Author Archives: Joseph Neff

Remembering Jeff Beck, born on this day in 1944. —Ed.

If ever they mold a Mt. Rushmore of Classic Rock guitar wizards, it will surely include the chiseled mug of Jeff Beck, his career so lengthy and varied that it’s basically a bottomless reservoir of inspiration for articles in Mojo magazine. Along with his work in The Yardbirds, rock listeners persist in celebrating him for the two distinct Jeff Beck Groups and for his many solo albums. Sometimes overlooked is the pair of singles Beck recorded in ‘67, and “Hi Ho Silver Lining” b/w “Beck’s Bolero” is the better of the two.

For a certain breed of rock fan, the various permutations of The Yardbirds are a gift that keeps on giving. Whether it’s the early blues purist period with Clapton and the smash “For Your Love” (which sent Eric reeling into the tastefully bluesy embrace of John Mayall), the copious top-notch material and numerous hits produced by the post-Beck rave-ups and experimentation, and the brief pleasures to be had from the short-lived Beck/Page lineup; really, it’s only the culminating quartet that’s patchy, though there’s more quality to be found there than many think.

Of course, scores of folks only recognize The Yardbirds as the group that begat Led Zeppelin, since it was the four-piece fronted by Page that was contractually bound to tour and slowly transmogrified into what we now know as Zep. Similarly, there’s a smaller but significant number of ears that neglect the 45s Beck cut directly after departing the ‘birds. This omission is either purposeful, due to the a sides’ unabashed pop ambition (i.e. the discrete odor of Mickie Most) or purely accidental; for decades, they were most easily discovered in Best of Beck packages. I don’t recall hearing them on the radio.

Those songs were available elsewhere, however. In fact, I first heard “Hi Ho Silver Lining” in the ‘80s on a 2LP import various artists compilation titled Formula 30, and I’ll acknowledge the initial taste proved a tad befuddling, mainly because Jeff Beck was considered, with Clapton, Page, and the departed Hendrix (the only one insured not to fuck up his own legacy), as a true deity of Rock Guitar. And of the three still living, Beck has displayed the greatest ambivalence over the commercial expectations of hard rocking power blues.

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Lulu Lewis is Dylan Hundley’s calling card on the contemporary scene, but we’re happy to report she’s been additionally busy with a project that’s wholly her own thing, namely Darling Black, a moniker under which she’s recently performed in her home burg of NYC. Folks already hip to Lulu Lewis are likely to appreciate what Darling Black has in store, though “Dial,” the endeavor’s new single, lands smack dab in the electronic dance zone. Check it out below.

Along with Hundley’s voice, the main similarity between Lulu Lewis (the duo of Hundley and her husband Pablo Martin) and Darling Black is a love of the 1980s, though the inspiration is manifested differently in “Dial.” Unequivocally a dance banger, with repeated spins, the track’s stylistic roots travel a little farther back, suggesting an affinity for The Normal’s “Warm Leatherette.”

The connection to Daniel Miller’s underground hit is essentially a chilly, post-punkish vibe, as “Dial” lacks rigidity and instead embraces a flowing, reverberating pulse. And is that a touch of electro influence I hear?

“Dial” is tailor made for slicing up carpets. But please check the temp in your neighborhood prior to bustin’ loose. It’s hot all over the place right now and dancing-induced heat stroke is a danger that’s all too real.

Currently based in Ithaca, NY, Eighteen Hundred and Froze to Death formed in the late 1990s, dishing a post-hardcore/ indie rock/ post-rock blend on a full-length CDr and a split CDEP (with the duo Mach Tiver). In 2002 they wound down activities for a long stretch but reformed in 2015 and recorded the follow-up album Some Years. On June 21, the band unveils Thirds on LP and CD through Resident Recordings. And note that on Bandcamp, Some Years and Thirds are bundled up at a discount price.

Eighteen Hundred and Froze to Death took their name from a volcanic winter that occurred in 1816, triggered by the eruption of Mount Tambora in Indonesia the year before. Also described as “The Year Without a Summer,” a resulting drop in temperatures brought on an agricultural disaster that was particularly harsh in Western Europe, Atlantic Canada, and New England.

