Happy Birthday, Dusty

We all know her voice, that slow burning, naughty but nice smoky sound (perhaps the perfect example of this being the classic “Son Of a Preacher Man”). Dusty Springfield was, in my mind, one of the most gifted vocalists of the 20th century. Listen to Dusty In Memphis and just try to disagree with me. Few people can match her voice, which echoed with not just the sentiment of the song she might have been singing, but with a deeper, constant touch of sorrow. Frequently, in song as well as life, she seemed to be the woman done wrong. And nearly always, she reached the realms of the magnificent with that voice of hers.

In a time when a whole bunch of people didn’t even think about singing songs they had written, Dusty made every song that came her way sound like it was hers and hers alone. With that kinda voice, it was easy to stake claim on just about anything. And so, please take a moment to remember that heavenly, heartbreaking voice, and the woman behind it.

Happy Birthday, Dusty.

mp3: Just One Smile (Dusty Springfield from Dusty In Memphis)

100 Shows of 2010 - #14: Gringo Star @ Black Cat, 4/8/10

I’d been wanting to see Gringo Star for just over a year by the time their Black Cat show rolled around, so it’s about damn time they rolled into town. The weather set a dramatic backdrop for their set at the Black Cat (guess you could say they’re a band that knows how to make an entrance), but not even the torrential downpours of the season’s first major storm could keep me away. And those Atlanta boys sure did make the risk worth the reward, let me tell you.

MINI RECAP: Gringo Star = Hot tamales! Overall score: A.

Sandwiched between locals Typefighter and Exit Clov, Gringo Star was definitely the cream of the evening’s crop, the feather in the night's cap. As soon as they broke out that pair of tambourines, I knew it was gonna be a good night. Forget those Black Lips comparisons you might have heard, I’m pretty sure those are around merely because both bands reside in Atlanta. Not only are they far more genteel, but the Gringos also definitely draw a hefty inspiration from the bands of the British Invasion. The Kinks’ influence is clear, but to me there was a definite dash of the irrepressible “She’s Not There”-era Zombies as well. Jaunty, jangly, and irresistible: that’s the Gringo Star modus operandi.

Their 45-ish minute set simply flew by, a whirl of simple, catchy as hell songs perfect for chasing the clouds away. Not only did the boys fuel my love for them by using not one but two tambourines, but they also utilize a rather unique vocal arrangement: three of them share the lead vocals. Over the course of the set, Nick, Peter, and Pete all got their sing on, and while their voices are all distinct, somehow this singing merry-go-round works perfectly and seamlessly for their sound. The band bobbed like Brits of yore up there on the small stage, and spread their Kinksian love all around the room. Like the bands that inspired them, the Gringo Star songs are short but very, very sweet.

It took a damn long time for me to finally see them, but Gringo Star did not disappoint. Their throwback sound warmed the cockles of my little heart, and believe me when I say this is definitely a band you’ll want to make sure to catch live. They’ll show you one heck of a good time. I hope it doesn’t take nearly as long to see them a second time.

mp3: Ask Me Why (Gringo Star from All Y’all)

The Greatest Beard-a-Thon Mix You Will Ever Hear

So i don't really go into hockey here at LET, but never let it be said i am anything less than a 100%, 3/4 American, 1/4 Canuck Puck Head of the highest degree. i started playing street hockey when i was in grade school, broke my leg playing ice about two years ago and was playing in two adult rec leagues when my artery exploded. Being a Chicago native, i'm a huge Blackhawks fan, and even went to the outdoor game at Wrigley Field a couple of years back. Having lived in DC for the past decade-plus, i've become equally passionate about the Caps. Hell, i've had some kind of season ticket package since well before the Great 8, so you can only imagine the sheer joy i'm experiencing right now, just before either team starts down the path towards glory. i have not decided if a 'Hawks/Caps series for the Cup would be the greatest or worst thing i could imagine, but i'll tell you this--if either makes it that far, i will be at at least one game for either of my teams.

For the second year in a row, i've opted to join the Beard-a-Thon, which raises money to help keep kids with razor sharp blades and deadly sticks off the street and on the ice where they belong. i don't ask anyone to donate to LET because, quite frankly, my day job treats me pretty nicely, but if you've ever thought, "Man, Terrible Chris is constantly giving and giving, what ever could lowly I ever do for lordly him?"

Throw a few ducats towards the cause, and we'll call it even. Hell, if enough of you donate a buck, maybe i'll even place in the top ten. Or better, you cheap bastards whom i love dearly.

Here's the link not-so-subtly-hidden-like-above:

http://beardathon.com/capitals/oddbodkins/profile.aspx

Now, i had to start from scratch, and i'll be the first to admit i'm currently a light bulb in my mouth away from looking like Uncle Fester, but it's hardly a grow-a-thon if i started with my usual thickness.

To get you in the mood, here comes The Greatest Beard-a-Thon Mix You Will Ever Hear.

mp3: Shave 'Em Dry (Asylum Street Spankers from Spanks for the Memories)

mp3: A Beard of Stars (T. Rex from A Beard of Stars)

mp3: Beard Salesman (Monty Python from Life of Brian)

mp3: Beard (Blur from Parklife)

mp3: Every Curl of Your Beard (Michael Nyman from Carrington Soundtrack)

mp3: Beard Lust (Natalie Portman's Shaved Head from Glistening Pleasure)

mp3: Beard of Bees (Clem Snide from Hungry Bird)

mp3: Red-Beard (Vuk from The Plains)

mp3: Good, Ol' Hockey Game (Stompin' Tom Connors from And the Hockey Song)

Old Skool Review: Heavy D and the Boyz

Hip hop always has had an interesting relationship with the portly. From the Three Stooges quality of The Fat Boys to the gangsta flourishes of Big Pun, rap has never been shy talking about whether fat is or is not phat. Heavy D, however, took a different track, daring you to question his prowess as a ladies man, big boned or not. Particularly since i've porked back up since all the cyborg zombie attacks i've had to endure lately, i really dig Heavy D these days.

