees of Hollywood and clicked pretty quickly once they transplanted. One of the women was in my class when I taught at Berklee, and I thought she had promise. If the radio was what it used to be, this might've been all over it at this time. I'm gonna keep my eye and ear on them out of curiosity.

10. "The Woman With the Beautiful Hair" — Griffin House (3:50)

There were two or three earlier tunes from this artist that caught my ear, but now it seems his talent is growing even stronger. This is a wonderful lyric — almost out of the Warren Zevon book. The delivery, arrangement and production stay way clear of crowding the song itself, and that's an even better set-up. Now if Griffin can get some listeners, I think it's time he deserves a little more respect. I love this lyric and, for that matter, everything about this. Wouldn't mind hearing Lou Reed take a stab at this, but I doubt Lou is waiting on this man. Too bad...

New Music for Old People: Ed Sheeran, Brad Love, Van Hunt, Tommy Roe and More

2013-03-22T12:00:00Z

TMR0322 by Lisa on Grooveshark

1. "The Pin Drop" — Steven Wilson (3:31)

This UK lad is extremely talented and a pillar of prog rock overseas. He started a band in the '90s that didn’t actually exist and played all the parts on their first two albums as well as engineering and producing! They are world-famous now as Porcupine Tree and specialize in jazzy psychedelia although they are now a firm quartet with keys, bass and drums added. Steven himself has just released a new album, The Raven That Refused to Sing, and this track is from that album. This is an amazing piece of musicality and I especially enjoy the soprano sax and guitar solo. I have now become his listening fan and perhaps so will you — although there is a huge contingency of audiophiles who already worship at Porcupine Tree's vinyl cache.

2. "Anything to Get Your Attention" — Van Hunt (2:25)

I believe this was from Van’s first album of a few years ago in the modern R&B field. He is deeply indebted to The Family Stone and it shows here. That’s what really got MY attention.

3. "I'm Living Once Again" — Brad Love (3:03)

This is an undiscovered beauty produced in California in the early '80s. Brad did most of the work on this and John Hug produced. John gave me a copy back then and I was blown away — but it never made a dent outside my living room. But now through the miracle of the Internet, it is now living once again for your eyes and ears. There are about five more killer trax on that album. Amazingly, MP3s are available at Amazon.

4. "I Found Somebody" — Sera (3:16)

This singer/songwriter and multi-instrumentalist was born in Mississippi (1976) to musician parents. Her birth name is Sarah Buras, and she has performed variously as Sera, Sera Buras, and is currently known as Serabee. She's been performing since she was a small child, starting out in her family's gospel band and was a contestant on The Voice during the 2011 season. This song is from her second of four studio albums, released in 2004, titled Open on Sunday. It was produced by Gary Katz (Steely Dan), although the title track was mixed and co-produced by Peter Gabriel. Jeez, this girl was luckier than I was!

5. "Have Pity on Me" — Tommy Roe (3:29)

So he sang pop hits like "Sheila," "Hooray for Hazel," "Everybody," etc., in the '60s. Here he tackles an R&B ballad with Muscle Shoals-type backup and does a fine job. This is an obscure track however. My favorite part is that every time he sings the title it sounds like he’s saying, “Have A pity on me.” So, Tommy, next time ya buy a drink — have a pizza on ME.

6. "Born Again" — The Christians (4:08)

Somehow this doesn’t seem like a religious track to me. And the lyric “I thank the Lord that you rescued me” makes me think a spiritual man is thanking his woman. At any rate, this was an English record from maybe the early '90s that did well over there, but was pretty unknown here. I think it's a very well-made track with great organ and harp playing. It didn’t help that they were called The Christians, however. Whatever... good music is good music.

7. "Fine China" — Andy Davis (2:57)

Yet another track from one of my faves in the singer-songwriter category. He is one of the most consistent artists in this genre and that is NOT an easy task. I am very comfortable with 80% of his work and that's quite high for me. Complicated but catchy...

8. "The City" — Ed Sheeran (2:49)

Ed, I think she ran to the city. Capitalizing on many late night TV appearances at which he excelled, Ed has become nearly viral. Mostly playing acoustic guitar and stomping on a sea of pedals beneath his feet, he has charmed many seeing him for the first time. There are many men and women in this category now. Does it have a title I don’t know? Leave a comment if you know more on this. Ed’s from the UK (of course).

9. "Brownsville/Mockingbird" — Joy of Cooking (3:59)

This band, fronted by two women, shot across the sky in the early '70s but slowly came down to earth after three albums on the Capitol label. Toni Brown on piano and vocals teamed with Terry Garthwaite on guitar and vocals and fronted J of C admirably, especially live. This is a rare recording of them in person on the West Coast from whence they came (Berkeley, CA), shaking out a medley of "Goin’ to Brownsville" and "Mockingbird." This is a good example of what this band did. The women could seamlessly swirl vocals around each other as if they were raised as twin sisters. The rest of the band knew how to apply skill and dynamics to that mix and what we have here is hippie blues captured live in its infancy and in its birthplace, San Francisco.