That’s some heavy history, and fittingly, Eighteen Hundred and Froze to Death is a heavy band. Joe Kepic and David Nutt play the guitars, with Nutt handling the vocals, Tom Yagielski is the bassist and Brendan Kuntz is on drums and backing vocals. All four kept busy with additional projects during the hiatus (Kepic, Yagielski Kuntz recorded In Theory & Practice as The 1,000-Year Plan, Nutt released four albums with why+the+wires) and even after reforming (Kuntz cut a bunch of solo stuff as Grass Jaw, Kepic recorded as Chimes of Bayonets, and Nutt had two books of fiction published).

Released in 2000, The Last Staple in This Paper Coffin (the CDr mentioned above) is a solid debut, but the strides made prior to recording Some Years are palpable, and there’s no slippage evident on Thirds. Some Years was recorded and mixed by J. Robbins, who returns to mix this new set (recorded this time by Christopher Ploss) and contribute some backing vocals in closer “Minutewomen.”

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On June 21, WEBO, the third installment in the Black Editions Archive series culled from the private tape library of drummer-percussionist Milford Graves, will be issued as a 3LP box set spotlighting previously unreleased performances from June 1991 held at the short-lived titular venue by the partnership of Graves, saxophonist Charles Gayle and bassist William Parker. The more than two hours of elevated interaction is especially timely, as tonight, Tuesday June 18, Parker will be honored with the Arts for Arts’ Lifetime Achievement award at the 2024 Vision Festival held at Roulette in Brooklyn.

Guitarist-composer-improviser-author Alan Licht’s terrific liner remembrance of attending the first night of these two astounding performances set off an avalanche of my own recollections from the same period regarding the three master musicians responsible; it feels right to arrange them together as part of this review.

Licht, a New York City resident prior to his attendance of the Webo concerts, cites night one as his first time seeing Parker and Graves playing live, adding that he’d listened to both on records. I was a frankly surprised by this statement, as NYC was very much in the thick (if not the specific focal point) of free jazz’s gradually resurgent profile during the period.

But upon reflection, Licht not witnessing Parker and Graves in performance prior to the Webo dates does make sense, as the free jazz rebloom at the dawn of the 1990s was very much a grassroots phenomenon (Licht adds that the Webo shows were promoted by flier, with no mention in The New York Times or Village Voice arts sections).

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Celebrating Jello Biafra, born on this date in 1958. —Ed.

In 2022, Manifesto Records reissued Fresh Fruit for Rotting Vegetables, the debut album from iconic Bay Area punk outfit Dead Kennedys on vinyl and CD in a freshly remixed version courtesy of Grammy-winning producer Chris Lord-Alge. Setting aside the question of whether the record actually needed a remix (it didn’t), nothing abhorrent transpires as these 14 tracks (there are no extras) blaze forth; those who love and own the original mix should test drive before buying, but for those looking to get acquainted with this band through their first and best LP, this edition will serve that purpose just fine.

It’s no secret that Dead Kennedys’ vocalist Jello Biafra and his bandmates, guitarist East Bay Ray, bassist Klaus Fluoride, and drummer D.H. Peligro, have been at odds, and for a couple decades now, all due to the most banal of reasons. That is, money. Of course, I don’t have a dog in that fight, though this doesn’t mean I haven’t formulated opinions on the subject. It’s just that my viewpoint on this particular falling out isn’t pertinent to the matter at hand, which is, you know, the music.

So, when I say that this 2022 Mix of Fresh Fruit for Rotting Vegetables exists for the most banal of reasons—that is, money, it’s not a dig at the band, but simply an observation, as money is the reason for the vast majority of remixed and remastered records (and quite a few straight reissues). And in turn, I can’t help but feel somewhat blasé about the existence of this new mix.

But on the other hand, Fresh Fruit isn’t just the best Dead Kennedys album, it’s my personal favorite. And yet, I hadn’t listened to it in a few years, so that I had to pull my vinyl copy off the shelf for a couple reacquainting spins prior to checking the new mix. The bottom line is that the input of Lord-Alge (a professed fan of the DKs) is far from egregious. He’s essentially just beefed up and subtly streamlined the record for the Epitaph Records generation.

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Remembering Harry Nilsson in advance of his birthdate tomorrow. —Ed.

In the first month of 1970, RCA Records released Nilsson Sings Newman, a collaborative album between one of the period’s strongest and most unique pop vocalists and a truly gifted if somewhat obscure songwriter known primarily for providing other artists with prime material. A theoretical perfect match; it’s therefore unsurprising that hardly anybody bought the thing when it first came out.