Heavy D, in addition to professing one's right to be porky, also was a helluva dancer back in the day. It might be hard for you young'uns to believe this, but there was a time when how well you and your crew danced was far more important than sounding like a damn commercial for various high end alcohols. Along with Kid 'n Play, Heavy D and the Boyz arguably were one of the tightest dancing rap groups of the day. And yes, you guessed it, i DID happen to see the group back when there still were the Boyz (RIP, Trouble T. Roy, who broke his neck while dancing at an after party in 1990), during the hey day of rap's golden era in the late 80s/early 90s. D's since turned predominantly towards acting, though he's stepped into reggae fusion CDs recently, too. Regardless of where his career goes moving forward, he's always going to be one of the icons of the industry as far as i'm concerned.

A diddley-diddley-diddley-diddely-diddely-dee, indeed.

mp3: Gyrlz, They Love Me (Heavy D and the Boyz from Heavy Hitz)

mp3: We Got Our Own Thang (Heavy D and the Boyz from Heavy Hitz)

mp3: The Overweight Lover's in the House (Heavy D and the Boyz from Heavy Hitz)

In the Inbox: Robot Koch

While i'm always delighted to receive any and all submissions, to be completely honest, most of the stuff that hits the LET inbox is from artists i haven't heard of prior to opening and reading said email. Which is all good, as one of the main reasons i personally do LET is to discover (and share) new music with the unwashed masses. Let those bathed motherfuckers find their own music, those showering bastards. To rely on an overused cliche, imagine my surprise when i actually heard from the PR team for an artist i truly dig when i opened ye olde inbox this morning. It was a tingling sensation, not unpleasant, that circled briefly 'round my nether regions, but i'm perhaps telling you too much right now.

Long story short, if it's not too late already, Robot Koch, beat producer par excellence, has a new EP (12" and casette, too) coming out May 7. Better yet, it's just a sample of a new LP that's supposed to drop this fall on Project: Mooncircle.

To say this shit is dope would be an understatement. With traces of dubstep, burbling bass lines and almost tribal vocals by his lady friend, Grace, i have been listening to what was shared non-stop since this morning. Hell, the sampler alone could be one of my favorite tracks thus far in the still relatively young year. The static between beats on this thing is phenomenal, for chrissakes. i can only imagine what kind of beast the full EP must be. We're talking a two pounder here. Wow.

mp3: Listen To Them Fade Snippet (Robot Koch from Listen To Them Fade)

mp3: True Short Edit (Robot Koch from Listen To Them Fade)

It's Covered: Hall & Oates

You're right, today's "It's Covered" is a bit of a departure from the norm. Sort of like your latest love interest. Boo yah!

While we normally discuss a single cover song, right now i'm going to wax rhapsodic about a band that's seemingly being covered by everyone. That's right, it appears that 2010 is the Year of the HallenOates. And i'm not the only one noticing, as our good friend at Berkeley Place recently has opined the same.

In the past few months alone, the world has been given full Darryl Hall and John Oates tribute albums by such indie stalwarts as The Bird and the Bee and such, um, freakazoids as Koot Hoomi. Now, B&B's CD is wonderfully named (Interpreting the Masters, Vol. 1) and is pretty much a straight cover affair, doing little to add to the originals. That being said, these faithful versions definitely are listenable. KH, on the other hand, takes an entirely different track. With their The Dark Side of Hall & Oates, in addition to sporting one of the best album covers of the year, the band "have chosen to re-imagine the music as it might exist in an alternate universe--replete with off-kilter harmonies, psychedelic swirl, minor-key digressions, and the occasional spot of Tuvan throat-singing; all recorded with cheap instruments on an old-school Tascam 488 analog tape recorder." Quite frankly, if that's not enough to spark your interest, well, you, sir/madam, are a fool.

Then i started thinking about it and quickly realized i had cover versions of various other H&O tracks from all over the place. Looking for a Quebecois version by an all 80s gypsy jazz cover band? Got it. How about a reinterpretation of the De La Soul track sampling the hell out of one of their biggest hits? You know we do, buddy. Hell, i'll even through in the original, just 'cuz i'm that type of guy. (Yes, the pudding is delicious, and a gajillion non-refundable LET Bonus Points (tm) to whoever gets that reference, good for nothing but white suburban street cred.) You know, i'm even going to throw the remix out there, too. Lords of Light, i am good to you people. i also had that Nina Simone track prior to BP's posting, but since i've already taken the trouble to link you over there, it would seem like cheating to do it here, too. We still need to fill your female fix, you say? Joan Osborne to the rescue, kids. How about an acoustic-y, bongo-y take from an album with a cover featuring large, albeit poorly covered, boobs? Uh hunh. Thanks, Ginger Rose. Too much blue eyed soul? Brian McKnight has our back. i don't really have a set-up for Mike Oldfield, but i do have the cover.

Quite frankly, that's enough for now, as i's got shit to do.

