Tuesday, December 22, 2015

Ain't It Hard & Nobody's Lover-1965/1966

Two mid-sixties favorites from Roger Tillison, both can be found on Sundazed's compilation Ain't It Hard.

Friday, December 11, 2015

Christopher Maclaine-All Exits Covered-1953

Below you will find the first part of San Francisco Beat filmmaker Christopher Maclaine's darkly humorous short film The End from 1953. Unfortunately only the first part is posted. Search his films out it's worth the effort. The End is included in its 35 minute entirety in this highly recommended anthology.  There's not much info about Maclaine on the internet the best piece is this one by Fred Camper.

Wednesday, December 9, 2015

Stuck Inside Of Texas With The French Blues Again

This is a re-post of a favorite mix from 2012, in revisiting it I find that it achieves the coherency and impact that I reach for when creating mixes, that is the individual songs though important, are just pieces in a larger narrative, which should hang together and have greater impact when taken as a whole. The songs interact, comment on and speak with one another, ultimately providing a larger thematic experience. That's the goal at least. I don't care a whit about impressing anyone with obscurities or turning anyone on to new music, though if I do, great! My aim is to tell a story, to create a sustained mood or atmosphere through the precise arrangement of preexisting songs.  


Wednesday, December 2, 2015

People Just Get Uglier And I Have No Sense Of Time

From the spring of 1966 here's the infamous intoxicated taxi ride starring Bob Dylan and John Lennon, filmed by D.A. Pennebaker and Bobby Neuwirth. Fascinating for those interested in the music and cult of personality of the swinging 1960's (is this freedom rock!??).  Dylan, who considered John a peer, rival and a friend (of sorts), is well into his mid-60's freeze out/mind games period and is obviously trying to vibe Lennon out the car, but is a little too high to pull it off. Lennon appears slightly taken back and maybe a bit intimidated by Bob's sloppy intoxication and vitriol, but still comes across sharp with an almost Peter Sellers like presence and gift for voice impersonation. Obviously they are both playing to the camera to a certain extent and one would hope that interactions in private (i.e. no camera) would be more relaxed and friendly, though contemporaneous behind the scenes stories indicate that this was basically Bob's M.O. for interacting with others in this period.

There are lots of interesting references and subtexts- Dylan mentioning irritably how when he played one of his recent records for the Beatles John said it sounded like a Northern Song (the Beatles publishing company) a reference that Bob didn't understand till later, which is almost assuredly related to his "Norwegian Wood" parody "4th Time Around" and Bobby Neurwirth does a quick comical impersonation of a BBC broadcaster quoting a section captured on film for Don't Look Back. For you trainspotters there are also references to Ronald Colman, Sleepy John Estes, Johnny Cash, Mick Jagger, Rob Roy, Bobby "Eve of Destruction" McGuire, The Good Guys (DJ's), Sherwood Forest, Friar Tuck and Mama Cass (referred to as "the big chick, she's got you too!") who reportedly had a crush on John.

Dylan even brings up the Silkie(s) a now somewhat forgotten band for whom John had produced a rather nice cover of "You've Got To Hide Your Love Away" in 1965. Probably another dig from Zimmy about his influence on John's songwriting and who was or was not more affiliated with the "folk rock-a-boom". I think the rest of the Silkie's album consisted of Dylan covers which lends credence to Dylan's feeling that Hide Your Love Away was, at least on the surface, just another in a line of Dylan knock-offs from John, a charge I think that John acknowledged to some extent.  The others songs being, in Dylan's mind at least, "I'm A Loser" and "Norwegian Wood" hence his 4th Time Around and the line "I never asked for your crutch, now don't ask for mine".  It's hard to hear more than a subtle influence nowadays, perhaps because the influence of both was and would continue to be so pervasive in pop music, but I guess at the time it seemed egregious to Dylan's paranoid and competitive mind.

