Maybe I’m a little guilty of nostalgia on this one, but aren’t we all from time-to-time?

When I look into the past with my rose-colored glasses on, they take me to that time of life when most people find themselves experiencing glowy memories of the past: high school. In my case, it was high school in the early to mid 1990s. As is true of every generation, there were certain songs that were inescapable during that time, some music that was simply a part of the cultural wallpaper. Music that is ingrained to that extent into society’s psyche can face both pros and cons. On one hand, the song is at risk of being overplayed and over consumed and of course, we all know what familiarity breeds. On the other hand, it’s extraordinarily rare for a certain music to be considered definitive and infinitely attached to a particular place in time in human history.

In 1997, Paula Cole released two iconic songs that had a significant generational impact. “I Don’t Want to Wait” became a radio staple and gained immense popularity as the theme song for the popular TV show Dawson’s Creek. “Where Have All the Cowboys Gone” became Cole’s only top-ten hit in the US, reaching number eight on the Billboard Hot 100. The song also earned Cole three Grammy Award nominations for Record of the Year, Song of the Year, and Best Female Pop Vocal Performance.

Paula joins me on this episode to discuss her brand new album Lo, it’s her first batch of originals in a decade and it is a strong work that makes an occasional nod to her sound in the ’90s, but showcases Cole as the forward-facing performer that she is. We discuss the new record, and learn about a few recording secrets from the 1990s and how some of those tricks of the trade worked their way into her recent production.

We also explore the latest reissue of This Fire which was released last year in celebration of the album’s 25th anniversary and talk about how, in many ways, those songs are as relevant as ever having been discovered by a new generation of listeners because, as you’ll find out, good art may represent a certain generation, but it isn’t anchored to it. That’s the feeling you’ll get digging through the past, present, and future of Paula Cole’s catalog.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

Just how great are Black Oak Arkansas? Well rock critic Ubermensch Robert Christgau once posed the question of why they couldn’t fill NYC’s Academy of Music on a Saturday night after two years of relentless touring and then answered it himself with the words, “Because unlike most similar bands they have never achieved competence—they are actively untalented, incapable of even an interesting cop.”

Is that a glowing endorsement or what? But if you ask me Christgau was missing the point. If you have a sense of humor and a taste for the totally inexplicable those are the very qualities that make Black Oak Arkansas so great! I mean, ANYBODY can be competent! And talent’s bullshit! The Police were talented, and they should have been arrested! Eric Clapton is talented! Talent kills!

Black Oak Arkansas were working at a level of total inspiration that made basic proficiency much less mastery irrelevant, starting from the day they stole the PA from their high school and set up in an abandoned grain bin at the outskirts of the tiny burg they’d name themselves after and commenced to produce such an ear-splitting din that it took the cops all of ten minutes or so to swoop down on ‘em and not only pull the plug but arrest them for grand larceny, after which they were sentenced to TWENTY-SIX YEARS at some horrifying penal farm, although the sentence was later suspended. But there’s a lesson in there—playing the sounds they heard in their collective unhinged head could have put them away for decades, and it that ain’t the spirit of rock ’n’ roll, what is?

Black Oak Arkansas was a band of renegade long-haired redneck Krishna Baptists at the bizarro fringe of the southern rock movement who liked to sing about the halls of Karma and called themselves “mutants of the monster” and lived at one with nature in some kind of hairy hippie commune in the sticks where they perfected their totally incompetent but always electrifying and utterly unique brand of radioactive psychedelic southern rock, complete with their own three-guitar army and a drummer who liked to play solos with his bare hands, perhaps because he couldn’t afford drum sticks. But if so, why didn’t he just steal some? Arkansas is Purdue Country and literally crawling with chickens!

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VIA PRESS RELEASE | After a pause since 2019 due to the pandemic, music lovers, record enthusiasts, and audiophiles are warmly invited to the much-awaited return of Warner Music Group’s Record Store Crawl. Presented by turntable brand Audio-Technica, the crawl is set to make its grand return in New York City on May 18th, 2024, before embarking on a several-month journey through iconic record stores in cities nationwide.