Ed. Note and Correction: It was brought to my attention by one of our readers, the possibly honorable Brett, that "Family Man" was written by Mike Oldfield, NOT the HallenOates Beast, so while it's still technically covered, i had it reversed. So, yeah, there you have it. While it's not exactly incriminating pictures of an ex-gf, the gesture still is appreciated. Doesn't sharing make us all feel good?

mp3: Private Eyes (The Bird and the Bee from Interpreting The Masters Volume 1: A Tribute To Daryl Hall And John Oates)

mp3: Kiss On My List (Koot Hoomi from The Dark Side of Hall & Oates)

mp3: Maneater (The Lost Fingers from Live In Brossard (CBC Radio 2) )

mp3: Say No Go (The Kickdrums f/ Esso & Chaundon) (Mick Boogie & Terry Urban from LE DA SOUL: 20 Years of De La Soul)

mp3: Say No Go (De La Soul from Three Feet High and Rising)

mp3: Say No Go (New Keys Vocal) (De La Soul from Three Feet High and Rising)

mp3: Sara Smile (Joan Osborne from Breakfast in Bed)

mp3: Kiss On My List (Ginger Rose from You'll Love It In the Morning)

mp3: I Can't Go for That (Brian McKnight from Brian McKnight)

mp3: Family Man (Mike Oldfield from The Best of Mike Oldfield: Elements)

100 Shows of 2010 - #13: Black Rebel Motorcycle Club @ 9:30 Club, 4/5/10

Ah, the number 13. Unlucky for some, but for others, pretty dang fortunate. It seems appropriate, somehow, to have the divine Black Rebel Motorcycle Club as the 13th show in the 100. I've always had good luck seeing them live, never once have they let me down, and in fact they always leave me feeling even more satisfied than I had imagined. And so, when a last-minute invite came my way, I couldn't resist. After all, BRMC has been one of my favorite bands for many years now, and how on Earth could I pass up a chance to see them touring new record Beat The Devil's Tattoo? And so it was that I found myself, with plenty of other happy folks, soaking up the fuzz and the drone and the noise on a Monday night at the world-famous 9:30 Club. And it was magic.

MINI RECAP: Black Rebel Motorcycle Club = Scorchingly Sexy Rock! Overall Score: A.

I've been fortunate enough to see BRMC on many stops along their road, from the days touring their debut B.R.M.C. to the glorious, sultry Howl era to the breathtaking Baby 81. It's been a long, wonderful trip, and their newest incarnation (along with new full-time drummer Leah Shapiro) is just as fantastic as the others. And of course, not only do I find their music fucking awesome, I also harbor a major crush on Peter Hayes. Just another reason to love 'em, folks.

As per recent BRMC shows, they pulled fairly equally from their (non-instrumental) records, which as a fan of just about everything they're recorded sure did make me happy. Their blazing set was nearly 20 songs long, and they were on the 9:30 Club stage for just about 2 hours. In that span, I witnessed a band at the top of their form. Their sexy, pulsating rock veered as it does from fuzzy nouveaugaze to brilliant Bible Belt blues to driving, confident rock. I couldn't take my eyes off of the three of them, (alright, perhaps when a strobe light was burning my retinas) and they near about knocked me off my feet. Old favorite "Red Eyes and Tears" was given an extended treatment, and sounded even louder and fuzzier than the most excellent album version, while new favorite "Beat The Devil's Tattoo" was also a highlight, the husky smokiness of Shapiro's vocals blending well with those sultry pipes of Hayes and Robert Turner.

The set also included scathingly fierce versions of "Love Burns", "Berlin", "Weapon of Choice", "Ain't No Easy Way", "Spread Your Love", "American X", "Rifles", and a very noteworthy rendition of another favorite, "White Palms." Peter's guitar on that song absolutely kills me, it's so deliciously vicious as he defiantly dares "Jesus I dare you to come back." It's an intoxicating effect, and it never ceases to seduce.

The entire set was deafening, and might be the loudest I've ever heard them. It was a sultry night inside the club (thanks to the unseasonable warmth outside and subsequent half-hearted attempt at AC), and the humid feeling was the perfect backdrop for the show. There's a devil-may-care vibe at BRMC shows, a feeling that something shambolic is right beneath the surface of their nearly perfect play. Hot damn, I love this band.

mp3: Red Eyes and Tears (Black Rebel Motorcycle Club from B.R.M.C.)

mp3: Long Way Down (Black Rebel Motorcycle Club from Beat The Devil's Tattoo)

Old Skool Review: Digital Underground

If there's been any unifying link to the hip hop i tend to enjoy, it's that the shit tends to be non-mainstream at best, downright weird at worst. Today's Old Skool Review on Digital Underground probably proves that point better than any other group i've recommended here.

For most of you who do recall this hip hop family, all you probably remember is "Humpty Dance" and/or maybe "Doowutchyalike." Those with a few more brain cells might even remember "No Nose Job" or "Kiss You Back." Hopefully, nobody has wasted any memory chips on Nothing But Trouble, but i digress. What few causal fans recall, however, is that the band was one of the foremost proponents and practitioners of Dog Style Funk. Hell, Sons of the P, the group's third album, featured George Clinton on vocals and writing, one of his earliest forays into the genre. While only Shock G (aka Humpty Hump) and Money B were the only two (OK, three) names on each and every album, the collective vibe and myriad characters created over the life of their discography puts Wu-Tang to shame.

