A Note On Files

I had to take the Amy Winehouse acoustic files down due to bandwidth issues. Sorry for the inconvenience or disappointment.

Fun piece in The Guardian today. Several musicians taking on "classic" records that they'd be happy never to hear again. Some very well written missives. I especially enjoyed the comments about Pet Sounds, the Stone Roses and the Strokes.

Is It Just Me?

Or does the White Stripes "You Don't Know What Love Is (You Just Do What You're Told)" sound an awful lot like Bad Company's "Shooting Star" in the verses?

Download: Bad Company - "Shooting Star"
Link to White Stripes: "You Don't Know What Love Is (You Just Do What You're Told)"

Which Looks Like More Fun?

I took this photo in Coney Island yesterday. The juxtaposition of the two images was priceless. Hmmmm...Mermaid Parade or the U.S. Army? Decisions, decisions...

The Most Beautiful Love Song Ever?

Last week, I was listening to the live Stevie Wonder tracks that I posted for this past week’s installment of “Bootleg Friday.” When “You Are The Sunshine Of My Life” came on, I wondered to myself, “Has anyone written a more beautiful love song?” So I started wracking my brain, trying to come up with what I could reasonable say might be the most “beautiful love song ever,” and I think I’ve got it.

Sam and Dave’s “When Something Is Wrong With My Baby” (written by Isaac Hayes and David Porter) wins my vote for most beautiful love song because it acknowledges that the measure of love isn’t taken when things are going great – it’s taken when life is dealing it’s harshest blows. It also wins my vote because of the overwhelming beauty of the arrangement (played by Booker T and the MG’s) and Sam and Dave’s vocals, which complement each other so perfectly that it’s beyond words.

I’m giving you three different versions of the song. The first is the original, released in 1966 on Atlantic. The second is a live version from Stockholm, Sweden in 1967. Notice on that version how slowly the song is played and how it gives Sam and Dave so much room for their gospel inspired vocal improvisations. Listening to Al Jackson Jr.’s drumming on the track is a revelation; it seems almost impossible to play that slowly and still maintain a groove, but he does it, and does it incredibly. Finally, there is a version from 2003, from Bruce Springsteen’s holiday show with the Max Weinberg 7, where Sam Moore performed and pretty much stole the show. This is from the third night of a three night stand – all I can say is that I was at the first night, and hearing it that first night was probably one of my top five moments in seeing live music out of hundreds and hundreds of shows. Utterly sublime - so good I cried.

Download: "When Something Is Wrong With My Baby" (studio version)
Download: "When Something Is Wrong With My Baby" (5/2/67, Stockholm, Sweden)
Download: "When Something Is Wrong With My Baby" (12/8/03, Asbury Park, NJ w/Bruce Springsteen)

Sunday Morning Jazz Brunch

No commentary necessary - just download and enjoy. If the songs are gettin' to you, I urge you to buy the albums they're on - they're all sublime.

Roy Hargrove - "Greens At The Chicken Shack"
Lester Young - "I've Found A New Baby"
Sonny Rollins - "Hold 'Em Joe"
Cannonball Adderley Quintet - "Bohemia After Dark"
Eddie Harris - "Sham Time"
Lou Donaldson - "Blues Walk"
Hank Mobley - "Peckin' Time"

* Note - half of these files are in AAC format, so you will need iTunes to play them. (But who doesn't use iTunes?)

Bootleg Friday: Stevie Wonder, 1974

On today’s installment of Bootleg Friday, we have selections from Stevie Wonder’s incredible January 31, 1974 Innervisions tour performance at the Rainbow Theater in London. This performance is rumored to have been recorded for use as a live album, but as the story goes, the recording wasn’t of a high enough quality to use. You’ll never know that listening to these tracks. What you will hear is an artist at his peak, in full enough command of his material that he can break past the limits set by the recorded versions. You’ll hear extended versions of “Living For The City,” “You Are The Sunshine Of My Life” and “Superstition.” While the jams aren’t always spot on, what you get is a sense of the energy of the performance and the idea that every person playing has a sense that they’re in the middle of making history.