Watching this footage makes it clear why Dylan had to find an excuse to get off the road and off drugs- which by this point had become hard- mainly speed with alcohol and junk to come down. But Dylan still gets some good lines in like "I wish I could talk English man" and "we've got baseball games, we've got all night t.v., I come from the land of paradise man!"-"Sounds great" Lennon replies in a deadpan Northern accent and the car drives on.  I imagine in some parallel universe (or circle of hell if you find it all rather tedious) this car ride is still going on. "Mona tried to tell me.............

Jonathan Cott: What did you think of Dylan's "version" of "Norwegian Wood"? ("Fourth time around")?

John Lennon: I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit.

Wednesday, November 18, 2015

Easy For Some To Bang That Drum

The above is from L. Cohen's 1974 LP New Skin For the Old Ceremony, highly recommended.
Below is another old favorite from The Heptones' 1978 LP Night Food. Dig the string arrangements on both of these tracks. 

Monday, November 2, 2015

Wherever I Go- Pretty Saro 1970

For anyone who thinks Dylan couldn't sing, here, I do believe, is one of the finest vocals ever recorded.

From Wikipedia-Pretty Saro (Roud 417) is an English folk ballad originating in the early 1700s.[1] The song died out in England by the mid eighteenth century but was rediscovered in North America in the early twentieth century where it had been preserved in the Appalachian Mountains through oral traditions.[2] The work of Cecil Sharp is credited for keeping songs such as Pretty Saro and others, alive well into modern times.
During his Self Portrait sessions in March 1970 at Columbia Records' New York studio, Bob Dylan ran through "Pretty Saro" six consecutive times. While none of those versions made the final cut for the album, the song remained in Columbia's vault, until it was released on Another Self Portrait, a 35-track box set of songs cut for Nashville Skyline, Self Portrait and New Morning.[3]

Excitement is a building for the new bootleg 65-66 release this Friday see here -new video below!

Beatles promo videos out mañana as well, and me with very little dinero. Not to mention later in the month Beach Boys Party sessions and VU's complete live at the Matrix set.  Dios mio!  But I refuse to consult old liner notes by droog Loog Oldham to figure out what to do. Ah well, I guess that's what credit cards are for, I'll just suffer, and such sweet suffering it is. 

Monday, October 12, 2015

Thursday, October 8, 2015

Everybody Must Give Something Back For Something They Get

"Irresistible rancor" & legs!

Bob Dylan - 4th Time Around (The lost Original Stereo Version) from stavros P on Vimeo.

What did you think of Dylan's "version" of "Norwegian Wood"? ("Fourth time around")John: I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit.

Read more: http://www.rollingstone.com/music/features/the-rolling-stone-interview-john-lennon-19681123#ixzz3zIuRBrkS 

Thursday, September 17, 2015

How Much Is A Fuckload?

                                                              CLICK TO DOWNLOAD THEE LAST MIX

1. I Love My Label- Nick Lowe
2. See Emily Play- The Pink Floyd
3. The Lamb Ran Away With the Crown- Judee Sill
4. Reelin' In The Years- Steely Dan
5. Reconnez Cherie-Wreckless Eric
6. Halah- Mazzy Star
7. Free Four- Pink Floyd
8. Ghost Ship In A Storm- Jim O'Rourke
9. She Took A Long Cold Look At Me- Syd Barrett
10. Cold Irons Bound- Tom Verlaine
11. Song For Syd Barrett- Cleaners From Venus
12. I'll Keep It With Mine- Marianne Faithfull
13. Bob Dylan Blues- Syd Barrett
14. The Beatles- Daniel Johnston
15. I'm A Man You Don't Meet Every Day- The Pogues
16. I Wanna Be Your Mama Again-Sir Douglas Quintet
17. Linda- The Sleepers
18. Dominoes- Syd Barrett
19. Don't Forget Me- Harry Nilsson
20. Waiting Around to Die- Townes Van Zandt