Me, i happened to catch the band a few times, and each was a more memorable experience than the previous, though that arguably had little to do with the music and a lot more to do with my recollections. The first time was on a group tour back in '90 or '91 in Philly. You guessed it, Tupac Shakur was one of their dancers back then, and i saw it myself. (He also rapped on a few tracks, including "Same Song" and "I Get Around.") The second time actually was at a George Clinton and the P. Funk All-Stars concert in NYC. Shock G came onstage at one point, sans fake nose, to spit a few verses. At the end of that, he informed the audience that he was on acid for the first time in his life. Now, he could have been talking shit for whatever reason, but as he was walking off stage, one of the guitarists started waving at G, who stopped, entranced, apparently to watch the finger trails (some of you know what i mean). Hell, i wasn't mad at him. The last time was here in good, ol' D.C. i was with an ex-gf, and as is my way, after a couple of drinks and getting my groove on, i started buying drinks for everybody in the joint. (Ed. note: catching Terrible before he takes one drink too many is to be caught up in the tsunami that is the the life of the party.) After shooting the shit with some couple for a while, they told the ex- and i that they were swingers and were we interested? Particularly as i was single and she was hot, i was game, but, much to my chagrin, the ex- was not, and it was clearly a package deal situation or no passing go. i'm still pissed at that ex-, now that i think about it. Oh well. C'est la vie.

Unlike the Pharcyde, who recently reunited, Shock G "officially" disbanded the group in 2008, though their final album, "'Cuz a DU Party Don't Stop" came out a few months after the fact. And with that, one of hip hop's most unique and funk's greatest bands went the way of the dodo. Burger King bathrooms will never be the same again.

mp3: Flowin' on the D-Line (Digital Underground from Sons of the P)

mp3: Wind Me Up (ft. Esinchill) (Digital Underground from Who Got the Gravy?)

mp3: Same Song (Digital Underground from This is an EP Release)

mp3: Eat Boiled Peanutz (ft. Buttafly) (Digital Underground from 'Cuz a DU Party Don't Stop)

mp3: I Get Around (ft. Digital Underground) (Tupac Shakur from Greatest Hits)

100 Shows of 2010 - #12: Past Lives/Snack Truck @ DC9, 4/4/10

We've all been to this kinda show. It happens every so often, perhaps a couple times a year, where I go to a show and am totally stunned by the sparseness of the crowd. When I rolled up to DC9 on Easter Sunday, friends, I was gobsmacked (hi, British friends!) by the teensy tiny little crowd assembled for the show. Sure, it was Easter Sunday, but I was totally psyched for this show which means other people should have been, too. Come on now, DC. Get your shit together. Y'all missed one hell of a rock show, I'll tell you that much.

MINI RECAP: Snack Truck = Mind-Liquifying! Past Lives = Head-Crushing! Overall score: A.

Having lived in Richmond for a little while, I was already rather familiar with Snack Truck. I saw them once, at the now-defunct Artist's Underground, and that was enough to make me love them long time. I'll vouch for them as one of Richmond's best bands any day of the week. They're one of the only bands I know of to successfully and kick-assedly utilize the stick skills of not one but two drummers, and watching the two of them have a go as they beat the holy hell out of their respective drum kits is pretty hypnotic. So too is the wailing guitar and furious bass that round out the Snack Truck sound, a sound that is so overwhelming and raging that I couldn't hear myself think about thinking, let alone hear myself think. I'm pretty sure they've gotten louder, too, in the months since I last saw them. Five minutes in my ears were already hurting, but I wanted more. I'm a glutton for such heavenly punishment, this swirling, pulsating mass of sonic energy, brilliant in its deafening, kaleidoscopic noise. They're a band that definitely keeps to Richmond's whole "give me loud bastard rock or give me death" thing. I sing the gospel of Snack Truck, friends, so make sure you check 'em out.

But happily, the awesome didn't stop there. I've been listening the hell out of the new Past Lives record, Tapestry of Webs. I never really got into any of the band member's prior bands (Blood Brothers, Chromatics, Shoplifting, etc.), but damned if I'm not pretty smitten with them now. The song "Paralyzer" in particular gets me all in a tizzy, with the slow burn and fuzzy guitars and shouty vocals. Gorgeous. And addictive. Right off the bat the band sounded totally Ziplock tight, wonderfully angular and slightly dissonant and crushingly loud. At times Past Lives reminded me of one of my favorite, sadly now-dead DC bands Black Eyes: A perfect mix of shouting and rhythm and fierce, fierce riffs. Mark Gajadhar, the drummer for Past Lives, gets major shout outs for his ferocity and thrashing behind the kit. Seriously folks, he's good. But then again, they're all good. Even singer Jordan Blilie, being one of the recently vocally afflicted (I'm gonna blame the pollen count), belted out the songs with vim and vigor. This band absolutely killed it. And yes, my beloved "Paralyzer" sounded as bitchin' as I had hoped.

This show was a doozy, and I'm so glad I took a break from the Easter candy to be there. Friends, go see these bands whenever you can. See them now, ask questions later.

mp3: Paralyzer (Past Lives from Tapestry of Webs)

Old Skool Review: The Pharcyde

Today's Old Skool Review focuses on one of my favorite hip hop acts in college. Back when damn near everything coming out of Cali was Gangsta, a few cats from around the way decided to buck convention and put out one of the most "fun" CDs the game has ever seen, before or since. Calling themselves The Pharcyde, the quartet of Slimkid3 (aka Tre Hardson), Bootie Brown, Imani and Fatlip remain a killer combo to this day.

Hyperbole be damned, Bizarre Ride II The Pharcyde remains one of the Top Ten Greatest Rap CDs of All-Time, as far as i'm concerned. Eschewing gang violence in favor of tracks about waiting for their weed dealer to show up, not only were the lyrics markedly different from what was out there, but their sound was unlike anything else, as well. They took a marked turn with their second LP, Labcabincalifornia, essentially introducing the world to LET God, J Dilla (though he was just Jay Dee back then). Around this time, of course, the band broke up, allegedly over drug issues with some of the members, though later interviews paint a rosier picture, allowing that they were all young kids dealing with huge fame who, along the way, took some missteps.

