The 14th annual festival celebrating the life and music of New Orleans’ most famous son, Louis “Satchmo” Armstrong, kicks off Friday morning with a second line parade at 10:30 AM from Jackson Square to the Old U.S. Mint. Performances and discussions take place all weekend long. Here are my picks for the first day.
Since Chevron has come on as a major sponsor (TVD is a media sponsor), the fest has been able to book bands previously outside the budget. Topping the list this year is the first ever appearance by the Dirty Dozen Brass Band.
They hit at 6:30 PM on the Chevron Red Beans and Ricely stage on the Barracks Street side of the historic building. The ever-effervescent personality James “Satchmo of the Ghetto” Andrews follows at 8 PM.
Greater Manchester’s most in the know radio host Shell Zenner broadcasts the best new music every week on the UK’s Amazing Radio and Bolton FM. You can also catch Shell’s broadcast right here at TVD, each and every Thursday.
“On this week’s show my ROTW is Luck by Tom Vek. Pushing boundaries as always, I’ll be playing three bountiful numbers from the album.
I’ll also have my #shellshock to share with you! If you haven’t heard the first taste of GOAT’s second record Commune then this is your chance. There will be the usual accompaniment of new and emerging music as I spin some of the best new Alt releases. Love music? Don’t miss it.” —SZ
Though the music they produced was only fitfully successful, the Denny Laine-fronted incarnation of The Moody Blues deserves to be remembered for more than a momentary chart fling topped by a gem of a single. In ’65 they released an album at home and another in the US under distinct titles, both holding a dozen tracks and with a third of each LP also unique. The better of the two, Go Now–The Moody Blues #1, was issued in the States by London Records.
Heavy on covers and by extension lacking in gestures toward originality, the ’64-’66-era Moody Blues are unlikely to be many people’s (I’ll stop short of saying anybody’s) most beloved component in the British Invasion. In fact, talk of the group today reliably focuses on the post-Denny Laine/Clint Warwick lineup that saw new members John Lodge and Justin Hayward helping to transmogrify the Moodies into one of the leading if artistically lesser examples of Symphonic Rock. I won’t sully the Prog genre with an inapt association since there was hardly anything progressive about The Moody Blues Mk 2.
Instead, they exemplified the Middlebrow impulse, though that’s ultimately a separate discussion. This piece concerns a band that came together when the leader of Denny Laine and the Diplomats joined up with a bunch of nameless Birmingham hopefuls, their main desire hitting it big or even just making a good living; they briefly played as the M & B 5, the initials an attempt at landing sponsorship from two local beer brewers (last names Mitchell and Butler). And similar to many of their contemporaries, The Moody Blues’ method at least initially was the borrowing and alteration of Rhythm and Blues.
And they did storm the charts with “Go Now,” in the process overtaking in popularity the terrific Leiber and Stoller-produced original by Bessie Banks, though the idea of the cover destroying the source’s commercial hopes is basically a myth. Banks’ tune was released by the Tiger label in January of ’64 while The Moody Blues’ version didn’t emerge until the following November, eventually peaking at #10 in the US in February of ’65 (it took top Brit honors a month earlier).
Last week I saw one of my favorite bands on the planet perform on their final tour. I’ve seen Mötley Crüe 6 or 7 times over the years and I could easily see them play many more times. It’s been a good run for the bad boys of rock having sold over 80 million records, sold out countless tours across the globe, and spawned more than 2,500 Mötley Crüe branded items available in over 30 countries.
They’ve built a heavy metal empire and along the way set the bar very high for what defines the best and the worst elements of being a rock star. But, you have to respect these guys for knowing when to call it a day. Leaving the fans with a lasting memory while they are arguably at their finest, this show was everything I had hoped it would be and more—a mind-blowing mix of fire, explosions, and musicianship set to a stellar choice of cuts from the band’s extensive catalog.
In between it all, Nikki Sixx would get intimate with the crowd and talk about the band’s formation and the early days. I wouldn’t be surprised if his eyeliner might have smudged with a few tears because he was starting to get emotional.
The Deadmen are bringing Americana rock to the nation’s capital and are definitely a band to look out for this year. Despite their morbid name, The Deadmen are alive and kicking in the DC music scene and are here to stay.
The band is composed of three talented singer-songwriter-guitarists—Josh Read, Justin Jones, and Justin Hoben— and bassist John Hutchins. They each bring new elements to the style and writing of their music. Although they formed The Deadmen recently, they have been performing individually for more than a decade.
We interviewed Justin Jones last year to discuss his “I Can Feel It Tour 2013″ and the upsurge in the popularity of rock ‘n’ roll. Jones puts a lot of value into creating quality rock, and it shows. He told us, “We played a show in Indianapolis a while ago and someone came up to me afterwards and said, ‘I just wanted to thank you for playing fucking rock and roll—no xylophones and whistles and melodicas and shit.’ And I love all that stuff, but you know what I’m talking about. I never really paid particular attention to the newest trending thing. When stuff gets a little too derivative, it just starts to sound like watered-down whatever it’s trying to rip off. To me, it’s just never as good as the real thing.’
