tag:blogger.com,1999:blog-7083484750327378152024-03-13T12:04:15.872-04:00FireAntMusicFireAnt Music - Music that Bites!FireAntMusichttp://www.blogger.com/profile/06491164797189541675noreply@blogger.comBlogger89125tag:blogger.com,1999:blog-708348475032737815.post-54034760000272316612013-05-21T15:53:00.001-04:002013-05-21T15:54:42.605-04:00<div class="wp-caption alignleft" id="attachment_6325" style="width: 210px;">
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Now Hear This: Editors’ Picks (Spring ’13)</h2>
May 03, 2013</div>
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<a href="http://www.shufflemag.com/wp-content/uploads/2013/05/dead-tongues-desert-cover.jpg"><img alt="The Dead TonguesDesert FireAnt Music" class="size-full wp-image-6325" height="200" src="http://www.shufflemag.com/wp-content/uploads/2013/05/dead-tongues-desert-cover.jpg" width="200" /></a><br />
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The Dead Tongues<br />
<i>Desert</i><br />
(FireAnt Music)</div>
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With <i>Desert</i> — Ryan Gustafson’s follow-up to 2009′s <i>Donkey</i>,
released under his given name — the Durham singer applies his own
nuance to classic songwriting touchstones. These 10 tracks waver between
moments of nothing-left-to-lose freedom and love-lost misery; this is
“fuck it” music in both incarnations of the phrase. The bulk are
straightforward folk- and country-inflected rockers, recorded and played
loosely but with obvious love. Opener “Call Out to Me” could be <i>Blonde on Blonde</i>-Dylan
as done by Beachwood Sparks, piano and guitar lines chasing a
compelling descending chord pattern to capture the narrator’s laid-back
demise “on a bed of smoke.” On both “No Intentions” and the title track,
he cranks up the tension with cathartic bridges using Al Kooper-like
organ for fuel. There’s a tendency to tag “Ryan Adams” on any Triangle
rocker accenting his sad songs with country and folk elements, but <i>Desert</i> never undercuts its dark themes with self-pity. And so far, Gustafson’s proved he’s a damn fine songwriter, too. — <i>JS</i><br />
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Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-17771542949167472202013-02-26T14:00:00.001-05:002013-02-26T14:03:05.493-05:00The Dead Tongues: "Desert"<div class="navbar section" id="navbar">
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<a href="http://trianglemusic.blogspot.com/">Triangle Music</a><img alt="" height="1" src="http://st.blogads.com/464989109/c.gif?541000117624=631000117623" style="position: absolute;" width="1" /></h1>
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Tuesday, February 26, 2013</h2>
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Album Review: The Dead Tongues - Desert
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<a href="http://1.bp.blogspot.com/-F70v2mJQZIk/USxTCMobPfI/AAAAAAAAa7E/_T1lMDOGPEc/s1600/dead-tongues-desert.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="196" src="http://1.bp.blogspot.com/-F70v2mJQZIk/USxTCMobPfI/AAAAAAAAa7E/_T1lMDOGPEc/s1600/dead-tongues-desert.jpg" width="200" /></a>Four and a half years since his last acclaimed solo record (<i>Donkey LP</i>), Ryan Gustafson, as The Dead Tongues, returns to his strength with the spectacular <i>Desert</i>.<br />
<br />
The wait was worth it. <i>Desert</i> is stewed to perfection. It’d be
easy to group this record in with all the other dark Americana coming
out of the south recently, but it sets itself apart with brighter
harmonies reminiscent of 70s folk rock accented with hints of
Gustufson’s experiences in Max Indian, The Light Pines, Mandolin Orange,
and his experimental project The Daughter Is Ambiguous.<br />
<br />
Gustafson is clearly the star, but the organ steals some spotlight on <i>Desert</i>. The instrument is allowed a ton of range from low-key, soulful accenting (“Exit Song”) to soaring lead voice (“The Desert”). <br />
<br />
<a href="http://www.blogger.com/blogger.g?blogID=708348475032737815" name="more"></a>The album reaches its peak with “Depression,” the
front runner for best song of 2013. It sucks the listener in with an
irresistible guitar hook and a knock-out first line: “I get in
depression like you get into cars driving you home. Like she got into
cuttin’, like I got into drinkin’ on my own.” The organ takes over and
really belts it out, before setting up the gradual fade out over <i>Desert</i>’s final two tracks.<br />
<br />
This complex mix of tones pushes the album beyond simple melancholy and into nuanced emotions that are harder to pin down.<br />
<br />
<i>Desert</i> is about momentum and the fear of lacking it. Gustafson is
afraid of getting stuck in one place, of time passing him by, of
leaving the world unmarked.<br />
<br />
“Look in the mirror. Boy, I have grown. Once just a pebble, now a
sinking stone,” he sings on “The Desert.” Gustafson looks ahead as much
as he looks back, but it all kind of looks the same when he’s in the
middle. “Life is a desert that I’m meant to roam.”<br />
<br />
To deal with his restlessness, Gustafson examines what’s worth stopping
or, more severely, dying for (often love) and what’s not (“corporate
government”). It’s all brought to life with compelling weariness by
Gustafson, who wavers between vulnerability and nonchalance.<br />
<br />
“If you want to know about something — well, something true — I don’t
care about nothing, but I care about you,” he opens “Milestone.”<br />
<br />
Gustafson isn’t a character here. He doesn’t have an agenda and there’s no bullshit.<br />
<br />
“I’ve got no intention of pleasin’ or romancin’,” the weathered
troubadour sings on “No Intentions,” “All I can say is what I feel.”
That, more than anything else, is what makes <i>Desert</i> essential.<br />
<br />
<i>Desert</i> is out now. The Dead Tongues will play Kings Barcade in Raleigh with Schooner on March 8. Tickets are $6.
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<a href="http://fireantmusic.blogspot.com/">http://trianglemusic.blogspot.com/2013/02/album-review-dead-tongues-desert.html</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-25129485689624119212013-02-25T14:38:00.001-05:002013-02-25T14:38:23.769-05:00"Desert" and The Dead Tongues<br />
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<span>Monday, February 11, 2013</span></h2>
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<a href="http://thebottomstring.blogspot.com/2013/02/album-review-desert-by-dead-tongues.html">Album Review: "Desert" by The Dead Tongues</a>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-B4BojEbwJ-4/URl6jwsO6CI/AAAAAAAAAhs/T0qcQ5ajyhg/s1600/desert.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-B4BojEbwJ-4/URl6jwsO6CI/AAAAAAAAAhs/T0qcQ5ajyhg/s320/desert.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dead Tongues released <i>Desert</i> on February 9<br />
at The Cat's Cradle</td></tr>
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Ryan Gustafson is a songwriter that I'd only heard of for years, but
until Hopscotch 2012 I had never actively listened Gustafson. Big
mistake. While I'm glad I made sure my first experience with the
talented songwriter was a live show, I wish I'd hopped on the train
earlier. After releasing <i>Donkey</i> in 2009, Gustafson hopped around
from notable projects like Max Indian, The Light Pines, and Mandolin
Orange all the while working on instrumental tracks of his own under the
moniker The Daughter Is Ambiguous. However, 2013 marks the return of
Gustafson's solo work, and this new Dead Tongues release is something
truly special. It's clear that Gustafson's break in songwriting allowed
him to develop a sense of purpose within his songs, everything feels as
raw and personal as it did on <i>Donkey, </i>but it feels far more dynamic than Gustafson's previous release.<br />
<br />
Each track has a defining voice, driving the album down a road that
contains many exciting peaks and curves, but ultimately arrives at the
same comforting sense of sincerity that drew the listener in to begin
with. Ranging from alt-country anthems to expansive six minute tracks
like "Milestone" that careen effortlessly through a wide-open musical
pallet, <i>Desert</i> is a unique album that can truly connect with listeners through powerful lyrics and gorgeous instrumentation.<br />
<br />
Gustafson's lyricism is something that can't be emphasized enough, while
each song remains entirely enjoyable musically, the textures and
feelings that are brought out through Gustafson's raw approach to
songwriting is what makes The Dead Tongues the powerhouse they are.
Tracks like "Depression" boast a bouncy yet rustic approach both
melodically and musically, but from the opening lines it's clear that
this song contains much more than a catchy hook. "I get in
depression/Like you get into cars driving you home/Like she got into
cutting/And I got into drinking on my own". One of the joys of this
album is that each song contains these lyrical gems, these moments where
you feel like a veil has been lifted between you and the musicians and
you can truly connect with their music. Tracks like "The Desert" and
"No Intentions" feel like sincere statements that can evoke the memories
of a particular place or time, sonically they contain memorable
melodies and lyrically they draw upon feelings of self reflection and
aimlessness that many can immediately connect with. <br />
<a href="http://www.blogger.com/blogger.g?blogID=708348475032737815" name="more"></a><br />
<br />
<i>Desert</i> is an album that's wonderfully diverse to be as cohesive
as it is. Gustafson's songwriting can be likened to Ryan Adams, but it
feels like Gustafson is a bit more comfortable with roaming into
untravelled territory than the former Carolina songwriting sensation.
Take "The Harbor" for example, it's a track that feels like it could
have been belted out by Dylan or Cash, it's a rustic narrative that's
driven by unabashed honesty and reflection. The Dead Tongues are a band
that's filled with nothing but talent and potential and <i>Desert</i> marks
the return of an amazingly talented songwriter to bask in the spotlight
he deserves. After seeing Gustafson in the contributing role so
frequently with acts like The Human Eyes and The Light Pines, it's nice
to see his ideas at the forefront once again, as it produces incredible
results. <i>Desert</i> is a fantastic album that roams into the vast
unknown, it's filled with nomadic reprises and a sense of comfort in the
uncertainty that comes with that. The Dead Tongues have embraced that
uncertainty through approaching their music with rich dynamics,
producing an album that contains old-country ballads, powerful pop gems,
and everything from strings to organs to fill in the details. I can't
wait for the round of shows that comes with this release, having missed
the <i>Donkey-</i>days, this will be a wonderful introduction to a full-band Ryan Gustafson project. The Dead Tongues are speaking clearly and <i>Desert</i> is a powerful statement from Gustafson on his staying power within the Triangle music scene.