Though the line-up dwindled, a couple of more albums were dropped over the years, each with less critical and commercial love.

Fortunately for the universe, the boys in the band decided to let bygones be bygones and reconvened for the Rock the Bells tour back in 08. Periodically, both as individuals and as the full group, Pharcyde has been showing up on more and more guest spots. While they claim to be still feeling out the vibe, one can only hope a new joint is in the works. If that never happens, however, the body of work they've left behind thus far is mad crazy good. Kind of like the band itself.

mp3: Pack the Pipe (Pharcyde from Bizarre Ride II The Pharcyde)

mp3: Drop (Pharcyde produced by J Dilla from Labcabincalifornia)

mp3: Get Down Remix Dirty (Jern Eye ft. Pharcyde from Vision)

mp3: Sumpthin 2 Say ft. Imani & Pep Love (Luckyiam from The Present)

mp3: Today's Your Day (Feat Chalin 2na) (Fatlip from The Loneliest Punk)

mp3: Easy My Mind (Feat. Tre Hardson, Fat Lip And Omni) (Jazz Liberatorz from Clin D'oeil)

Odds and Ends FREE-FOR-ALL!!!

i've got a couple of things that need writing, including a few Old Skool Reviews i'm looking forward to, but i also realized ye olde inbox is getting a tad full these days and figured now was as good a time as any to do some spring cleaning and bring the music to the masses. As for explanatory notes regarding said tardiness, sue me. Too many pretty people walking around in lesser states of dress than they had on a scant weeks ago. What's a Terrible to do?

In no particular order of anything...

NEW RELEASES

Have you heard the new Eryka Badu joint yet? Good Lord and Butter, that's some groovey listening for your earholes right there. i know i mentioned it a while back when she started dropping singles for New Ameryka Part II, but i had no idea it was going to be this good. Let me be the first to call it, "Turn Me Away (Get Munny)" is going to be the summer block party BBQ after hours jam, ladies and gents. Twinkle, twinkle, baby, this one is a star.

mp3: Turn Me Away (Get Munny) (Eryka Badu from New Amerykah, Part Two (Return of the Ankh))

Yes, i lurvs me some Flying Lotus, and, of course, i'm a sucka for Dilla, but i have to say, i'm pretty sure my favorite DJ/producer these days is Alex B. Once i heard his amazing Brainfeeder podcast, i was pretty much hooked for life. i just picked up his brand new Moments earlier today, and the tracks i've heard so far are too nice. Money, even. i want to be able to do what this man does with digital manipulation. The electronic kind, you dirty bastards, not the other kind.

Ed's note: i'm already quite proficient at that other kind thank you very much.

mp3: You and I Both Know (Alex B from Moments)

SPEAKING OF BEAT PRODUCERS...

If you follow the beat scene, you've probably already heard there's another J Dilla piece in the works. Coming out May 10, The Donut Shop will contain "the official J Dilla serato with 6 Dilla tracks b/w Serato Control Tone, 2 slipmats & badass package." As i took my first private DJ session this past weekend, i now actually know what all those things mean. To whet your 'tites, Stones Throw has thrown this stoned out classic.

mp3: Safety Dance (J Dilla from The Donut Shop)

Since 15 minutes elapsed since his last one, Madlib came out with the latest in his ongoing Beat Konducta series, this time focusing on Africa. Surprising absolutely no one, it's three nice.

mp3: The Frontline (Liberation) (Madlib from Beat Konducta in Africa)

mp3: African Voodoo Queen (Drama) (Madlib from Beat Konducta in Africa)

Did you just blink? Yep, in that time, Madlib finished another one. Look for the long-awaited OJ Simpson to hit shelves May 18.

mp3: Cali Hills (Guilty Simpson + Madlib from OJ Simpson)

WHAT THE HELL HAPPENED TO THOSE FREE MUSIC FRIDAYS?

Didn't i just get through saying i've been ogling scantily clad females lately? Listen, people. Or read, at least. You're right, though, i do have a bit of a backlog of tracks to work through the pipes, as it were.

Every time i think i've found the band name of the year, a new one comes along and starts the debate anew. This time up, it's Trampled by Turtles. Seriously, it's beauty in its simplicity, yet evocative of Buddhist koan universality in its descriptiveness. The fact that they play "punk-bluegrass" only makes it that much sweeter. If the Devil actually did go down to Georgia while he was doing Tony Montana-sized mountains of coke, he might sound a little like this. Find out the rest for yourselves when the new LP drops on April 13.

mp3: Wait So Long (Trampled by Turtles from Palomino)

As next in line to run the Fambly business, i get and dig nepotism. At the same time, i also understand the hassles of trying to get out from underneath the shadow of one's progenitor in such situations. If you're in a similar place, take that and multiple it by 1000 and you probably would feel a little like Paul Simon's kid, Harper. (Un)fortunately, Harper sounds quite a bit like Pop, so if that's the sound for you, try this one on for size.

mp3: Wishes and Stars (Harper Simon from Harper Simon)

Ever wondered what it would sound like if Shooter Jennings partnered with Stephen King to make borderline industrial electro prog rock? Me neither, but now that the idea is in your head, here's a bit of that. And it ain't too shabby, truth be told. Somebody had to carry the NIN torch forward, right? This here is a "concept" album, children, wherein Stevie is the voice of a radio DJ playing his last gig before the government takes over the airwaves, all while Shooter is rawking out like he's taking it personally. Or something like that.

