NYCD: The Blog

Saturday, April 29, 2006

Here it is, campers...

SAL'S NEW ORLEANS REPORT, PART DEUX!

All fears of a thin turnout were dashed has soon as we arrived at the Fairgrounds at 10:30 A.M.. It was a beautiful day, and though the line to get in seemed thin, the line to purchase day tickets was larger than I recall it ever being before.

We headed right for the traditional first day iced coffee stand and into the Gospel Tent. Church, if you will. The "Inspirational Gospel Singers," 7 women in the 60's, all dressed in red gowns, the lead singer holding a microphone with her left hand, and balancing herself on her walker with her right, were whooping it up. They "believed" and within minutes, so did we. We are here. An emotional entry into a first day that only got better. In the words of Rachel Masters, "I can't fucking look at them anymore, I need some crawfish bread." Praise God.

The next stop was the jazz tent for what could already be the performance of the trip. 20 year old, homegrown Jonathan Batiste was making his Jazz Fest debut as a leader, with his trio. A mix of Oscar Peterson swing, with Professor Longhair's attack, always sounding like Monk. As my friend Dan pointed out, "This is all Monk, man, only you can hear ALL the notes." Outstanding. Batiste brought the house down for the first official "Jazz Fest Moment."

It was time for some food, and the lines were looooooong. Good sign. People came. This was a success. As the day progressed and the sun got hotter, the crowd got bigger, and trying to get near the Acura Stage to see Dylan became an impossibility. (he also came on 30 minutes late--not usually allowed at Fest)

OVERHEARD AT FEST:
Irvin Mayfield, the young Miles-wanna- be trumpeter was explaining to the Jazz Fest crowd how his father drowned during Katrina and how he had not been able to play "Amazing Grace" since then, but he'd like to now. To which a woman seated behind us said, "I hate the trumpet."

Got home around 6PM. A 20 minute nap, a hot shower, and a cocktail that really hit the spot, and we were ready for dinner and the Snug Harbor All-Stars, this year featuring Henry Butler, Shannon Powell, Wessell "Warmdaddy" Anderson, Ed Peterson, Jason Stewart, and the great David Torkanowsky, who also acted as music director. Impromptu versions of such standards as "Caravan" and "Swingin' At The Haven," set the swinging mood which quickly turned into a "soul shack" when Davell Crawford got up on stage, sat behind the B-3, and knocked us on our asses with a Ray Charles-channeled "You Are My Sunshine," and one of the most chilling perfomances of Leon Russell's "A Song For You" I have ever seen. Not a dry eye in the house.

It is now morning. It is cloudy and very windy and it may rain, but no one cares. The Dave Matthews Band is set to close the Acura Stage today. This could mean a crowd disaster, but again, no one cares. More food, and another couple of "moments" to take home trumps rain.

Friday, April 28, 2006

And now, direct from the City That FEMA Forgot, it's...

SAL'S NEW ORLEANS REPORT!

Not a great start to the long-awaited trip to New Orleans. I was stopped at JFK. My bag was unpacked--if they only knew how long it took to pack--by some humorless, scary guy who claims they detected explosives. Piece by piece my clothing was removed and placed on a table, as he swabbed random things with what looked like an eyeglass cloth. "Don't put your hands over the table please." "Stop touching my underwear, you freak!" Once most everything was removed, they scanned the bag again, and still weren't happy. The problem turned out to be my Altec-Lansing iPod speakers. "Ok, you can go. I'd help with the bag, but I'm no good at packing," said the creepy security guy. (Top imbecile.)

Flight was smooth and on time...early actually. This was no doubt due to the last 15 minutes, where it seemed the plane picked up speed and almost snapped in half.

Two days later, and I'm finally over the humiliating airport experience. The weather is gorgeous. The people are filing into, what at first, seemed like a lonely, desolate town. My first night in, and the French Quarter seemed like, in the words of Nick Tosches, "a death row, blowjob, downer." It is now Thursday, and the Quarter is alive.

Caught Susan Cowsill's short set at the Louisiana Music Factory, her voice better than ever. Met some old friends and discussed our music picks for the next week or so. Dylan, Bruce, Iguanas, Germaine Bazzle, it's all good. We may see it all, or none of it. That's sort of the way it goes down here and that's never a problem. In the words of Tom Tresh, "I'm just glad to be here."

Right now we are about to drive to the Garden District for some dinner and hopefully some music later on. If not, back to the room. You'd be surprised just how great "Will & Grace" reruns are when you're watching them in New Orleans.

6 HOURS LATER:

Had a mixed green salad with dried bing cherries and duck confit, as well as a braised rabbit (hind quarters) with potatoes and carrots at Martinique Bistro, a beautiful Garden District restaurant with a courtyard right out of a Tennessee Williams play. Although, I don't remember anybody getting abused for ordering rabbit in "Cat On A Hot Tin Roof." (I thought these people were my friends) No music tonite. Everyone had their ideas, but too much food stopped us in our tracks. In the words of Peter Roaman, "Can I have a banana?"

There will be plenty of music at the Fest. I'll tell you about the best. There won't be a worst. In the words of Ernie K- Doe, "Ain't nothing but two songs gonna make it to the end of the world, 'Star Spangled Banner and 'Mother In Law.'"

Okay, then.

Wednesday, April 26, 2006

NEWSLETTER #14!