On a purely commercial level, Harry Nilsson is vindicated by his very fine version of superb singer-songwriter Fred Neil’s “Everybody’s Talkin’,” initially an album track given second life by its use in the epoch-defining New Hollywood film Midnight Cowboy, and by the smash success of his 1971 LP Nilsson Schmilsson, which rose to #3 on the Album Chart and wielded three Top 40 singles including a #1 in “Without You,” another cover via UK group Badfinger.

Considering Randy Newman through this same specifically commercial prism finds him justified not only through the sizable hits his songs provided for other artists, but also via his late-career transformation into a film-scoring juggernaut, though it bears mentioning that he had an unlikely and somewhat unrepresentative #2 hit with “Short People” in 1977. However, many also know him through the smaller, though much longer-lingering success of his biting tribute to Los Angeles, “I Love L.A.”

But if there is one thing that the careers of Harry Nilsson and Randy Newman share, it’s in the way they exploit the futility of judging an artist purely in terms of record sales. To do so with Nilsson is to depict an artist of fitful slow-growth potential finally scoring a breakout success with his seventh album (or ninth if you count his soundtrack to Otto Preminger’s eternally divisive hunk of weird-meat cinema Skidoo, where Nilsson actually sang the film’s end credits, and his early ’71 “remix” LP Aerial Pandemonium Ballet) and then going through a long, slow decline.

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Likely best known as half of Goldfrapp, Will Gregory has amassed a considerable list of credits since the early 1980s. Although extant since 2005, the Will Gregory Moog Ensemble is just now entering the man’s proper discography with Heat Ray – The Archimedes Project, which is due June 14 on LP, CD, and digital from Mute Records. Recorded with the BBC National Orchestra of Wales, the work’s ambitiousness, fitting for its inspiration, avoids any nagging retro middle-of the-road-isms while embracing the recognizable sound of Moog synths in their numerous makes and models.

Moog synthesizers….people love to play them! That includes Graham Fitkin, Hazel Mills, Vyvyan Hope-Scott, Ross Hughes, Daniel Moore, Hinako Omori, Adrian Utley, Eddie Parker, John Baggott, and Simon Haram, all members of the ensemble given consideration here, and of course, Will Gregory. Minimoog is the dominant model (ten are utilized for this album), though Fitkin plays a Moog Voyager and Moore is credited with a Moog Sub 37.

The non-Moog analogue synths include Mills playing a Prophet 6, Omori a Prophet 8 and OB6, Parker a Roland JX-3P, Hughes a Roland Promars Compuphonic MRS-2, and Ruth Wall a Korg 700s. In addition to synths, Gregory plays Mellotron, Hughes plays flute and bass clarinet, Haram blows a EWI (yes, technically a synth), and Harriet Riley handles marimba, snare, and bass drum.

The breadth of instrumentation here is appropriate for the orchestral scope of Gregory’s compositional tribute of the third century BC Greek mathematician, though the program doesn’t open with grand classical sweep. Instead, and naturally given the ensemble’s concept, “Young Archimedes” travels smack dab into the Moog zone, and with impressive results.

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Remembering Françoise Hardy. —Ed.

French vocalist Françoise Hardy openly disdains being described as an icon, though of course her modesty plays a large role in why she continues to be revered by so many. Naturally, the most important component in her enduring reputation is the music; a superb singer and true artist from within the oft-unrelenting 1960s pop machine, her records have aged exceptionally well, retaining the allure of their era as they lack period gaffes. Hardy’s first five French language albums, all originally issued by Disques Vogue from ’62-’66, comprise a highly worthy run of productivity.

Françoise Hardy is a cornerstone of the ’60s Euro-pop phenomenon known as yé-yé. Akin to rock, girl groups, svelte male crooners, and the majority of the era’s teen-oriented sounds in general, yé-yé was widely considered to be of an ephemeral nature, and by extension was basically dominated by the collusion of producers and labels. The singers, amongst them France Gall, Sylvie Vartan, Clothilde, and Chantal Kelly, were the crucial ingredient in a very calculated recipe.

