Tom Petty scares me. Always has. It’s that skull face of his. I always thought he’d be an even bigger star than he is if his face didn’t look like it should have crossbones underneath it. Yes, I suspect that Petty’s frightening apparition of a face (although he’s improved it a bit by growing hair on it) has kept him from being acknowledged for what he is: namely, a bona fide power pop genius.
Most people think of Petty as a rock’n’roller or a roots rocker or, ugh, a heartland rocker, but I say he’s a power pop genius and goddamn it, I’m right. And he’d be a power pop genius if the only song he’d ever bequeathed us is the great “American Girl,” which I put at No. 3 on my list of all-time favorite power pop smashes behind The Raspberries’ “Overnight Sensation (Hit Record)” and Big Star’s “September Gurls.” But since 1976 Petty has produced a shitload of brilliant and deceptively simple-sounding songs, from “Here Comes My Girl” to “Free Fallin’” to “I Need to Know” to “Into the Great Wide Open”—and the list goes on and on.
Petty reminds me of Creedence Clearwater Revival, another great singles band that never—in my opinion, at least—got the respect it deserved. And unlike John Fogerty—who has been reduced to producing ilk of the “put me in coach, I’m ready to play” variety—or Eric Carmen for that matter, Petty just keeps pumping them out, like a machine, or an Android from the Planet Skull. The man is a marvel, a human jukebox, and as much as I love The Raspberries and Big Star—more than I’ll ever love Tom Petty, that’s for sure—there’s no denying the guy has produced as many—or more—great tunes than both those bands put together.
“My first memory of vinyl would have to be my brother dancing his head off to Lionel Richie right in front of the player which would cause the needle to jump and my Mom to holler from kitchen to not get so close to the stereo if he was going to be dancing like that…”
“Just like most of us now days, I listen to music in all forms but I haven’t gotten to know music like I have by listening from vinyl. Randy Newman’s Sail Away, Billie Holiday Sings the Blues, Gershwin’s Rhapsody In Blue to more contemporaries such as Wilco’s Sky Blue Sky and Radiohead’s In Rainbows.
Reflecting on these records conjures up not only the music but of course the cover art as well is a reward all in itself.
Fat Goth return! They’re about to release their next album One Hundred Percent Suave on May 12th and this latest video for album track “Class A” is definitely their statement of intent.
Since their last album Stud, the boys have become minor “celebrities” in their hometown of Dundee, Scotland. In the video for “Class A” we see how their stardom has effected the boys as they crash a party, leaving a path of destruction and embarrassment in their wake.
Never ones to take themselves seriously, the video for “Class A” is an insight into their personalities as they poke fun at themselves against a backdrop of brilliant music—we wouldn’t expect anything less. “Class A” will be released as a free download from April 28th.
Bobby Bare Jr.’s latest effort, his fourth with the Young Criminal’s Starvation League, is titled Undefeated. While the roots of his musical upbringing can still be sporadically detected in his recent stuff, the 10 tracks from this new record continue to present the veteran singer-songwriter-guitarist as his own artistic man.
One of this writer’s earliest memories is of grooving in the living room as the 1974 LP Singin’ in the Kitchen spun on my folks’ wooden hi-fi cabinet stereo system, a long-ago state-of-the-art unit sporting durable tweed material covering its speakers, an appliance truly doubling as a piece of deluxe furniture with the hugeness and functionality leaving this young lad fascinated.
Singin’ in the Kitchen was a country sing-along album credited to Bobby Bare and the Family, its songs deriving almost entirely from the pen of Shel Silverstein. While not a children’s record exactly, the kid-friendly disc’s oft-boisterous intent was plainly to enhance familial camaraderie, and in the household of my youth it chalked-up smashing success.
To this day Singin’ in the Kitchen remains an admirable endeavor, showing off the 1970s country scene’s more progressive leanings, though its usefulness for aging bachelors (like me) or for that matter bachelorettes (perhaps like you) is truthfully pretty limited. I mainly mention the LP because Bobby Bare Jr. was a singing member of the Family; he in fact made his recording debut earlier that same year (age five) on his father’s #2 C&W hit “Daddy What If.”
Last Wednesday night, Hurray for the Riff Raff played in front of a packed house at the beautiful Sixth & I historic synagogue in DC. Their performance exhibited their remarkable talents as both stage performers and songwriters.
Touring to promote their new album Small Town Heroes, the Riff Raff’s stop in our fair city made for one lovely night of music at one of DC’s most unique venues. When Alynda Segarra took the stage, she looked up from her fixed guitar stance and said, “Wow, this is a beautiful place” just before she went into her set.
There is a simple yet unstated beauty that lies within folk songs, especially when they are performed in the correct manner. Hurray for the Riff Raff’s performance in DC was one that I will always remember fondly. Segarra’s vocals were as mesmerizing as they were enchanting.