Download: "Don't You Worry 'Bout A Thing" 1/31/74, London
Download: "Higher Ground" 1/31/74, London
Download: "Signed, Sealed, Delivered" 1/31/74, London
Download: "Living For The City" 1/31/74, London
Download: "You Are The Sunshine Of My Life" 1/31/74, London
Download: "Superstition" 1/31/74, London

Trying To Like Ryan Adams

Update: 6/18/07 - This article about Ryan in the New York Times did not help matters much for me.

Why don’t I give a damn about Ryan Adams?

On the surface, he’s always seemed like an artist that I would love. Earthy, somewhat rootsy but not retro – a rocker who’s obviously loved and learned from the greats, whether they be Keith Richards, Gram Parsons or Paul Westerberg. He is charismatic and committed to rock as something much more than entertainment, just like artists I love such as Pete Townshend and Bruce Springsteen.

But I just can’t seem to get into him.

I first saw Ryan play in the summer of 1995 at the Mercury Lounge when he was just starting out with Whiskeytown. I was just beginning my first A&R scouting job at Elektra Records, and I watched the show next to Seymour Stein (Whiskeytown was getting heavy attention from the A&R community). Ryan was absolutely kinetic in leading the band, and if the songs didn’t occur for me as anything too great, he seemed like a star in the making. I turned to Seymour and said, “This guy’s got it.”

But when I got the Whiskeytown albums, I listened and just kind of shrugged. And for the last ten years, every time a Ryan Adams album comes out, I get it, wait and hope to love it, and I end up shrugging once more. I’ve had people write me to tell me what I’m missing, listing songs I need to hear by him, but none of them have left any real impression. And seeing him live has been hit or miss - and with each miss, my patience with him has grown thinner.

So now I’m listening to Easy Tiger, the new Ryan Adams album, and it sounds nice, but once again, I’m left wondering if there’s something I’m missing, because this just ain’t doing a damn thing for me. It sounds lovely enough, and one song, “Halloween Head” is connecting with me, but the rest…well, as the Four Tops once sang, it’s the same old song.

Buy Easy Tiger at Amazon

Download: "Halloweenhead"

Dear Amy Winehouse

Dear Amy,

Well, that was quick. You’re already on the cover of Rolling Stone. And Spin. Your album continues to do incredibly well and you’re getting love from everyone – whether it’s the hip-hop community or whites in the 40’s who rarely get into new artists. I can’t go into downtown Manhattan without seeing young women who’ve got your look, with the hair, the super dramatic eye makeup, tight jeans and stilettos. (The look has my full approval, for what it’s worth.) For you, I’d say it’s pretty much an unqualified triumph.

Still, as someone who really believes in your talent, I can’t help but be a little concerned. Reading the Rolling Stone article, all I got was a sense of your personal life and your whole schtick – the drinking, the possible drugs, the up and down relationship with your hubby, etc. That schtick has been a big part of your story – the bad girl, the Femme Fatale, etc. I read about it before I had even heard you late last year. It's a great hook and it no doubt helped get you to the point that you’re at now. But Amy, now is the point where that schtick of yours is threatening to take over the music. I hear that at your shows, people are now encouraging you to drink, encouraging you to play into your image. Don’t indulge them. Both the media and some of your fan base are going to want you to play that crap up because it sells papers and magazines and people get to live their rock n' roll fantasies through you. But you’re an artist, not a goddamned circus freak, and remember that while those people might be your “fans,” they may turn out to be your worst enemies. And also, you don’t have time for that shit – it’s not like your show couldn’t use some improvements.

You’ve got real talent – you’ve got a wonderful voice, and you’re one of the few singers of the past few years that possess both technical skill and the ability to convey many emotional dimensions (lust, regret, doubt, fun, rebellion) simultaneously. It’s why so many people are responding to you so intensely. In a world where Kelly Clarkson is taken seriously as an artist, your music has shown that it’s possible to be an artist of substance and commercial success. You’ve got a gift and opportunity to make a real contribution to music – please don’t blow it on all the clichéd bullshit. You've got a lot of people rooting for you.