mp3: Don't Feed the Animals (Shooter Jennings & Hierophant from Black Ribbons)

In a bid for "Most Fucked Up Album Cover of the Year," the group Drink Up Buttercup are here with Born and Thrown on a Hook. Is that a woman holding a gun and a smoke in a blood spattered car? Hell, now you kind of feel like you HAVE to listen to their first single, right? It's a bit of Beatles-inspired brit pop, so it's got that going for it, too.

mp3: Young Ladies (Drink Up Buttercup from Born and Thrown on a Hook)

And finally, beloved label Arts & Crafts graced us with the latest from LET fave The Most Serene Republic. Keep an ear out for a sample of Jon Brion from Eternal Sunshine For The Spotless Mind, if you're into that kind of thing. Interestingly enough, their PR folks tell me the track is called "Photocall," while the download clearly is labelled "Longevity Please." As i'm in PR myself and realize those fools hardly ever know what they're talking about, let's go with the latter.

mp3: Longevity Please (The Most Serene Republic from their Website)

HEARD ANY GOOD RANDOMLY SUBMITTED MUSIC LATELY?

As luck would have it, i have.

By this point in our lives, i think we can all agree that some of the best things in all the world, really, come out of Chicago. Personally, i have my own theories involving Michigan waters, a sub-Arctic necessity for cuddling and the proximity to Canadians, but whether you buy into that or not, i'm confident saying you'll dig the Windy City's latest offering, one Mr. Danny Chaimson and his band, the Eleventh Hour. The boys manage to sound like an amalgam of Dr. John, Billy Joel and the Stax house band. They didn't say so to me directly or anything, but it sounds to me like they're on a mission from God.

mp3: Sittin' By the Bayou (Danny Chaimson and the Eleventh Hour from Young Blood, Old Soul)

mp3: Bobblehead Girl (Danny Chaimson and the Eleventh Hour from Young Blood, Old Soul)

DUDE, WTF WITH ALL THE SHOUTING?

Chill, sucka. i'm done now. Kill a guy for being a bit hard of hearing, for Chrissakes.

100 Shows of 2010 - #11: Nada Surf @ 9:30 Club, 4/2/10

There’s a small handful of bands that I look to for consistency, bands I trust for their awesome reliability, their dependable radness. They’re like the Old Faithfuls of music, the ones that never ever ever let you down. The ones that rule the school any day of the week, and like cockroaches might just outlive us all. Nada Surf belongs in this bunch, and they proved once more that when it comes to throwing a killer live show, they’re hard to beat.

MINI RECAP: Nada Surf = Kings Among Men! Overall score: A.

I was pleased to see that the 9:30 Club was suitably full for the show, so much so that it felt a little steamy up in the balcony. But what’s a few beads of sweat among Nada Surf-loving folks? When the supplemented trio (along with a couple of friends) took the stage it was to rapturous cheers from the packed house. I could see their grins from the tip of the club, as they enthusiastically proclaimed, “Awesome” and, “It’s nice to be back.”

Hours of top-notch music ensued from those indie stalwarts, as you might expect. They pulled from every corner of their catalog, mixing in covers from their new record with old favorites. “Hyperspace,” one such oldie, off the oft-overlooked album The Proximity Effect, was a welcome inclusion into the set, and like most of the more uptempo songs was good and poundingly loud. The inclusion of the extra guitar and keys made the sound even bigger, meaning it felt like you were being totally wrapped in their glorious noise. I inwardly squealed like a little schoolgirl anytime the band launched into a song from my favorite Nada Surf record, Let Go. It’s such a classic album, and the songs therein are so stunning and intricately constructed. “Killian’s Red” is one of those songs, and I will forever be smitten with that dark, stormy bass and the tantalizing guitar, not to mention Matthew Caws’ warm, distinctive voice. I’ll never be talked out of thinking his is one of the finest voices of a musical generation. The band tended to throw in extended jamming at the end of certain songs, adding chunky guitar and very heavy drums on the end of the gorgeous “Killian’s Red.”

“What Is Your Secret?”, from The Weight Is A Gift, immediately followed, and it was during that song that I wrote a note to myself about how Nada Surf live sounds not record perfect but live perfect, which is totally different. We all know that anyone can sound good in a studio, but what sets bands apart is their ability to be amazing live. Not just good, but amazing. And Nada Surf, well, they’re pretty much amazing live. “Can you hear the 90s influence?,” a dude behind me asked his date. I smirked, and the band began to play a breathtaking rendition of “Your Legs Grow,” one of their best ballads. It’s a song that could launch a thousand lighters, as could the painfully lovely “Blonde on Blonde,” which came a little bit later on in the set. Just when I thought it wasn’t possible to love Nada Surf anymore, they went and covered one of my all-time favorite ever songs: Depeche Mode’s “Enjoy The Silence.” Introduced as their “goth-disco song,” it was totally divine. After that it was a solid run from Let Go, “Blizzard of ’77,” “Neither Heaven Nor Space,” Hi-Speed Soul,” and “The Way You Wear Your Head,” and each song was flawless. Which is pretty much the way you could describe the entire set.

I went home a very, very happy girl last Friday night, my friends. If, by some chance you haven’t yet seen Nada Surf live, you really owe it to yourself to amend that situation as soon as you can. There aren’t many bands around that you can count on, but you can definitely count on Nada Surf. I love that band to smithereens, and always will.

mp3: Killian's Red (Nada Surf from Let Go)

100 Shows of 2010 - #10: Megafaun/Sharon Van Etten @ Black Cat, 3/31/10

In my humble opinion, sometimes the best shows are the ones that sneak up on you, the ones that you might not have expected to be one of the best you've seen all year, the ones that are so full of sheer awesomeness that you just can't believe what you just saw. Friends, I'm hear to tell you that the Megafaun/Sharon Van Etten show at the Black Cat was one such show. I went in sans expectations, and left with one hell of a smile on my face.