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<a href="http://thebottomstring.blogspot.com/2013/02/">http://thebottomstring.blogspot.com/2013/02/album-review-desert-by-dead-tongues.html</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-3148164322446545192013-02-14T19:05:00.002-05:002013-02-14T21:08:02.405-05:00Dead Tongues: "Desert," Cats Cradle, Carrboro, North Carolina<div class="separator" style="clear: both; text-align: center;">
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Feb. 9, 2013</div>
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Release Party: "Desert"</div>
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The Dead Tongues</div>
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Ryan Gustafson </div>
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Pix: Lew Herman </div>
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Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-51812166340501897042013-02-14T18:43:00.002-05:002013-02-14T18:43:35.131-05:00<div class="separator" style="clear: both; text-align: center;">
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<h1>
Music Review: </h1>
<h1>
The Dead Tongues</h1>
<div id="article_meta">
<div>
<span style="font-size: large;">By <a href="http://www.dailytarheel.com/staff/elizabeth_byrum">Elizabeth Byrum</a>
<span class="article-tagline"> | The Daily Tar Heel</span></span>
</div>
<div class="mb">
<span style="font-size: large;"><em>Updated:</em> 02/08/13 1:12am</span></div>
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<h3 class="mmb">
Diversions</h3>
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<div class="body-copy">
<b>The Dead Tongues</b><br />
<i>Desert</i><br />
4.5 stars<br />
</div>
<div class="body-copy boot mmb">
Rock<br />
<br />
<br />
Way back in 2009, Ryan Gustafson released the glorious and highly-praised country rock <i>Donkey</i>
LP that had listeners (at least this one) begging for a follow-up. But
for a while, as Gustafson dabbled with the Drughorse Collective and
numerous other local bands, the release of his next record was left up
in the air. <br />
However, after nearly four years, the wait is over. This time,
Gustafson hasn’t completely returned by himself, but instead as a
reincarnation he calls The Dead Tongues. Even as an expanded group,
things are still part grit, part guitar picking and completely
infectious, but there is a more polished and mature presence. Gustafson
and company may be a little more weathered after a few years, but on
Desert they’re certainly no worse for wear. <br />
<i>Desert</i> finds us at the optimistic beginning of a journey that
doesn’t necessarily have a destination in mind. On “Call To Me,”
Gustafson’s signature subtle twang and the accompanying harmonies are
robust, and like the morning sun, the country rock-laden guitar shines
brighter with each strum. The aptly named song “No Intentions” follows,
offering the same musical rewards that reflect the energetic kickstart
to the album. <br />
Then, like a parched and tired traveler, the album’s title track
sways and staggers onto the scene, but gracefully, with
stronger-than-ever guitar and percussion. While its lyrics induce a
cloud of bittersweet nostalgia, the instrumentation builds to a
triumphant crescendo, and the result couldn’t finer. And as the album
continues along its course, it’s just one of the tracks that firmly
moves into memory and into the soul, refusing to let go. <br />
Continue along the journey, and stumble into the throwback bass of
“Depression,” where casually nonchalant lyrics like, “Well I get into
depression like you get into cars driving you home,” speak of those
times when there’s no need to care. As Desert continues on, the mood
slows a little more, weaving in some funkier and darker instrumentation
on “Sleep Talking” and “Silver Dove.” It’s the perfect component that
results in a most well-rounded trip. <br />
If “too polished” was to be a problem, perhaps <i>Desert</i> is
flawed in that sense. Yet there is a certain crispness that remains
throughout the album that is hard to make stale. The Dead Tongues are
anything but expired and although the journey might be winding, the
desert is calling. Grab onto the things country rock dreams are made of
and make sure to jump on this ride. <br />
<div class="clear">
</div>
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<div class="caption mmb">
Published February 5, 2013 in <a href="http://www.dailytarheel.com/blog/dive">Diversions</a></div>
<div class="caption mmb">
</div>
<div class="caption mmb">
</div>
<div class="caption mmb">
<a href="http://www.blogger.com/blogger.g?blogID=708348475032737815#editor/target=post;postID=5181216634050189704">http://www.dailytarheel.com/blog/dive/2013/02/music-review-the-dead-tongues</a>
</div>
Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-46300352446539064752013-02-06T16:43:00.000-05:002013-02-07T10:50:05.099-05:00"Desert" The Dead Tongues on FireAnt<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_24907" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
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<a href="http://4.bp.blogspot.com/-u5GLLVnd8tc/URPMZWZVjoI/AAAAAAAAAR0/b_-ILoDEMmY/s1600/dead+tongues+desert+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-u5GLLVnd8tc/URPMZWZVjoI/AAAAAAAAAR0/b_-ILoDEMmY/s320/dead+tongues+desert+cover.jpg" width="320" /></a></div>
<span id="yui_3_7_2_1_1360179123336_24906" style="color: black; font-size: 14.0pt;">"Desert"</span></div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_24908" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span id="yui_3_7_2_1_1360179123336_24911" style="color: black; font-size: 14.0pt;">The Dead Tongues</span></div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_24902" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span id="yui_3_7_2_1_1360179123336_24905" style="color: black; font-size: 14.0pt;">FireAnt</span></div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_24903" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span id="yui_3_7_2_1_1360179123336_24904" style="color: black; font-size: 14.0pt;">Release date: <span class="yshortcuts" id="lw_1360185246_0">February 9,
2013</span></span></div>
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</div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_24914" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_24915" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span id="yui_3_7_2_1_1360179123336_24916" style="color: black; font-size: 14.0pt;">From the Bull City, laconic,
lanky, Ryan Gustafson packs a self-assured, sweet punch on his new recording
"The Desert". With backup band the Dead Tongues he artfully
constructs songs with honesty, integrity and gusto featuring his unique guitar playing,
solid vocals, cheeky lyrics and nifty arranging. Tunes resolve nicely - melody,
chorus, breaks - all accompanied by aural surprises, from catchy guitar
riffs on "No Intentions" to doo-wop-ish choruses in
"Call Out to Me". Hooks abound - whether on a backup chorus on
"Milestone", to a tasty guitar lick on “No Intentions”. </span></div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_14067" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span id="yui_3_7_2_1_1360179123336_14073" style="font-size: 14.0pt;"><br />
Ryan's guitar work - from Carolina jangle to lacerating to hypnotic, fits just right.
<br />
The intros - folkish or postmodern - lead the listener onward to the next sweet
spot, like his lyrics, or a nice guitar run. Dead Tongues musicians mesh together
nicely with special kudos for keyboards, whether piano or something sounding older,
like a wheezy organ or a melodeon on codeine. There’s nice fiddle playing too,
on "The Harbor". And the
backup singers contribute nicely, especially on "Call Out to Me",
"No Intentions" and "Milestone". I liked it so much I chose
to help release the damn thing.<br />
<br />
The album's rhythms vary, mostly in mid tempo range but with enough variety to
avoid monotony. Each song carries a unique identity. The lyrics carry sonic
hooks and hidden messages, with each song sounding like a thousand pictures.
Check out the Dylan-ish organ in "The Desert" or the post -“Norwegian
Wood" sound of “The Harbor". In
short, this album has vision. If this is the new Chapel Hill sound, sign me up.</span><br />
<span id="yui_3_7_2_1_1360179123336_14073" style="font-size: 14.0pt;">Lew Herman </span></div>
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</div>
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</div>
<div class="yiv1093824739MsoNormal" id="yui_3_7_2_1_1360179123336_14067" style="line-height: normal; margin-bottom: 0.0001pt;">
<span id="yui_3_7_2_1_1360179123336_14073" style="font-size: 14pt;"><a href="http://www.fireantmusic.com/">www.fireantmusic.com</a> </span></div>
Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-29081091754709341892012-11-07T14:15:00.001-05:002013-02-01T20:06:11.207-05:00Ty Segall: "Twins" review<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Ty Segall</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Twins”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Drag City</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Release date: Oct. 9, 2012</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Lew Herman</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-9Lt38bFzqqk/UQxmL9eefDI/AAAAAAAAARk/AfrB-Vigiks/s1600/tysegall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-9Lt38bFzqqk/UQxmL9eefDI/AAAAAAAAARk/AfrB-Vigiks/s1600/tysegall.jpg" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Here’s a rare full lengther that
both starts and ends well. And the middle is damn nice, too. Starting with the
snappy “Thank God for Sinners” it slams purposefully throughout, ending with a
conclusive “There’s No Tomorrow”. Along the way this garage squallfest is
varied and cohesive with tracks listenable, catchy and hooky. This prolific San
Fran based stomper has already released several recordings this year but this
one sounds less garage and more studio. On<span style="color: black;"> last years
"Goodbye Bread" he roared about his exploding head. This time he
wails that he doesn’t want to be a “Ghost”. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">On “Twins” Ty dishes up basement
guitar skronk, dishing riffs that can sound vocally like John<span style="mso-spacerun: yes;"> </span>Lennon (“There is No Tomorrow”) while his
guitar echoes a rough sounding George Harrison - Beatles with backbone, you
might say. Along he way he references the Who (“Who Are You”), Blue Cheer, Led
Zep and even Jefferson Airplane though probably aiming for a cross between
Black Sabbath and Hawkwind. The “Love Fuzz” guitar riff could be a slo-mo takeoff
of Eric Clapton’s “Sunshine of Your Love”.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">This is guitar dominated
heavy rock, so for those predicting its demise – look again. Cock rock still lives.