Syd Barrett & Yogi in 1978

Wednesday, September 16, 2015

Thursday, September 3, 2015

On A Losing Streak

From www.dailyrecord.co.uk Gerald Casale and Mark Mothersbaugh shifted nervously in their seats as they awaited the arrival of one of the biggest stars in rock history for a make-orbreak audition. In their hand was a crude cassette tape of (I Can't Get No) Satisfaction, a wacky cover version of The Rolling Stones 1965 hit recorded by their futuristic pop group Devo. The song was earmarked as a key track on their 1978 debut album Q: Are We Not Men? A: We Are Devo - but only if they received official approval from Stones' main man, Mick Jagger. "Jagger had to approve it or we would not be allowed to put it on our record." recalled Gerald, 32 years later. "It was back in the days when intellectual property rights laws were strictly enforced. Our version of Satisfaction was so different it was considered a parody - and the Stones had full authority to reject the parody. "We went to the New York office of their manager Peter Rudge, which had overstuffed leather club chairs and a huge log fire. Jagger walked in, asked for a glass of wine, then said, 'Okay, put it on. Let's hear it'. "We stuck our cassette into this big boom box and pressed Play. Jagger sat in total silence staring straight ahead. We thought, 'God, he hates it'. "But then, he jumped up out of his chair and started dancing wildly in front of the fireplace. Dancing just like Mick Jagger. I thought, 'Oh s***, he loves it'. Mark and I went home totally stoked and elated.

Devo-no satisfaction! from al m on Vimeo.

Saturday, August 15, 2015

May I Land My Kinky Machine?-Vaughan & Bowie

Painting by Frank Kelly Freas
Stevie Ray Vaughan's guitar playing on David Bowie's Let's Dance album has been obsessing me of late, it's so pitch perfect and manages to maintain his distinctive style (that great vibrato) while at the same time being beautifully restrained, every part honed to the bare essential (you can hum the solos) so as to service only the song in the best possible way. It's a testament to Vaughan's class and talent that he manages to enliven the songs without being overly showy or in anyway out of the context with the slick danceable pop album Nile Rodgers and Bowie envisioned. Sadly money disputes prevented him from doing the Serious Moonlight tour and instead we got Earl Slick mugging and generally acting a boob. But there's a great bootleg of the rehearsals in Dallas when SRV was still part of the band, when I get a chance I will post it.

The guitar playing on Let's Dance has got me listening to Stevie Ray Vaughan again for the first time since I was kid learning guitar, in particular there's a DVD of a 1983 show at the El Macombo that I highly recommend for anyone remotely interested, if you have no patience for the blues idiom or guitar soloing (lots of it, but never wanky, always with soul) you shouldn't bother. It's a high energy sweaty club gig and the very best comes near the end when Vaughan covers Hendrix's "3rd Stone From the Sun" (did Hendrix ever do this one live? If anyone knows please comment) and completely abandons his blues chops (which are in abundance) to revel in some gleeful auto-destruction and psychedelic sonics of pure noise worthy of Townshend and Hendrix. Unfortunately I can't find an upload of the video, just audio, it's even more impressive when you see the way he mercilessly attacks his guitar, but for the time being here's the audio, followed by some well known cuts from the aforementioned Bowie album. 
Bowie, Vaughan & Rodgers

Wednesday, July 1, 2015

Everybody Had A Hard Year-1969

I dig Ringo's red plastic mac (which was Maureen's actually) and John's fur coat (which was Yoko's actually)

The Beatles' Rooftop Show from tess g. on Vimeo.