Since splitting up and reuniting from 2007 until 2011, alt-rockers the Afghan Whigs have regrouped, once again, and this time for more than just live performances.
Earlier this year, the Afghan Whigs announced the official release date of their first album in sixteen years. Titled Do to the Beast, the album went on sale in North America today. Do to the Beast marks the seventh album for the band and features ten brand new songs, including the single “Algiers.”
Sixteen years is a long time to wait for new music. In honor of the Afghan Whigs’ first release in sixteen years, we’re giving away one of the test pressings of the long-awaited album Do to the Beast.
The French Quarter Fest has turned the proverbial corner. Near perfect weather and occasionally oppressive crowds created a new situation for the festival’s organizers to ponder over the upcoming year. When does big become too big?
I heard more complaints than ever before and witnessed lots of bad behavior on the part of the clearly record-setting crowd on Friday and Saturday. More on that later. Here are some musical highlights.
Festers unable or unwilling to get out early on Thursday morning missed an impressive set by jam/rock/funk ensemble Gravy. With a sax and trumpet front and center and a percolating organ and killer vocals calling to mind Stevie Winwood, the band, which has been together for eight years, gets my “most improved” award.
Immediately after they finished I scurried to the new Big River stage to hear Tank and the Bangas. This band, which is fronted by the vivacious Tarriona “Tank” Ball (pictured above and at top), is something special, playing original music that calls to mind a hodgepodge of influences from musical theater to Nicki Minaj and even Frank Zappa.
“My first experience with vinyl was listening to my Dad’s old 45 RPM singles on the old Hi Fidelity turntable—bands like The Beatles, The Searchers, Bobby Darin, and Elvis Presley. I must have only been about 4 or 5 years old but I can always remember the explosion of sound from the speakers as soon as the needle hit the groove.”
“The first album I ever bought was U2’s Boy—played on the same turntable—although with a few added coins on the arm to ensure the needle didn’t jump during playing. I will always remember the lyrics to ‘I Will Follow’ that still resonate with me to this day. There was something exciting about going to the record shops in Edinburgh on a Saturday afternoon looking for the next purchase. We used to jump on the bus with all our pocket-money and return with the new purchase under the arm.
Many nights were spent lying on my bed listening to U2, Stiff Little Fingers, Elvis Costello, The Clash, and many more purchases through the years with my Mum shouting ‘’Turn that bloody rubbish off’’ as I lay there totally ignoring her!
The Cadbury Sisters have come out of no where with their sensuous, folk sounds that draw upon more modern influences like London Grammar and Laura Marling. The sisters are related to the great chocolate maker, founder of the Cadburys empire, William Cadbury, and are preparing for the release of their latest EP “Close” out via Fear of Fiction on 16th June 2014.
The video for “Milk” is as organic and honest as the song, which begins on a Fleet Foxes-esque wave of harmonies before breaking down into simple, delicate vocals as we see the sisters sing to us sweetly against a forest backdrop. A little girl runs through the woods eventually meeting what seems to be her future self as the music brings us to a climactic end.
“Milk” is one of the most exciting folk songs to emerge in a while as The Cadbury Sisters have given the genre a modern edge, elevating them above the rest. The EP is just the beginning for the girls—it’s safe to say we’ll be hearing a lot more from the sisters in the near future.
In 1984 a record label was formed in Boston with a focus upon the city’s hardcore punk scene, its name an acronym for Teen Agers Are No Good! Since then its founder Curtis Casella has released music of wildly varying levels of quality, but TAANG! Records: The First Ten Singles provides a surprisingly consistent and highly enjoyable listen. A Record Store Day box-set limited to 2,000 copies and available only at participating brick and mortar shops, it offers 7-inches from Beantown acts Gang Green, Negative FX, Lemonheads, Moving Targets, and more.
Like numerous other ‘80s indies, TAANG! began as an outgrowth of a long-established local scene, with Curtis Casella chronicling the mid-‘80s punk/HC activity of his hometown. Other US imprints of similar beginnings exude more respective glamour (e.g. SST, Touch and Go, and Dischord), largely because they started earlier, but TAANG! stepped-up and captured a transitioning milieu when many of his predecessors were running out of steam, chasing dead-ends, or simply losing interest. And like any worthy label it’s the music that’s paramount, so let’s waste no time in delving into this set’s rewards.
Prior to a long tenure as one of the globe’s leading celebrants of unbridled alcohol intake, metal-tinged skate-punks Gang Green existed as a trad hardcore outfit, with their strongest attribute the exhibition of almost ludicrously blistering speed. That velocity is crucial to “Sold Out,” easily the crown jewel from the original lineup. It alternates parodic yet appealing elements of melody with stabs of breakneck momentum, and “Sold Out” stands as one of the best HC songs (which were frankly at a premium) of its period.