10. "Your Real Good Thing" — Bonnie Raitt (4:20)

As she ages gracefully, it becomes apparent that Bonnie is indeed one of the remaining Queens of the Blues. Blessed with a strong voice initially inherited from her Broadway star patriarch John Raitt, she spent her early years mingling with the singers that inspired her and learning valuable lessons from all of them. If that wasn’t enough, she learned many of the secrets contained in Lowell George’s unique electric guitar approach, and after his early, untimely passing, appropriated his exact sound eerily, so that in some way, Lowell’s touch lives on in her able hands. This often covered blues standard is given an exemplary turn here by Bonnie and her always first-rate band and may even be my favorite version of this chestnut. At any Raitt, nobody else was edging Bonnie out of her rightful closing spot here this week!

New Music for Old People: A Thom Bell Retrospective

2013-03-15T12:00:00Z

As a songwriter, arranger and producer, Thom Bell has been a powerful influence on me and on music in general. For a guy who studied classical music originally, his first venture into modern music at the age of 22 was as Chubby Checker’s bandleader on the road. After a lifetime of meaningful participation with artists such as Dionne Warwick, Teddy Pendergrass, New York City, Ronnie Dyson, Lou Rawls, Little Anthony and The Imperials, Dusty Springfield, Elton John, The Spinners, The Stylistics, The O’Jays, Joss Stone, Deniece Williams, Angela Winbush and even Johnny Mathis (!), his influence will be felt forever. I have included some of my favorites, trying to skirt the obvious, but that, I realized in mid-compilation, is impossible. I included two demos of my own songs to show the debt I owe to the great Thom Bell — now 70 years old, living pretty quietly in Seattle, Washington. If you love soul music, this is worthy of your precious time.

TMR0308 by Lisa on Grooveshark

1. “Are You Ready for Love” — Elton John (2:31)

Here’s another gushing fan who jumped aboard. This track was excluded from John’s initial Bell-produced album, but snuck out some 20 years later to great acclaim.

2. “Didn’t I (Blow Your Mind This Time)” — The Delfonics (3:17)

Why YES, Thom, you most certainly did, and here’s why...

The Delfonics

3. “I’ll Be Around” — The Spinners (3:10)

This is from their debut album on Atlantic Records that became, in hindsight, one of the top ten soul albums of all time. This would have been impossible without the contributions of Thom Bell and marked the beginning of a partnership that fostered many hits and unforgettable tracks together that will last forever.

4. “Do You Remember Yesterday” — New York City (3:46)

This group was every bit as good as the famous ones Bell shepherded into the top ten, but their smaller label did not get them out to the public and this great album is comparatively unknown. I have included two other tracks here today from that album because it is still one of my faves. These tracks have appeared in past columns of mine as well, but they honor the Thom Bell sound and repetition, in this case, will not harm you.

5. “Rock ‘n Roll Baby” — The Stylistics (2:33)

Imagine what the Jackson 5 and Thom Bell could have done together. This might give you a small idea.

The Stylistics

6. “Happiness Is” — New York City (3:07)

In the world of arrangements, this track is amazing. The guitars and string parts are quite original and it’s a great piece of songwriting as well.

7. “You’re As Right As Rain” — The Stylistics (3:21)

The production and engineering really shine on this major hit from the ‘70s. I still learn something every time I listen to this.

8. “Can’t Survive Without My Sweets” — New York City (3:07)

As a diabetic, this is a sadder song for me than it is for most people, BUT it is quintessential Thom Bell work. I just focus on the other goodies beside the lyrics. You can do that with his records because EVERY area is perfectly wrought.

New York City

9. “I’ll Be Here” — Freddy Henry (3:03)

These last two tracks are demos from my files that show just how long I attended Thom Bell University and how much I tried to learn. These are home studio jobbies where I played all the instruments and, in this case, had one of the artists I produced in the ‘70s sing the lead vocal. Freddy is one of my favorite singers and the album we made together is out of print and never made it to CD. His album is the closest I ever came to joining my various heroes. This is a demo of a song I wrote for Teddy Pendergrass but unfortunately got turned down.

Thom Bell

10. “There Is No Way” — Al Kooper (3:53)

This was my term paper in graduating from Thom Bell University. Only a demo like the preceding track, it shows me how much I learned in my studies. That knowledge will always be with me and I will forever be indebted to the great Thom Bell for teaching me how to write better songs, arrangements and produce better-sounding records. Thanks, Thom, and if you’re ever in Boston and have time — dinner at my house!

New Music for Old People: David Lindley, Don Rich, Trixie Whitley, The Virginmarys and More

2013-03-01T13:00:00Z

TMR0301 by Lisa on Grooveshark

1. "Portrait of Red" — The Virginmarys (2:42)

We’ve come a long way from Lou Reed complaining, “Vicious, you hit me with a flower.” Here is a song where the male lead singer implores his mate to: a) “do me some harm” and b) “baby, treat my body like a canvas!” Done in modified heavy metal, it will certainly get your attention. A new Brit trio, primarily beholden to the Sex Pistols and then Nirvana, I actually like this track but don’t dare sing/play it within hearing distance of my wife.