Thursday, June 25, 2015

A Safe Place Soundtrack or Why You're Always Alone

The Dreamers (2003)
I've been impressed with Michael Pitt's acting since I recently started watching his performance as Jimmy Darmody in Boardwalk Empire (yes I tend to come late to things) the guy can really act and does particularly impressive work with subtle nuanced gestures and facial expressions that reveal internal aspects of his character.  I suppose he's considered a pretty boy (a sometime model, there's actually something a bit odd or off about his face that I like, probably that chin or the scowl, he kinda reminds me of Pete Nice) but he brings a lot more to the screen than just his look, there's a brooding quality and a charisma you don't see in many actors these days- a quiet that creates tension whenever he's on screen, and again reveals the internal workings of the character. It's indicative of an actor whose is comfortable in front of the camera and so with taking his time and fully inhabiting his character and responding to the scene and his fellow actors.

I've been checking out some of his earlier work, including Bertolucci's The Dreamers from 2003 (luckily haven't gone back to Dawson's Creek yet!). And though his acting has certainly improved since 2003 his performance in the film is still pretty solid, and overall it's a great looking enjoyable film-though kinky as you would expect from Bertolucci (Eva Green has nice breasts, I like those big pink nipples!), but more important and interesting to me it's a movie about people obsessed with movies. Charles Trenet's "La Mer" is used prominently in the film which reminded me of its use in Henry Jaglom's A Safe Place. I assembled a soundtrack for A Safe Place in a blog post several years back. And as these soundtracks seem to be the most popular posts at this site, here's a link to that one from the archives for all you cinephiles.

The Dreamers - One of The Insatiables from Scott Thomas Smith on Vimeo.
Eva Green as Venus De Milo
Michael Pitt & Eva Green in the Dreamers

Pitt as Jimmy Darmody in Boardwalk Empire

Sunday, June 21, 2015

Rast RFC, De La Soul & Me-Endless Rain Into A Paper Cup

I had a real shit week and so Friday feeling down I resorted to some old habits and ended up going to the record store up my way. Browsing records always relaxes me, it evokes a meditative state of mind - I lose hours there  and almost always come away with something, usually more than I expected.

But even there I found myself in a sour mood and so was seriously tuning out everyone around me including two guys that came in talking DJing with one of the owners. I figured they were just local hip-hop kids. After about 30 minutes having never even glanced up to see who they were I realized that one of these guys' voices sounded really familiar so I finally look up and damn if it isn't Maseo (Plug 3) from De La Soul.

Now this was seriously unexpected and super exciting as those guys (De La Soul) and the whole native tongue click were like gods to me growing up. By the time I was checking out with my records Maseo had started warming up for a DJ set he was doing at a club that night, spinning old school hip-hop 7 inches, including "the real roxanne" which I happened to be picking up a used 12 inch of as well, great minds think alike and all that. I was the only customer left in the store by this time- the young girls in there earlier obviously had had no idea who he was. The situation kind of blew my mind, this guy is a legend! And so checking out I made a point of catching his eye and letting him know I was a fan, we shook hands as I told him "Maseo! I never thought I'd see you here, made my year!". He seemed pleased, a super genial and genuine nice guy, smiling and laughing he said "us old guys gotta stick together!".

Which brings me in a  roundabout way to Rast RFC, the best hip-hop MC I've heard in the past 10 years. I first heard his record Across West 3rd Street on Dope Folks records in the same record store (Breakaway) where I met Maseo. I don't know how old Rast is but from his references it sounds like he's from my generation and his aesthetic both musically and lyrically has the kind of late 80's/early 90's feel is rare in the 21st century- nice loops (that probably could never get cleared) and a great voice/flow with laid-back sung choruses. I've been playing his record daily since ordering a copy a month ago. The vinyl is only pressed in limited numbers (I guess all pressings are limited these days, but this is a great record), so hop to it and get a copy of Across West 3rd Street today!