Derivative? Yes, but with verve and style. Ty brings hooks and surprising
rhythmic twists and turns along the way, so even if revivalist, it goes down
well.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This is dense, chunky, primal, music with stomp,
style and urgency. “Twins” is more sludgy and mid-tempo than earlier work but
it’s solid, restless music for the young, loud and snotty.</span></div>
<br />
<br />
<a href="http://clclt.com/charlotte/review-ty-segalls-twins/Content?oid=2909741">http://clclt.com/charlotte/review-ty-segalls-twins/Content?oid=2909741</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-2216708390022883762012-10-03T16:31:00.005-04:002012-10-10T20:23:48.169-04:00<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Tlh5x5RX31Q/UGzC0TpFDyI/AAAAAAAAAQ0/vkt5wiL5vYY/s1600/MIS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Tlh5x5RX31Q/UGzC0TpFDyI/AAAAAAAAAQ0/vkt5wiL5vYY/s1600/MIS.jpg" /></a></div>
<span style="font-size: large;">CD review: Mexican Institute of Sound's
<i>Politico</i></span><br />
<div class="SpanningFeature ContentwoTools StoryHeader " id="StoryHeader">
<div class="storyHead">
<h3 class="subheadline">
Nacional </h3>
<h3 class="subheadline">
Release date: Aug. 14, 2012</h3>
<cite class="byline">by <a href="http://clclt.com/charlotte/ArticleArchives?author=2125892">Lew
Herman</a></cite> </div>
</div>
<br />
<div class="SpanningFeature ContentwoTools " id="StoryLayout">
<div class="page1" id="storyBody">
If you think our political system's rotten, try listening to the Mexican
Institute of Sound's powerful take from our neighbor to the south. MIS, neither
a group nor an institute, is actually Camilo Lara, the main honcho at EMI
Mexico. As a record collector, he amassed thousands of recordings from which he
created holiday mixes for his pals, eventually leading to his current
position.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-kdiGyP3DIsw/UHYI7JICmtI/AAAAAAAAARE/QVUnwBXWyS4/s1600/MIS2+Camilo+01+-+photo+by+Valerie+Miranda.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-kdiGyP3DIsw/UHYI7JICmtI/AAAAAAAAARE/QVUnwBXWyS4/s320/MIS2+Camilo+01+-+photo+by+Valerie+Miranda.jpg" width="239" /></a>
</div>
Call him an accidental rock star, if you will, but his latest recording
<i>Politico</i> ("Politics") should further embellish his stature. Released
during the recent controversial Mexican presidential elections, it pulses like a
ticking bomb. His "rah rah rah" chorus on "Mexico" is a deeply sarcastic
response to unrest, poverty, instability and the rise of the drug lords.<br />
The tunes are all strikingly different, pulsating with rhythms ranging from
old school mambos to the latest electronic cumbia beats. As an example, try
listening to "Ritmo Internacional" without skittering across the dance floor.
Lara's quirky humor showcases an amazing assemblage of scratchy old samples
blended with new electro-pop sensibilities.<br />
<br />
<br />
He can't sing — he sort of croaks — but all he has to do is make his point
and let his music take over. Blessed with originality, varied rhythms and
astonishing production, there's always something special going on. Title track
"Politico," "Revolucion!" and "Mexico" all feature wobbly mariachi horns with
sly political commentary. Hint: He uses the word "podrido" an awful lot, which
translated means "rotten."<br />
<a href="http://1.bp.blogspot.com/-ogCZK_lkN8w/UHYJEPXE4BI/AAAAAAAAARM/avRVGFPG7_A/s1600/MIS+Camilo+05+-+photo+by+Valerie+Miranda.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-ogCZK_lkN8w/UHYJEPXE4BI/AAAAAAAAARM/avRVGFPG7_A/s400/MIS+Camilo+05+-+photo+by+Valerie+Miranda.jpg" width="298" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ogCZK_lkN8w/UHYJEPXE4BI/AAAAAAAAARM/avRVGFPG7_A/s1600/MIS+Camilo+05+-+photo+by+Valerie+Miranda.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>
</div>
These days, the best Latin recording artists from Mexico to Argentina are
moving in heady new directions fusing traditional, folk/folklorico with
electronica. Mexico's sound masters, especially MIS, have borrowed from a rich
palette of corrida, norteño, ranchera and mariachi, transforming them into an
entirely new, explosive sound. </div>
<br />
<a href="http://clclt.com/charlotte/cd-review-mexican-institute-of-sounds-politico/Content?oid=2869756">http://clclt.com/charlotte/cd-review-mexican-institute-of-sounds-politico/Content?oid=2869756</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-69540593083930449662012-08-14T16:28:00.002-04:002012-08-17T14:43:37.805-04:00Ray Wylie Hubbard at the Double Door Inn, Charlotte, North Carolina<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-HHXfMJLrhko/UC5bFxnyyqI/AAAAAAAAAP8/A9Z1fM8Oa7Q/s1600/hubb.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-HHXfMJLrhko/UC5bFxnyyqI/AAAAAAAAAP8/A9Z1fM8Oa7Q/s320/hubb.JPG" width="297" /></a></div>
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<h3 class="postTitle" id="a2813975">
Live review: Ray Wylie Hubbard, Double Door Inn, 8/9/2012 </h3>
<h4 class="postedBy">
Posted by <a href="http://clclt.com/charlotte/ArticleArchives?author=2125892">Lew Herman</a> on <span class="postTime">Fri, Aug 10, 2012</span> at <span class="postTime">4:13 PM</span> </h4>
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<b>Ray Wylie Hubbard</b><br />
Double Door<br />
<i>Aug. 9, 2012</i><br />
<br />
Looking like an older and wiser John Lennon, Texas songster and Oklahoma-raised Ray Wylie Hubbard eased into a long set Thursday night with charm, sly humor and a dose of articulate, potent tunes on topics ranging from 19th century poetry (“Drunken Poets Dream”) to sing-along’s about reptile raising (“Snake Farm"). It was a geezer crowd, which made sense - Hubbard is well over 60 himself (“I don’t want to peak too soon”) - but there was a scattering of all ages among the dense, sellout crowd.<br />
<br />
Best known by some for his anthem “Up Against the Wall, Redneck Mother,” he performed as a top-caliber showman, guitarist and talker, introducing all songs and sucking the crowd into every tune he offered. Introducing his “band” consisting solely of drummer Kyle Schneider, he moved quickly into classic form with “Snake Farm.”<br />
<br />
He oozes charm and charisma and has written some incredibly good songs. Taking his time, some of his jaw-dropping tunes were mini raveups lasting five or 10 minutes, with his nasally voice, crackling lyrics and snaky slide guitar anchored by his rock-steady drummer and maracas player.<br />
<a href="http://www.blogger.com/blogger.g?blogID=708348475032737815" name="more"></a>Hubbard's cover of James McMurtry’s “Choctaw Bingo” was spot-on, while some songs surprisingly resembled "Bob Dylan’s 115th Dream” or the talking blues of Rambling Jack Elliott. He played “Down Home Country Blues” reminiscent of fellow Oklahoman Woody Guthrie, with folksy yet outspoken political and cultural outbursts. Hubbard even quoted Guthrie’s famous statement of purpose: “To comfort the afflicted and afflict the comfortable.” He’s not entirely P.C., but that’s part of his charm.<br />
<br />
Hubbard is one of the original cosmic cowboy Texas singer/songwriters in the Jerry Jeff Walker tradition (Walker made Hubbard's "Redneck Mother" famous) In the 1970s, Hubbard was too confrontational, outrageous and ornery for the record companies and public. Often shunned, Hubbard has survived and prospered from singers who have covered his songs, “including even Cracker,” he recalls. Today, he may be even more valid than ever. If I was in charge, he’d be declared a national treasure.</div>
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<a href="http://clclt.com/vibes/archives/2012/08/09/ray-wylie-hubbard-at-the-double-door-inn-tonight-892012">Ray Wylie Hubbard at the Double Door Inn tonight (8/9/2012)</a> </h4>
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<li class="l1 byline" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">by Mark Kemp | 08.09.12 </li>
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Probably the most overrated Texas singer-songwriter ever...do yourself a favor and seek out guys like Brian Burns, Chris Wall, Jerrod Medulla, Ronnie Spears, etc., who are actually talented.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2475178"><span class="reviewer">Jud Block</span></a></b> on <span class="dtreviewed">08/10/2012 at 5:01 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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Yeah, not hardly dude. Ray Wylie is an artisan of great, witty songs you obviously have bad taste.</div>
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Posted by <b class="reviewer">El Boz</b> on <span class="dtreviewed">08/10/2012 at 6:27 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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Thanks for the kind words Lew. Last nights sold out show must have been full of people with bad taste in music according to Judd here. I am friends with 3 of the songwriters he mentioned to check out and they are all good writers and wonderful guys who have utmost admiration and respect for Ray. I must have pissed Judd off at some point by not letting him record the show or let his band open...haaaa! Wouldn't be the first time! <br />
xo<br />
Mother Hubbard</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814076"><span class="reviewer">AskMotherHubbard</span></a></b> on <span class="dtreviewed">08/10/2012 at 6:45 PM<span class="value-title" title="2012-08-10"></span></span> <a href="http://m.clclt.com/charlotte/blogs/Post?id=vibes&year=2012&month=08&day=10&basename=live-review-ray-wylie-hubbard-double-door-inn-892012">via mobile</a> <img src="http://clclt.com/foundation/images/icons/mobile_icon.png" style="height: 14px; margin-bottom: -2px; width: 14px;" /> </div>
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Puhleeez, Mr. Block!! Just listened to yr Myspace page. You're like Jakob Dylan calling dad overrated. Ray Wylie -- better watch out! Tee-hee.</div>