R.I.P. PHIL WALDEN

SAL GOES TO NEW ORLEANS: VOWS TO REBUILD CITY, EAT GUMBO

TONY STAYS IN NEW YORK: VOWS TO WRITE SOLO NEWSLETTER, EAT GUMBO

LATEST POLL: NYCD DOESN'T LIKE GEORGE BUSH

JIMMY CRACK CORN AND WE DON'T CARE

DON'T FORGET... KEEP THOSE USED CDs & DVDs COMING!
Email us at HEYNYCD@aol.com or call (212) 244-3460. Come to our lovely office or, if you've got too much to carry, we'll come to you, as long as it's a reasonably priced cab ride from our office and our trusses are back from the shop.


And now... NEXT WEEK'S NEW RELEASES!!!

JON AUER: SONGS FROM THE YEAR OF OUR DEMISE.
Co-founder of the Posies, member of Big Star, and power-pop singer and songwriter extraordinare finally unleashes his years-in-the-making full-length solo debut, and it's worth the wait. A little more introspective than his Posies work, but a gorgeous album that grows on you slowly and leaves you hooked.

BELLRAYS: HAVE A LITTLE FAITH.
We've described them before as "Tina Turner fronts MC5," and that's still the case on their latest album, although they shift moods and vibes from song to song a little more on this one.

BLACK KEYS: CHULAHOMA.
The oh-so-raw guitar-and-drums duo pay tribute to the late bluesman Junior Kimbrough with an album of all Kimbrough covers.

CHARLATANS UK: SIMPATICO.
"Their first album in five years," it says here. Really? Are you sure it hasn't been ten? Fifteen, maybe? At any rate, they have apparently "updated their sound to incorporate hints of dub and reggae." Release day can't come fast enough!

ALEJANDRO ESCOVEDO: BOXING MIRROR.
The brilliant roots-rocker's first album since his near-fatal illness, produced by John Cale.

GOMEZ: HOW WE OPERATE.
Since I can never remember what they sound like, I asked Rob how the new Gomez album is. He says: "For the first time in Gomez's career, they've recruited an outside producer, Gil Norton, best known for his work with the Pixies, to make their most accessible album to date. This one has a little more of an acoustic feel, but don't think of this as Gomez Unplugged, because there's lots of the typically Gomez complex arrangements, just not as mired in studio gimmickry. The songs can stand by themselves. I think they were looking for a radio-friendly album."

JEWEL: GOODBYE ALICE IN WONDERLAND.
Damn, they're still letting her make records? Supposedly her most personal and autobiographical record to date, although no word as to whether it's more personal and autobiographical than her book of poetry.

MINISTRY: RIO GRANDE BLOOD.
A concept album which dissects the war on terror and its global fallout. The only problem is that I haven't been able to understand a word Alan Jourgenson has sung since the days when Ministry were a technopop band back in the early '80s. Hopefully his enunciation's a little better this time around. I'm sure it's fun and noisy regardless.

PEARL JAM: PEARL JAM.
Their latest album is being hyped as their best in a decade, featuring the hit single "Worldwide Suicide." We gave it a perfunctory listen and it sounded like standard issue Pearl Jam -- which isn't a bad thing, mind you -- except for one song which sounded just like mid-period Beatles. Seriously!

PICK OF THE WEEK!

BOBBY PREVITE: COALITION OF THE WILLING.
One of the greatest percussionists in this business we call show, Previte has been known to get pretty out-there on previous solo releases, but this not-quite-rock, not-quite-jazz album (reminiscent of one of our favorite bands of the last few years, Garage A Trois) may be his most accessible -- and best -- effort yet. Hooks and riffs that bore their way into your skull and stay there, and great musicianship throughout. Special guests include Charlie Hunter, Steven Bernstein, and Stew Cutler.

TOOL: 10,000 DAYS.
Their first album in five years, and we are simply thrilled. It may sound like their other records, which we never particularly liked, or it may not. Our pre-release sheet doesn't say.

WOLFMOTHER: WOLFMOTHER.
The debut album from the highly regarded classic rock-ish trio, featuring lots of loud, crunchy riffs for your listening pleasure. Includes the first single, "Woman," which is already getting some airplay.

WORLD PARTY: DUMBING UP.
I can hear Sal yelling all the way from New Orleans, "Don't forget to mention the World Party album!" Originally released in Europe a few years ago, pop genius Karl Wallinger's latest release finally comes out in the States with a different track listing, PLUS a DVD (with initial orders only!) feauturing about three hours of archival footage, live and studio performances, and more. If you've somehow never heard World Party before, it's a cross between Lennonesque Beatles, Dylan, and a little '70s Stevie Wonder thrown in. Great stuff.

ROY HARGROVE: TWO NEW RELEASES.
The trumpeter/composter/bandleader's main touring outfit, the Roy Hargrove Quintet, releases Nothing Serious, a more straightforward jazz album, while his side project, the funk and hip-hop-laden RH Factor, release Distractions on the same day. Buy 'em both! Mix and match! Compare and contrast!

CHRISTIAN McBRIDE: LIVE AT TONIC.
This stunning 3 CD set features an ultra-eclectic lineup, including his ace band plus special guests Charlie Hunter and Eric Krasno of Soulive on guitar, Rahsaan Peterson on trumpet, Jason Moran on keyboards, DJ Logic on the turntables, and Scratch from the Roots on beatbox, among others. Sure to be one of the hippest jazz releases of the year.

AL GREEN: THE BELLE ALBUM (EXPANDED EDITION).
Not a big seller when it was first released in 1977, this album's stature has grown over time and is now considered one of Al Green's finest. At long last, it gets the treatment it deserves, with new remastering and the addition of three PREVIOUSLY UNRELEASED bonus tracks, produced, like the rest of the album, by Green himself. A must-have.