Hardy differed from the norm by writing a significant amount of her own stuff, all but two songs on her debut in fact, and as a result she evaded the sometimes embarrassing subject matter thrust upon other yé-yé girls. Furthermore, she was regularly photographed with guitar in hand, though it’s unclear to what extent she actually played on these recordings. To borrow a phrase relating to Studio-era Hollywood, Hardy transcended the “genius of the system” method of pop manufacture, instead excelling at a subdued auteur-driven approach.

In the tradition of the original filmic auteurs, few recognized Hardy as a major talent during her emergence on the scene. She definitely sparked interest in fellow musicians however, including The Beatles, Mick Jagger, and Bob Dylan, the last so struck by her skills he dedicated the poem “Some Other Kinds of Songs” to her; it’s on the back of Another Side of Bob Dylan’s sleeve.

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The electronic duo Immersion began in the mid-1990s, consisting of Colin Newman of Wire and Malka Spigel of Minimal Compact. After a break in activity, they returned in 2016 with Matt Schulz from Holy Fuck contributing on drums. New release Nanocluster Vol. 2 further extends the collaborative nature established on the prior volume from 2021, inviting outside musicians to be part of the scheme, this time multi-instrumentalists Thor Harris and Cubzoa a.k.a. Jack Wolter from the band Penelope Isles. Schulz returns on drums throughout. Sharp and striking, the set is available June 14 on double 10-inch vinyl and compact disc through Newman and Spigel’s swim~ label.

Immersion’s first release, Oscillating, emerged in 1994 during a fertile time for techno music. The sound was crisp, indeed at points clinical (in a positive sense), but with elements of tension and atmosphere that reinforced the post-punk background of the duo (Wire’s music being crucial to the definition of the post-punk style and Israel’s Minimal Compact, who debuted in 1981, are a notable part of post-punk’s global expansion).

As the years have passed, Immersion has been an on-off (and now on, again) proposition, but with a discography that’s been reliably satisfying, and these Nanocluster volumes, especially so. Part one, also a 2×10-inch and CD, features Immersion collaborating with the post-rock duo Tarwater (side one), Laetitia Sadier of Stereolab (side two), and fellow electronic musicians Ulrich Schnauss (side three), and Robin Rimbaud a.k.a. Scanner (side four).

For Nanocluster Vol. 2, the contributors list is halved, but Harris and Cubzoa get a full 10-inch each. For the record, Harris brings his tuned percussion instruments, and plays clarinet and trumpet. Cubzoa plays guitar, adds vocals and more. It’s quickly discernible that Immersion’s sound has progressed significantly since the release of Oscillating.

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Mysterious, notorious, and beautifully fucked up, Royal Trux was a shape-shifting, style-hopping outfit unlike any other. Never was their sound more unique than on their second full-length release, the ceaselessly fascinating hazy haymaker of a double-album Twin Infinitives. Conjured into existence by the core Royal Trux duo of Neil Michael Hagerty and Jennifer Herrema, their wizardry is getting a fresh limited edition silver vinyl 2LP reissue June 14 through Fire Records.

Prior to the emergence of Royal Trux, Neil Hagerty was a member of Pussy Galore, and in fact the two entities coincided for a time. The self-titled debut by Royal Trux was released in 1988, Pussy Galore’s Dial ‘M’ for Motherfucker and final album Historia de la Musica Rock came out in ’89 and ’90 respectively, and Twin Infinitives landed in store bins just in time for Christmas in ’90.

For a brief while, Royal Trux was even categorized as a Pussy Galore side project, but it didn’t take long for Hagerty’s union with Jennifer Herrema to be properly assessed as its own consistently evolving (and therefore unpredictable) thing. On the first LP (reissued by Fire in April for Record Store Day with copies still available), the sound was a sort of late night loner blues damage with some psych touches and Noo Yawk junky-punk attitude thrown in. Initially hitting the lobes as jagged and loose to the border of discombobulated, upon repeated spins the strung-out logic of the debut was revealed.

A few other examples of the early Royal Trux sound include two songs on the 1988 ROIR noise rock compilation cassette The End of Music (As We Know It), the ’89 “Hero Zero” b/w “Love Is…” 45, noted as Drag City Records’ first release, and the ’90 “Spike Cyclone” 2×45 on Vertical Records. This material extended their twisted approach while deepening Herrema’s contribution, and those who’d soaked it all up were prepped, at least to an extent, for Twin Infinitives (also notably Drag City’s first full-length LP release).