MINI RECAP: Sharon Van Etten = Delightful! Megafaun = Just plain fantastic! Overall score: A.

When I arrived, the fabulous Sharon Van (not Von, mind you!) Etten was already doing her thing. She has this great sweet yet sassy thing going on, with really top-notch folktastic songs and a killer voice. She told us stories, including my favorite one involving her playing an all-day metal show. Sharon has a disarming stage persona that totally draws you in and makes you totally comfortable, and then she wows with her big, haunting voice and her solid songs. By the time she was done she had totally impressed me, and judging by the constant stream of people going to talk to her at the merch area, I wasn't the only one she had under her spell.

And then it was time for the wonderfully bearded trio of Megafaun (having lived in Richmond, I defintely have a fondness for beards). I wasn't at all prepared for how good they were going to be, or for how much I was going to love them by the end of the evening. "We're Megafaun, we're really thrilled to be here," they began, before launching into a lengthy set of beautiful, rustic, inspired folk. I was so impressed with everything about Megafaun; how their voices compliment one another so perfectly, how they played their instruments just so, and how they totally win the best banter of 2010 award with their amusing little anecdotes and trivia questions. My probable favorite song of the night, "Kaufman's Ballad," was even lovelier than on record, with the soaring harmonies and delicious pickin' on the banjo. They can go from making exquisitely fragile, delicate sounds to steamrolling some loud as all get out noise, and somehow it's all equally gorgeous. There's an overall rhythm in their music that makes me think of a backwoods version of The Band, both in terms of skill and the textures of the music. As with The Band, music seems effortless coming from them. And they're so dang humble and endearingly silly. "We've been accused of talking too much, I don't get where that happens," was just one of the little asides that engrained them into my heart. And then there was the encore. People, take note. The best way to do an encore is to have a singalong in the middle of the venue, not on the stage, surrounded by happy, singing fans. It was a fitting, glorious end to a just-about-perfect show.

I kept chiding myself during the course of their set, for not already being a huge Megafaun fan. But I'm gonna fix that, I can guarandamntee it. I'll tell you this right now, compadres, I loved everything about their set. No lie. When they moved from the stage to the floor, that was awesome. The way they built up a total lovefest between themselves and the crowd. That too, was awesome. Megafaun pretty much came out of left field and bowled me over. Go see this band. Frequently. That's all there is to it.

mp3: Kaufman's Ballad (Megafun from Gather, Form and Fly)

100 Shows of 2010 - #9: Fanfarlo @ The Norva, 3/30/10

It is a long, long way from here to Norfolk, my friends. A very long way. But the endless stretches of highway were certainly not enough to keep me from seeing the band that made the best record of last year (in my humble opinion), so drive and drive and drive I did. And I tell you what. It was so worth it, I'd do it all again tomorrow. In a heartbeat. Fanfarlo is worth any distance.

MINI RECAP: Fanfarlo = splendiforous! Overall score: A.

The crowd was, shall we say, a bit sparse (though seeing as The Norva is pretty cavernous, the crowd size just might have seemed a bit smaller than it was in actuality). Located in what appears more of a Hollywood set than an actual city, The Norva is still a pretty good venue. I arrived just in time to assume a good observing position and catch my breath before the band strolled onstage. Decked out in lovely, springy pastel button downs (on the menfolk), the band gets points for choosing a look and going all the way with it. Though I'm just not sure about Simon's day-glo socks and the tucking therein of his pants into said socks. The music, however, was far less questionable.

Opening with "Drowning Men," the sound immediately came across as vibrant and crisp. Some bands are just impeccable live, Fanfarlo being one of this type. Simon Balthazar's soaring vocals play so nicely with the large sound created by the rest of the band, through trumpeting and keyboards and violins...it's such a beautiful noise. The driving "I'm a Pilot" was up next, a glorious wash of enchantment. Lone lady of Fanfarlo, Cathy, proclaimed that The Norva was a lot like America, "vast" and with "lots of empty space," as she enouraged "population density" towards the front of the room. "Finish Line" followed this request, and yet again was sublime. I'm sure by this point I was grinning like an idiot. But what else do you do when your favorite album of an entire year is done so perfectly right in front of your eyes?

A rousing rendition of "Harold T. Wilkins, or How to Wait for a Very Long Time" was next up. As I looked around The Norva, I saw reflections of what was probably on my face - tons and tons of awe-struck, mesmerized faces (and some crazy dancers). Also finding their way into the incomprably transcendent set: "The Walls Are Coming Down," "Fire Escape," an especially gorgeous version of "Comets," and a sped-up, very jaunty take on "Luna." After a very, very brief time away from the stage, the band was urged back to the stage by the very vocal little crowd, for what Simon called "one more before bedtime." That one more was a stunning rendition of "Ghosts," and it (and the entire set) had me leaving Norfolk feeling as happy as the cat that got that darn canary.

Fanfarlo live was even better than I had expected (and believe me, my expectations weren't exactly low). The band was affable and personable and charming, and they played with a natural grace and elegance that few bands are lucky enough to possess. It was a night of heavenly music, and I am so very glad to have been there. And should you happen to see them live, I recommend picking up one of their delightful little Fanfarlo sweatshirts, done up in a sort of retro ski sweater style. Other bands couldn't pull that kind of merch off, you know.

mp3: Comets (Fanfarlo from Reservoir)

DC, DC, It's a Helluva Town!

