Black Metal: Evolution of the Cult is a new book about the rock that worships Satan, or is cold as ice, or screams.
Michael Robbins writes a fun review of the book that is also a history and survey of the scene. The hed, “I never personally said I invented the death grunt,” is a quote from a real live rocker.
This is great.
I loved Linda Rondstadt the first time I saw her on the Ed Sullivan show with the Stone Poneys playing Different Drum.
She’s a fantastic singer, with a generous personality.
So here she is, covering a Stones tune that she makes her own.
I’m kind of impressed how often Burt Sugarman’s Midnight Special surfaces as ace performances. But of course, back in the day we stayed up to watch it, so it shouldn’t be a surprise.
Lowell George introduces this clip as featuring the backup singers, Emmylou Harris and Bonnie Raitt, but the actual tune has them vamping. There aren’t that many harmonies to be found in Lowell George’s blues.
It’s a great clip, but it reminds me of the critique I tried to get across earlier today. Little Feat is kind of like the Steely Dan of Southern Rock. There is almost no way to argue against what they played, but for me the emotional point of entry is obscured. Despite the funky sounds, I hear more head than heart, and that makes me less interested.
But boy, they sure can play.
Our friend Mike F. will have to explain, but he has a hand in the modern day Little Feat, a much admired band from the 70s. Maybe he’ll reveal for us some lesser known gems.
A Slate writer has selected a pretty straightforward selection of their signature tunes, with YouTube clips right here.
I like the story about splicing the tapes and normalizing them, turning the rhythm irregular.
I also like the story about how they ended up spelling it F-e-a-t.
I always liked the Feat, spent lots of time listening to Dixie Chicken and Waiting for Columbus during high school and college days, but there was always something a little off to me, that kept me from the full embrace. Maybe it was the irregular beats.
Or the artwork.
This live version of the classic lusty slow jam has a heckuva ambitious vocal over an acoustic jazzy sound. Passionate and funny. And not that different except the album version is shimmery and smooth as can be. The effort of the live version cuts the smarm.
Beck released a record last year that wasn’t recorded. It was sheet music for 20 songs that others could play based on the notes on the page, rather than what some rock artist and rock producer imagined. It was called Song Reader, and was sold like a book by the McSweeney’s people.
An excellent idea.
I have to admit that I haven’t spent a lot of time trying to find the best versions of each song, as I should have, but with the release of an actual new Beck album this week, I followed some links to Song Reader covers. Lots of nice music out there, but this somewhat gypsy tune stands out. It sounds a little like Brecht-Weill, but it also features a slicing and dicing guitar solo. Plus animated stills of folks in night clubs and burlesque shows.
Beck gets credit for ceding the credit to the performers. Nicely done.
I had a paper route through my neighborhood when I was growing up. I learned then that everybody watched the World Series when the games were played during the day.
I also learned that people other than I played this song really loud. This might be rock’s greatest song. Please argue.
Movie rock on movie night.
Rock ‘n’ Roll High School: The Ramones
Hollywood Boulevard: Commander Cody and His Lost Planet Airmen
Christane F.: David Bowie
Over the Edge: Cheap Trick
Suburbia: TSOL
High School Confidential: Jerry Lee Lewis
Listing songs about the radio a while back, we forgot this great one.
I admit it, this is one of my all-time faves. The 1950’s on Aldebaran. It still sounds weird 43 years after it was made. And it has that aching 50’s soul.