This year’s Record Store Crawl, in collaboration with the voter registration non-profit HeadCount, offers a unique twist: the seventh crawl location will be chosen by vinyl collectors nationwide through a vote. After casting their votes for the crawl, participants are encouraged to check their voter registration status for the 2024 election. For details on how to vote for the crawl location, visit www.recordstorecrawl.com/vote.

The 2024 crawl season promises an unparalleled celebration of vinyl culture. Attendees will experience exclusive performances, special edition vinyl releases, and more, all while indulging in a music-filled day complemented by delicious food, refreshing drinks, and unique giveaways aboard the Record Store Crawl bus.

The crawl will include the launch of exclusive, limited edition collection of vinyl releases, including the first-ever vinyl release of Portraits by Quarters of Change, and the highly anticipated re-issues of the Twilight Saga soundtracks. Record Store Crawl exclusive LPs will be available at independent record stores nationwide and on the Record Store Crawl’s website.

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Celebrating Dave Hill, born on this day in 1946. —Ed.

These lovable Wolverhampton cheaters at Scrabble certainly never won a spelling bee, and one of ‘em (guitarist Dave Hill) walked around in a mullet so hideous it could even get you evicted from an Alabama trailer park, and come to think of it, the whole bunch of ‘em looked pretty silly in their Glam clobber, but we’re talking about the great Slade here so–cum on feel the noize! Because when it comes to irresistibly catchy (and irreducibly simple) rabble rousers (they perfected the whole stomp and clap thing long before Queen came along with “We Will Rock You”) Slade can’t be beat.

Slade may have abandoned their braces and boots Oi roots to climb aboard the Big Glam Bandwagon, but they never forgot their rowdy West Midlands yob origins– “Cum On Feel the Noize,” “Gudbuy T’ Jane,” and “Mama Weer All Crazee Now” are all rafters-shaking boot boy anthems. Not for nothing did Hill wear the words “Super Yob” on the breastplate of his pointy-shouldered space doofus stage costume.

The “Brummie oiks” (thanks Barney Hoskyns!) in Slade were the friendliest bunch of Wulfrunian lager louts you’d ever want to meet, preferring cheery sing alongs in the great English pub tradition to sticking a broken bottle in your mug. They also had a quiet side and a sentimental streak a mile wide, not that you’d know it if you lived in the States, which only got to meet Slade’s crazee Mr. Hyde persona.

This is certainly the case on the truncated US version of the band’s 1973 singles compilation Sladest. The Reprise Records “American version” compiles the band’s eight UK hit singles up to that date along with the newly released single “My Friend Stan” and its B-Side “My Town,” whilst leaving such quieter (and vaguely Beatlesesque!) songs as “Pouk Hill” and “One Way Hotel” by the side of the musical motorway.

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VIA PRESS RELEASE | “We lived in Britain, a country that had hugely benefited from immigration, but curiously had an innate antipathy to the ideas of multiculturalism and diversity. Daniel Rachel has managed to capture the essence of that contradiction in those Margaret Thatcher—governed years, with this comprehensive, cautionary but nonetheless celebratory saga of the 2 Tone label.” —Pauline Black, singer of The Selecter

In 1979, 2 Tone Records exploded into the consciousness of music lovers in Britain, the US, and beyond, as albums by The Specials, The Selecter, Madness, The English Beat, and The Bodysnatchers burst onto the charts and a youth movement was born. 2 Tone was Black and white: a multiracial force of British and Caribbean musicians singing about social issues, racism, class, and gender struggles. It spoke of injustices in society and fought against right-wing extremism.

The music of 2 Tone was exuberant: white youth learning to dance to the infectious rhythm of ska and reggae crossed with a punk attitude created an original hybrid. The idea of 2 Tone was born in Coventry, England, and masterminded by a middle-class art student, Jerry Dammers, who envisioned an English Motown.

Borrowing £700, the label’s first record featured “Gangsters” by The Specials, backed by an instrumental track by the as-yet-unformed Selecter. Within two months, the single reached number six on the UK music charts. Dammers went on to sign Madness, The English Beat, and The Bodysnatchers as a glut of successive hits propelled 2 Tone artists onto Top of the Pops and into the hearts and minds of a generation.

