Just a week or so after tackling Rhino’s massive Big Star release, Keep An Eye on the Sky, I’m back writing about another huge effort from Rhino, Where the Action Is! Los Angeles Nuggets 1965 – 1968. Once again Rhino has released a beautifully constructed, painstakingly researched, and essential four-disc set, this time covering a crucial period in the evolution of rock and roll in Southern California. Few if any other labels are doing this sort of thing these days. If they have the resources, they don’t have the interest, and if they have the interest, they often don’t have the resources. Rhino is presently in the position of having both, but as I said in my Big Star story, we will have to wait to see what the future brings for the label.
At first glance, Where the Action Is!, would seem to be an all-star assemblage of early tracks from bands that went on the bigger things. Disc One (”On the Strip”) features songs from a veritable “Who’s Who” of ’60s California bands who made a name from themselves on L.A.’s Sunset Strip. They include the Byrds, Iron Butterfly, the Doors, the Buffalo Springfield, Sonny & Cher, Captain Beefheart, and Love. Then there are surprises from the Bobby Fuller Four, the Leaves, the Standells, the Seeds, and the Music Machine, bands often written off as one-hit wonders. Finally, there are the tracks heretofore known only to hard-core pop junkies. These efforts come from bands like the Palace Guard, the Sons of Adam, the Joint Effort, and the Guilloteens. Of particular historical interest are songs from a young Lowell George with his band The Factory, and The Rising Sons, led by Ry Cooder and Taj Mahal. There’s the Association with a wonderful cover of Bob Dylan’s “One Too Many Mornings,” and a typically offbeat, and typically compelling track from Spirit, “Girl in Your Eye.” (more…)
About a month ago, while I was working on my Soundtrack Saturday post about Shag: The Movie, I tweeted that I never got sick of hearing Lloyd Price’s version of the blues folk song “Stagger Lee,” which is what Annabeth Gish and Scott Coffey’s characters dance to during the shag dancing contest at the end of the movie. In fact, I think I listened to it about 20 times just in the few hours it took me to write that post. The first time I’d ever heard any version of “Stagger Lee” was while watching Shag, and every time I hear Price sing it, I think of that scene and just want to put on my shaggin’ shoes and go to town. (Okay, so I don’t really know how to shag, but whatever.)
Seeing my tweet about my love for Mr. Price’s “Stagger Lee,” the lovely Jeff Giles asked if I’d ever heard the version by Chris Whitley & Jeff Lang. I replied that I hadn’t, and within the hour an MP3 was waiting in my in-box. After listening to it and telling Jeff how much I liked it, a discussion about some of the other versions of the song began, ultimately leading to the idea of this feature, which I hope continues with the thoughts of members of the talented Popdose staff on other oft-covered songs.
Now, much has been written about the Stagger Lee story and even about the many versions of the song; I’m certainly not going to try and rehash everything for you here. Instead I’d encourage you to read this and this, and if that’s not enough Stagger Lee history for you, there’s always Wikipedia. Rather, what I wanted to talk about here is what I love about the song and its many renditions.
Maestro celebrates Taj Mahal’s 40th anniversary as a recording artist, and true to contrarian form, Mr. Mahal has elected not to follow the traditional route for this sort of release — best-of, re-recordings, etc. — and opted instead to head into the studio with a few special guests to cut some new sides and prove he hasn’t been around too long to kick a little ass. The dozen-song album follows a protracted layoff between recordings for Mahal, which is unfortunately nothing new; since alienating his label in the ’70s — and filing a precedent-setting lawsuit against Bill Graham to boot — he’s flitted in and out of the periphery here in America, often recording for rinky-dink outfits or labels without U.S. distribution.
In Heads Up, Mahal has found a label that isn’t a household name, but boasts a pipeline to the deep pockets of the Concord Music Group, as well as an eclectic, jazz-tilted roster that includes Fourplay, Ladysmith Black Mambazo, Hugh Masakela, and George Duke. A label comfortable dealing with artists who don’t fall squarely into a single genre, in other words, which is exactly what Mahal needs to give Maestro an outside shot at selling a healthy number of units. Well, that and the famous names attached to the songs — Taj enlisted the aid of some trendy guests this time around, including Ziggy Marley, Ben Harper, and Jack Johnson. (more…)
Ah, the fourth quarter. It isn’t as much of an event as it used to be, but even as the music industry crumbles to dust before our very eyes, artists and labels continue to focus on the last few months of the year for the biggest glut of high-profile releases on the calendar, and 2008 is no exception.
Rather than punishing your eyes with a comprehensive fall music preview, or soliciting input from everyone on the staff, I decided to put together a list of the titles I’m either looking forward to (Lindsey Buckingham, Brian Wilson), need to hear to satisfy some dark, unexplained urge (Gym Class Heroes, Queen), or simply find interesting for some reason (Todd Rundgren, AC/DC). If you’ve been waiting for someone to tell you how to spend the “music” portion of your discretionary income for the next few months, look no further — without further ado, here’s my list of 21 fall releases to watch for.
In which one of country’s most freewheeling (read: consistently interesting) songwriters hooks up with Yep Roc for a song cycle that, if the press kit is to be trusted, is “about women.” You can be certain the songs do more than just live up to that simple billing, especially with titles like “The Rise and Fall of Intelligent Design” — and as an added bonus, our pal Joe Henry was behind the boards (and does a duet with Crowell on one track, “I’ve Done All That I Can”). What, you don’t like country? Yeah, me neither. But I’m buying this. (more…)
Before telling you how much I love this album, and how I’ve hung onto it since stumbling across it in a used bin in the spring of ‘98, I will tell you what it is:
1. A full-length tribute to Antonin Dvorak’s From the New World.
2. Mostly written by Eric Bazilian and Rob Hyman, also known as the creative engine that drives the Hooters.
3. Featuring special guests including Cyndi Lauper and Joan Osborne.
So now that I’ve gotten that out of the way — and you’re probably thinking this is something you’d never want to hear — let’s talk about why Largo is better than it has any right to be. Let’s talk, first, about Dvorak. For the sake of making things easy for me, I’ll assume you know nothing at all about nineteenth-century classical composers, and begin by telling you that Dvorak was one. Specifically, he was a Czech nineteenth-century classical composer, which makes him seem like a bit of an odd choice for a ’90s pop tribute, but appearances can be deceiving. (more…)
Just a week or so after tackling Rhino’s massive Big Star release, Keep An Eye on the Sky, I’m back writing about another huge effort from Rhino, Where the Action Is! Los Angeles Nuggets 1965 – 1968. Once again Rhino has released a beautifully constructed, painstakingly researched, and essential four-disc set, this time covering a crucial period in the evolution of rock and roll in Southern California. Few if any other labels are doing this sort of thing these days. If they have the resources, they don’t have the interest, and if they have the interest, they often don’t have the resources. Rhino is presently in the position of having both, but as I said in my Big Star story, we will have to wait to see what the future brings for the label.
About a month ago, while I was working on my Soundtrack Saturday post about 
Taj Mahal – Maestro (Heads Up, 2008)
Various Artists – Largo (1998)