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Posted by <b class="reviewer">brian, your savior</b> on <span class="dtreviewed">08/10/2012 at 7:13 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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"The problem with irony is not everybody gets it." - Ray Wylie Hubbard</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2160572"><span class="reviewer">Mark Kemp</span></a></b> on <span class="dtreviewed">08/10/2012 at 8:25 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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Naw Mother Hubbard, you didn't piss me off, but I'm not a fan of your husband's music or his attitude concerning some of his more popular songs...I'm from Texas, so I'm quite acquainted with his work...and Mark, if Ray Wylie believes "Screw You" is ironic, then he doesn't understand irony. Brian, you're clueless my friend...that MySpace page hasn't been active for years...I'd be glad to send you a copy of my new CD, which Creative Loafing has ignored, if you want...but I want to warn you, it's more than just boogie rhythms and repeated lines...might actually cause a synapse to fire, which I'm sure you're not used to.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2475178"><span class="reviewer">Jud Block</span></a></b> on <span class="dtreviewed">08/10/2012 at 9:10 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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Well Jud you truly have no clue regarding the meaning behind his songs as "Screw you" was written as a joke and he tells the story at every gig. Yes it is meant to be tongue and cheek. Maybe there is a reason Creative Loafing has ignored your music....go figure.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814076"><span class="reviewer">AskMotherHubbard</span></a></b> on <span class="dtreviewed">08/10/2012 at 9:30 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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I fully understand what he thinks he accomplished with that song, but if that's irony, I'll turn in my English degree...</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2475178"><span class="reviewer">Jud Block</span></a></b> on <span class="dtreviewed">08/10/2012 at 9:44 PM<span class="value-title" title="2012-08-10"></span></span> <a href="http://m.clclt.com/charlotte/blogs/Post?id=vibes&year=2012&month=08&day=10&basename=live-review-ray-wylie-hubbard-double-door-inn-892012">via mobile</a> <img src="http://clclt.com/foundation/images/icons/mobile_icon.png" style="height: 14px; margin-bottom: -2px; width: 14px;" /> </div>
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Jud, ya might wanna tread lightly around here, lest you find yourself included in a RWH song. Does "Jimmy Perkins" ring a bell?</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814319"><span class="reviewer">Okey Stoneburner</span></a></b> on <span class="dtreviewed">08/10/2012 at 11:02 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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Life's too short to tread lightly...speak your piece and back it up...plus, he's definitely going to end up in one of mine...so let the games begin!</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2475178"><span class="reviewer">Jud Block</span></a></b> on <span class="dtreviewed">08/10/2012 at 11:10 PM<span class="value-title" title="2012-08-10"></span></span> <a href="http://m.clclt.com/charlotte/blogs/Post?id=vibes&year=2012&month=08&day=10&basename=live-review-ray-wylie-hubbard-double-door-inn-892012">via mobile</a> <img src="http://clclt.com/foundation/images/icons/mobile_icon.png" style="height: 14px; margin-bottom: -2px; width: 14px;" /> </div>
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Mother Hubbard's first comment confuses me. What does being friends with 3 of the 4 artists Jud mentioned have to do with anything? I can put my hands on easily two or three hundred people I know who are friends with all four, me included. And yep, every one of those artists gives RWH props for what he's meant to Texas music. Rightful, well deserved props. None of which changes the fact that Ray's best work, much like Steve Earle's, is a long way in the rearview. The primary value he adds these days is behind the scenes: the tremendous work he does either in the studio or by actively supporting younger talent. His music these days is an acquired taste, which is not necessarily a bad thing. But simply being different, gruff, edgy, whatever one wants to call it is not enough to qualify for status as the sort of legendary performer this review seems to crown RWH as being.<br />
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Anyone reading this can say maybe Jud could/should have worded his comment better. Or picked another forum to raise the topic. But it's simply not possible to realistically argue that his core point lacks intrinsic merit. Of course, exceptions are made for family as well as those benighted souls who live in the musical and cultural wasteland known as Charlotte. Bless your hearts.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814324"><span class="reviewer">Dave Pilot</span></a></b> on <span class="dtreviewed">08/10/2012 at 11:16 PM<span class="value-title" title="2012-08-10"></span></span> </div>
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Dave, I disagree wholeheartedly with your statement that Ray's best work is a long way in the rear view mirror. Red Badge of Courage, South of the River and Count My Blessings from his last CD are amazing songs. He is legendary because his writing evokes emotion and because he is genuine and authentic in delivery. His co-write with Hayes Carll, Drunken Poets Dream was listed by American Songwriter Magazine as a top song. I hope you are not looking at Redneck mother as an example of his best work, because you are overlooking 30 years of some amazing songs. (There are Some Days is brilliant) <br />
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And you may not find him legendary, that is your opinion, luckily, there are people like Ringo Starr, Joe Walsh, Guy Clark, Ian McLagen and many many other notable superstars of music who find him talented and legendary enough to work with. Not to mention the fans and critics all across the country who love him for the combined talents of gruff, soulfull singer and thoughtful, authentic, songwriter as well as being a truly great human being who truly appreciates his fans. <br />
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Judd, your remark about boogie rhythms and repeated lines is funny, as that is pretty much the definition of country blues ; it leads me to wonder what your review of STevie Ray Vaughn, Muddy Waters, or Lightnin' Hopkins would be. Perhaps they too would not be considered legendary by your standards.Perhaps you are looking at the likes of Pat Green or Randy Rogers as your ideal Texas singer songwriter--if so, then yeah, I bet to you Ray Wylie Hubbard might be a bit off--and for those who truly know music, we are glad he is. </div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814338"><span class="reviewer">Jodi J Tidwell</span></a></b> on <span class="dtreviewed">08/11/2012 at 12:55 AM<span class="value-title" title="2012-08-11"></span></span> </div>
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Two things I find humorous: Both of you are writers who are unsuccessful as writers yet quick to judge someone who could eat a bowl of alphabet soup and shit better lyrics than either one of you.<br />
Second, you choose to make mean spirited comments about someone on a comment section of an article which is a review of a live show which neither of you attended. I understand not having a taste for RWH, I certainly don't like a lot of what I hear out there but don't troll sites with the intention of spewing arrogance and judgement.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814076"><span class="reviewer">AskMotherHubbard</span></a></b> on <span class="dtreviewed">08/11/2012 at 1:01 AM<span class="value-title" title="2012-08-11"></span></span> </div>
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Fair points, Jodi, and clearly you're one of the ones his stuff works for. Music is indeed a subjective beast. For my money, two of the four artists Jud originally mentioned consistently write songs that Ray's cannot touch on any level. The other two are better singers by far, but that is definitively a subjective opinion and open to discussion. <br />
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If we're going to define legendary status by who a given artist works with, though, we're going to open up a whole big can of worms. Willie Nelson proves all the time that he'll work with anybody who's opening up a checkbook. And I love Willie, don't get me wrong. But an artist claiming that working with him legitimizes their craft is potentially well off base.<br />
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It's funny that you brought up Pat Green and Randy Rogers, by the way. Here in Texas, those two -- and frankly the bulk of the Red Dirt followers these days -- play well with the Ballcap Nation and are viewed with disdain by anyone who appreciates what Blaze Foley used to put out. At the online publication I write for, we specifically look for artists like a Brian Burns, a Houston Marchman, a Jackson Taylor or even a Mike Ness whose art is worth appreciating. For Carolina equivalents, see David Childers or The Backsliders back in the day. We leave the entertainers anybody canmindlessly enjoy (see Fowler, Kevin) to the big glossy print outfits like Texas Music magazine that'll write a glowing review for anybody willing to pay the promotional fee. <br />
<br />
I respect the hell out of Ray Wylie Hubbard for what he's accomplished, what he's done, and what he continues to do aside from recording. And I listen to all of his records, because as a music writer it's my job to do so. But his stuff doesn't make the cut for airplay in my truck, and aside from the occasional times he's popped in at Luckenbach when I happen to be around over the years, I wouldn't spend my time listening to him for free. None of which means he shouldn't be relevant to you, or that his music can't move your soul. If it does, great. In the grand scheme of things, though, when we're talking about timeless songs borne of souls poured out on six-strings and able to withstand the test of time, it's tough not to argue that Ray is overrated. That's not the same thing as saying he sucks, or isn't worthwhile. If anything, it just points out that there are plenty of others out there worth a long look.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814324"><span class="reviewer">Dave Pilot</span></a></b> on <span class="dtreviewed">08/11/2012 at 1:16 AM<span class="value-title" title="2012-08-11"></span></span> </div>
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Mother Hubbard, please explain how you've arrived at the conclusion that I am unsuccessful as a writer. You've sparked my curiosity.<br />
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You are correct, however, that Ray can shit out a better lyric than I can any day. Which is why I do not, and have not ever, claimed or attempted to be a songwriter.<br />
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The troll comment, though, is funny and I appreciate the laugh. Maybe we'll wind up in the same venue one day and I can buy you a Lone Star.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814324"><span class="reviewer">Dave Pilot</span></a></b> on <span class="dtreviewed">08/11/2012 at 1:23 AM<span class="value-title" title="2012-08-11"></span></span> </div>