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On April 5, Mississippi Records delivers an absolute gem to seekers of prime African heat as they reissue the eponymous 1973 album by Mali’s Rail Band. Spiked with Afro-Cuban richness and relentlessly funky, the record sells for hundreds of dollars in original form when a copy miraculously becomes available. Mississippi’s edition, on black or transparent blue vinyl, is far more affordable and is no less moving a listen.

As detailed on the cover, the Rail Band was the house act at the Buffet Hotel de la Gare in Bamako, the capital of Mali. Formed through sponsorships by the country’s Ministry of Information and Railway Administration, the bandstand was in the bar of the Buffet, a station hotel, located near the railway, hence the group’s name. The five gigs a week were long (reportedly 2pm until late), but that much playing led to the striking ensemble cohesion heard on this record.

The first Rail Band album, Orchestre Rail-Band de Bamako was released in 1970 on Mali Music, a label directly funded by the Ministry of Information. It was reissued on vinyl by Mississippi back in 2011. That set documents a band that was already sharp. Rich with jazzy horn wiggle, the sound glides as much as it grooves, though there is no shortage of rhythmic potency throughout.

By 1973, the Rail Band was a well-oiled engine of funk combustion. Initially issued by RCAM (stands for Rail Culture Authentique Mali), this self-titled second LP stands amongst the finest African sounds of its decade. Yes, that’s a bold statement given the diversity of the continent’s output in those ten years, but the Rail Band’s stylistic hybridization elevates them to top tier.

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VIA PRESS RELEASE | Mercury Studios announces the May 10, 2024 release of Back to Front – Live in London from Peter Gabriel on 4K Ultra High Definition Blu-ray.

Back to Front – Live in London captures the complete live performance of the So album from start to finish. This spectacular live concert, filmed at London’s O2 over 2 nights in October 2013, using the latest Ultra High Definition 4K technology, captures Peter Gabriel’s celebration of the 25th anniversary of his landmark album So. To mark the event, Gabriel reunited his original So touring band from 1986/87 (David Rhodes, Tony Levin, Manu Katché, and David Sancious, with Jennie Abrahamson and Linnea Olsson) and for the very first time fans saw them play the multi-platinum selling album in its entirety.

As a bonus Back to Front includes “The Visual Approach” a fascinating feature on the creation of the live show. While the core of the performance is the So album, there is so much more to the concert with unfinished, previously unreleased and re-imagined songs sitting effortlessly alongside classic hits reflecting what a multi-dimensional artist Peter Gabriel is. With innovative lighting and staging, Back to Front – Live in London offers a visual and narrative feast that puts the viewer inside a concert like never before.

A notable inclusion in the concert is the song “Daddy Long Legs,” at the time a previously unheard and unfinished piece which opened the show. With the release of Gabriel’s current album i/o, the performance is revealed to be an early, work in progress rendition of the song “Playing for Time.” Peter’s critically acclaimed new album i/o is out now on LP, CD and Digital.

It’s been four years since Norah Jones has released a studio album and new material (Pick Me Up Off the Floor). There was a holiday album and a live album in 2021. Once again, Jones has come up with an album, Visions, that highlights her gorgeous and singular vocal style and ability to write songs that move from the infectiously catchy to varied in the way she seamlessly mixes styles, particularly jazz, country, and soul.

She can add subtle modern touches to her music, as she does on the catchy “Running,” but never panders to current pop trends. The song fits right in with today’s music, but is an instant timeless classic. When Jones first burst on the scene in 2002, she was hailed as breathing new life into piano-jazz styled music. On later albums she has shown her fun side and songwriter chops by making music that has a little of the jazz and country of the earlier sound that is at the core of her music, but now she adds more soul and pop.

She wrote three of the songs here and co-wrote the rest. She is not afraid to try new musical ideas and to mix drums and brass in unique ways, particularly on “I Just Wanna Dance.” There is an almost stripped-down, Philly soul feel on some tracks, like on “All This Time.” Rather than resorting to mostly electronic keyboards like on so many pop music hits these days, Jones relies more on acoustic piano and, on “I’m Aware,” “On My Way,” and “That’s Life” incorporates an organ sound like from an old movie that adds a spooky, atmospheric mood.

