Remembering Dickey Betts. —Ed.

When it comes to your bad karma and shitty luck, The Allman Brothers Band is a tough act to follow. And no, I’m not just talking about the tragedy that was Allman and Woman. I’m talking about the motorcycle accidents that claimed the lives of Duane Allman and Berry Oakley; rampant infighting and supernatural drug use; and a big-time cocaine distribution bust that led Gregg Allman to testify against his road manager in order to save his own ass. But despite the deaths, the duplicity, and even Cher and Man, The Allmans remain the most influential Southern blues-rock band of all time, and next to Lynyrd Skynyrd, the best damn band to hail from south of the Mason-Dixon Line.

But here’s the thing about the Allmans; I can honestly say I never much cared for them until Duane Allman took that fatal spill on his motorcycle. Because Duane, God bless his totally rad facial hair, was a blues player, and the fact is I despise the blues. As The Simpsons’ Bleeding Gums Murphy immortally said, “The blues isn’t about feeling better. It’s about making other people feel WORSE.” Don’t get me wrong; I can handle them if they’ve been radically tweaked, freaked, warped, or twisted. But Duane, a traditionalist, played ‘em old school, making me the dick at the party who ran out screaming every time somebody put on “Statesboro Blues” or, even worse, “Stormy Monday.” As for “Whipping Post,” it’s way up there on my Shit Parade alongside “Midnight Rambler,” “People Have the Power,” and the entire recorded output of The Clash.

The bottom line? One man’s tragedy is another man’s blessing, and Duane’s untimely demise had the ironic effect of transforming The Allman Brothers Band into a group whose music I actually like. 1972’s Eat a Peach had a few great songs, such as “Blue Sky” and “Melissa,” that took the band in a non-blues direction, but it also included the infamous “Mountain Jam”—really, did the world really need a song so long it took up two sides of a double LP? It took the advent of guitarist/vocalist Dickey Betts as the Allman’s de facto leader to produce 1973’s Brothers and Sisters, which emphasized a unique hybrid of country rock over the blues, and threw in some good-times boogie for good measure.

Read More »

Celebrating Bez on his 60th birthday. —Ed.

A crash course for the ravers—back in the late 1980s, Happy Mondays became the veritable house band for Madchester’s e-fueled rave scene, which transformed an entire generation of Joe Bloggs-clad English kids into pinwheel-eyed, whizz-happy 24-hour party people stepping on and up, up, up to a dizzying sound composed of equal parts alternative rock, acid house, funk, and psychedelia.

Oh, it was a glorious time, a true Renaissance as it were. I’d have loved to be there when the party started, and every blessed baggy-jeans wearing ecstasy-altered geezer at the Haçienda loved every other baggy-jeans wearing ecstasy-altered geezer at the Haçienda. And every single one of them knew the song—which just happened to be the Happy Monday’s deliriously danceable “Step On,” with its infectious keyboard progression and funky drumming—would go on forever.

It didn’t of course—I strongly recommend Pulp’s “Sorted for e’s and Whizz” if you’re looking for a post-mortem—and Happy Mondays crashed as hard, or harder, than anybody else, having gone “crack crazy” (in guitarist Paul Ryder’s words) in Barbados during the sessions that would culminate in 1992’s Yes Please! But you can still hear the joy of being young and very, very chemically altered in every song on Happy Mondays’ 1999 Greatest Hits.

On such immortal ravers as “Step On,” “Kinky Afro,” “Loose Fit,” “Mad Cyril,” and “24-Hour Party People” brothers Shaun and Paul Ryder and Company (including of course, the band’s official “dancer” Bez) kept the punters soaring above the dance floor all night long. It’s all there in “Kinky Afro”—Brit pop melded smoothly to a seductive groove—and “Loose Fit,” the definitive baggy anthem and Madchester fashion manifesto, which fuses funky percussion to a lovely riff and a message (“Don’t need no tight fits in my wardrobe today”) that put a sizeable segment of England’s youth in flares.

Read More »

VIA PRESS RELEASE | The Hold Steady are pleased to announce Stay Positive, a charming, illustrated children’s book based on the beloved song of the same name, arriving October 1 via Akashic Books. Pre-orders are available now wherever books are sold.