2. "Going Down For the Last Time" — Gregg Guidry (3:02)

Back to 1982 for this one, where this cunning linguist bragged about another subject I don’t need to hear in a song. Written and sung by Gregg, it actually made the Top Twenty back in the day. I rarely come across folks who have ever heard it. I liked it for the well-made pop record it was at the time and I am almost always seduced by guitar solos in three-part harmony. So just in case you never heard this, I’ve included it.

3. "Didn't Want to Love You" — Don Rich (3:12)

This was tricky research. There is a more famous Don Rich who was in Buck Owens' Buckaroos and made solo albums. I almost fell for that. That Don passed in 1974. Louisiana Don Rich is still rockin’ and this track is from his 2006 album called You Need Love. He plays most instruments and has a great sense and balance of the genres he interprets. A tip of the hat to the late Don Rich, who did great work as well.

4. "Take Me to Memphis" — Rose Falcon (3:40)

I don’t like most modern country music because I like the generations behind it more. There was a time when it all sounded like either The Eagles or Lynyrd Skynyrd and I lost the George Joneses and the Hank Williams, Sr's so I kept listening to the older generation except for the rare originals that would emerge every now and then. Rose’s dad is Billy Falcon, a well-respected country songwriter, and his daughter got the gene. She reminds me of the next generation Lucinda Williams and that is a compliment. This track is perfect in many ways and I think will always be a favorite and it was only released one month ago!

5. "Shook Up the World" — Puddle of Mudd

Probably from their singles collection album, Icon, in 2010. This band started in Kansas City Missouri in 1992. They put out homemade albums until 1999 when they broke up and lead singer and writer We Scantlin was summoned to California by Fred Durst, who was starting a label. Fred helped with re-staffing the band and by 2001 Puddle of Mudd (west coast division) had a new album out with top distribution. The rest is history, as they have sold millions of records since 2001. Hope you enjoy this particular change of pace from them.

6. "Pieces" — Trixie Whitley (2:44)

Daughter of folk/blues singer Chris Whitley and cohort of Daniel Lanois, Trixie shines on her first solo album. I love stuff like this when it’s done well, and this is well done.

7. "Sugar and Riley" — Ray Bonneville (2:50)

From his 2011 album Bad Man’s Blood, this has the authentic construction and feel of classic folk blues. It is pleasing on the ears and a nice composition concerning a next-door couple that fights late at night but all is quiet and contented by sunrise. Ray is a great traditionalist if you go for that.

8. "Ne'er Do Wells" — Audra Mae & The Almighty Sound (2:59)

When your great-grandmother was a member of The Gumm Sisters, containing Francis Ethel Gumm (later Judy Garland!), you’ve got music in your blood. Raised on the folk music of her grandparents' teaching, Audra Mae grew up in Oklahoma. Once she eventually got to California, the door swung open, and TV shows began to play her versions of her songs and Susan Boyle covered an Audra Mae original on her chart-topping nine million-selling debut album, which is a good start. Putting together a band of her western friends, The Almighty Sound was born and her first album was released a year ago. This is an original of hers she calls a "union song" — concerning the travails of her grandfather who was a railroad man back in its comparative infancy.

9. "I Think I'm in Love" — Charlie Wilson (2:52)

A formidable presence in the R&B field for decades, in the ‘70s he and his two brothers headed The Gap Band, influencing and selling voluminous vinyl. Trying out the solo stand, he did well right outta da box. Didn’t hurt having friends like Kanye West and Snoop Dogg. What I like about this is that it’s rooted in older R&B and smacks a bit of Bobby Womack on the title line. That’ll always keep me around.

10. "Your Old Lady" — David Lindley (3:28)

This came roaring out of his first solo album in 1981, El Rayo-X. Starting in Kaleidoscope in1966, he let everyone know that the more obscure the instrument and the brand was an integral part of his style. He also dressed like a psychedelic golfer and made me laugh out loud a few times when I’d take in his wardrobe. But we’re talking MUSIC now. This is one of his most historic tracks and one I never get tired of. Originally written and recorded by The Isley Brothers in 1961, it never charted and is an inspired choice for a cover. God bless ya, David — you end my column perfectly.

New Music for Old People: "Gimme Some of That Old Soul!"

2013-02-22T13:00:00Z

Sometimes it’s good to clear off the decks and get back to a guaranteed comfort level. That is what we are doing this week. Alternating great grooves with sad ballads, I hope we have conjured up some diamonds you might have missed in the '60s and '70s. The opening tune is a more recent vintage but owes everything to that previous era. So take a few minutes and let’s go back to a time that, generally speaking, is sadly missing from today’s musical world.