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Jodi, naw, I'm more of a Kevin Fowler or Jason Aldean fan; hell, basically anyone who sings about ammo, sexy trucks and tractors, I'm there...I'll have to look into this "country blues" you speak of...<br />
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Mother Hubbard, I'm finding it amusing that you're taking these opinions -- and remember that's all they are -- so hard...makes me think we've hit on a sore spot for you...this can't be the first time RWH has had a critical comment made about him, right?...why, you've made numerous ones about me just in this thread alone, and I know for a fact that you've never heard my music or lyrics...anyway, it's been fun, but life does, indeed, go one...here's to all the RWH defenders, y'all are true fans...hope to see y'all at a show sometime.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2475178"><span class="reviewer">Jud Block</span></a></b> on <span class="dtreviewed">08/11/2012 at 8:00 AM<span class="value-title" title="2012-08-11"></span></span> </div>
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FYI Dave, I'm from Texas... I live in Texas. I frequent Luckenbach and I listen to a large selection of Texas music. <br />
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I can't stand anyone thinking I'm not and that is my last word on this. <br />
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814338"><span class="reviewer">Jodi J Tidwell</span></a></b> on <span class="dtreviewed">08/11/2012 at 12:10 PM<span class="value-title" title="2012-08-11"></span></span> </div>
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Bueno, Jodi. I'm not hard to find on Facebook. Say hi anytime. Maybe my wife and I will run into you at Luckenbach sometime, or anywhere else around Texas from the Back Porch in Port A all the way up north of Fort Worth where we live. You've got a great way of voicing your opinions, which means you're interesting, so even if we disagree it'd be good to talk music over a cold one sometime. <br />
<br />
It's funny - and somewhat indicative of the pseudo-scene in Charlotte - that the opinionated voices on this comment thread come from Texas and Oklahoma. At least it's a blessing that where we live, on the right side of the Red River, there's a broad music net that runs from Janis to Buddy, Waylon to Stevie Ray, Norah to Sir Doug, Blaze and Townes to ZZ Top. <br />
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Take good care.</div>
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Posted by <b><a href="http://clclt.com/charlotte/Profile?oid=2814324"><span class="reviewer">Dave Pilot</span></a></b> on <span class="dtreviewed">08/11/2012 at 7:54 PM<span class="value-title" title="2012-08-11"></span></span> </div>
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Dave: First you praise Charlotte singer/songwriter David Childers (and rightly so) as part of your not-so-subtle validation of the glorious publication you write for and dismissal of another publication, and then you dis Charlotte for its "pseudo-scene" (whatever that means) and its inability to offer up enough opinions in this thread. You want opinionated from this side of the Red River? How about this: You are one arrogant fuck.</div>
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Posted by <b class="reviewer">brian, your savior</b> on <span class="dtreviewed">08/12/2012 at 11:56 PM<span class="value-title" title="2012-08-12"></span></span> </div>
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Why go out of your way to comment on a show you did not attend? I was there, it was packed with young and old (o.k. mostly older). It was a good show. Everyone stayed until the end and left smiling. Charlotte is not Austin, but why would you be trashing a live music venue if that is where your bread is buttered. I can assure you the next time I see Jud Block playing in the area I will remember you only for your negative comments.</div>
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Posted by <b class="reviewer">Spider Murphy</b> on <span class="dtreviewed">08/13/2012 at 5:00 PM</span><br />
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<span class="dtreviewed">------- </span><br />
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You are welcome, Mother Hubbard! Most of the peeps attending had decent taste. And hardly any left early. Paraphrasing A. Lincoln and B. Dylan:<br />
"You can't please all the people, all the time.<br />
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("You can fool some of the people all of the time, and all of the people some of the time, but you can not fool all of the people all of the time") <span class="dtreviewed"><br /></span><br />
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<a href="http://clclt.com/vibes/archives/2012/08/10/live-review-ray-wylie-hubbard-double-door-inn-892012/#2814224">http://clclt.com/vibes/archives/2012/08/10/live-review-ray-wylie-hubbard-double-door-inn-892012/#2814224</a><br />
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Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-68347782454442013582012-07-12T14:29:00.000-04:002012-07-12T16:21:21.165-04:00Dandy WarholsDandy Warhols<br />
Fillmore, May 26th<br />
“This Machine”<br />
Release Date: April 24, 2012<br />
The End Records<br />
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Sent several versions to Creative Loafing. God knows what they wanted. <br />
(See link below, if necessary)<br />
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One of the best bands of the last decade (or two) has a new album. The Dandy Warhol’s appear Saturday, May 26 at the Fillmore in Charlotte, supporting new album “This Machine.” After 18 years together these Portland bohos are getting older and their new music casts an ironic, sarcastic, arch overview of life as they see it. Known for their hook filled, psychedelic guitar fueled thud, the Dandy’s created masterpieces like “Bohemian Like You”, “Not If You Were the Last Junkie On Earth” and “The Creep Out”. “This Machine”, hooky as ever, is somewhat stripped down but loaded with tunes, sudden turns and pleasant surprises. <br />
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Coming from Portland, the band oozes hipster cred. Band members and founders are Courtney Taylor-Taylor vocals and guitar and include fellow guitarist Pete Holmstrom, Zia McCabe on keys and joining the band a bit later, drummer Brent DeBoer.<br />
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It’s been said, the band started because their pals, “Needed music to drink to.” Speaking with guitarist Pete Holmstrom from his hometown of Portland, Pete said, “I take issue with that. That’s not quite right. It’s to meet other people to drink with. You know, people with similar musical tastes.” And how has it worked for them? “Yeah, still holds true.” <br />
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The new album “This Machine”, their eighth, in reality should have been called the “Dandy’s Come Down” because they really do. “Yes, we’re getting older”, Pete says. This from a group not afraid to keep its basic sound and style but comfortably experiments with new themes and lyrics. As an example the band does a heavy cover of Tennessee Ernie Ford’s “Sixteen Tons” featuring Los Lobos’ Steve Berlin on baritone sax, sounding like Morphine and Tennessee Ernie playing a San Francisco dive.<br />
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A song like “Rest Your Head” links to their earlier sounds but this album is a departure in that the songs have a more meditative, thoughtful feel. Tunes like “Autumn Carnival” and “Sad Vacation’ no more morose than their earlier “Last Junkie” tunes or “Nietzsche”, where they sang "I want a girl that stays dead, won’t play dead.” There are just more of them than before. Even a tune like “Enjoy Yourself” morphs into the ironic and cynical “Enjoy Your Health.” Offsetting these downers are up-tempo psychedelic blazers, “SETI vs. the Wow! Signal” and the playful electronic “Alternative Power to the People.”<br />
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Wearing their influences on their sleeves can be wearisome. But influences like Lou Reed and Ride - we can live with them. Maybe Tennessee Ernie Ford is a stretch but irony and originality works for me. Spiritualized, Nirvana and Neil Young? All positives but it really depends on the listener.<br />
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The Dandy’s created masterpieces like “Bohemian Like You,” “Boys Better” and “Horse Pills.” This one “This Machine,” has more thought and less thump, though still rocks. It’s leaner and not as strong as their early classics but still a keeper and still packs an ironic, post-modern punch. Hell, according to Courtney Taylor-Taylor they almost named it “The Pastor of Muppets”, “Shitty Shitty Band Band” or “Whirled Piece”. Be thankful for the little things.<br />
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<a href="http://clclt.com/charlotte/cd-review-dandy-warhols-this-machine/Content?oid=2728888">http://clclt.com/charlotte/cd-review-dandy-warhols-this-machine/Content?oid=2728888</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-84012355209594402152012-07-04T19:14:00.001-04:002012-07-04T19:21:25.936-04:00Chicha Libre - new one, their third<img alt="music_reviews2-1_18.jpg" height="545" src="http://clclt.com/imager/cd-review-chicha-libres-canibalismo/b/original/2760869/a86f/music_reviews2-1_18.jpg" width="600" /><br />
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<a href="http://clclt.com/charlotte/IssueArchives?issue=2760121">July 03, 2012</a><a href="http://clclt.com/charlotte/music/Section?oid=2124591">Music</a>» <a href="http://clclt.com/charlotte/ArticleArchives?category=2124722">CD Review</a> <br />
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CD Review: Chicha Libre's <i>Canibalismo</i> </h1>
<h2 class="subheadline">
Barbes; Release date: May 8, 2012</h2>
<cite class="byline">by <a href="http://clclt.com/charlotte/ArticleArchives?author=2125892">Lew Herman</a></cite></div>
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Chicha music is like the beverage it was named for — the fermented drink of choice in Bolivia and Peru, made from corn and saliva (yes, you read that correctly) for extra kick, though modern times require a more sanitary process. Chicha music (<i>musica chicha</i>) is the sound created by indigenous Peruvian mountain inhabitants who moved to more modern cities. It preserves the original Incan melody lines but adds electronics, cheesy keyboards and newfound cumbia beats — for extra kick.<br />