Signed copies of Stay Positive—which features The Hold Steady song illustrated by award-winning cartoonist and comic book author David “El Dee” Espinosa—will also be available. In addition, a Limited-Edition Package is on offer including bookplates signed by the band, an exclusive Stay Positive sticker sheet, and official Stay Positive-themed, THS reusable water bottle only available as part of this bundle.A call to arms to stand strong and persevere during trying times, Stay Positive is based upon the title track of The Hold Steady’s acclaimed 2008 fourth album, a longtime fan favorite and staple of the band’s jubilant live shows. The new 32-page book for readers of all ages follows the path of a humble armadillo who discovers along the way how music can pull together a disparate cast of characters. A lesson in tenacity and maintaining a positive attitude when encountering adverse situations, Stay Positive ends up in a unified celebration that mirrors the triumphant joy of a Hold Steady performance.

“‘Stay Positive’ has a line that says, ‘The kids at the shows will have kids of their own,’ and it’s true: each year more Hold Steady fans become parents or grandparents,” says The Hold Steady’s Craig Finn. “So, I’m thrilled that we’re offering the children’s book version of Stay Positive, which brings THS joy to the whole family.”

Read More »

Those hankering for an international strain of stripped-down ’60s rock blare should investigate Mejor de Los Nuggetz: ‘60s Garage and Psych. It serves up mucho Spanish language R&R action and arrives on opaque red vinyl just in time for Record Store Day courtesy of Liberation Hall. The bands (and one gal singer) hailed from various locales in Mexico, Spain, and South America. The songs are all covers of rock, R&B, and pop hits from the USA and UK. A few radio station IDs and commercials for cars and cola enhance the weave of a very appealing listen.

Driving home the impact of the Rolling Stones on the ’60 garage rock phenomenon, the Mexican band Los Apson opens Mejor de Los Nuggetz with an echoey, stomping “Satisfacción.” Additionally, the Barcelona-based Los Salvajes are featured with two Stones covers, “La Neurastenia,” an energetic version of “19th Nervous Breakdown” with killer bursts of fuzz, and “Todo Negro,” a reading of “Paint It, Black” that deftly retains the urgency of the original. “Voy Por Ti,” the last song on the album and the second by Los Apson, dishes out Willie Dixon’s “The Seventh Son” in the spirit of the early Stones.

Much of the source material on Mejor de Los Nuggetz derives from the UK. There’s “Nuestra Generación” by Barcelona’s Lone Star, a lean, manic take of The Who’s “My Generation,” while later in the album, Los Belmonts of Mexico City brings “Arriba Abajo Y a Los Lados,” an impressive version of The Yardbirds’ “Over Under Sideways Down.” Later still, Mexico’s Los Matemáticos are heard with “Me Atrapaste,” a ripping run-through of The Kinks’ “You Really Got Me.”

Spain’s Los Mustang’s version of The Beatles’ “Please Please Me” is a crisp chime-pop delight. A few years later and the band had gravitated to the other side of the Atlantic for inspiration with “La Carta,” a take of The Box Tops’ “The Letter” that is faithful to the original as it establishes a growing tendency toward pop.

Read More »

VIA PRESS RELEASE | Can have announced Can Live in Aston 1977, the latest in an ongoing series of Can album releases focusing on the band’s live performances. It is set for release on vinyl, CD, and digitally on May 31, 2024 via Mute and Future Days.

Live in Aston 1977 is a whole new lens through which we can view a unique band with seemingly inexhaustible energy for live performance. It comes at a difficult period for Can; their recently released eighth studio album, Saw Delight, had been badly received and although posterity has been kinder, the reviews on release were savage. It might be expected that the live performances from this time would reflect some of the criticisms of the album, that they were slowing down, perhaps even feeling a little jaded, but it cements the notion that Can live, at any period, was mercurial.

Within the Can Live series, this is the first to feature bassist Rosko Gee (Traffic) who had recently joined Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay (who, relieved of bass duties, is credited with “waveform radio and spec. sounds” on the album). Rosko would perform with them until the band’s split in 1979.

Recordings from the series have been uncovered and pieced together from recordings within the Spoon Records vaults and those sent in by helpful fans, and brought into the 21st century by founding member Irmin Schmidt and producer / engineer René Tinner who have compiled and edited all the albums in this series.

Read More »

It would be very presumptuous for any musical artist to title an album “everybody digs,” followed by their name. In the case of Bill Evans, it’s nearly a fact, especially if you are a fan of the best jazz pianists of all time.

This 1959 album was his second as a leader and perhaps his best, prior to the four albums he would release as a member of the Bill Evans Trio between 1959 and 1961 with Paul Motian and Scott LaFaro. All five of the albums mentioned above were released on Riverside. His debut as leader was also on Riverside, with his third album on Milestone, and then a quartet release on United Artists with Bob Brookmeyer, Percy Heath, and Connie Kay. Other than another album on United Artists, one on Atlantic and one on Verve, he would have three more Riverside releases through 1963.