Jones is aided here by musicians up for the task of creating music of stylistic breadth and subtle musicianship, including ace jazz drummer Brian Blade, Jesse Murphy of Brazilian Girls, and Homer Steinweiss and Dave Guy of the Dap-Kings. Her main collaborator, Leon Michels, who also serves as the album’s producer and her co-songwriter on eight songs, and who adds his playing on many instruments, is also from the Dap-Kings. With the death of lead Dap-King singer Sharon Jones in 2016, it’s nice to see these extraordinary New York musicians continuing to make great music together and joining forces with fellow New Yorkers Norah Jones and Jesse Murphy.

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VIA PRESS RELEASE | On August 24, 1973, 40,000 salsa fans (a record-breaking crowd at the time for a Latin music event) eagerly piled into New York’s Yankee Stadium to watch some of the world’s most influential artists share the stage. But the Fania All Stars—a collective that included such legends as Johnny Pacheco, Willie Colon, Ray Barretto, and Héctor Lavoe—was eager to highlight its versatility by performing not just Latin hits, but also soul and rock hits from the day.

Joined by a variety of special guests, including Mongo Santamaria, Manu Dibango, Jorge “Malo” Santana, plus Billy Cobham and Jan Hammer of the Mahavishnu Orchestra—the All Stars launched into a funky, high-energy set (which was scheduled to include such hits as Dibango’s “Soul Makossa,” Edwin Starr’s “There You Go,” and the Joe Cuba Sextet’s “El Ratón”). But not long after they began, the concert was cut short as thousands of excited fans poured onto the field, forcing the concert to end prematurely. What was captured on tape reverberated with the energy of that evening, while subsequent recordings (to round out the rest of the setlist) showcased the sheer talent of everyone involved. The resulting album, 1974’s Latin-Soul-Rock, became an instant classic.

Now, Craft Latino celebrates the 50th anniversary of this historic album with a special 180-gram vinyl reissue of Latin-Soul-Rock. Set for release on May 24 and available for pre-order, the long-out-of-print album has been newly remastered from analog sources by Kevin Gray at Cohearent Audio and is housed in a tip-on single-pocket gatefold jacket, replicating its original design—including liner notes from Fania founder/producer Jerry Masucci, plus a review of the concert from the New York Post. Additionally, Latin-Soul-Rock will also make its debut in 192/24 hi-res digital audio. In addition, a deluxe Fuego vinyl color exclusive, limited to 300 copies, with an exciting bundle option that includes a Fania All Stars Live at Yankee Stadium commemorative baseball T-shirt is available for pre-order at Fania.com.

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For some, Bruce Cockburn needs no introduction. However, just as many (maybe more) are unfamiliar with the persevering Canadian singer-songwriter’s talents, a reality Tompkins Square’s Josh Rosenthal fully understands. Rather than leave this deficiency unaddressed, James Toth Presents… Imaginational Anthem Vol. XIII – Songs of Bruce Cockburn arrives April 5 on LP, CD, and digital. Featuring nine readings of Cockburn songs by an impressive cohort of contemporary indie artists including Jerry David DeCicca with Bill Callahan, Powers Rolin Duo, Wet Tuna, and the set’s curator in the duo Armory Schafer, the album is poised to enlighten newbies while satisfying longtime Cockburn fans.

In the notes to this worthwhile set, Josh Rosenthal lays out his reasons for following up Imaginational Anthem Vol. XII, a multi-artist tribute to the late guitarist Michael Chapman, with a similar goodwill gesture. In short, it pertained to a nagging disrespect to Cockburn through oversight from a listenership that’s clued into a younger, edgier, and more indie-aligned scene.

It bears mentioning that Cockburn is a certifiably huge deal in Canada, as knowledge of his artistry has also spread elsewhere. While never as big in the USA as he was at home, Cockburn’s songs were once heard on stateside commercial rock radio. But as the decades have passed, the guy’s stature has seemed to diminish even as he’s remained active.

Rosenthal puts the blame in part on the lack of championing from tastemaker musicians. It’s an assertion that resonates as accurate. I’ll add that Cockburn’s never been a darling of critics the way that some purely instrumental fingerpickers and folky singer-songwriters were and are. And unlike the recordings of those more celebrated names (say, Fahey, Jansch, Hardin, Cooder), Cockburn’s stuff pre-Dancing in the Dragon’s Jaws was pretty scarce in the bins new or used, at least in more suburban areas of the USA.

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