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This new release is from Brooklyn, N.Y.-based Chicha Libre, a band consisting of two Americans, two French dudes, a Venezuelan and a Mexican. That may be a far cry from Lima, but the musicians are masters of their craft and offer an ear-pleasing variety of Peruvian cumbia. The songs come off as revisionist yet inspired and updated when necessary, and the players preserve the music's elemental nature. Aside from that, it's a damn good listen and also music you can dance to.<br />
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Chicha Libre takes Peruvian highland melodies, called <i>huaynos</i>, and adds surf guitar, hints of psychedelia, cumbia beats and the cheesiest Farfisa you've never heard. Tunes are mostly instrumental, with some vocals coming as an afterthought. Standout songs are opener "La Plata", the catchy "Lupita en la Selva y el Doctor" (Lupe in the Jungle and the Doctor) and the sultry "L'Age d'Or." The band also includes an over-the-top cover of Wagner's "Ride of the Valkyries."<br />
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<a href="http://clclt.com/charlotte/cd-review-chicha-libres-canibalismo/Content?oid=2760868">http://clclt.com/charlotte/cd-review-chicha-libres-canibalismo/Content?oid=2760868</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-6657971828368805112012-07-04T13:56:00.000-04:002012-07-04T13:56:34.890-04:00<img alt="music_reviews2-1_18.jpg" height="545" src="http://clclt.com/imager/cd-review-chicha-libres-canibalismo/b/original/2760869/a86f/music_reviews2-1_18.jpg" width="600" />Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-11633746939240671722012-04-16T14:27:00.003-04:002012-04-16T14:34:17.138-04:00Wig out to:<a href="http://3.bp.blogspot.com/-nGrvCIGVMPk/T4xlpqHqg-I/AAAAAAAAAPo/5ULGu36iY9Y/s1600/systemasolarCover.jpg"><img id="BLOGGER_PHOTO_ID_5732068192091276258" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 400px" alt="" src="http://3.bp.blogspot.com/-nGrvCIGVMPk/T4xlpqHqg-I/AAAAAAAAAPo/5ULGu36iY9Y/s400/systemasolarCover.jpg" border="0" /></a><br /><br /><div><a href="http://pmcradio.org/show_plaza_mildew.html">http://pmcradio.org/show_plaza_mildew.html</a></div><br /><div>Plaza Mildew<br />w/ Lew Herman<br />Monday @ 11:30am<br />All times are EST/GMT-5</div><br /><div></div><br /><br /><div>Rock, roots n' rhythm. Anything from accordions to zydeco, from Bonzo Dog Band to psychedelic cumbias, doo-wop to hip-hop. Music that bites! </div>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-63978918302826820962012-03-14T14:48:00.004-04:002012-03-22T19:11:05.944-04:00Soundtrack: Hunger Games<a href="http://2.bp.blogspot.com/-muBD96gDXCE/T2Dpc2QIirI/AAAAAAAAAPg/azMZPWLFA7U/s1600/Cover__Hungergames%255B1%255D.jpg">The Hunger Games: Songs from District 12 and Beyond <img style="MARGIN: 0px 10px 10px 0px; WIDTH: 400px; FLOAT: left; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5719828208569322162" border="0" alt="" src="http://2.bp.blogspot.com/-muBD96gDXCE/T2Dpc2QIirI/AAAAAAAAAPg/azMZPWLFA7U/s400/Cover__Hungergames%255B1%255D.jpg" /></a><br /><br />Universal; Release date: March 20, 2012<br /><br />This is the spooky soundtrack to <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/en.wikipedia.org/wiki/The_Hunger_Games">Hunger Games</a>, the long-awaited, highly hyped film based on the wildly popular tween book trilogy. Music is assembled by <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.tboneburnett.com/">T Bone Burnett</a>, the same person who put together soundtracks for <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.imdb.com/title/tt0190590/">O Brother Where Art Thou</a>, <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.imdb.com/title/tt0159365/">Cold Mountain</a>, <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.imdb.com/title/tt0118715/">Big Lebowski</a> and <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/en.wikipedia.org/wiki/I_Walk_the_Line">I Walk the Line</a>. Rest assured, Burnett has perfect pitch when it comes to selecting tunes matching either the backwoodsy, <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/thehungergames.wikia.com/wiki/District_12">Appalachian District 12</a> or the evil, futuristic, artifice-ridden Capitol.<br /><br />Noteworthy is <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.arcadefire.com/">Arcade Fire</a>'s chilling "Abraham's Daughter" nailing the Capitol with a stark, creepy anthem replete with ghostly vocals that croon, "The angel cried for the slaughter." On the country side, you can't ignore the Pistol Annies' "Run Daddy Run" ("Can you hear, the devil drawing near, like a bullet from a gun") capturing the D12/O Brother vibe, banjo plink and all. The other cuts are descriptive, desperate tunes that complement, explain and amplify the plot. If a picture's worth a thousand words, these songs represent thousands.<br /><br />The tracks take dead aim at conventional, mainstream, teen demographics (two <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.taylorswift.com">Taylor Swift</a> cuts and <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.maroon5.com/">Maroon 5</a>), yet, like the film, aim beyond the shopping malls and seek a more discerning audience. Besides Arcade Fire and the <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.pistolannies.com/">Pistol Annies</a>, you also get the <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.carolinachocolatedrops.com/">Carolina Chocolate Drops</a>, <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/thecivilwars.com/">the Civil Wars</a>, <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/www.nekocase.com/">Neko Case</a> and the <a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/decemberists.com/">Decemberists</a>. While the lullabies may lull you, a song like Taylor Swift's "Safe And Sound" haunts you as the soundtrack scores a bull's-eye, not with a bow and arrow, but with your heart.<br /><br />Lew Herman<br /><a href="http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/Content?oid=2662146">http://clclt.com/charlotte/cd-review-the-hunger-games-songs-from-district-12-and-beyond/Content?oid=2662146</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-16936483371661672002012-01-12T12:12:00.003-05:002012-01-12T12:33:29.842-05:00New Folk, Old Folk<a href="http://3.bp.blogspot.com/-JcC0iPhGOA0/Tw8WqYPoVfI/AAAAAAAAAPQ/LlJRWpyJO8Y/s1600/chicago%2Bold%2Btown%2Bfolk127Songs_image.jpg"><img id="BLOGGER_PHOTO_ID_5696796970965292530" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 342px" alt="" src="http://3.bp.blogspot.com/-JcC0iPhGOA0/Tw8WqYPoVfI/AAAAAAAAAPQ/LlJRWpyJO8Y/s400/chicago%2Bold%2Btown%2Bfolk127Songs_image.jpg" border="0" /></a><br /><br /><div>Review: Live from the Old Town School of Folk Music by <a href="http://clclt.com/charlotte/ArticleArchives?author=2125892">Lew Herman</a><br /><br />Old Town School; Release date: Dec. 13, 2011<br /></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div></div><br /><div>One-hundred-and-twenty-seven cuts here — a live digital box set — featuring the greatest names in folk music is served up as a fundraiser for Chicago's renowned Old Town School of Folk Music. Everyone's here, from Pete Seeger to Jean Ritchie. Songwise this is a huge sourcebook from "Stewball" to the "Frog's Wedding," from "Methodist Pie" to "Maple Syrup Time." The set list is astoundingly thorough with surprises galore.<br /></div><br /><div>Where else you gonna find Wilco's Jeff Tweedy, the Mekons' Jon Langford, even Peter Case? Old standbys like Utah Phillips and Malvina Reynolds are represented as is Joan Baez doing a gorgeous version of "The Night They Drove Old Dixie Down." I loved hearing Rambling Jack Elliott, a couple of Doc Watson specials and even three acoustic tunes by Steve Earle. A personal favorite is Steve Goodman's rousing version of "The Twentieth Century is Almost Over."<br /></div><br /><div>On the negative side, aside from Bruce Molsky and Tim O'Brien, hardly any trad string bands are represented, nor did I hear North Carolina's Elizabeth Cotten. There were too many hackneyed yawners, like "The Cuckoo," "Home on the Range," "Polly Wolly Doodle," "Wake Up Little Sparrow," "Red River Valley" and too many Odetta cuts. But there's plenty to like — or loathe — depending on your tastes. There's Donovan doing "Mellow Yellow" and "Colours," Taj Mahal when he was fresh, Dan Hicks, John Hartford, Merle Travis, a veritable who's who of the folk world. Here's a musical gold mine, suitable for today's difficult and desperate times.</div><br /><div></div><br /><div><a href="http://clclt.com/charlotte/cd-review-live-from-the-old-town-school-of-folk-music/Content?oid=2580624">http://clclt.com/charlotte/cd-review-live-from-the-old-town-school-of-folk-music/Content?oid=2580624</a></div>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-12835252571675223542011-12-16T17:20:00.003-05:002011-12-16T17:26:23.404-05:00Manu Chao backstage, Charlotte, North Carolina, September 2011.<a href="http://2.bp.blogspot.com/-EZOIHYK7Epc/TuvEdPu4TDI/AAAAAAAAAPE/w0Yy0iiOZwA/s1600/manulew%2B008.jpg"><img id="BLOGGER_PHOTO_ID_5686854961203792946" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 300px" alt="" src="http://2.bp.blogspot.com/-EZOIHYK7Epc/TuvEdPu4TDI/AAAAAAAAAPE/w0Yy0iiOZwA/s400/manulew%2B008.jpg" border="0" /></a><br /><br /><br /><div></div>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-54323682116799361492011-09-11T16:53:00.004-04:002011-09-20T22:35:11.525-04:00Manu Chao - in Charlotte, North Carolina - first time ever<a href="http://4.bp.blogspot.com/-WGe6BiNl1ZE/TnlMgvrSw5I/AAAAAAAAAO8/DhjjvnJ66X4/s1600/ManuLaVentura%252520Tour%255B1%255D.jpg"><img id="BLOGGER_PHOTO_ID_5654634932577944466" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 267px; CURSOR: hand; HEIGHT: 400px" alt="" src="http://4.bp.blogspot.com/-WGe6BiNl1ZE/TnlMgvrSw5I/AAAAAAAAAO8/DhjjvnJ66X4/s400/ManuLaVentura%252520Tour%255B1%255D.jpg" border="0" /></a><br /><br /><br /><div>Manu Chao hits the East Coast for the first time by <a href="http://clclt.com/charlotte/ArticleArchives?author=2125892">Lew Herman</a><br /><br />THRASH UNREAL: Manu Chao<br /><br />Manu Chao $33. Sept. 7. 8 p.m. The Fillmore Charlotte.<br /><a href="http://www.fillmorecharlottenc.com/">http://www.fillmorecharlottenc.com/</a><br /><br />Multilingual, multicultural and multitalented, <a href="http://www.manuchao.net/en/">Manu Chao</a> is as self-assured, amiable and charming as you would imagine. He's also a rebel, a vagabond and the driving force behind 20 years of music called Latin Alternative. In fact, he helped create it before it was so named.