TMR0208 by Lisa on Grooveshark

1. "Soul Music" — Hidden Faces feat. Lewis Shaw (2:31)

Hidden Faces was formed as a studio group in 1989 by Frank Fitzpatrick and his songwriting partner, David Kitay. Although Kitay eventually left for a solo career, Fitzpatrick and Hidden Faces established themselves by scoring film soundtracks (Nuns on the Run, Highway to Hell, and more). Hidden Faces disbanded in the late '90s, but Fitzpatrick reunited them in 2008 (along with singers Lewis Shaw and and Michael Young) to create this, which is the title track to the movie Soul Men (2008), starring Samuel L. Jackson and the late Bernie Mac. In his earlier days, Frank was my music editor when I scored the TV series Crime Story. I had no idea this was HIS work when I dowloaded it and sadly don't know how to reach him anymore.

2. "Same Time, Same Place" — Mable John (2:44)

Diving right into the Stax-Volt studios in Memphis, Tennessee in the heart of the ‘60s, it’s easy to extract this gem. Mable is a wonderful singer, but the swelling-in-and-out Booker T organ in the verses is what originally really drew me in. This became very influential in my B-3 arsenal of ideas, but it all started here. Damn, EVERYTHING Hammond started with Booker T!

3. "Somebody Been Sleepin' In My Bed" — 100 Proof Aged in Soul (2:31)

Motown’s hit songwriting-production team of Holland-Dozier-Holland eventually left Berry Gordy and started their own Hot Wax label right in Detroit. This is one of the many acts that they had a slew of hits with, so if it sounds like Motown, don’t be surprised — same architects!

4. "I Can't Take It" — Otis Clay (3:05)

Back in Memphis in 1957, rockabilly singer Ray Harris and record store owner Joe Cuoghi started the Hi record label with mostly rockabilly releases. In 1959, Elvis Presley’s bass player had the first hit on Hi, an R&B instrumental called "Smokie Part 2" and the ball rolled for quite awhile with instrumental hits by Black, Ace Canon and Willie Mitchell, an amazing trio of hitmakers. In 1968 Mitchell signed Al Green and started producing singles with him that culminated in 1971 when his lucky seventh single, "Tired of Being Alone," opened the door to making him one of the most acclaimed soul men of all time. Mitchell produced a slew of soul singers after that, all using the local Hodges Brothers studio rhythm section. Otis Clay was one of the standouts for me and I love the way he wolf howls before singing the title phrase at the end of each verse in this great track. And let’s not overlook his album cover shot (top)!

5. "I Got You, Babe" — Etta James (2:24)

Too bad they didn’t take a press photo of Etta James and Sonny Bono. Their looks would have had as much in common as the arrangements on each of their versions of this song. Etta had the better band — The Muscle Shoals Swampers. In fact, I was heavily influenced by the groove on this when I played the piano part on “You Can’t Always Get What You Want.” I kinda lifted it from the chorus groove on this record. Wish the fidelity was better here... but maybe not.

6. "I Wake Up Crying" — Chuck Jackson (2:15)

Chuck was one of the first artists to cover Burt Bacharach on a consistent basis. This was one of the first ones and Bacharach arranged and produced. It’s a wonderful track and they both gained from choosing each other. This is the original version, I believe. Few would cover it after this version.

7. "Listen to the Music" — The Isley Brothers (3:00)

Oh, brothers — Doobies to Isleys. The reverse was true on “Take Me in Your Arms” when the Doobs covered a track the Isleys had done first, although the Doobies aped the earlier Kim Weston version. This was a great idea. The Isleys knew exactly what to do with this and it’s guaranteed to keep you bouncing around the room in a manner different than the Doobie version.

8. "To the Other Woman" — Doris Duke (2:53)

Doris had more bad luck than good in the music business. This track, produced by Jerry “Swamp Dogg” Williams in 1970 at Capricorn studios in Macon, Georgia, went to #7 on the Billboard R&B charts and #50 on their pop chart. She had a good follow-up starting out but her record company folded and so did her good luck. What a shame. In 2005, Brit label Ace released a CD compendium of her best work. This is a great track and deserves to be more well-known and enjoyed.

9. "Finders Keepers" — Al Kooper feat. Ricky Washington (2:40)

So producer Bill Szymczyk (The Eagles) produced a record I did in 1982. We used some other lead singers on it and this track featured Bill’s gardener (!) at the time who was a mighty fine singer. This song was originated by the group Chairmen of The Board and it made the R&B charts. Our version didn’t, but I’d say it was worth a listen. We were all emulating the music we loved: Paul Harris on clavinet, Jeff Baxter on guitar, George Perry on bass, Joe Vitale on drums and percussion, and Tower of Power played horns. I’d say Ricky Washington was the secret ingredient. I merely played synthesizer, the guitar solo and wrote the arrangement. Thanks again, Bill and Ricky!

10. "Only So Much Oil in the Ground" — Tower of Power (2:52)

Good enough for me? Good enough for you! YEARS ahead of its time, the lyric couldn’t ring truer today and the funk is totally refreshing even the if the lyric isn’t, but it predicted the dilemma we are in today 38 years ago. Amazing and a good way to end the proceedings.

