Friday Link Session

 

  • Brendan Toller, who brought us I Need That Record!, has a new documentary in the works about musical jack-of-all-trades Danny Fields (it’s difficult to encapsulate Fields’ career because he’s done so much, but he had a hand in the careers of the Doors, Iggy Pop, the Ramones, the MC5, Lou Reed, etc.). Read about the film here and follow the production progress on Facebook.
  • In 1977, Marc Bolan (T. Rex) had a short-lived music variety show on British television. Marc ran for six episodes, kicked off with a performance from the Jam, included awkwardly-choreographed dance routines, and was overflowing with glitter and lip-syncing. Stuepfaction has gathered all six episodes for you to watch.
  • File under: Really? Here’s footage of a collaboration between Liam Ó Maonlaí of Hothouse Flowers and Joe Elliott of Def Leppard, circa the early 1990s.
  • As to collaborations that have been proven good, RZA and the Black Keys have come together again to produce a track for RZA’s upcoming directorial debut The Man with the Iron Fists. You can listen to “The Baddest Man Alive” at Fuse.
  • If you’re into toys, Mike Watt has been added to the Aggronautix “throbblehead” line, which also includes the likes of Roky Erickson, J Mascis, GG Allin, Keith Morris, Handsome Dick Manitoba, Jello Biafra and more.
  • The Savage Heart, the new album from the Jim Jones Revue, is streaming at Q.
  • There’s an hour of recorded-for-television concert footage of Thelonious Monk on YouTube. This past Wednesday, October 10, would have been Monk’s 95th birthday.
  • Learn about Cleveland-born, world-famous Screamin’ Jay Hawkins in the documentary I Put a Spell on Me.

A Two Man Gentlemen Band Break

 

It’s been a short work week in much of the U.S. and Canada this week, which means it actually feels like a longer week. You could use a break. Why don’t you, circumstances permitting, pour a little cocktail and enjoy some songs and some chat as the charming Two Man Gentlemen Band sit down with Serious Business on BTR.

 

 

Two Man Gentlemen Band Official Website

Two Man Gentlemen Band @ Bandcamp

Two Man Gentlemen Band @ Facebook

Postcards from the Pit: Johnny Hallyday, Beacon Theater, 10/7/12

The last time Johnny Hallyday played a show in New York was in 1962. He was on a cruise ship (!) and Jackie Kennedy (!!) was in the audience.

This time around he was on dry land and I don’t know if there were any luminaries lurking in the Beacon or not. Probably, I guess; New York is that kind of town.

I was there because I’ve been conducting some extremely idle and non-scientific research on the subject French rock and roll, from which I learned that Hallyday is France’s equivalent / answer to to Elvis Presley, and I wanted to see what he was all about.

The show began with some dramatic images, such as this one:

 

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Not long after I took that picture the wall in the middle crumbled dramatically and unleashed flames and flying skulls.

Then Johnny Hallyday walked out on stage:

 

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His band and back-up singers also appeared:
 
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I (still) don’t speak all that much French, so his song introductions and stage banter went completely over my head, but in rock concerts as with Mass, some things are universal and you can get by pretty well taking cues from your neighbors.

Most of my neighbors wanted to get up and boogie, which is kind of difficult in the Beacon. But we shook a tailfeather or two anyway.

About half-way through the show Hallyday switched gears, going from rock to rockabilly:
 

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In addition to his own tunes Hallyday also did some classic rock covers. I definitely recognized Fortunate Son – which lost a crucial bit of snarl in the translation from English to French – and also Great Balls of Fire.

It was, overall, a fantastic show.

Mudlow: Sawyer’s Hope

photo credit: Nhung Dang

 

This past spring, I was honored to be asked to edit the liner notes Rick Saunders was writing for the new Mudlow album, Sawyer’s Hope, and there couldn’t be a more evocative description of not only the music, but also the feel of the album than Rick’s words.

 

 

The music of Mudlow has been referred to as “noir blues”, and like any good noir story, their songs are packed with colorful characters. And like any good blues, their songs are packed with emotions that can scrape out the bottom of your soul, an effect achieved sometimes with the most simple but telling phrase and sometimes with the sound that spreads between the moment the blade pierces your heart and the moment you begin to feel the sting.

 

 

This album is one of the most gorgeous I’ve heard in a long while, and I was pleased to get a few words with band members, and damn fine people, Matt (drums) and Tobias (vocals, guitar) about the band and their new album.

 


 

Let’s give the readers some background: where are you all from and how did you get together?

(Matt) Me and Tobias have known each other for years and have played in bands together for most of that time, when our previous band ‘Crawl Limbo’ folded Tobias moved to Brighton and decided to start a new band. We had always played on the gig circuit in Brighton so knew most of the other local band members and had become friends with quite a few of them so finding a new line-up actually wasn’t too difficult, Trimble was there from the start with another Sax player Jules, our first bassist could only play ska because of his unusually fat fingers so we had to let him go. We asked Paul to join and Mudlow was born. We’re definitely a ‘Brighton‘ band and we all live in the city or surrounding area.

 

Based on the 8-year span between full-length albums, I’d guess the band isn’t what keeps food on the table. What are your daytime alter egos (day jobs)?

(M) Me and Tobias work for a friend in the heating trade. Paul works as a sound recording engineer/producer at Church Road Studios in Brighton (which is where the Mudlow magic happens!). Not sure what Trimble does, I think he’s either a pirate or a spy, depending on what he’s wearing.

 

Where does the title Sawyer’s Hope come from?