Best,
Ben

Download: “Love Is A Losing Game” (Acoustic) From AOL Sessions
Download: “Rehab” (Acoustic) From AOL Sessions
Download: “Valerie” (Acoustic) From AOL Sessions
Download: “You Know I’m No Good” (Acoustic) From AOL Sessions

The Unfashionable Romance Of Mink DeVille

If you read any of the well known books about the New York City punk scene of the 70's, you won't find too much written about Mink DeVille. They were one of the house bands for CBGB's during it's 1977 heyday, but lead singer Willy DeVille's aesthetic was too romantic to be canonized alongside the cooler, artier and more nihilistic acts like the Ramones, Television, Blondie, the Dead Boys, Richard Hell and the Voidoids and Talking Heads. Willy DeVille was holding out for romance while his CB's cohorts were thinking apocalypse.

In Mink DeVille's music you heard the echoes and influence of Phil Spector, songwriters like Doc Pomus and Atlantic R&B acts like the Drifters and Ben E. King. Where the harder punk bands established all instruments except guitars, bass and drums as effete, Mink DeVille had no problems using tympani that sounded like it had been taken from "Save The Last Dance For Me." It was soulful in a time and place where soul occurred as an anachronism that had long since gone out out of fashion. For that, they were courageous; but that courage didn't ensure that they would get the recognition they deserved.

Willy DeVille continues to record and tour.

Buy Cadillac Walk: The Mink DeVille Collection

Download: "Spanish Stroll"
Download: "Mixed Up Shook Up Girl"
Download: "Cadillac Walk"

Regular Ol' Crackers

I can’t help but think of this clip when I listen to the new White Stripes album. (Actually, I can’t help but think of this clip when I listen to pretty much ANY White Stripes album.) In a climate starved for truly grand and great rock n’ roll, the White Stripes’ “regular ol’ crackers” have been somehow confused with greatness. I don’t think they come close. Icky Thump is another pretty good record chock full of somewhat forgettable songs, undistinguished riffs and monotonous drumming. Jack White may have a great rock n’ roll voice, but it’s one-dimensional; it conveys nothing but it’s own sound, and lacks the tenderness, depth and presence to be truly moving. It ain't got no soul. I’m sure the album will be hailed as a magnificent return to form - but to me, this is just another signifier that we’re starving for the real thing – and that we’ll take an imitation to ward off the starvation.

And that means more saltines, no Ritzs.

Sunday Morning With Lou Rawls

I've always loved Lou Rawls' voice. Smooth and rich, it was a thing of real beauty. I only really knew him from his hits, like "You'll Never Find A Love Like Mine." I recently got a wonderful compilation of his, The Capitol Jazz & Blues Sessions, of which I am posting a few songs. It's perfect Sunday morning music.
Sinatra said of Rawls that he had "the classiest singing and silkiest chops in the singing game." That kind of says it all. He was one of those singers that veered a little too close to the middle of the road to get the kind of critical adulation that artists like Otis and Aretha did, but if you're interested in beauty, you need to acquaint yourself with him.

Buy Lou Rawls The Capitol Jazz & Blues Sessions at Amazon.
Lou Rawls at a glance on Amazon.

Download: "Something Stirring In My Soul"
Download: "God Bless The Child"
Download: "Nobody But Me"
Download: "Goin' To Chicago Blues"
Download: "So Hard To Laugh So Easy To Cry"

Bootleg Friday: Otis Redding, 1967

I am announcing a new segment on A Deeper Shade Of Soul: Bootleg Friday, where I will be posting several songs from a great live bootleg. I've been putting up a bunch of live music already (and will continue to do so whenever it is called for), but I like the idea of having a special day for it.