New Music for Old People: Band of Horses, Kate Earl, Edwin Starr, Fun. and More

2013-02-15T13:00:00Z

TMR0215 by Lisa on Grooveshark

1. "All Hits" — The Night Marchers (2:52)

2012-13 celebrates the 50th anniversary of The Rolling Stones. Their influence has been quite obvious over most of those 50 years. This to me is an obvious one. This band of West Coast punk-sounders, founded in 2007, chose the original punks to emulate — and they are damn good at it. This is from their second album, Allez Allez from 2011.

2. "I Get Around" — Kate Earl (3:17)

Not a cover of the Beach Boys, but an Earl appropriation that's a bit more detailed than the Wilson Brothers'. This has a Stones start-you-up groove; much more relaxed than the jumping jack of the previous track. I spied Kate when her first album came out and I always listen to see what she’s up to. This is from her current album, Stronger. Kind of an early, mixed Linda Ronstadt-ian, Joni Mitchellesque look (see photo at top)...

3. "Sick Love" — The Scanners (2:54)

This is a four-piece UK band with two of each sex on board. Sounds to me, from this track at least, like '60s producer Shadow Morton popped up out of seclusion and brought The Shangri-La’s into the millennium with this great track. Good song, detailed production and vocal parts. I walk around singing this unconsciously now. This is from 2010 and is produced by Stephen Hague, known for his New Order work in the UK. I think this was just an album track and NOT a single. Maybe Kate Earl should cover it on HER next album?

4. "Everything's Gonna Be Undone" — Band of Horses (2:44)

Okay. Let’s calm down, head for the acoustic guitars, and fondly remember folk music. Ben Bridwell and Mat Brooke founded this puppy in Seattle in 2004. When Brooke departed to start yet another band, Bridwell moved the band to his native South Carolina, recording an album there that did quite well, topping the independent chart and reaching 35 on Billboard’s Top 200. They now have a strong foothold and hopefully will only get better and better.

5. "The Breakup" — Rural Alberta Advantage (2:59)

Another Canadian band. This one, from Toronto, is a good example of the little rock group who could. They formed in 2005, and from that year through 2008 they self-released a single, an EP, and an entire album entitled Hometowns. It was selected by online retailer eMusic as Album of the Month in November 2008. In 2009, they opened for Grizzly Bear at SXSW and they done good. Saddle Creek Records in Omaha bought distribution rights to Hometowns and released a spanking new RAA album in 2011. And here we are now. They are a trio led by Nils Edenloff and featuring Amy Cole and Paul Banwatt. There’s nothing like a self-made band. This is from their second album, Departing.

6. "Timed Exposure" — Rusty Anderson (3:03)

Rusty Anderson has the “Al Kooper Curse.” Needless to say, I TOTALLY understand. His instrument of note is the electric guitar. He was born in La Habra, California in 1959. Rusty has played either in the studio or on the road with Paul McCartney, The Bangles, Animal Logic, Ricky Martin, and Neil Diamond, to mention but a few. There are solo albums as well. This is from one of them. He will continue helping others and making good solo albums that too few eschew. Hopefully he will break the curse. But then again, I’m in his corner...

7. "Some Nights" — Fun. (3:38)

This group has the opposite situation as Rusty Anderson and myself. They were nominated for six Grammys THIS year and won at least half of them. This is the title song of their nominated Best Pop Vocal Album. I didn’t know ANY of this when I picked out three songs of theirs from iTunes. Their harmonies are stupendous and their records are produced handsomely. In spite of all that, they are being recognized publicly in a mighty big way. Now that they have gold statuettes I hope they STILL continue to make great records.

8. "Get Back" — The Rescues (3:16)

Four LA singer-songwriters band together to fuse all their talents. This is the result: two girls, two guys, mucho talent. Kyler England, Rob Giles, Gabriel Mann and Adrianne Gonzalez combined both singing and songwriting to become a Fleetwood Mac-level group. Kyler, Rob and Adrianne all attended Berklee in Boston. Kyler was in one of the classes I taught there all those years ago. Five of their songs were chosen for a Grey’s Anatomy season. This is from their latest album Blah Blah Love and War released in January of this year. I picked this track before I knew Kyler was in the band — a pleasant surprise!

9. "Let Me Down Easy" — Paloma Faith (2:16)

I’ve known this song for years and treasure the Spencer Davis Group’s version for Steve Winwood’s great vocal and guitar solo. Now here it comes again. This is a good vocal as well, doused in electronica backup to keep the version modern. Paloma is well-versed in early R&B singers such as Etta James and Betty Everett. She’s not yet broken in the States, but the publicity machine just needs a goose. Usually women who look like this don’t sing like this — but not Pretty Professional Paloma! Maybe this year she’ll decide if she’s a blonde or a redhead ... I have faith in Paloma.

10. "War" (Singles Version) — Edwin Starr (3:11)

We take you back a few decades to illustrate how strong the anti-war movement was and still is. Hopefully something can be done about it in the next four years. Like play it at a White House reception and see if Barack sings along. Stay tuned and see you next week.