Between his solo debut in 1956 and this album, in 1958 alone he worked as a sideman on albums for George Russell, Don Elliot, Joe Puma, Jimmy Knepper, Sahib Shihab, Idrees Sulieman, Eddie Costa, Hellen Merrill, Hal McKusick, Michel Legrand, Cannonball Adderley, Art Farmer, Chet Baker, and Charles Mingus, along with three for Tony Scott. He also recorded with Miles Davis, was in his band, and would appear on the legendary Kind Of Blue the following year.

There are three solo piano pieces here and Evans is joined on the other tracks by Sam Jones on bass and Philly Joe Jones on drums. Evans wrote a short musical epilogue that clocks in at under a minute and that closes each side, as well as the classic and sprawling “Peace Piece,” with the rest of the songs here covers. The other absolute classic here is also a long, sprawling track: a cover of Cole Poter’s “Night and Day” that Evans moves through with ingenious modulations. The drumming by Jones in spots adds a jaunty kick that elevates this beautiful song to something heart-stopping.

Read More »

VIA PRESS RELEASE | Featuring stories from: Weyes Blood, Fleet Foxes, Bob Mould, Dawn Richard, Sylvan Esso, Kevin Morby, Pavement, Kaitlyn Aurelia Smith, PUP, Portugal. The Man, The Beths, Talking Heads’ Chris Frantz, Kero Kero Bonito and more.

Most people know musicians as keen observers of the world around them, but many do not realize that they are true untapped resources for thoughtful, incisive food and travel writing. In Taste in Music: Eating on Tour with Indie Musicians (Chronicle Books | September 24, 2024| $27.95| Hardcover) musician Alex Bleeker (Real Estate) and food and travel journalist Luke Pyenson (formerly of Frankie Cosmos), explore the unique relationship between touring and food and the bonds formed by shared meals and culinary adventures.

With over twenty years of experience in the music industry, Alex and Luke are the perfect guides to take readers on tour with a diverse lineup of inspiring indie musicians from around the world, sharing meals and travel experiences, peeking behind the curtain at this singular and singularly misunderstood way of life. These stories, like the best songs or meals, evoke something central about the human experience.

Having toured with their own bands—Real Estate and Frankie Cosmos, respectively—they’re asking all the right questions, shedding light and understanding on the lives of touring musicians and the people feeding them. Taste in Music offers a unique glimpse into the off-stage experiences of a diverse lineup of fellow Indie musicians, each with their own ideas on food as it relates to hospitality, self-care, family, and identity.

Read More »

Singer, guitarist, and songwriter Ernest Tubb was a groundbreaker and an enduring star in the country music field, charting hits across four decades. Collecting early sessions with his backing band the Texas Troubadours, ORG Music’s Record Store Day 2024 release The World Broadcast Recordings 1944–1945 offers a vivid portrait of Tubb’s emerging talent, its 14 tracks reinforcing the artist as the trailblazer of the style known as honky-tonk. The set is available April 20 in a limited edition of 1,800 copies.

Like most successful musicians, Ernest Tubb struggled to find his footing. Enamored of the great Jimmie Rodgers, Tubb’s first record, cut in 1936 for RCA, was a tribute to the Singing Brakeman. “The Passing of Jimmie Rodgers” was unsuccessful in terms of sales. After a tonsillectomy changed his singing style (and ended his ability to yodel a la Rodgers), Tubb first turned to songwriting before giving performing another shot in a manner far less indebted to his idol.

Cut for Decca in 1941, “Walking the Floor Over You” was Tubb’s first hit and just as importantly is the disc where the honky-tonk subgenre effectively begins. The removal of those tonsils resulted in a sharp vocal twang that helped set the standard for male C&W singers across most of the ensuing 20th century; it’s safe to say that Tubb inspired as many imitators, some becoming major stars in their own right, as Rodgers did himself.

“Walking the Floor Over You” was rerecorded by Tubb numerous times in his career, with the first revisit heard here, from sessions held in Los Angeles at Decca Records in 1944. World Broadcasting System was a subsidiary of Decca that offered recordings direct to radio stations on a subscription basis (rather than selling to record stores) through an exclusive agreement with the musician’s union immediately following the resolution of the recording ban of 1942–1944.

Read More »