“Tomorrow Never Comes” is the latest offering from Los Angeles based quartet, The Bixby Knolls. The four song EP was recorded and mixed at Station House Studios in Echo Park, CA between December 2013 and January 2014. Although their debut album, Near & Undear was a collection of songs written over a 5 year period while the band’s line-up took form, “Tomorrow Never Comes” was written mostly within a year and captures a mood and sound in a compressed period of time.
“Although we feel the tunes still express the raw melodies and energy as the first album, there’s a more sinister overtone to these four tracks,” says singer and guitarist for the group, Curt Barlage.
“Juvenile Heart Crime,” the opening track, was originally written for a side project of Barlage’s–with the original demo being more of an electronic style recording. Those electronic elements were taken into consideration whilst recorded by The Knolls–with the sequenced synth sounds replaced by acoustic instruments and live-playing to give it more of an organic and dynamic feeling.
A couple of years ago the apartment my ex-wife and I lived in suffered a mouse infestation. We tried regular traps and glue traps, but they seemed terribly cruel, so we finally bought some catch-and-release traps. We lived on the third floor, and I got tired of carrying the traps down to the alley to release them. So I thought, why not release them on the balcony, where they’d be free to scamper along the rooftops to safety? So I tried it, but instead of escaping via the rooftops my frightened test mouse shot out of his little prison like a furry little bullet, promptly sailed off the edge of our balcony, and fell screaming (I may have imagined the screaming) to the concrete parking space below.
I’m not sure why—or actually I am—why that mouse never fails to remind me of Van Halen’s great “Jump.” I might as well have been singing, “Jump! Go ahead and jump!” as he plummeted earthwards. But anyway, the point I want to make is not that mice should look before they leap, although they should, but that I love Van Halen’s “Jump”—loved it even during those years when virtually all I listened to were SST bands, and admitting to liking a Van Halen song (at least amongst my crowd) was not so far from confessing to like that Seals and Crofts song about the summer breeze blowing through the jasmine in your mind.
I should add that my love for “Jump” did not extend to Van Halen itself. I had in fact never so much as listened to a Van Halen LP in its entirety, much less owned one. Honestly? I thought they were a band of morons. They dressed like Jose Feliciano was their haberdasher, and it was my considered opinion that Eddie Van Halen was a shameless showboater with his tapping (a technique he didn’t invent); single pickup, single volume knob guitar; and volume swells, or “violining.” Then there was the perpetually mugging David Lee Roth, whom I considered the world’s oldest class clown. (I’ve come to love him over the years for the same reason.) As for bassist Michael Anthony, well, bassist Michael Anthony was just short. Too short. Like midget short. Then there was the drummer, Eddie’s brother, whose name slips my mind (Alex? Alek like Lee Harvey Oswald’s USSR name?) but it hardly matters because who pays attention to the drummer except other drummers anyway?
Tomorrow night, Jefferson Parish venue Southport Music Hall will host indie rockers The Gallery and a special local opening act.
Since arriving in 2008, The Gallery have made a name for themselves in the alternative country-rock scene. They even caught the attention of Rolling Stone magazine, which featured the group as contenders for the fan driven “Choose the Cover” edition in 2011.
The group gravitates towards classic song structures and they sound a bit like Tom Petty with a modern LA vibe, although they hail from a small town in western Massachusetts.
Dante return with their free single “Wake” taken from their debut album—the critically acclaimed full length of the same name. The track sums up Dante in 3 indie-folk minutes (or so) as the band show their credentials as one of the standout Celtic folk bands hailing from Scotland right now.
There are moments that make you want to let your hair down break into a ceilidh and dance the night away. These moments are though, smattered with indie influences that remind us of Scottish stalwarts like Idlewild and Teenage Fanclub. There really is a lot going on here as harmonies enrich the music further taking it to almost angelic levels at times.
Having received praise from the music press both at home and throughout the UK, Dante are intent on maintaining their momentum with the release of “Wake” and a number of festival dates and a local Scottish tour.
The Chills, nearly 35 years after coming together in Dunedin New Zealand and fronted as always by Martin Phillipps, are releasing a new vinyl single. “Molten Gold” b/w “Pink Frost,” out now through Fire Records, provides vibrant testimony to the heights of Phillipps’ pure pop vision, its two songs refreshingly unburdened by the stature of his past achievements.
I must confess to feeling just a twinge of envy in regard to the numerous guitar pop fans that have yet to make the acquaintance of the estimable Martin Phillipps. It’s not necessarily that the first occasion is the sweetest, but rather that the initial moment of discovery is distinct, the inaugural taste easy to recollect decades later.
Where was I the first time I heard The Chills? Unspectacularly, in the stereo room of a shared abode, though I did give my freshly acquired copy of “The Lost EP” at least a dozen spins on that day alone, primarily because the songs were so damned good, but also due to my persistent doubts over a batch of simple guitar pop being, well, so damned good.
New Zealand’s breakout indie label had their hands in a diverse range of early offerings, but alongside The Clean, The Verlaines, and Tall Dwarfs, The Chills are a cornerstone act in what’s described today as the Flying Nun Sound; with due respect to more famous countrymen the Brothers Finn (of Split Enz, Crowded House, etc), Martin Phillipps can be accurately (if of course arguably) lauded as the great Kiwi pop auteur, mainly due to assured breadth of artistry.