New Music for Old People: The Vicissitudes of Love

2013-02-08T13:00:00Z

Last year for Valentine’s Day, I suggested a playlist of background music that would surely get you in if it was set at the correct volume. This year I went into my personal discography and selected songs concerned with the eternal struggles of potential lovers as well as tributes to the ones you worship on February 14. So this is prep this year, rather than accessory. I love writing songs and these are some of the ones that stuck out to me (pardon the pun). I also included a couple of other people's work as they inspired me. I wish you the best of luck this year on this potentially horny holiday.

Valentine's Day 2013 by Lisa on Grooveshark

1. "Valentine's Day" — Al Kooper (3:00)

This was a homemade demo I made to see if my arrangement idea worked for this Steve Earle song I became enamored of. The lyric reminds me of quite a few guys I know. I never properly re-recorded it, but I did get to play it for Steve when he interviewed me on his radio show a few years back.

Steve Earle

2. "Love Time" — Al Kooper (4:11)

This is the lead-off track on my last album White Chocolate. It’s a celebration of loving someone you live with in an all-encompassing manner. My favorite line is, “It’s such a mess but don’t get dressed / It’s love time." Know wot I mean, lads?

3. "How 'My Ever Gonna Get Over You" — Al Kooper (4:40)

I never wrote a song like this before or after. It’s like a breeze from the 1940s blew into the room and enveloped me until I finished writing it. I can vaguely remember some of the music I heard from my Mom’s radio after being born in 1944. It all influenced me in this song. As a lyricist, it’s a big deal for me to use words other people usually shy away from (i.e."proselytize" in "I Can’t Quit Her"). In this song I used "extricate" and "RSVP" — I can’t think of other songs that previously used those (probably for good reason) but I get a kick out of it when I can do this. This is a sad song for people who are sad on Valentines Day. It lets them know they’re not alone in their misery, but actually, physically alone.

4. "I Cried So Hard" — Al Kooper (3:27)

Another sad song but help is built into it, i.e. I cried so hard until I just couldn’t cry no more. So much grief that now there’s no more left and one can move on from the emotional holocaust. Forty years ago I wrote a song called “A Sad Song Is Not a Bad Song,” but it didn’t survive. This will have to suffice for that thought.

5. "Love Theme From The Landlord" — Al Kooper (2:51)

This was originally for the first feature film I scored. It was also the late Hal Ashby’s first film as a director. The opening chorale part for eight voices was arranged by my friend and arranger Charlie Calello back in 1969. It’s the first 45 seconds of the 2:51 cue, but it’s so musically complex, it took three hours to record it perfectly. Then a few years ago, Jay Z sampled the first verse for an album track called “Soon You’ll Understand.” He actually used my vocal on his track but sped it up so I sound like a chipmunk. I did get half writing credit, but it wasn’t a single. But then DJ Alchemist sampled this track as well on a single called “Hold You Down” and it got tons of airplay and was used all over the world in TV shows and movies. The ironic part is that it’s one of the whitest songs I ever wrote. The original version here sounds apropos on February 14th...

Al Kooper and Hal Ashby, 1969

6. "You Make Me Feel So Good All Over" — Al Kooper (3:11)

It was a thrill for me to co-write this with the legendary Gerry Goffin in 2005. We wrote it over the computer. He sent the lyric and I put it to music. This is the original demo I made to send him for his approval before I recorded it with my full band. I like this tempo much better than the master. The drummer on the session refused to play it at the tempo I requested and played it too fast, in my opinion. This is the tempo it SHOULD have been recorded at. What an amazing lyricist Goffin still is. It was one of the highlights of my entire career to write with him. He certainly tells it like it is...

Gerry Goffin

7. "She Don't Ever Lose Her Groove" — Al Kooper (3:32)

This was originally written and recorded by guitarist/vocalist Little Beaver in Florida in the ‘70s. I fell in love with it and cut it in Gnashville around 1975. It was included in my album Act Like Nothing’s Wrong the next year. The guitar solo is by ex-Memphis studio stalwart Reggie Young, another of my heroes. This epitomizes how I wanna feel about that certain someone on Valentine’s Day.

Reggie Young

8. "I Want a Little Girl" — The Rekooperators (4:50)

Eventually I am always bound to cover a Ray Charles favorite from my youth. Eric Clapton put it out about the same time circa 1993. This was the only vocal on an all instrumental album called Rekooperation. The Rekoops were a jam sideband mostly fronted by my dear friend, guitarist Jimmy Vivino, featuring Anton Fig on drums and my childhood buddy Harvey Brooks on bass. Harvey left and was replaced by Mike Merritt late in the '90s. We are joined here by the Uptown Horns mirroring the Ray Charles Band horn arrangement. The song was co-written many years ago by Lil Armstrong, Louie’s wife at the time, and probably dates back to the 1940s. I LOVE the words!