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Celebrating Gordon Gano, born on this day in 1963. —Ed.

If the 1983 self-titled debut by Violent Femmes is one of the hot half-dozen expressions of Teen Angst American Style ever waxed, then Hallowed Ground, the group’s still divisive second effort from the following year is one of rock music’s core texts in how to successfully flout expectations. It still succeeds greatly as a document of nervy conceptual growth and as a major breakthrough in terms of individual musicianship.

A lingering wisdom about Violent Femmes’ first album is that it inevitably landed squarely in the lap of any ‘80s teen that had grasped just how inescapably miserable was the struggle of growing up; the isolation, the hopelessness, the short highs followed by extended lows, the sexual overload, the distasteful omnipresence of authority. Instead of just internalizing this knowledge many naturally flaunted their alienation over this unrelentingly oppressive environment via haircuts, clothing choices, and most importantly artistic taste.

The strategic reading of Catcher in the Rye on park benches aside, music has proven a startlingly effective way of expressing that unsubtle concept of Not Fitting In. Indeed, music has long been synonymous with youth in revolt, and if circa 1985 one spied a surly, disheveled teen sauntering along the sidewalks of some suburban landscape with a sticker covered backpack and a Walkman, it was a safe bet that they were carrying a cassette copy of Violent Femmes in the pocket of their tattered thrift-store trench coat.

A true rite of passage, it was also an LP so ubiquitous that I have no recollection of hearing it for the first time; once someone was identified as belonging to the great brigade of young non-conformists it was inevitable that a more experienced member of this community would lend a helping hand and expose the newcomer to the alluring strains of Midwestern anxiety.

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The late Tom Verlaine is most celebrated as vocalist-guitarist for the seminal 1970s New York City rock band Television, though he cut a slew of solo recordings subsequent to Television’s 1978 breakup that remain deserving of more attention. His seventh full-length and first all instrumental recording, Warm and Cool, was released in 1992 and is receiving a vinyl repress June 7 through Real Gone Music as licensed through the Estate of Tom Verlaine. Based in improvisation, it is a loose but well-conceived collection of tuneful excursions and soundscapes with a few moments of raucousness added in.

That Television’s discography was a hard act to follow is quite the understatement. Most of the attention remains focused on the band’s masterful 1977 debut Marquee Moon, but it’s follow-up Adventure from the next year, if underrated, is still generally appreciated by fans as a worthy effort. The two live albums, The Blow Up and Live at the Old Waldorf, are as striking as they are historically vital (both document shows from 1978).

This excludes Television’s eponymous 1992 reunion album (and another live album from that year), mainly because its release roughly coincides with the arrival of Warm and Cool. Verlaine’s prior string of solo releases began with an eponymous set in 1979, followed by Dreamtime in ’81, Words From the Front in ’82, Cover in ’84, Flash Light in ’87, and The Wonder in ’90, an impressive string of albums that found him extending and refining the approach he brought to Television (and without mimicking the band proper, though understandably, there were similarities).

But with Television’s return to activity in 1992 (and perhaps the changing musical landscape of that time), Verlaine shifted gears with Warm and Cool. Obviously, the lack of vocals is a major change, but this isn’t a case of Verlaine writing a bunch of songs and then deciding not to add (or electing to remove) his voice. Instead, it’s intended as a non-vocal small group situation that features Patrick A. Derivaz on bass and his Television bandmate Billy Ficca on drums. For one track, “Harley Quinn,” Patti Smith alumnus Jay Dee Daugherty plays drums and another Television bandmate Fred Smith, plays bass.

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Based in Memphis, TN, Aquarian Blood is the core duo of J.B. Horrell and Laurel Horrell, a husband and wife team; their fourth full-length Counting Backwards Again is available now on vinyl and digital, co-released by Black and Wyatt Records, Beluga Records, and Head Perfume Records. The roots of Aquarian Blood are as a full-fledged band dishing punk of a raw and twisted sort, but a broken appendage brought on a stylistic redirect into psychedelia that’s intimate and equally bent.