After meeting Maseo I pulled out what is probably my favorite De La album 1993's Buhloone Mindstate, if you don't have a copy it's also highly recommended. An amazing record that also contains one my favorite rhymes/lines ever Pos's "fuck being hard Posdnuos is complicated!"(see the second to last video below).  My friend Jeff wrote one of my other favorites back in the day with his dis "your style is flashdance, you be rocking torn sweatpants" that one still makes me laugh every time I think of it.  All this hip-hop even had me free-styling a bit the next day as I listened to the Beatles "Flying" in the car- "proto-hip-hop from the kings of EMI, that's a Mickey Dolenz line, yo check it you'll be flying, 24 bit, Brian Wilson having fits, every track could be a hit with those randy scouse gits". Record companies come and get me!  heh.

Maseo rhymes a bit on the track below

Friday, June 12, 2015

The Subway To Your Suburb- The Modern Lovers 1972

A cat named Warren Loft, has edited some nifty videos for the first Modern Lovers album which I've been enjoying and have compiled below. If by chance you don't have this album, get it posthaste, it's good for you! And unlike most things in this life, it won't ever let you down. I think "Hospital" is still the record's most transcendent moment, it gets me every time. To sweeten the pot here's a rough sounding unreleased live set from the Modern Lovers circa 71/72 which includes a live version of the beautiful unreleased  "Song of Remembrance For Old Girlfriends". The guitar solo on that one is just so heartbreaking, and how often do guitar solos achieve that?
                                                            Click to Download Live Lovers

Monday, June 1, 2015

"It Takes One To Know One" She Smiles

"Desolation Row" is arguably Dylan's peak as a lyric writer, it's amazing how relevant, prescient even the words still sound- the song and performance gives me chills. Charlie McCoy's improvised guitar lines play a wonderful counterpoint to Dylan's singing, dipping in and out of the endless verses, sometimes echoing, sometimes answering. 

TV STORE ONLINE: So how did you come to get involved with Bob Dylan and play with him on Blonde On Blonde?

McCOY: That came about because of Bob Johnston. Bob had first come to Nashville as a songwriter. He was writing songs for Elvis Presley's songwriting company. When Elvis would get ready to shoot a new movie--his team would send out the script to the various songwriting companies and writers would compete to see what songs they could get into his movies. I came to work with Bob, because he had called me to ask if I could help run his sessions for some demos for Elvis.

Bob ended up getting six or seven songs into a couple different Elvis movies and I worked as a musician on those recordings with him. We had a bunch of songs that didn't make it into the movies and so Bob took those to New York to pitch them around. They ended up in the hands of a Columbia Records A&R man. He said, "These demos are great. Did you produce these?"

Bob was smart enough to tell the man that he had and the A&R guy said, "Would you consider producing records here for Columbia?" Bob ended up producing a session after that here in Nashville with Patti Page for Columbia. It was the theme song for the movie HUSH, HUSH SWEET CHARLOTTE (1964). I played on that as well. It was a hit for Patti Page, and because of that...Columbia decided that he needed to do something else for them. They put him with Bob Dylan. Bob moved to New York City and we stayed in touch. He said, "If you're ever in New York City--get a hold of me--and I'll give you a couple of a tickets to a Broadway show..." Not longer after that--I found myself in New York City. I called him up and said, "Can I get those Broadway tickets?" He said, " Sure, come over to the studio this afternoon. I'm recording Bob Dylan and I'd like for you to meet him."

I went over to the Columbia studio and Bob introduced me to Dylan. He said, "Hey, I'm getting ready to record a song. Why don't you pick up that guitar over there and play along?"

The song that we played was 'Desolation Row'.

I think Bob Johnston had a plan from the start to lure Dylan to Nashville to record the album.

Johnston told me later than after I had left the studio he went to Dylan and said, "See! That was easy, wasn't it? If we go to Nashville the recording of the new album will be much easier than it will be here in New York." So Bob Johnston talked Dylan into recording his next album in Nashville, and Dylan recorded three of his best albums there.

TV STORE ONLINE: When you met Dylan in New York City at the studio, had you been familiar with his past work?