Louis and Lil Armstrong

9. "Turn My Head Towards Home" — Al Kooper (4:01)

I wrote and recorded this in 1975-76. I was quite the rapscallion in those days, but deep inside I longed to settle down. This song was a call to help myself out of my 'dilemma', but it didn’t really work at the time. I hope it did for the various listeners throughout the years. Finally, in 1997 I DID settle down. John Simon, who produced the Blood Sweat & Tears album I was on, returned to co-produce the album this was on, Act Like Nothing’s Wrong. His assistance is why it sounds so good. Most of what I know about record production, I learned from watching him work in the two instances we toiled together. Hats off to John, and don’t forget he also produced the first three Band albums, The Cyrkle, Bookends by Paul and Artie, Big Brother & The Holding Company (Cheap Thrills), and on and on...

John Simon, Clive Davis, Al Kooper, 1967

10. "I Stand Alone Medley" (Live '94) — Rekooperators (6:22)

This was from my 50th birthday party at The Bottom Line in NYC which became the double album Soul Of A Man. It combines the title song from my first solo album plus "I Can Love a Woman" from the same album and concludes with the outro from "New York City (You’re A Woman)." The original Rekoops sre on this one with background singers and horns. This is a medley of three love songs: one for a city, and two for the ladies. I wish you all a happy Valentine's Day and hope the music and lyrics get you through this potentially harrowing 24 hours. See ya back to normal next week with all those empty chocolate boxes lyin’ around.

Al Kooper and Jimmy Vivino, 2010

BONUS TRACK:

"I Love You More Than You'll Ever Know" — Amy Winehouse

I can't resist adding this as it touched me deeply. I never saw it til she was already gone. I love that she sang the lyric in the male gender and I wish we had met. I had MORE songs for that amazing voice. Enjoy.

New Music for Old People: Glenn Frey, Bessie Banks, Mofro, James Griffin and More

2013-02-01T13:00:00Z

TMR0201 by Lisa on Grooveshark

1. "How Junior Got His Head Put Out" — Mofro (2:19)

This is the real deal from right outside Memphis — only thing is, it’s current. But their studying of roots music is what makes this band so enjoyable. However, I listened to this a few times and I’m STILL not sure how Junior got his head put out or even what getting one’s head put out IS exactly. But I’m from Queens, New York. I think that’s what’s causing the problem.

2. "Like a Fortress" — The Honeydogs (4:24)

This goes back at least a decade but there is something wonderful about it that always brings me back. First off, right from the intro, it’s very Hendrix-ian and the background guitar work is perfectly played. In fact, if any of you know John Mayer (I don’t) this song fits him better than most of his tee shirts and he could tear this up righteously if he had a mind to. But meanwhile, Adam Levy and crew have done an exquisite job and I think you’ll like this a lot. Great lyric as well.

3. "Little Bit of Feel Good" — Jamie Lidell (2:20)

Conceptually, this puts me to mind of the late, great Robert Palmer at its best moments. The ending is not one of those moments, however.

4. "There Is So Much More" — Brett Dennen (2:27)

At first, because of the range and semi-falsetto take, I thought this was a female vocal. My wife used her Shazam app that listens to music and tells you the artist and the title. I was completely fooled and had to turn my mind around to a lad singing versus a lassie. I wonder if anyone else was misled by this artist’s voice. Once I was in the know I realized the next time I heard the voice I would know it and how important it is to have a recognizable voice. I will keep listening to Brett.

5. "Go Now" — Bessie Banks (2:39)

Those wise in the ways of ‘60s R&B will surely know that this is the original track later covered quite well by The Moody Blues on their first album. Those who don’t can enjoy this for the seminal piece of music that it is and then listen to the Moodys version and wonder which one they like best. I’m all ears in the comments section if you’re wired enough to type.

6. "Rigamarolle" — Dalton & Dubarri (2:39)

And so we zoom back to 1976 for this largely unknown fine 45 by guitarist/bassist/producer Gary Dalton and Kent Dubarri, drummer and percussionist. They made great records and were pioneers of recording at home almost 40 years ago. This is a great example of their artistry and I believe I am in a minority of people who have heard this track. This inclusion should take care of that statistic. Biggest song? “Success and Failure,” ironically enough, and there’s one more I recall named “Big Love,” a paean to Adele-sized women. I’ll include that in a few weeks with a bit of searching luck.

7. "She Won't Cheat on Us" — Paul Thorn (2:31)

Wanna be a great songwriter? Start by listening to this man’s work. A great lyric, perfect production, a rocking track and a vocal that makes you believe that he believes what he’s singing. It’s a clever story (fictional, I hope) and probably best heard when Paul comes to YOUR town. His between-songs patter is hilarious as well — ALWAYS an evening out well spent.

8. "She Knows" — James Griffin (2:28)

This is the original version of the song the late Richard Manuel sang his poor heart out on but I wonder how he heard it. James was a slice of the group Bread but not being the lead singer most of the time didn’t propel his name as far as David Gates. Nonetheless he wrote and sang this originally and inspired Richard Manuel to cover it. Took me a lot of time and stale Bread albums to uncover this.