JACKIE WILSON: ULTIMATE JACKIE WILSON.
Since the three CD box set on Rhino went out of print several years back, it's been harder to find a really comprehensive Jackie Wilson compilation than a moderate in the Bush administration. Two CDs, covering his entire career from his first hit, 1957's "Reet Petite," up through his final recordings in the mid '70s, and all the high points in between.

TO ORDER ANY OR ALL OF THESE NEW RELEASES, OR IF THERE'S SOMETHING YOU WANT THAT WE DIDN'T MENTION, EMAIL US AT HEYNYCD@aol.com or CALL US AT (212) 244-3460 and ask for "Someone who isn't Sal."

And now, since Tony has carte blanche to do whatever he wants in the newsletter this week, here we go with...

RECORDS TO HELP TURN YOUR HOME INTO A SWINGIN' COCKTAIL LOUNGE!

OK, you've got the well-stocked bar. Olives at the ready. Cocktail glasses are chilled and frosted in your freezer. Lights on the dim side. You're wearing your nattiest threads, and you're ready to libate. But as you serve the perfectly made 'tinis, you're still missing perhaps the most important thing -- the music. What to play to get the party ring-a-ding dinging? Here's a cool half-dozen suggestions:

FRANK SINATRA: Sinatra's Swingin' Session (1960) — Frankie at his most frenetic, with hopped-up arrangements by the great Nelson Riddle. Sure to get any party off to a swinging start. The CD bonus tracks include the hippest version of "Ol' Macdonald" you'll ever hear.

ESQUIVEL: Space Age Bachelor Pad Music (1994) — The album that kicked off the lounge music revival of the mid '90s, and it still sounds great, almost half a century after most of this material was waxed. All the ping-ponging of instruments from speaker to speaker, demented, two-finger piano solos, and choruses intoning "Zu-zu-zu" and "boink-boink" may be a tad perplexing in the harsh light of day, but imbibe an after-work cocktail or two and it all magically makes sense.

NAT KING COLE: Penthouse Serenade (1952) — The King tickles the ivories in somewhat genteel but oh-so-classy, swinging style on this, the greatest cocktail piano album ever made. Close your eyes and take a sip of your Manhattan and you'll be transported back to long-gone nightclubs like the Stork Club or the Embers.

MARTIN DENNY: Exotica (1956) — The musical equivalent of a tiki bar -- not authentic by any means, but it's chock-full of the idyllic notion of "the islands" that a lot of landlocked 9-to-5ers share to this day. On the mellow side, with groovy vibes, cool percussion, and wacky birdcalls crowed by members of the band. A fine accompaniment to any mai tai.

VARIOUS ARTISTS: Cocktail Mix Vol. 2 (1995) — There were dozens, if not hundreds, of lounge compilations released during the heyday of the revival in the mid '90s, and this one is my favorite. A tasty melange of jazz (Cal Tjader, Mose Allison), pop (Sergio Mendes, Connie Francis), cheese (Henri Rene, Walter Wanderley) and good ol' fashioned swing (Mel Tormé, Ann-Margret, Brother Jack McDuff, the Harold Johnson Sextet) and then some.

ELLA FITZGERALD: The Intimate Ella (1960) — Perfect for when you've had one too many and are in a contemplative, even teary mood. Ella at her most sensitive, singing her heart out on a dozen ballads, accompanied only by the piano of Paul Smith. An obscure gem.

UNTIL NEXT WEEK, WE LEAVE YOU WITH THIS:

Hey, baseball fans, only 48 weeks until Opening Day 2007!

Your friend,
Blue Moon Odom


Friday, April 21, 2006

NEWSLETTER #13!

Before we get to the newsletter, don't forget that we are always on the lookout for CDs and DVDs. If you have some that you want to sell, or you know someone who has discs to sell, GET IN TOUCH WITH US! Email us at HEYNYCD@aol.com or call us at (212) 244-3460. Come down to our office or, if you've got too many to carry, we'll come to you, providing there aren't too many for us to carry and it's a reasonably priced cab ride away.

You've been waiting all week, so here it is for your weekend reading pleasure...

NEXT WEEK'S NEW RELEASES!

WHO'S THE BOSS?

TONY DANZA
breaks out Bob Seger's band for a one-off... what's that?... Actually, the recently prolific BRUCE SPRINGSTEEN has teamed up with a group of musicians for WE SHALL OVERCOME: THE PETE SEEGER SESSIONS. Out on Tuesday, this tribute to folk legend Pete Seeger is just one more jewel in Springsteen's crown. A rollicking trip through some of the most legendary folk songs of the last century, We Shall Overcome is not some throwaway covers record, nor is it just another Springsteen record. It is a soulful and emotional tribute, mixing Celtic melodies, New Orleans brass band arrangements, and good old E Street rock and roll. This baby is a winner, and even if you've never been a Springsteen fan, this record deserves your attention and your $15.

Not as exciting is the new 2 CD greatest hits compilation from
CINDERELLA, GOLD, featuring one of Tony's all-time least favorite songs, "Don't Know What You Got (Till It's Gone)."

THE GOO GOO DOLLS - LET LOVE IN.
Buffalo's answer to Nickelback used to be really good. Think a cross between early Replacements and arena rock. Then Johnny Rzezzxnzikkzkz made tons of money from his ballad "Iris," told partner-in-crime Robbie Tkakackatk to stay in the back because he wasn't as good looking, and what we now have is three boring records in a row. This new release sounds like they are trying a bit harder to get back to the melodic rock and roll that drew their fans in to begin with. Features a faithful cover of Supertramp's "Give A Little Bit," which is either very exciting or very douche-y, depending on whether you are Sal or Tony.

"THIS IS WORKIN', THIS IS THE WAY YOU DO IT!"