Today's selection are taken from the great Otis Redding bootleg compilation A Soupcon of Soul, recorded at various points in 1967. With all the hubbub about the 40th anniversary of Sgt. Pepper, what is being ignored is that 1967 was the year that Otis Redding broke through to a new (and white) audience. His performance at the Monterey Pop Festival in June of '67 stole the show, and he was taking his music into new directions that would culminate into his final and greatest single, "(Sittin' On) The Dock Of The Bay," recorded a couple of days before he was killed in a plane crash in December of 1967. It would be his only #1 single.

Download: "Your One & Only Man"
Download: "Pain In My Heart"
Download: "These Arms Of Mine"
Download: "I Can't Turn You Loose"
Download: "A Hard Day's Night"
Download: "My Girl"
Download: "Shake"
Download: "Try A Little Tenderness"

Terry Tolkin On The Afghan Whigs

One of the best things about doing a blog is occasionally reconnecting with people I haven't seen or spoken with in ages. After my Afghan Whigs post last week, I reached out to their former A&R man, Terry Tolkin, via MySpace. He got back to me and sent me some very illuminating (and suprising) stories and comments about his time with the Whigs. I'm happy to say that Terry is doing well; living in Oklahoma, working on family properties and writing his autobiography, which will be great. I read a few excerpts from it last week, and it's a fascinating story.

(Posted with Terry's permission)

I went over to your blog and it really made me laugh! You know, the Whigs were the only band that I ever signed that I never was totally in love with. Eventually I became good friends with Rick Mccollum. But Kras (Bob Krasnow, former head of Elektra) wanted a SubPop band and having saved that label from extinction in 1985 by infusing cash from my then employer Caroline (early attempt by Branson at a Virgin USA) I was able to pull that off. They were going broke putting out Catbutt and Bloodsport records. I never did like Greg though. And it did turn out to be a hugh mistake not dealing with an act that you truly loved.

I did not retire for "Personal reasons" (a euphemism for drug addiction) though. I took a seemingly enormous settlement to end my 5 year contract early. I could see the writing on the walls by then. Sylvia Rhone was an idiot. I got her to make me a VP by simply telling her that Kras was about to do it before he left and she fell for it. After one to many " I am in direct contact with the Aliens" conversations with new head of A&R Nancy Jeffries, I took the money and ran. I ran so far away...to Hollywood FL. where I bought a 35' sportfish boat that I lived on and became a SCUBA diving instructor. After a couple of years of teaching that it started to ruin my love of diving so I gave it up and started spearfishing commercially.
Then last December my Grandfather died and left us a bunch of rental properties here in Stillwater OK. that no one knew he had. Since I am the only bum in the family (no mortgage,wife or kids that I know about) I got sent here to tidy it all up. I was born in Kansas and most of my family lives here.

Do you remember that one off issue of the fake fanzine "Fat Greg Dulli" ? I supplied Yvonne Garret with the unflattering photos of him and she wrote it and put it out. Greg spent months trying to figure out who did it!

So Good You Could Cry

I found this yesterday. Derek and the Dominos doing Chuck Willis' "It's Too Late" (from Layla) on the Johnny Cash show in either 1970 or 1971. As far as I'm concerned, Derek and the Dominos were Clapton's greatest moment by far; it is when Clapton's music became blues AND soul based, and you can hear that soul in Eric's vocal and even more so in the incredible backing vocals by Bobby Whitlock.

And if that's not enough, out comes a bad ass Carl Perkins to do "Matchbox" with Clapton AND Johnny Cash. It's difficult to believe that this all happened on a network TV show. Seeing the utter joy and freedom in their playing, and knowing that each of the three men fought off their demons before, during and after this was taped - well, I find it pretty goddamned moving.

It's Official: I'm A Sugar Daddy

I've got a blog post up today on Elastic Waist, a website about women, weight, fitness, food and "other fixations." It was a fun piece to write; it's always a pleasure to write of the wonders of women. (Especially during the summertime.) I feel a little bit weird that they called me "Soul Brother Number One," since that title obviously belongs to James Brown, but what the hell, maybe I can borrow it just for today.