<br /><br />It's likely you've never seen him perform, as this tour is his first time in Charlotte. "How's the weather in Charlotte this time of year?" he asks. Speaking with him recently via a connection between Charlotte, Paris and Barcelona, he's surprisingly interested in Charlotte, asking nearly more questions than me. "How's the music scene? What kind of music's there?" As I edged in a question about his tour, he explains, "It's an opportunity for me. I've only been on the West Coast [of the U.S.]. Never been up the East Coast. It's a new place — first time there — in Charlotte [and Atlanta]. I want to see and know the people."<br /><br />Starting as a busker and a punk — heavily influenced by the Clash and Bob Marley — his first well-known group was Mano Negra, named after Spanish anarchists. Growing up in France — his parents were exiled there from Spain's fascist dictatorship — explains his singing in Spanish and French. Actually, he sings in seven languages, English as well as Arabic and several more exotic tongues.<br /><br />After Mano Negra broke up, Chao continued under his own name, improving his sound as the years went by. Instead of a jarring, angular style, he moved in the direction of street music and found sounds from around the world, picking up on music and rhythms from North Africa, Jamaica, Mexico, Brazil and Argentina. His band, the Radio Bemba Sound System, named for Castro's early underground radio, combines street smarts with distinctive arrangements. On recordings, he's thoughtful and mellow, while live the sound system gallops into overdrive with double-time, fist-thumping thrash.<br /><br />He's sold recordings in the millions, mainly through word of mouth, played for audiences of up to 100,000 and has penned a number of classics. On "Clandestino" he sings, "My fate is to keep running, because I don't have any papers" — alarmingly similar to his own life. He won't lend his name to commercials, he totes his own bags — a true poet of the people. "We're touring because we love touring", he tells me. "We're a family. We like being on the road. It makes us happy. I'm happy to still be inspired." Asked where he lives, he responds, "I live in Barcelona in Catalonia [Spain]. My family lives in Brazil." Explaining his day at home, "We just played in a little club in Barcelona. Sure, we would do that on our tour."<br /><br />Chao doesn't stop playing when the concert's over. After shows he's been known to walk the streets; in Rio and Sao Paulo he hung with the child prostitutes, in Buenos Aires he recorded with patients at the Colifata Psychiatric Hospital. "They have so much lucidity," he said in an earlier interview. "Very poetic."<br /><br />Manu Chao is not the most prolific artist, often recycling his own songs and offering releases years apart. He makes up for that in consistency and quality. His most recent release is the double live CD/DVD Baionarena named for the live concert venue in France.<br /><br />Earlier, essential recordings are La Radiolina and before that Proxima Estacion: Esperanza ("Next Stop: Hope") named for the Madrid metro station. And before that, his classic Clandestino. Standout tunes are "King of Bongo," "Rainin' in Paradize," "Me Llaman Calle," "Mr. Bobby," "Welcome to Tijuana," "Infinita Maleza" (Malaise), "La Vida Tombola" and "Politics Kills." On his current La Ventura Tour Manu says, "We play new songs, old songs, some from all our albums — and the live albums, too".<br /><br />Like Woody Guthrie, Manu's guitar also kills fascists. Vivid, explosive and influential, he's also anti-establishment and anti-globalization. Just like Guthrie, he plays for free at rallies and strikes. But he's a crowd pleaser as well. Acoustic, electric and eclectic with mariachi horns, clever lyrics, catchy riffs, this could become a gig of the year. Could even be a gig of the decade if he wanders around town to a bar near you.<br /><br /><a href="http://http//clclt.com/charlotte/manu-chao-hits-the-east-coast-for-the-first-time/Content?oid=2466008">http://http//clclt.com/charlotte/manu-chao-hits-the-east-coast-for-the-first-time/Content?oid=2466008</a></div>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-3949372644412400052011-04-30T16:57:00.002-04:002011-04-30T17:06:24.947-04:00electro cumbia<a href="http://2.bp.blogspot.com/-2GVQcCpEPpU/Tbx5t_z8voI/AAAAAAAAAOw/k9QhT-PL_z0/s1600/RIO%2BARRIBA%2B-%2BChancha%2BVia%2BCircuito.jpg"><img id="BLOGGER_PHOTO_ID_5601485867672452738" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 400px" alt="" src="http://2.bp.blogspot.com/-2GVQcCpEPpU/Tbx5t_z8voI/AAAAAAAAAOw/k9QhT-PL_z0/s400/RIO%2BARRIBA%2B-%2BChancha%2BVia%2BCircuito.jpg" border="0" /></a><br /><br /><div><br /><a class="print-link" href="http://72.47.238.99/reviews/view/2979/#"></a><br />04/28/2011<br />Chancha Via Circuito<br /><br />Rio Arriba<br />(ZZK Records/Crosstalk International)<br /><br /><a href="http://www.zzkrecords.com/">http://www.zzkrecords.com/</a><br /><br />The ‘shrooms on the back cover and on the inside make it abundantly clear that this is the trippiest music this side of South America. Actually, it is from South America - Buenos Aires, Argentina, to be exact, and right now Chancha is touring the US on his "Muy Bueno/Rio Arriba" tour with ZZK label honcho/deejay El G.<br /><br />Not since early Pink Floyd has there been anything so tripped out and it's not aimless jam band noodling. Argentina's ZZK label, with their deejay based music combines electronica and psychedelia with varying amounts of folk and trad, performing with live musicians and dancers accompanying their inventive knob twirling. Chancha Via Circuito is among the best Buenos Aires deejays and this, his sophomore effort, is up to his previous high standards. It's a mellow, languid yet rhythmical intro to contempo South American music. Chancha's eco-friendly music combines his electronica with the natural world. He takes indigenous chants, colonial Spanish melodies then re-arranges, transposes, recombines and decomposes them into lush, gorgeous mutations. Essentially minimalist, there's a strong emphasis on rhythms, dronings and ethnic mixes inspired by the native sounds of the South American interior.<br /><br />Track one reminds me of Calexico and Iron and Wine's "He Lays in the Reins" with its old school vocal. "Cumbion de los Aves" is a remix of indigenous rhythms, replete with pan pipes, flutes, charangos and hallucination inducing rhythms. "Pintar El Sol" is more of the same, but even more hypnotic, with sampled vocals rising to the forefront. More of the same throughout, with much variety in rhythm and percussion; some are instrumental, some with vocals, including 6th cut " Revenge of Chancha" featuring one of his best remixes featuring guests, Fauna.<br /><br />Only qualifier on this is "Prima," which strikes me as too much electro knob-tweaking for the sake of tweakage. A number of these cuts have turned up on other mixtapes and mashups, some better, some different but the thing about "Rio Arriba" is that it's consistently excellent, like a smooth ride on a free-flowing tropical river with Chancha as your guide to other worlds.<br /><br />DOWNLOAD: " Revenge of Chancha," "Pintar El Sol" LEW HERMAN<br /><br /><br /><a title="Add to del.icio.us" href="http://del.icio.us/post?url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to digg" href="http://digg.com/submit?phase=2&url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to Spurl.net" href="http://www.spurl.net/spurl.php?url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to Wists" href="http://wists.com/r.php?c=&r=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to Simpy" href="http://www.simpy.com/simpy/LinkAdd.do?href=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to Newsvine" href="http://www.newsvine.com/_tools/seed&save?u=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&h=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to BlinkList" href="http://www.blinklist.com/index.php?Action=Blink/addblink.php&Description=&Url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&Title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to Furl" href="http://www.furl.net/storeIt.jsp?u=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&t=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to reddit" href="http://reddit.com/submit?url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to FARK" href="http://cgi.fark.com/cgi/fark/edit.pl?new_url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&new_comment=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online&linktype="></a><a title="Add to BlogMarks" href="http://blogmarks.net/my/new.php?mini=1&simple=1&url=http%3A%2F%2F72.47.238.99%2Freviews%2Fview%2F2979%2F&title=Rio%20Arriba%20by%20Chancha%20Via%20Circuito%20on%20Blurt%20Online"></a><a title="Add to Yahoo! 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Out now in the U.S. on <a href="http://www.fireantmusic.com/index.html" target="_blank">FireAnt Music.</a><br /><br />By Carl Hanni<br />We live in the age of global groove cross-over, and the musical migrations seem to be picking up speed and shedding inhibitions as they go along. Nations may fuss and fight, but increasingly musicians, it seems, want to mix and match from the wide palette of world musics. This is nothing new, of course; musicians worldwide have been crafting all kinds of fascinating combinations for as long as music has been prefaced with the word ‘popular.'<br /><br />South America and the Caribbean seem to have consistently been ahead of the game here. Going back at least as far as the late ‘50s and early ‘60s and you'll find thousands of examples of local combos taking little bits of whatever they heard on the radio, mixing it in with what was hot at the local record shop or sound system with their own local music, and turning out one fabulous hybrid after another. Whether it's from Columbia, Peru, Cuba or Jamaica, this part of the world has long embraced music-as-melting-pot.<br /><br />Fast forward to 2010 and we have <a href="http://www.myspace.com/fantasmax" target="_blank">Fantasma</a>, a group of multi-disciplined musicians, artists, and filmmakers from Buenos Aires, Argentina. Not to be mistaken with Austin's fabulous Grupo Fantasma, Fantasma play a <a href="http://liquiddilemma.blogspot.com/2010/04/fantasma-fantasma-city-2010.html" target="_blank">spirited, polyglot mix</a> of electro, cumbia, hip hop, reggaeton and whatever else they take a shine to that has a sexy groove. Fantasma is pushing the pulsating cumbia groove into some new territory and inviting everyone along to the dance. Definitively electro based (but still using plenty of accordion), Fantasma make bouncing, buoyant, infinitely danceable music that also has both humor and a socially relevant aspect to it.