9. "Candyman Blues" — Little Feat (2:33)

For people not raised in the Crescent City, these guys can play music of this sort as if they were raised on it. Bill Payne’s piano solo alone is worth a listen to this. And there are many reasons why they have outlasted The Grateful Dead (their Jerry Garcia — Lowell George — passed away as well) but they are still on the road as I type this. One of my top ten faves and they ALWAYS let me sit in when I can ambulate to one of their shows. This is on their latest album.

10. "Let's Go Home" — Glenn Frey (3:43)

This is pretty bizarre. An Eagle imagines himself a fox, as crafty country rock legend Frey lets loose an Al Green persona on his 1984 solo disc The Allnighter. He almost pulls it off but is stalled by the exacting perfection used commonly in Eagles productions as opposed to the Memphis players' relaxed grooves under the eye and ear of Al Green producer Willie Mitchell. Frey sings almost entirely in a lower falsetto emulating Green. The singing is pretty darn good but Willie Mitchell's less exacting touch is sorely missing. Nonetheless, the voice leads you through and it is NOT an unpleasant experience by any means. Maybe I’m just too critical here — so sit back with someone special and disprove me. Meanwhile, until next week — let's go home.

New Music for Old People: Tinariwen, Dispatch, Fred Martin & The Levite Camp, Jeremy Kay and More

2013-01-25T13:00:00Z

TMR0125x by Lisa on Grooveshark

1. "Imazeghen N Adagh" — Tinariwen (3:00)

I don’t feature that much world music in this column but this group is special. They are from the Sahara Desert region of Northern Mali in Africa. There is a distinct guitar sound from that area I really enjoy. This is a good example of that type of playing. They won a World Music Grammy last year and continue to increase their touring. They're worth seeing if you get the chance. They have played festivals like Coachella in the US and Glastonbury in the UK.

2. "His Phase" — Pinback (2:47)

This is one of my favorite guitar bands because of their unique sound. They always bury the lead vocal, but this track from their latest album actually has it at normal volume by the end of the song. It’s a start, lads, keep up the good work!

3. "I Don't Mind" — Frankie Miller (3:26)

One of the best blue-eyed soul singers who ever lived (and still does), his health prevents him from singing any more but he left an amazing legacy. I always stick one in every now and then, because he never gets the attention he deserves. The band and the arrangement, as well as the vocal, are exquisite on this track.

4. "Then You Can Tell Me Goodbye" — The Casinos (2:31)

A blast from the past, here is the original version of this classic tune written by John Loudermilk, who also wrote "Tobacco Road." This is very early '60s vintage and there is PLENTY of vocal on this track! It was a top tenner in its time. Jeez — NINE guys and not ONE Beatle haircut!

5. "Mother and Child Reunion" — Dispatch (3:08)

So they went to the same college as blogster Bob Lefsetz (chronicler to music biz participants) but long after Lefsetz had sashayed. They became an on again/off again band that grew followers all over the world, kinda like a Dave Matthews following. Here is their cogent cover of Paul Simon’s genealogical song named after a chicken and egg dish on a Chinese menu. Dispatched well done, I’d say.

6. "Do You Right" — Kyle Riabko (2:47)

This multi-talented Canadian youngster was born in 1987 in Saskatoon and by 2005 had his first album released on Columbia Records. He has toured all over the world opening for folks like John Mayer, Liz Phair, Jason Mraz and many more. In between he's acted in TWO Broadway plays (Spring Awakening and Hair) and a few TV shows and movies. This is from his first album. Rock in style, Kyle... you almost look like vintage Rick Nelson in this shot!

7. "Wine and Roses" — Jeremy Kay (3:27)

Blazing an original trail in the Santa Barbara area outside LA, his moving to Hollywood put it all together. He’s got about six albums and myriad songs on TV shows. This is a good example of what he does, but there are other dimensions as well. I love the mood of this track. Al says he’s picked to click.

8. "Driven By a Beating Heart" — A Silent Film (3:17)

In spite of the four-on-the-floor disco undercurrent and arrangement debt to Yes, I kinda like this. It’s a well made record and you can dance to it as well. I’d give it an 8, Dick.

9. "Starting Over (Bad Habits)" — Typhoon (2:35)

This band is from Salem, Oregon but now lives in Portland. They are into experimental arrangements and carry extra violins and horns as well as percussion. This track has a taste of that as it progresses. It’s the lead-off track on their latest collection called Hunger & Thirst. Check it out if you like this one.

10. "About My Imagination" — Fred Martin & The Levite Camp (3:52)

Although uncredited, the co-lead vocals on this track are truly mesmerizing and it’s disgraceful that Chavonne Morris and Alethea Mills receive no written billing. Jackson Browne (pictured below with the group) co-produced and wrote six of the included ten songs. You would think HE’D know better! This is a great album and now they just need to learn to credit lead singers, especially since they are show-stealers. Good work by every one participating except the copy editor and a great song to depart with this week, the old man obsesses.