MARK KNOPFLER & EMMYLOU HARRIS,
Buffalo's answer to Phil Harris and Alice Faye (OK, never mind), release their wonderful new duets record, ALL THE ROADRUNNING. Recorded over several years, this record truly sounds like a combination of the best of Dire Straits with Emmylou's distinctive vocal style.

IAN McLAGAN -
TROUBLEMAKER/BUMP IN THE NIGHT. Original Small Face and keyboardist extraordinare McLagan sees his long out-of-print debut solo record and its followup paired together on one remastered CD. This is rockin' good fun.

SECRET MACHINES -
TEN SILVER DROPS. David Bowie's new favorite band (guess he dropped Arcade Fire like a hot potato) releases their second full length album to great acclaim from David Bowie.

TOM VERLAINE -
AROUND and SONGS & OTHER THINGS. Two new releases from the Television guitar genius. Around is an atmospheric instrumental record, much like 1992's Warm & Cool,while Songs & Other Things is the best solo record he's made since his debut. Songs that could have easily been on a new Television record, all featuring Verlaine's hate-it-or-love-it voice (we love it), and brilliant guitar playing.

IRMA THOMAS -
AFTER THE RAIN. The soul queen of New Orleans releases her first studio recording since 2000's Dan Penn tribute, My Heart's In Memphis. Featuring an all-star New Orleans lineup of Stanton Moore on drums, David Torkanowsky on piano, and James Singleton on bass, After The Rain was actually conceived and recorded pre-Katrina, yet somehow the songs sound like they're referring to the hurricane and its aftermath, and Thomas' vocals sound better than ever.

BOB BELDEN - THREE DAYS OF RAIN. Written for the Michael Meredith film of the same name, jazz musician and producer Bob Belden gathered together some of the genre's greatest musicians - Joe Lovano, Marc Copland, Jason Moran, and Joe Chambers, to name a few - to create a beautiful piece of noir jazz. Perfect for late night listening. This could be one of the best jazz records of the year.

THE STREETS - HARDEST WAY TO MAKE AN EASY LIVING. The new record from the annoying British rappers that so-called hipsters really like. Get yours now!

GET YOUR ORDERS IN! EMAIL US at HEYNYCD@aol.com or CALL US at (212) 244-3460. And as always, if there's something we didn't mention that you want, just let us know and we can get it for you.

TONY'S PICK OF THE YEAR!

"DO YOU HAVE NAT KING COLE IN A BOX? WELL, YOU'D BETTER LET HIM OUT!"

For those of you with a lot of space on your shelf and a few hundred bucks in your pocket, the new 11 CD extravaganza from Bear Family Records, NAT KING COLE's The Complete Capitol Recordings 1955-59, is worth the time and money, not to mention the hernia you may get from lifting the box. Cole recorded close to 300 songs for Capitol during this period, among them some of his most famous albums — the jazz classic After Midnight, his ballad albums with Gordon Jenkins, the collaboration with the Count Basie orchestra, Welcome To The Club, and the classic Just One Of Those Things, arranged by Billy May — plus collaborations with Nelson Riddle and Dave Cavanaugh, not to mention dozens of songs only released as singles or on hard-to-find albums. The enormous hardcover book, written by Will Friedwald and studded with dozens of rare photos, is amazing as well. This is the period where Cole really established himself as a pop vocalist second only to Sinatra, and made some great jazz piano records as well. It's all here, including an album's worth of previously unreleased tracks. And this box does NOT include "Ramblin' Rose" or "Those Lazy Hazy Crazy Days Of Summer." Two more reasons to own it.Clean out the piggy bank and order this one now! Email us at HEYNYCD@aol.com for more details.

NYCD TAKES A FIELD TRIP!

Sal, Tony and Rob made the pilgrimage down to Mo Pitkin's on Ave. A to see JAMES HUNTER, the 43 year old British R & B phenomenon who sounds like a cross between Sam Cooke and Georgie Fame, and looks like a British Tab Hunter, if Tab Hunter looked like a slimmed-down Oliver Reed. What can we say? We've raved about the record (People Gonna Talk, available from us!) right here in the newsletter, and we know we've turned a lot of our readers on to him as well, because we saw you all there at the club. But brilliant as his record is, nothing prepared us for the so-good-it-was-ridiculousness of his performance. The upstairs room at Mo Pitkin's was no bigger than a New York City tour bus, and set up almost exactly (perhaps purposely?) like the legendary Max's Kansas City. Once the band kicked in, the room heated up, and if you closed your eyes, you might as well have been in the Cavern in Liverpool in 1962, listening to the Beatles, if the Beatles had played British R & B like Georgie Fame. Needless to say, we are still reeling from the best live performance we've seen since anything by Ashanti on any televised awards show. The band was tighter than Dick Cheney's sphincter, and they didn't shoot any of us in the face. So go see James Hunter live, last night at Mo Pitkin's! You'll have an amazing time. We did!

UNTIL NEXT WEEK, WE LEAVE YOU WITH THIS:

This week and next week is the NEW ORLEANS JAZZ & HERITAGE FESTIVAL, where Sal will be spending his time and money, and hopefully leaving his stiff neck and stress-related allergies at the edge of a bayou. Look forward to some New Orleans reviews and updates in the coming weeks. For the next two newsletters, Tony will keep you busy with lots of cocktail recipes and the occasional testimonial to the Three Suns.

Your friends,
Pat and Mooney Suzuki

Wednesday, April 12, 2006

THE WHITE STRIPES — GENIUSES OR ASSCLOWNS?