McCOY: Of course. 'The Times They Are A-Changin' had made a huge impression on me. So when he asked me to play along with him that day I was a little bit taken by surprise because while I played guitar I didn't really consider myself to be a great guitar player. Dylan hit me with this eleven minute song and tasked me to play all of the fills in it.

TV STORE ONLINE: With Bob Dylan deciding to record in Nashville...Do you think that it did anything for the music scene after he had left?

McCOY: Oh Yeah. With Dylan coming here to record...Well, it was like he had put his stamp of approval on us. The flood gates just opened up. It got me really busy...(Laughing). I was running all around. I was working all hours of the day. There were some very tired weeks in there. By that time, I was also starting to record a lot of with Elvis Presley and between Elvis and Bob Dylan I was running out of steam because those guys were all-night type of guys.

TV STORE ONLINE: And not skipping over Elvis...You played not just on those early '60s demos for Bob Johnston but also some of Elvis's early '70s work like 'The Next Step Is Love'...

McCOY: That's right. I played organ on that. When it was all said and done--I played on five movie tracks for Elvis and on seven of his albums. I played on 'Big Boss Man', 'High-Heeled Sneakers'. I played on his gospel album and two of his Christmas albums. Elvis loved recording in Nashville and he loved the studio because it was his safe place.

TV STORE ONLINE:  Blonde On Blonde--I'm dying to hear these stories....

McCOY: Well, I can remember the first day of recording... We didn't do much that day.... We were booked into the studio for 2 p.m and Dylan's flight came in late from wherever he was coming in from and he didn't make it into the studio until well past 6 p.m. that day. He and Bob Johnston walked in and Bob said, "he's not done writing the first song yet. So just hang loose..." It was us, the usual Nashville rhythm section and also Al Kooper and Robbie Robertson there. We waited. Then we waited some more.

Finally at 4 a.m., the next morning he was ready to start. We started with 'Sad-Eyed Lady Of The Lowlands'. A fourteen-minute ballad. Everyone was in that studio saying, "God! Please don't allow me to make a mistake." It was tough because we had been waiting for so long and had been up all night waiting. Taking this approach to recording was unheard of in Nashville. It just didn't happen in this way. None of us had encountered anything like it before. I figured it took us thirty-nine-and-a-half hours to record Blonde On Blonde with Dylan and it took us nine-and-a-half hours to record John Wesley Harding with him here.

TV STORE ONLINE: Why do you think it took Dylan so long to record Blonde On Blonde? It seems to me as if it was the zenith of his creativity as a musician and songwriter....

 You know, I think he was unsure of himself and he was unsure of us. He was also writing as he went along. When he came to Nashville again to do John Wesley Harding--he had the whole album already written and that went together very quickly.

TV STORE ONLINE: I've wondered from my reading about Dylan if he wasn't feeling the pressures around him? His audience had wanted him to be the voice of their generation....It seemed like he had been going too hard and too long. As if he needed a break?

McCOY: I felt that was just normal for him. I felt that John Wesley Harding was something brand new for him. To do Blonde On Blonde....To record that in such a long and drawn out fashion just seemed (to me) that it was something that he was used to doing.

TV STORE ONLINE: And you played guitar on 'Sad-Eyed Lady Of The Lowlands'?

McCOY: I did. I ended up playing several different instruments on Blonde On Blonde. I played Harmonica on 'Obviously Five Believers' and I played the Trumpet on 'Rainy Day Women #12 & 35'. Then on John Wesley Harding I played the Bass. I also played Bass for him on the recording of Nashville Skyline as well.

TV STORE ONLINE: Playing Bass on Nashville Skyline must have been incredible especially playing on 'Lay Lady Lay' and on 'The Girl From The North Country' with Dylan and Johnny Cash?

McCOY: Well, I was good friends with Johnny. I had played on several of his albums. I was used to working with Johnny.

TV STORE ONLINE: Going back to your playing on 'Sad-Eyed Lady Of The Lowlands'.... Was your part just something that you worked out with Dylan and Johnston?