Arcade Fire Live In Portland

The reviews I’ve read on the Arcade Fire’s current tour have been so incredibly glowing that I have to admit, I’m really curious to see them again and I have been listening to their music anew. I saw them once in late 2004 in New York and liked them, but apparently, they’ve taken their performances to new heights. I’ve recently read some things from hardcore music fans I know that are talking about the Arcade Fire’s show as though it’s one of a handful of the best shows they’ve ever seen. And these people aren’t indie rockers – they’re people who have been going to shows for over 20 to 30 years.

So in that spirit, here are some tracks from the Arcade Fire’s May 27th performance in Portland, OR. The sound is very listenable, if not perfect, but you do get the vibe of the show, the happy delirium of the crowd, the kinetic energy of their performance and the great intro tape they’ve got going. I’m still not ready to proclaim them the second coming, but I’m getting a lot more open to what they’re bringing to the table. Is it possible that this is one band that is worthy of all the hype? I'll believe it when I see it with my own eyes and hear it with my own ears, but at least next time, I'll be coming in a little less skeptical and cynical.

And maybe the real question is this: Does the Arcade Fire have soul? Signs are increasingly pointing to yes.

Download: “Intro” 5/27/07, Portland, OR
Download: “Keep The Car Running” 5/27/07, Portland, OR
Download: “No Cars Go” 5/27/07, Portland, OR
Download: “Black Mirror” 5/27/07, Portland, OR
Download: “Neighborhood #1 (Tunnels)” 5/27/07, Portland, OR
Download: “Wake Up” 5/27/07, Portland, OR

Alice Russell

It’s rare that I hear a new voice that captivates me, but late last week, I heard one that does. The voice belongs to Alice Russell, a UK soul singer who has recorded with several British electronic bands, released her own solo album and is due to record with Massive Attack. Her voice is one of the best things I’ve heard in a long while – check her out.

Weird Scene Inside The C Train

This past Thursday night, I was taking the C train home. The train car was basically empty except for a young guy in his 20's who was singing something softly to himself while he twirled around the poles in the subway car. He had longish blonde hair, an unkept sandy goatee and he looked a little, well, crazy. I was taking my iPod out of my bag when I heard a familiar melody coming from his lips. I couldn't place it at first, but then I heard a familiar line, "I've got God on my side/And I'm just trying to survive," and I realized that the guy was singing Springsteen's "Devils & Dust." It was kind of weird, because the guy was so young and in addition, "Devils & Dust" is far from one of Bruce's better known songs.

I couldn't help myself.

Me: "Singing some Bruce?"
Him: (looking up, very surprised) "Yeah! How did you know that?"
Me: "I'm a big fan. I know the song well...I was a little surprised to hear someone singing that song."
Him: "It's a great album. I'm a big fan. I always sing that song when I'm in a good mood."
Me: "Really? It's not a song I associate with being in a good mood, but cool."

So then my new friend sat down next to me, and for the next two stops, proceeded to tell me that he was a stand up comic and had just secured his first gig in a while, that it was testament to his newly found sobriety and that he now felt like he was on his way. I couldn't help but notice that the guy had a sort of weird electric energy about him - the kind of guy who as Hunter Thompson once wrote, "has abandoned all hopes of ever behaving normally." A true character.

He got off the train very soon after he sat down with me. We shook hands, smiled and wished each other luck.

Download: "Devils & Dust" 6/20/05, Paris, France
Buy Devils & Dust at Amazon

Black Love

The other day, while reading Pitchfork, I came across their review of a new Afghan Whigs retrospective. I found myself fascinated by the review – it had been years since I had even thought of the Whigs or Greg Dulli, and it brought back a lot of memories.

I started working in the record business full time in 1993, at Elektra Records. It was a great label then – eclectic in taste, spanning the gamut with artists such as Metallica, the Breeders, 10,000 Maniacs (who I couldn’t stand then, and still can’t), Tracy Chapman, Bjork, Brand Nubian, Motley Crue and more. It was absolutely an elitist label, filled with dedicated people who really believed that they were doing better work than their competitors at the other major labels. I loved being there utterly and completely.