SAL:
Hey Tony, what is it with everyone going so ga-ga over the White Stripes?

TONY:
Gee, Sal, I think they're really good. You don't like them?

SAL:
My problem with the White Stripes is not The White Stripes. I like them. I own their CDs and they often get shuffled into my iPod playlists. It's the people who like The White Stripes. And why they like The White Stripes.

TONY:
Well,
who knows how many people would have listened to them if they looked like REO Speedwagon? But if Meg and Jack being cute gets people to listen to their records, and then explore the artists who influenced them, what's so bad about that?

SAL:
I have a hard time accepting the fact that some youngster gets to dance to a Son House tune, because The White Stripes made it "hip." If all these kids...wait...it ain't just kids, it's everyone...if everyone ran out and started listening to Son House and Dolly Parton because of The White Stripes then maybe we would have something. But they don't. No one's buying old Delta blues records because of Jack White. And if a handful did, they certainly aren't lining up to see current, living blues masters paying tribute to old, dead blues masters. They're lining up to see The White Stripes. So where's the tribute? And what makes playing "Death Letter" loudly and distorted a good thing?

TONY:
Replace "White Stripes" and "Son House" with "Rolling Stones" and "Muddy Waters" and you've got the exact same thing people were saying about the Stones in 1964. Besides, being "hip" is a huge part of what rock n' roll is all about, and always has been.
Would Elvis be ELVIS if he looked like Lawrence Welk? Of course not. Elvis has always been as much about his sneer and greasy hair and, later on, the jumpsuits, as the music. The Beatles' first couple of records flopped in the States, before Capitol Records poured $50,000 into a publicity campaign that showcased the collarless suits, wacky haircuts and good looks as much as the music. And glam rock, which you cut your teeth on, was as much about looking outrageous as about making rocking records -- Bowie didn't spend all that time in the "Ziggy Stardust" era putting on the platform heels and shaving his eyebrows for nothing, you know! It's impossible to separate musicians' images from their music, because they're so inextricably tied together.

SAL: I am well aware of how important an "image" can be. But everyone I grew up with listened to Bowie and Mott The Hoople and T.Rex because of the songs. Ralphie Castigliano from "the neighborhood" wasn't wearing a pink boa and eyeliner when scarfing down his roast pork hero, while listening to "The Slider." And what about bands like Mud and Showaddywaddy? They talked the talk, but they certainly didn't walk the walk. Musically, they were lousy. And what about the hippies who shunned Bowie because of his androgyny? It was later that these kids discovered the artist in Bowie, despite the pink hair and shaved eyebrows. Artists like David Bowie, Mick Ronson, Ian Hunter, Freddie Mercury, and Marc Bolan had so much more than just a wardrobe and charisma. Sure, wardrobe and charisma helped. But, Bowie's "Hunky Dory" is arguably one of his masterworks, and this is before he transformed into "Ziggy Stardust."

TONY:
I think image is why people, especially the young'uns, give artists a chance. Wow, this band wears crazy clothes, or they've got cool haircuts, or the video is weird, or whatever. But in the end, I agree, a band has to make it on its musical talent. That's why, ten years after the Britpop boom, people still listen to Blur records while Menswear records (remember them?) are going for 13 cents on Amazon. They both had the image, but Blur was the better band. Same with Bowie vs. Showaddywaddy or Nirvana vs. Collective Soul or whatever. Image is a way to get your foot in the door, but to stay popular, you have to be good. At this point, Jack White could start to dress like Lawrence Welk, and because people like him already, the White Stripes would still be popular.

SAL:
I would just like to see the same people who think the White Stripes are rock saviours, get just as excited about, and not dismiss so many other acts who are better musically, but may "look like Lawrence Welk." It's not always "cool" to not have a bass player. It's not always "cool" to not accept Cheap Trick or the Pet Shop Boys or the Dirty Dozen Brass Band or Motorhead or Esquivel as "essential." And it's certainly not "hip" to somehow forget that a lot of The White Stripes' success has more to do with their image and not necessarily because they're good.

TONY: Well, first of all, I don't think you give the White Stripes enough credit. They take the Delta blues, mix it up with some classic rock, and give it an indie-rock edge in a way that no band in my memory has ever done. Jack White doesn't always hit the mark as a songwriter, but when he's on, he makes some of the most exciting rock n' roll out there. And yes, he does have charisma. In spades. Not to mention enough energy to make it hard to believe that it's just him and Meg onstage and on their records. He's an accomplished guitarist, a good singer (for the most part -- he can be annoying at times) a passable pianist, and not half bad on the marimba, either. In my mind, that justifies the mania that surrounds them.

Pop music is and always has been, to a great extent, about looking for an identity -- wanting to point to the music you like and say "This is who I am." Especially when you're a kid and learning about music based on what's on MTV or the radio. If you can take yourself back to your 10-year-old frame of mind, you can remember how much of a life-or-death issue it is. Gee, I like Van Halen, but do I want to be part of the metalhead crowd? Or should I be a punk and wear ripped Clash t-shirts? I dig the Pet Shop Boys, should I be a club kid? Eventually, of course, most of us grow out of that mindset, and realize it's OK to listen to Van Halen AND the Clash AND Pet Shop Boys. But I don't think we ever grow out of it fully.

SAL: It just sickens me, (ok "sickens" may be harsh, but...) that people can't/don't/won't get as excited over a solid Cheap Trick album, or Rhett Miller, or Sparks or Maurice Brown or whatever. These are musicians who put out fantastic records, some of which may even be thought of as "better" than The White Stripes "White Blood Cells" or "Elephant" by the same people who are going nuts over The White Stripes. Just straight solid work that gets less attention for whatever reason. It's almost as if there is an involuntary action that makes a person dislike Cheap Trick, even if they've never listened to anything but "I Want You To Want Me."