McCOY: I was just playing acoustic rhythm on that. I was just following.

TV STORE ONLINE: Does Dylan give any directions?

McCOY: No, not really. We just played along. I was session leader and I was supposed to be the middle man between the artist, the producer and the band. When you would ask Dylan for some feedback he really wouldn't give you anything. You'd say something like, "Hey Bob, how about we try such and such...?" He's only say, "I don't know, man. What do you think?" Finally I went to Bob Johnston and said, "You know, I'm asking him about such and such and I'm not getting any answers. I don't know if he's happy with what we're doing or not." I eventually just stopped asking him because I figured that if he wasn't happy with what we were doing he'd probably tell us.

TV STORE ONLINE: Going back to your playing on Rainy Day Women #12 & 35...How did that come to fruition?

McCOY: That afternoon that we were supposed to record--Bob Johnston said, "Tonight, Dylan wants to record a song with a Salvation Army Band sound. Let's use a Trumpet and a Trombone. Can you get a couple guys in here tonight?" I said, "With the Trumpet...You want it to be good?" He said, "No, man...It's supposed to be Salvation Army..." So I played the trumpet and I called a friend of mine to come in and play the Trombone.

TV STORE ONLINE: How many takes on the recording of something like Rainy Day Women?

 Just two or three takes. He came in and ran the song down. It was pretty obvious as to what we were supposed to do. Bob Johnston said something like, "I want you guys to yell and holler like it's a real party during it." When you listen to the record now...Those noises you hear in the background were done live while we were recording. It wasn't overdubbed in later.

TV STORE ONLINE: How about 'Obviously Five Believers'?

Dylan couldn't have played that riff. It was out of his style.


 The harp riff goes all throughout the song. And it's a Little Walter riff, isn't it?

McCOY: Absolutely. Bob Johnston said, "You should probably play the harp on this one..."

  For all the time that Dylan spent writing songs in the studio...It seems like he was efficient in the sense that he never wanted to stop when he was in the actual studio... When he was in the studio he just wanted to keep going and going?

McCOY: Absolutely. The thing is...Dylan never made a mistake in the studio. And you would think that he would've had at least had a little trouble remembering the lyrics to these songs as we were recording them but he never had any problems in the studio with them. He was always right-on with the lyrics and the melodies.

TV STORE ONLINE: You played Trumpet also on "You'll Go Your Way And I'll Go Mine.."

 I did. The song that I most admire though of my playing with Dylan is 'Lay Lady Lay'.

TV STORE ONLINE: Nashville Skyline, the album, clocks in at being an entire album that runs just twenty-seven minutes long.

McCOY: I know!

TV STORE ONLINE: You also played with Dylan on his 1970 Self Portrait album? 

McCOY: That was a weird one. Dylan wasn't even there. I think what happened there was that he and Bob Johnston were coming to the end of their collaboration. I wasn't privy to the state of their relationship at that time so I'm not for certain on that though. Bob had access to some piano and guitar demos that Dylan had made, and so he must have thought that he could squeeze one more album out. I'm not too sure if Dylan is happy with that record... Some of that stuff on Self Portrait was hard to play because Dylan was doing piano and guitar demos and also singing on them so the tempo wasn't always steady. It was difficult to work on that.

TV STORE ONLINE: Do you think that Nashville had an influence on Dylan? The music changes radically from Blonde On Blonde to Nashville Skyline in terms of sound...

McCOY: I saw a huge Nashville influence there. There is country and folk music in there. In particular on John Wesley Harding, whereas on Blonde on Blonde--it's a very bluesy album.