(Tobias) It’s a partly-imagined place that crops up as a lyric in a couple of our songs. I use maps and place names for inspiration and this came from combining the name of a farm and a wood. To me ‘Sawyer’s Hope’ sounds like an old man’s lifelong aspirations, did he achieve or fail? or is it just a name on a map?

 

 

I know you were shopping around for a label to release this album for a while. What was that process like? How did the deal come together with Motor Sounds Records?

(M) It wasn’t really a ‘process’ as such. We had in mind quite a few labels that we liked so we sent them copies/press etc but didn’t hear much back. We’d pretty successfully self-released our first record but we really wanted to work with someone else on this one and kinda have a labels name on which to hang our hat. We know the guys at Motor Sounds so we approached them to see if they would assist with putting this one out. Thankfully they were really keen to be involved so that was that. I guess you could say it’s a self-release but via an independent label.

 

Your songs are so cinematic and contain so many interesting stories. How do you approach songwriting? Any thoughts about writing a novel?

(T) The songs approach me. You can’t write anything until it’s ready to be written. Sitting and trying to force ideas doesn’t work. A train of thought might be triggered by one line that pops in to your head and then once it gets going let it flow and write down everything, then scrub out the crap and join the dots. The lyrics are mine but we work on the music as a band, we don’t have a formula for creating the songs and we approach each song differently so each has it’s own individuality.

I think about writing a book a lot but who has the time to do that?!

 

What’s next for the band? Any chance of an American tour in the foreseeable future?

(M) We will be playing some shows in support of the new record and will most likely tour here and in Europe. We have already ear-marked band funds for a return trip to the States so we’ll have to see how well Sawyer’s Hope sells. We definitely want to come back.

 

And because I get some of my best music recommendations from musicians, what have you been listening to lately?

(T) I like that Bruce Peninsula band, they’re like a choir trying to upset God.
(M) I vote for The Bonnevilles.
(T) Wait… I want to choose the Bonnevilles
(M) Well, you can’t. I did.
(T) Right! I’m leaving the band. [stomps out]

 


 

In addition to Sawyer’s Hope, Mudlow is generously offering an EP of bits and bobs called The Last Rung Down to Hell, which you can listen to and download right here.

 

Mudlow Official Website

Mudlow @ Bandcamp

Mudlow @ Google+

Mudlow @ Facebook

Friday Link Session

The “Freaking Pile o’ Links” edition (this is what happens when I don’t do one of these for a couple of weeks).

Jozef Van Wissem & Jim Jarmusch: The Mystery of Heaven

I’ve been a little slow getting to this one (then again, I’ve been a little slow on everything lately – sorry, friends), but I would watch film director Jim Jarmusch open a can of beans and listen to him play his armpits, so I was thrilled to learn he was collaborating on an album with composer and lutenist Jozef Van Wissem. Fortunately for all of you who might not be Jarmusch zealots, the resulting work is a damn site more pleasant and entrancing than either beans or armpits. Indeed, there are moments when you feel you are listening to a soundtrack from one of Jarmusch’s films, which have always been excellently scored.

 

“The Sun of the Natural World is Pure Fire” – Jozef Van Wissem & Jim Jarmusch

 

Jarmusch and Van Wissem released an album, Concerning The Entrance Into Eternity, back in February and are already set to release a second album, The Mystery of Heaven.

 

 

Heaven will be out on November 13 and includes vocals from Tilda Swinton (both Van Wissem and Swinton are involved in Jarmusch’s forthcoming film, Only Lovers Left Alive). Jarmusch and Van Wissem will play a record release show at Le Poisson Rouge in New York on November 27.

Postcards from the Pit: Frank Turner and the Sleeping Souls / Larry and his Flask / Jenny Owen Youngs, Webster Hall, 9/29/12

Once again I went to a show having not heard a note of anyone’s music beforehand. What can I say, sometimes I like to live dangerously. Plus the show was part of my friend’s birthday party, and since she has generally excellent taste in music I was willing to bet it would be a good night. Spoiler alert: I was right!

Jenny Owen Youngs was up first, by herself with her guitar. She was at the opposite end of the stage from me, so the pictures are kind of awkward. But here’s one anyway:
 

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Larry and his Flask were up next. When they came out with a banjo, electric mandolin and an upright bass, but yet also a drum set, I expected they’d continue the mellow tone of the evening and play up-tempo but still sedate bluegrass-inflected folk-rock.

Instead they unleashed a whirlwind of bluegrass-inflected punk rock that was one of the finest musical experiences I’ve ever had. Here they are in action:
 

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And then the gentlemen we had all been waiting for, Frank Turner and the Sleeping Souls. Mr. Turner and his merry crew are not quite as frenetic as Larry and his Flask; more folk rock than folk punk, though Turner’s hardcore roots are definitely tangible in their sound.

The crowd started jumping and singing with him as soon as he started to play, and while I did enjoy the music, it was also a pleasure to be around people that were that happy.

Other highlights:

1) The moment in the middle of the set the room went silent, or as silent as Webster Hall can be when it is full to bursting, while he sang Tell Tale Signs.

It’s new(ish), the third song in a trilogy, and its about love, and also about scars. It is raw and beautiful and left me a little bit breathless and almost kind of alarmed, like I had read something intensely personal that had accidentally been made public.

2) The end, when he closed down the main set with Photosynthesis. That one is a song about getting old and tired and the ways in which the world can pull you down, but also about resisting that drag.

The chorus is I will not sit down and I will not shut up / and most of all I will not grow up, and hearing a packed house sing those words at the top of their lungs was a kick in the pants that I very much needed.

And now, some pictures from the set:
 

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