1993 was the high water mark of the post-Nirvana era. It still seemed possible that any sort of weird, left-of-center band had a real chance of breaking it big. (Bands like Candlebox and Better Than Ezra were about to arrive, but we didn’t know that yet.) In the fall of that year, we were enjoying lots of success with the Breeders “Cannonball,” 10,000 Maniacs' cover of “Because The Night,” and the first Bjork album, Debut. In that environment of heady possibility, Elektra Records was very, very excited about the arrival the Afghan Whigs first album for the label, Gentlemen.

The Afghan Whigs were signed to the label by a true character, Terry Tolkin (MySpace link discovered today). Terry, to my 23-year-old self, was cool personified. He had an impeccable alt/punk resume; it seemed like he knew everyone who was anyone and it was even said that he introduced Thurston Moore to Kim Gordon. He was really great to me – we would go out to lunch on occasion and talk about our mutual love of Neil Young, 70’s British punk and the Dead (and he told me about all the closet Dead fans in the New York alt/punk scene). I was absolutely committed to doing A&R, and Terry gave me lots of advice – the main piece of which was that there was no one path into doing A&R and that I had to scam it myself. Terry had also recently signed Stereolab and Luna to the label, and when we would talk, he was absolutely committed that all of those bands blow up. “I want every band I sign to be the biggest band in the world,” he would say. He really believed it was possible, and his enthusiasm, along with my willingness to suspend my disbelief in his presence made me believe it was possible too.

There were huge expectations for Gentlemen, and the hype in the building was tremendous. We were talking about the album as though it was an instant classic. I liked the album upon first listen, but I remember wondering if it was a hit album the way I thought the Breeders’ Last Splash was the first time I heard it. No matter. I listened to the album at least 5 to 7 times a week during my commute from Jersey to the city (I was still living at home) and began to get into the album, especially “My Curse,” a duet that lead singer Greg Dulli sang with Marcy Mays of Scrawl. I remember the press reaction being incredibly positive, and bordering on ecstatic on the subject of their live show.

We worked the hell out of the album, but it never caught fire at radio. In retrospect, it wasn’t particularly surprising – the songs just weren’t that hooky. They were incredibly dense and probably a little too obtuse for mainstream consumption. We hoped that the band’s live show would take them to the next level, but it didn’t quite pan out.

I remember seeing the band at the Academy in the spring of 1994. I believe it was right after Kurt Cobain’s suicide. The show was great, and the fact that the band was obviously soul influenced was huge for me. By then, I could speak fluently about Otis Redding (not a big topic of conversation amongst my alt-rock peers), and Dulli’s love of soul made me root for the band even harder – and made me turn a blind eye to the band’s obvious flaws, the main flaw being that their songs were just not good enough to take them beyond a small to medium sized cult following.

And it was soon after that Academy show that things began to fall apart – at Elektra Records and possibly (I wasn’t an insider, but I heard lots of rumors) with the Afghan Whigs. Bob Krasnow, the great and imperious chairman of Elektra, was forced out that summer, and everything that had been special about Elektra was gone in about two years. Terry left the label in or around 1996. I never heard from him again, but I did hear that he left the business entirely to deal with some personal issues. I hope he’s well – he was a great guy.

As far as the Afghan Whigs go, they put out one more album on Elektra, Black Love, that I don’t remember at all and then went over to Columbia and put out 1965, which did nothing for me. I look back upon them fondly – not nostalgically, but as a band that had their ambition on their sleeve, that wanted to do something that no indie/alt band was doing; the fusion of the fire and passion of soul to the indie rock. It’s possible that it was an utter failure, but it was an incredibly noble one.

Buy The Afghan Whigs At Amazon

Download: "Papa Was A Rolling Stone" 2/24/99, Baltimore, MD
Download: "My Curse" 2/24/99, Baltimore, MD
Download: "Debonair" 2/24/99, Baltimore, MD
Download: "Rip This Joint" Spring 1999, New York, NY
Download: "What Jail Is Like" 2/24/99, Baltimore, MD