Of course, i couldn't rightly enjoy the weekend without leaving a little sumfin sumfin for consumption now, could i? As luck would have it, i found a couple of things that actually meet our mission statement of local blogging, blah, blah, blah, crap.

Honestly, though, i really don't see how any self-respecting allegedly DC-Centric music blog could NOT post this one.

Now that's some good shit right there. i think their website pretty much sums things up nicely:

The Finnish word 'valitskuoro' literally means a 'choir of complaints.' It's used to describe a lot of people complaining at once. The Finnish artists Tellervo Kalleinen and Oilver Kochta-Kalleinen decided to take this description literally and organize a chorus of people to sing their complaints. Beginning with the Helsinki Complaints Choir, these videos have hit the internet from all around the world: becoming an international, multi-lingual project with complaints choirs in every corner of the globe. Voices of Washington decided to do its own Washington DC complaints choir for its maiden voyage. Artistic Director Evan Tucker gathered hundreds of complaints about DC from his friends and made a song out of them: often taking their complaints word-for-word with all the vulgarity intact. The end result, we'll sure you agree, is a Complaints Choir unlike any other.

And then, out of the blue, i just found this puppy in my email box recently, too.

Seriously, people, keep your fucking pets out of my inbox. i mean, WTF?

And to keep the party rocking, this comes from the always entertaining Paul & The Patients' Song of the Week Project. Though ostensibly about "a hypothetical situation where a girl I like gets a job in D.C.," i still think he might be talking shit 'bout our fair burg. What, we can't have hot chicks you might or might not have a crush on living 'round these parts? 'Round these parts, we don't take too kindly to that kind of talk. i'm not saying, i'm just saying. You know what i'm saying?

mp3: DC (Paul & The Patients from their Song of the Week Project)

The Funniest Sacrilegious Easter Mix You Will Ever Hear

Yes, i'm a couple of days early for the return of Undead Jesus, but tomorrow my office decided to use its floating holiday, so i just may drag my ass out to somewhere fun that may or may not have Internet connectivity. As such, i wanted to get this post in before the holiday had passed.

That's right, children, gather round for the Funniest Sacrilegious Easter Mix You Will Ever Hear.

Side note: if you read as many music blogs as i do, you may well be familiar with Pop Tarts Suck Toasted. While a wonderful source for snagging a lot of brand new mp3s, you might have noticed a very familiar post there today. Coincidence that more than half his list of Top 10 Zombie tracks already were posted in The Greatest Zombie Mix You Will Ever Hear series and a few others were just different tracks by groups we pointed out? You make the call.

Uncle Terrible: taking ownership of the world's most spread fruit cakes and talking trash to strangers for the attention it brings.

mp3: Easter (Bill Hicks from Rant in E Minor)

mp3: Eggs (The Marx Brothers from A Night at the Opera)

mp3: Jesus is Resurrected (Reduced Shakespeare Company from The Bible: The Complete Word Of God (Abridged) )

mp3: Jesus Saves, I Spend (St. Vincent from Marry Me)

mp3: The Rabbit of Seville (Warner Bros. Symphony Orchestra from Bugs Bunny on Broadway!)

mp3: Jesus Ranch (Demo) (Tenacious D from D Fun Pack)

mp3: Chocolate Jesus (Tom Waits from Mule Variations)

100 Shows of 2010 - #8: The xx @ 6th and I Synagogue, 3/28/10

When was the last time you saw a show before dark? I couldn't remember the last time I got my rock on before sunset, until last Sunday. With tickets to the matinee of a doubleheader, I braved Caps fans and tourists alike to partake in some foxy English dance music courtesy of The xx.

MINI RECAP: The xx = breathtaking! Overall score: B+.

Burning incense and a giant cutout letter "X" set the stage for the show. Perched in the synagogue balcony, I waited excitedly to see how The xx would do live, especially in an unusual (though awesome) venue such as the 6th & I Synagogue. The trio ambled onto the stage, Romy clutching a cup of tea. Starting with album opener "Intro," the band began to work their magic. Immediately I knew this was going to be a good set, with the beats provided by Jamie sounding straight out of the club and the bass and guitar sounding a bit slower, though fuller, than on record. I got a chill when they launched into "Crystallised," so icy cool it was. Oliver certainly has a way with his bass, not to mention that unbearably sexy voice of his. There are bedroom eyes, and there are bedroom voices, and his smoky, come-hither voice definitely qualifies.

It was soon evident what was causing Romy to suck on some tea, her voice sounded a little bit raw. She still sounded great, mind you, but it was obvious all was not right. Perhaps the pollen count here got to her poor throat. "Heart Skipped a Beat" was lit with red lights, appropriately, and was even more appealing than on the record. It didn't take me long to realize that the choice of a house of worship was a venue was a good one. There was a kind of reverential gap between the band and their disciples, looking down at the crowd was like looking into a sea of rapt believers. I also found Oliver's deliberate, purposeful movement rather hypnotic. Be it running his hands through his hair, pushing up his sleeves, one by one, or stalking around the stage, he had a commanding presence. One of the most wonderful moments of the show came during the encore, when the band played the slow-burner "Stars," lit up by a backdrop of twinkling fairy lights. It was a beautiful moment.

When it was all over (far too soon), I sat back and enjoyed the revelatory feeling that comes just after I see a special show. Vocals roughness aside, the band sounded fantastic, and the synagogue was the absolute spot-on place for them to play. If you ever find yourself in their path, make sure you go see The xx. You won't be sorry.

mp3: Heart Skipped a Beat (The xx from The xx)