TONY:
Straight and solid doesn't mean "good" anymore than hyped and gimmicky means "bad." There are lots of times when I'd rather listen to an interesting failed experiment than a "solid" but predictable effort that doesn't break any new ground. And not having an image is an image in itself, you know. Hey, Cheap Trick were a very gimmicky band in their day! With crazy Rick Nielsen and his crazy guitars, and Bun E. Carlos who looked like a surly CPA... that quite appealed to my 9-year-old self.

SAL: An "interesting, faiIed experiment" is just that. Try telling Frank Sinatra you'd prefer listening to "Barry Manilow Sings Sinatra" than "Only The Lonely." I, personally, have never noticed a band because of the look. It was always the music. The thought that Cheap Trick was gimmicky because of Rick's guitar's or Bun E's weight never crossed my mind. I listened to the radio. I loved "Alison" when I first heard it. I had no idea Elvis Costello looked like a doofus with glasses. And actually, I do think "solid" means "good." No holes or excuses (red & black clothing, no bassist, brother/sister, man/wife?, etc.).

TONY:
"Solid" to me means "workmanlike," which often can be boring. And "Manilow Sings Sinatra" isn't an interesting, failed experiment. It's a crime against music.

SAL:
Spyro Gyra is workmanlike, to me. But their records suck doody.

TONY:
This is very true. But to get back to the White Stripes, I think we can agree that at the end of the day, no matter what kind of shirt you wear or haircut you have, we, the listeners, are left with a piece of music to listen to, and we must judge the artists based on the music, no matter what they look like or how big the drummer's boobs are. And on that basis, I still think the White Stripes are an excellent band.

SAL:
And once again, for the record, I like the White Stripes...but only as a friend.

TONY:
And I like Joe Lovano, who to me epitomizes "straight and solid," even though the man has no taste in clothing and should shave his beard.

Tuesday, April 11, 2006

NEWSLETTER #12!

NO, WE ARE NOT DEAD!


OPENING DAY IN THE BRONX -- SPRING IS HERE, LA LA LA LA LA...

SOME EXCITING NEW RELEASES AND SOME OTHER EXCITING UPCOMING RELEASES!

FOUR MONTHS AT OUR NEW OFFICE AND STILL NO SIGN OF SOME OF OUR FAVE FRIENDS WHO PROMISED TO STOP BY! YOU KNOW WHO YOU ARE! WE MISS YOU!


HEY, HOW 'BOUT THAT BUSH ADMINISTRATION? LA LA LA LA LA...

FOUR MONTHS AT OUR NEW OFFICE AND STILL NO SIGN OF SOME PEOPLE WHO MADE US MISERABLE AT THE STORE! THANKS FOR STAYING AWAY! YOU KNOW WHO YOU ARE!

First up... CHECK OUT OUR CDs AND DVDs FOR SALE ON AMAZON! Tons of old blues and R & B just listed! http://tinyurl.com/m2kzu

KEEP THOSE USED DISCS COMING!
Thanks to all of you who sensed our desperation in the last newsletter and brought in your stuff. Our only request is, DON'T STOP! If you've got used CDs or DVDs to sell, let us know by email (HEYNYCD@aol.com) or phone (212-244-3460).

And now... it's
NEW RELEASE TIME! OUT THIS WEEK AND READY FOR YOU TO ORDER!



WE LOVE THIS, YEAH YEAH YEAH!

What if we told you that the
BEATLES' entire 1963-65 output -- the material that got the most complaints when it was initially issued on CD -- has been newly remastered for the first time in almost 20 years, in both stereo and mono? You'd jump at the chance to get it, right? So why were so many people so skeptical about "THE CAPITOL ALBUMS, VOL. 1" box set when it came out a year or so ago? Was it the stupid packaging? The gimmicky vibe that the set projected? Who cares? It was vintage Beatles, sounding better than ever. Just out is "THE CAPITOL ALBUMS, VOL. 2," featuring the American albums "BEATLES VI" and "THE EARLY BEATLES," and the American versions of "HELP!" (with the soundtrack music as well, just like the American LP!) and "RUBBER SOUL." The sound is great, the music is great, and if you grew up listening to the American LPs, the sequencing and track listing is "correct" at last. What's not to love?

Now, some of you may have read in the Times about the mastering mixup, in which the mono mixes on two of the albums are not the exact mixes that were used on the original 1965 LPs. To die-hard Beatles fans, that may mean something. But if you can't expain to your child what the false start on "I'm Looking Through You" is, then you're not going to care. Plus you can get your copy replaced by Capitol if you really do care!



WHILE WE'RE ON THE "B"s...


If anyone cares,
BUCKCHERRY and BUILT TO SPILL both have new releases this week, which are just as orderable as the Beatles box. Plus, special mention goes to THE BUS BOYS, whose long-lost classic "AMERICAN WORKER" gets reissued on Wounded Bird.


EAGLES OF DEATH METAL - "DEATH BY SEXY." Josh Homme's side project is full of good ol' fashioned rock n' roll riffs. If you like Queens Of The Stone Age, this is better.


BRIAN ENO/DAVID BYRNE - "MY LIFE IN THE BUSH OF GHOSTS." Their 1981 collaboration, newly remastered, with over a half-dozen bonus tracks, was groundbreaking at the time, if a bit pretentious. Beautiful new packaging from Nonesuch makes this a must for fans of Eno, Byrne, and pretentious music.