Before Aquarian Blood, J.B. Horrell was in Ex-Cult and Laurel Horrell was in the Nots, both bands that released music on Goner Records. Unsurprisingly, both outfits specialized in the punk scuzz that has long been the Goner label’s bread and butter. After releasing a pair of tapes on ZAP Cassettes, Aquarian Blood joined the Goner roster with the “Savage Mind” 7-inch in 2015, and along with cutting a couple more non-Goner 45s, spat out Last Nite in Paradise on the label in 2017.

‘twas a prime slab of deliciously fucked-up punk ranting, but then drummer Bill Curry up and broke his arm, after which, Aquarian Blood shifted from a six-piece band to a quartet for live shows and then into acoustic duo mode for the release of A Love That Leads to War in 2019. Far from standard issue psych folk, the album oozed a non-pro, home-recorded strangeness that was expanded upon with some helping hands on Bending the Golden Hour, which was issued by Goner in 2021.

Bending the Golden Hour and its predecessor offered moments of prettiness that offset the music’s fringe qualities, but Counting Backwards Again really pushes into the weird wild wilderness at times, in part through a broader spectrum of instrumentation, plus guests, so that the thrust occasionally connects like a full band again.

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As June is Black Music Month, spotlighting the achievement of Motown Records is an undertaking both highly rewarding and doubly timely, as Elemental Music’s Motown Sound Collection continues this month with Smokey Robinson’s Smokey in a blue vinyl edition with a gatefold sleeve and the Four Tops’ Still Waters Run Deep, both available June 7. Elemental’s series will reissue over two dozen Motown albums from the 1960s and 1970s monthly throughout 2024 and into 2025, drawing from a broad spectrum of Motown acts.

Released in March 1970, Still Waters Run Deep kick-started a major comeback for the Four Tops, righting a creative and commercial stumble through a revamped direction shaped by Frank Wilson, the set’s producer and co-writer of five tracks on the album. Co-producer Smokey Robinson co-wrote three tracks with Wilson, including “Still Water (Love)” and “Still Water (Peace),” the record’s opening and closing numbers.

These cuts don’t necessarily give Still Waters Run Deep a thematic feel, but they certainly do reinforce the level of attention and care that was paid to shaping the ten selections into a fully-formed album. And right away, the group, with the original lineup of Levi Stubbs, Abdul “Duke” Fakir, Renaldo “Obie” Benson, and Lawrence Payton still intact, is in reinvigorated form.

Sharp renditions of “Reflections,” still fresh from The Supremes’ hit version and notably a Holland–Dozier–Holland tune (that team having composed a number of The Four Tops’ standout moments) and Fred Neil’s “Everybody’s Talkin’,” which had broke out in a big way the previous year through the celebrated cover by Harry Nilsson, are included.

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Remembering John Bonham, born on this day in 1948. —Ed.

Few bands are in less need of an introduction than Led Zeppelin. For roughly a decade they reigned, helping to establish hard rock as a profitable genre as they trashed hotel rooms, gallivanted with groupies, and impacted heavy music right up to the nonce. Mothership is less of an intro than stardom’s inevitable career summary and exercise in remastering; it’s no substitute for their great albums, but it does glean two dozen selections from the corpus, many of them excellent, and spreads them across a pair of CDs or four 180gm LPs.

Anthologizing a onetime rock radio fixture and by extension youthful music hound’s rite of passage, it can seem Mothership’s contents generally resist commentary. And yet the notion of nothing left to say is simply a falsehood; love, hate, ambivalence, or indifference, no matter the viewpoint Led Zeppelin remain indisputably important, and on 20 days their oeuvre can be approached from 20 different if not wholly distinct angles, making these 24 tracks quite useful as an impetus for observations.

“Good Times Bad Times” and “Communication Breakdown” (their debut US single!) succinctly emphasize Zep’s crucial hand in the formulation of hard rock and do so without really highlighting the essential blues component in their personality. But don’t let’s get ahead of ourselves; the Jake Holmes-lift “Dazed and Confused” (a.k.a. Drum Fill 101) does illustrate their adeptness in swiping preexisting, and to put it politely, often unacknowledged sources.

So too does “Babe I’m Going to Leave You,” written by Anne Bredon (the version found on Joan Baez in Concert, Part 1 is reportedly the inspiration) and not traditional as it was credited for years (in fairness by Baez as well as Zep). It provides adequate early representation of the band’s folky aspects and rounds out Led Zeppelin’s entries rather nicely.

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