Wednesday, May 27, 2015

Anglo-Saxons Are Better In The Tropics

The Year Of Living Dangerously

It's supposed to be very wet this summer (that's what she said) so I plan to switch from my usual summer safari film viewing to beat or at least romanticize the heat (two favorites: Hatari! and Mogambo) to a tropical theme, films like The Year of Living Dangerously for instance. This mix, Anglo-Saxons Are Better In The Tropics, is partly inspired by that film/theme, it was a jumping off point at least, the apocalyptic gospel tracks probably reflect my recent watching of the first season of Carnivale, good stuff that. 

Speaking of ethnicity, I got my DNA tested recently and since the internet seems to be THE place to share personal information that no one gives two shits about here's the breakdown for those keeping score at home- your humble host is 44% Irish, 34% Great Britain (this is mostly Scottish as my maternal Grandmother was a Campbell- "a bloody clan" my neighbor in Houston who was from Scotland used to tease her-that recent Madmen episode, Time & Life, with Pete Campbell's story line shed a bit of light on this), 16% Scandinavian and 5% Iberian Peninsula.  Except for the last two, no big surprises.  
                                                                      CLICK TO DOWNLOAD MIX

1. A Marriage Made in Heaven- Tindersticks w/ Isabella Rossellini
2. Tabu- Lecuona Cuban Boys
3. I Won't Hurt You- Neo Maya
4. Fiesta En El Solar- Marc Ribot & Los Cubanos Postizos
5. Hong Kong Blues- Hoagy Carmichael
6. Shore Leave- Tom Waits
7. Ventilator Blues- The Rolling Stones
8. I Just Want To See His Face- The Rolling Stones
9. Jesus' Blood- Golden Stars of Greenwood, SC
10. Tarkovsky- Patti Smith
11. Aku Aku- Martin Denny
12. Hyacinth House- The Doors
13. There Is A War- Leonard Cohen
14. Sean Flynn- The Clash
15. Abdulmajid- David Bowie
16. Gloomy Sunday (alternate take)- Billie Holiday
17. Umleitung- Cluster
18. Get Back Satan- Rev. Roger L. Worthy & Bonnie Woodstock
19. Pocahontas- Neil Young & Crazy Horse
20. The Enchanted Sea- Martin Denny
21. The Wicked Shall Cease From Troubling-Nathaniel Rivers
22. Aurora En Pekin- Marc Ribot & Los Cubanos Postizos

Sean Flynn

Thursday, May 21, 2015

A Pauper At Times

Austin Osman Spare

Monday, April 13, 2015

Straight Outta Derry- The Undertones

Not only one of my favorite bands, but one of my favorite things ever, it's hard to imagine a band more perfect than the Undertones. Due to disabling, you'll need to click on the watch on youtube to see the fine documentary below. Those in the U.S. who haven't seen it should also look for the film Good Vibrations ( it was a relatively big deal in the UK, but isn't even available on DVD here in the States, I think its streamable) -biopic of Terri Hooley's Belfast record store/label that issued the Undertones' first records. I just ordered a region 2 copy for myself, cause I'm old fashioned.

Wednesday, April 1, 2015

We Can Rebuild Him or Love Must Lack A Sense Of Humor

Bionic Pillow Fight 

1. Girlfriend-Harry Nilsson
2. Intuition- John Lennon
3. My Fault- The Faces
4. Easy Now- Eric Clapton
5. Short and Curlies- The Rolling Stones
6. Trying To Make A Fool Of Me- The Delfonics
7. Wailing Of The Willow- Astrud Gilberto
8. Living Without You- Randy Newman
9. Sweet Thing- David Bowie
10. Letting Go- Paul McCartney & Wings
11. Look Up, Look Down- Liam Hayes
12. Deep Blue- George Harrison
13. Ride On- AC/DC
14. Hard Luck Woman- Kiss
15. Time Waits For No One- The Rolling Stones
16. Candidate- David Bowie
17. All We Ever Got From Them Was Pain- Alex Chilton
18. Just Another Honky- The Faces
19. So Much Music- Liam Hayes

This mix is Oscar Goldman approved!
Feel free to put yourself in these shoes when you listen to this mix!