GRATEFUL DEAD - FINAL REMASTERS. The last remaining catalog titles from the Dead's second box, "BUILT TO LAST," "GO TO HEAVEN," "IN THE DARK," and "DEAD SET," are now available individually. Also available is the absolutely exquisite (and we mean this) "RECKONING," 2 CDs of acoustic Dead culled from a record-breaking 23 shows in New York and San Francisco in 1980. Even Tony doesn't dislike "Reckoning."

IAN HUNTER - "ALL AMERICAN ALIEN BOY" (REMASTER). The followup to Hunter's 1975 solo debut was a departure from his Mott-era glam-rock sound. With a band that featured Jaco Pastorius and David Sanborn, this moody and at times intense record features some of Hunter's strongest material, including the classics "Irene Wilde" and "You Nearly Did Me In," with backing vocals by Queen. Now includes a half dozen unreleased bonus tracks!

NEW ORLEANS SOCIAL CLUB - "SING ME BACK HOME." We mentioned this a couple of weeks back as an upcoming release, and now that it's out, we need to mention it again. Produced by Leo Sacks, the recording sessions took place in Austin soon after Hurricane Katrina left all of these musicians homeless and displaced. The loss and emotion comes through on these performances, which feature a core band of such legends as George Porter Jr. and Leo Nocentelli, as well as New Orleans greats Henrry Butler, Raymond Weber, and Ivan Neville. Vocal performances by Irma Thomas, Cyril Neville, Big Chief Monk Boudreaux, Dr. John, and Marcia Ball round out this wonderful tribute to a great city. The closing number, a cover of Annie Lennox's "Why" by the great John Boutté, is enough to make even a member of FEMA choke up.

OUT FOR A WHILE ALREADY, BUT WE LOVE IT

THE ESSEX GREEN - "CANNIBAL SEA." Straight out of Brooklyn, this pop gem fuses the indie vibe of latter-day Belle & Sebastian (after they woke up from their twee-induced nap) with classic pop hooks reminiscent of the Mamas & The Papas and the Monkees. There's even a little bit of early Kinks in there. First heard on PETER BOCHAN's excellent program "ALL MIXED UP" on WBAI-FM, this record has quickly become a favorite of ours.


OUT NEXT WEEK!



ADRIAN BELEW - "SIDE 3." After a two month delay, the final chapter in the guitar god's trilogy finally sees the light of day. OK, then!

RICHARD BUTLER - "RICHARD BUTLER." Speaking of Love Spit Love... here's the solo debut from the longtime Psychedelic Furs frontman and East Village denizen. Actually not a bad record, with his Bowie-wannabe vocals and just a wee bit dated production, this could have easily been a followup to the Furs' last good record, "Midnight To Midnight."

DRIVE-BY TRUCKERS - "A BLESSING AND A CURSE." More white trash than a Rockaway dance club, this new release by everybody's favorite raunchy rockers is full of loud guitars, screeching vocals, driving beats, and even a possum or two. More fun than a jar of moonshine.

ERASURE - "UNION STREET." Stripped-down, acoustic versions of songs from their incredible twenty year career. One at a time, please. Line forms to the right.

LEVON HELM & THE RCO ALL-STARS - "LIVE AT THE PALLADIUM." Hot on the heels of Levon's spectacular two volume CD/DVD set "MIDNIGHT RAMBLE," comes this legendary New Year's Eve performance from New York City in 1977. Band members include Steve Cropper and Duck Dunn from the MGs, Dr. John, and Paul Butterfield.

MOTT THE HOOPLE - "THE HOOPLE" (REMASTER). The studio swan song from this legendary band gets proper remastering and completes the much-needed upgrade of their great catalog. The only studio record to feature Ariel Bender, once known as Luther Grosvenor, on guitar, "The Hoople" now includes seven bonus tracks, including two of Mott's best singles, "Foxy Foxy" and "Saturday Gigs."

STYLE COUNCIL - "GOLD." Another in the 2 CD "we put this out before, but we're putting it out again with a different title and cover, because we're Universal Music Group and we like to screw the consumer" series. The only difference is that we don't think this one was out before, which makes it a great 2 CD compilation from Paul Weller's post-Jam band.

MATTHEW SWEET & SUSANNA HOFFS - "UNDER THE COVERS, VOL. 1." Two of the finest pop practicioners of the '80s and '90s take on some of the finest pop songs of the '60s. On paper, this really works. And much to our surprise, the final product met our expectations. A fine record. We look forward to Vol. 2, where "Sid & Suzy" tackle their faves of the '70s.

YOU CAN ORDER ANY OF THESE TITLES BY EMAIL (
HEYNYCD@aol.com) OR PHONE (212-244-3460). If there's anything we missed that you want to order, we can get it for you! Just let us know!

RACONTEURS UPDATE!

Last week on the NYCD blog, we said a lot of negative things about the new supergroup THE RACONTEURS, who, if you haven't heard, feature the White Stripes' JACK WHITE along with power-popper BRENDAN BENSON and two members of THE GREENHORNES. This was based on hearing a couple of lackluster live tracks performed for the BBC, but most importantly, our suspicion of anything so intensely overhyped, because as you know, most of the time, too much hype can kill just about anything. Well, we've heard the whole record, and it is damn good. Still, we're a bit concerned over any concert that sells out five minutes before tickets go on sale. But come May 7, when the Raconteurs' debut is released, you'll hear for yourself how good they are. Think '60s psychedelia with better melodies crossed with a little bit of early '70s hard rock.


UNTIL NEXT WEEK, WE LEAVE YOU WITH THIS:

How do you know when Meg White is at your front door?


She doesn't know when to come in.

Your friends,
Greg Lake, Billy Ocean, Roger Waters, Johnny Rivers, Dinah Shore, and Sid Tributary








Wednesday, April 05, 2006

WHAT THE RECORD COMPANIES HAVE BEEN TELLING US OVER THE YEARS
1983: Forget about LPs -- you gotta hear these new compact discs! They sound amazing! No clicks, no pops, no scratches, no changing sides, AND amazing fidelity. You'll never be able to listen to vinyl again after you hear these babies! Replace your collection NOW! And it only costs twice as much as an LP!

1985-1994: Remember that old CD you bought a couple years ago? Well, once you hear this new REMASTERED CD, your jaw will drop! Compared to that crappy old CD, it's like night and day. Seriously, it's like someone took a big hunk of cheesecloth out of the woofer. It's like you're there in the studio with the artist! Seriously! If you're a real music fan and not some kind of lame wuss, you're gonna want this!

1995-2000: Hey, remember the fourth-time remaster of that CD we sold you last year? Well, we just discovered the real, authentic, original first generation master tape -- yeah, we lied about the other ones -- but hey, once you hear the Serious Music Appreciator-Type-Person Super Deluxe 24.379-Bit Edition, it's like being in the room with the band while they were recording this. No, seriously. It's like, it's like being inside the singer's larynx. That's how clearly you can hear the phlegm. Really amazing. Also includes a previously unreleased alternate take!

2001-2004: Hey, we understand, CDs don't really sound as good as LPs. At least they don't if you're a true music conoisseur. And it's for you, the listener who can really appreciate some great music in the 20,000 MhZ range, that we present DVD-Audios and Super Audio CDs. Sure, they're competing formats. But, not only do they give you truly awesome dynamic range -- seriously, it's like you're actually crouching inside the bass drum, that's how incredible it is -- a lot of them are also in SURROUND SOUND. So if you sit in your special chair in your special media room in exactly the right spot, and you've got the right stereo and your speakers are the right brand, you can actually hear the breathing of the engineer while he's listening to the band recording this song. You can even tell he's just getting over a case of viral pneumonia -- it's the slight wheeze that gives it away. Really, truly, replace your entire CD collection now. Again.

2004-PRESENT: Hey, are you still actually going to stores to buy your music? Really? You set foot, like, outside? You could get hit by a car or something! And then what good would your little bag of CDs do you? Why not just stay in the comfort of your home and DOWNLOAD all the music you want? Only 99 cents a pop! Well, yeah, the sound kinda sucks. But it's not like you're supposed to listen to it on your stereo or anything. IPOD, baby! Put those little earbuds on, screw around with that equalizer thingy a bit, and it'll sound more or less like a halfway decent CD. Hey, what more do you want? What are you, some kind of audiophile geek or something? Now stop worrying about sound quality and DANCE!

Tuesday, April 04, 2006


GET OFF THE BUS
DISCLAIMER: WE SWEAR TO ELVIS WE WROTE THIS BEFORE WE SAW THE ARTICLE IN THE NY POST WHICH SAYS SORTA THE SAME THING.
OK, so thanks to the English press, there is a new "Beatles," or "greatest band ever," every month. NME, Q Magazine, Uncut, and Mojo are very similar to the NHL. Almost EVERYONE makes the playoffs. And we just love that! We can't wait to get on the bus. "ALL ABOARD THE ARCTIC MONKEYS EXPRESS!" "Hey, here comes the crosstown Hard-Fi!"

This month it's The Raconteurs, a new band featuring power pop cult hero Brendan Benson, Jack White of The White Stripes, and the rhythm section of the garage rocking Greenhornes. Tickets for their show at Irving Plaza went on sale last Friday at Noon, and it sold out at 11:55 AM, without the benefit of time machines or particle generators. How? Why?

Maybe it's because The Raconteurs are like a 2006 alt-rock version of the Traveling Wilburys, which makes the hype surrounding them different from the hype surrounding the Arctic Monkeys. People may not have heard the Arctic Monkeys either, when they raced onto Ticketmaster to scarf up tickets for their gig. But the Monkeys are coming from a different place -- the British press "This is the best thing ever" place, rather than the "Hoo boy, a bunch of hip artists, many of whom I may never have heard of until now, but hey, if Jack White likes them they must be cool, in the same band!" place.

The first single, "Steady As She Goes" is a catchy little ditty that has a great hook, just like most of Benson's material. It is a bit raw, much like a White Stripes CD, only much much better. (Ya see, I think the White Stripes are seriously overrated. Why are bad vocals, bad drumming, and jokey songs considered hip? The raw energy part is fine, but the Stones' "A Bigger Bang," released last year, has a lot of raw energy. It was a solid record. Best thing they released in 20 years. Why isn't it hip to like that record?)

After listening to a half dozen more Raconteurs songs, I realize, it's no big deal. Brendan Benson's records are better and he barely sells out the tiny Mercury Lounge. Jack White's addition just makes what could have been solid pop rock songs quirky and annoying. Is that hip nowadays? "What a great song, but it could be better if instead of singing, the vocalist just squealed."

In 6 months, no one will care about the Arctic Monkeys. Actually, people stopped caring about Hard-Fi since I started writing this. So, you wanna start a trend? You wanna "get on a bus?" Be the first one to forget about the Arctic Monkeys? Get on the "who gives a crap about The Racontuers" bus!

As long as you realize that journalists, especially the British music journalists, can in fact be wrong sometimes, and take that into account before you hop on each new band's wagon every month, you can avoid buying a lot of bad CDs and seeing a lot of lame concerts.

You wanna be hip? Don't be afraid to like the Rolling Stones.