<br /><br />Pretty much everything here is really strong and consistent. "Danza Danza," with a jaunty whistling chorus, melds electro cumbia and reggaeton into an instant dance floor classic. "Encantador de Serpientes" sounds like Egyptian Lover reborn as an intergalactic DJ street gang. "Cumbia Que Pega" and "Muevelo Que Sube" bring the hip hop forward, while "El Paisano," "Esto Es Asi" and "Cumbia Callejera" work the electro cumbia groove to perfection. Sure to draw some attention is a sci fi, Kraftwerked cumbia version of "Ghost Town" by The Specials, a wickedly great re-imagining of one of the signature songs of the 1980s.<br /><br />If you're looking for some early summer in this endless winter, Fantasma have condensed it down and put it onto a CD. Look no further.<br /><br /><a href="http://blurt-online.com/news/view/4762/">http://blurt-online.com/news/view/4762/</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-65600357304226204472011-02-28T18:59:00.004-05:002011-03-01T17:35:22.559-05:00FireAnt's first release in 7 years! Fantasma - "Fantasma City"<a href="http://3.bp.blogspot.com/-q5XtQo7JbGU/TWw4BIPAeTI/AAAAAAAAAOo/3feqWrjBN3U/s1600/FANTASMA%2BCITY%2B-%2BPANOR%25C3%2581MICA.jpg"><img id="BLOGGER_PHOTO_ID_5578895630446655794" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 147px" alt="" src="http://3.bp.blogspot.com/-q5XtQo7JbGU/TWw4BIPAeTI/AAAAAAAAAOo/3feqWrjBN3U/s400/FANTASMA%2BCITY%2B-%2BPANOR%25C3%2581MICA.jpg" border="0" /></a><br /><br />Release date: Feb. 28, 2011<br /><br /><br /><br /><br /><br /><br />Thursday, February 24, 2011<br />CD Review: Fantasma's "Fantasma City"<br />from "Inside World Music"<br /><br /><br />Fantasma<br />"Fantasma City"<br />FireAnt Music<br /><br />The neo-cumbia sounds coming out of Argentina are showcased on Fantasma's latest album, Fantasma City. The Argentinian band flirts with Tex-Mex beats, Latin rhythms, electronica, and reggae beats with an astounding result. The psychedelic and electronic elements blend with the accordion, flutes, and heart-stopping percussion with an equal amount of gritty, in your face vocals. The dance beats, wild vocals, and engaging trance and eletronica songs echo around in one's head with a result leading to a high degree of satisfying pleasure. Twelve tracks feature a range of modern and urban vocal and electronic accompaniment with some of the better tracks. It is difficult to find much fault with anything Fantasma seems to do. Fantasma City is a fantastic album with every track a party unto itself. Perfect for fans of South American cumbia music and Latin electronica. ~ Matthew Forss<br /><br /><a href="http://insideworldmusic.blogspot.com/2011/02/cd-review-fantasmas-fantasma-city.html">http://insideworldmusic.blogspot.com/2011/02/cd-review-fantasmas-fantasma-city.html</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-29981369679168708332010-12-23T21:59:00.002-05:002010-12-23T22:11:25.464-05:00Review: Nortec Collective "Bulevar 2000"<a href="http://4.bp.blogspot.com/_BOhCzkPAc7c/TRQPRlJbGjI/AAAAAAAAAOY/bDg7X9WxjDY/s1600/nortec%2Bcover1500.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="http://4.bp.blogspot.com/_BOhCzkPAc7c/TRQPRlJbGjI/AAAAAAAAAOY/bDg7X9WxjDY/s400/nortec%2Bcover1500.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5554081035158493746" /></a><br />CD Review: <br /><br />Nortec Collective Presents: Bostich and Fussible <br /><br />"Bulevar 2000" <br /><br />Nacional Records <br /><br />Release Date: Sept. 14, 2010<br /><br />THE DEAL: The Nortec Collective is four artist/producers Fussible, Bostich, Clorofila and Hiperboreal. Real names: Pepe Mogt, Ramon Amezcua, Jorge Verdin and Pedro Garcia Beas. From beautiful, dangerous, deadly Tijuana they fuse trad Norteno music with post modern electronica — a total culture clash between modern and mariachi that surprisingly works.<br /><br />THE GOOD: The album is sinuous, smooth and kinetic. Usually, it works, sometimes not, but at least they take chances. The recording is toe-tappy, good listening with dance-y favorites like title track "Radio Borderland," "Punta Banda," "Bulevar 2000" and "Must Love" all with trad horns and accordion meshing nicely with high-energy electronics. It's as if the original German accordion and oompah influence in northern Mexico many years ago finally paid off, came alive and landed in modern Tijuana. Other knockouts include "One Night" and "We're Too Late" with their odd retro feel and the sad, hypnotic, talky "Centinela."<br /><br />THE BAD: The only misfire is "I Count The Ways" — ironically, the first song released as a single — too orchestrated, too smooth, too disco-y.<br /><br />THE VERDICT: Enjoy their bi-national approach to a truly Mexican sound. Mostly sung in English, it's a treat seeing how they combine influences. Not Mexploitation, but a novel mix of new and old.<br /><br /><br /><br />http://charlotte.creativeloafing.com/gyrobase/cd_review_nortec_collective_presents_bostich_and_fussible_s_bulevar_2000/Content?oid=1123078Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-162021730133109792010-10-21T22:23:00.003-04:002010-10-21T22:30:51.528-04:00Review - Systema Solar: "Systema Solar"<a href="http://3.bp.blogspot.com/_BOhCzkPAc7c/TMD3Li1SW5I/AAAAAAAAAOQ/SVJ7-o-nPyk/s1600/systemasolarCover.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="http://3.bp.blogspot.com/_BOhCzkPAc7c/TMD3Li1SW5I/AAAAAAAAAOQ/SVJ7-o-nPyk/s400/systemasolarCover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5530692120111897490" /></a><br /><a href="http://2.bp.blogspot.com/_BOhCzkPAc7c/TMD2UZkWsUI/AAAAAAAAAOA/wWydr9DCmyo/s1600/systemasolarpic.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 316px;" src="http://2.bp.blogspot.com/_BOhCzkPAc7c/TMD2UZkWsUI/AAAAAAAAAOA/wWydr9DCmyo/s400/systemasolarpic.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5530691172732154178" /></a><br />Systema Solar review<br />“Systema Solar”<br />Systema Solar<br />Chusma Records<br />Release Date: Oct. 14, 2010<br /><br />The Deal <br />Infectious, colorful cumbia and champeta music from the Colombian Caribbean. Deejay based music you can dance to, mop the floors and anything else but sit still. <br /> <br /> The Good <br />Songs like “Bienvenidos”, Mi Kolombia and "El Majagual" all carry a feel-good, colorful, day-glo sound yet still reference and carry messages (drugs, war, cartels, corruption, hypocrisy, violence, poverty), though not especially in your <br />face. Ditto that for final two cuts, “Ya Veras” and “Quien Es El Patron?” <br />Non-Spanish speakers can still pick up the good-time vibe and not too much of the sadness of that war torn nation, because the music is positive and celebratory rather than fatalistic and preachy. <br /> <br />The Bad <br />The ballad “En Los Huesos” slows the pace a bit much, but only enough to lead into to the frenetic rest of the recording. Songs like “Oye”, while good, don’t quite deliver the goods or live up to expectations, by now unrealistically high because of the magnificent earlier cuts. Yes, it’s in Spanish but when has that bothered anyone? <br /> <br />The Verdict<br />If you have a job, you'll be moving and grooving while you work. If you don't have a job, it'll cheer you up. Not since the Golden Age of Reggae has such good music come from the Caribbean. Systema Solar is up there with other Colombian artists like Bomba Estereo (“Fuego”), Sidestepper and Choquibtown, adding another notch to Colombia’s international music contributions. Here is bright, ultra-vivid music for all ages.Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-53163884392563430952010-10-16T13:29:00.005-04:002010-10-16T15:44:51.266-04:00New from Tim Maclean: "Kudzu Cognac"Featuring FireAnters<br />Tom Montefusco ("Wild Guitar")<br />and Lew ("Squeezebox") Herman<br /><br /><a href="http://www.timmaclean.com/kudzucognac.html">http://www.timmaclean.com/kudzucognac.html</a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-26760565863872631342010-08-18T21:52:00.009-04:002010-08-26T18:36:00.230-04:00Cumbia! Buenos Aires, 2010<a href="http://2.bp.blogspot.com/_BOhCzkPAc7c/TGyQHwJ4U9I/AAAAAAAAANw/4fi6WIlAJAg/s1600/fotos-tremor+at+Niceto-4.jpg"><img id="BLOGGER_PHOTO_ID_5506934907227100114" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 266px" alt="" src="http://2.bp.blogspot.com/_BOhCzkPAc7c/TGyQHwJ4U9I/AAAAAAAAANw/4fi6WIlAJAg/s400/fotos-tremor+at+Niceto-4.jpg" border="0" /></a> Tremor at Niceto Club,<br />King Coya<br />Lagartijeando<br />2010<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />More pix and article:<br />MIXING, MASHING, SAMPLING, BASTARDIZING: Cumbia Argentina<br />by LEW HERMAN:<br /><br /><a href="http://www.blurt-online.com/news/view/4034/">http://www.blurt-online.com/news/view/4034/</a><br /><a href="http://www.blurt-online.com/features/view/685/">http://www.blurt-online.com/features/view/685/</a><br /><br />Blurt.com - Aug 12, 2010<br /><br /><a href="http://2.bp.blogspot.com/_BOhCzkPAc7c/TGyPhjtJ8oI/AAAAAAAAANo/OtH3JGvPmsY/s1600/fotos-kingcoya2.jpg"><img id="BLOGGER_PHOTO_ID_5506934251050365570" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 267px" alt="" src="http://2.bp.blogspot.com/_BOhCzkPAc7c/TGyPhjtJ8oI/AAAAAAAAANo/OtH3JGvPmsY/s400/fotos-kingcoya2.jpg" border="0" /></a>For anyone interested in checking out surprising new sounds, you should really visit Buenos Aires.<br /><br />And Niceto Club (pronounced nee-say-toe, not "nice, too") in trendy, hipster barrio Palermo Soho is ground zero. If you can't raise airfare, this summer several Argentine deejays and musicians on Argentina's ZZK label are touring North America and Europe as we speak. They played South by Southwest last year, paving the way for this year's tours. Previously they've played Summerstage in New York City's Central Park as well as big festivals like Coachella in California and Roskilde in Denmark.<br /><br />I was in Argentina - and Buenos Aires - earlier this year, grooving to the new music; call it Argentine cumbia, cumbia electronica, psychedelic cumbia. There's more - folktronic, cumbiatronic, neo-cumbia, even futuristic cumbia.<br /><br />When I arrived in Buenos Aires, a city of 15 million, my guidebook said, "Greeting someone with a kiss on the cheek is quite normal" or, "A long siesta is the norm between 2 and 5PM." Both were accurate, so when someone said, "Clubbing begins at around 2AM and continues past dawn," they meant it.<br /><br />In Buenos Aires I headed straight to Zizek world headquarters, a house in barrio Villa Crespo, as most new cumbia is on the Zizek record label. My contacts at Zizek were deejaying at Club Niceto, so they said, "Come by at 3:30. Asking, "AM or PM?" they laughed and said, "Night!" Turns out, music may be the only thing that runs on schedule in Argentina. As my friend Marcela told me, "We Argentines don't really have a good sense of time."<br /><br />ZZK and their accompanying Zizek Urban Beats Club - their mobile, roving party - is headquarters for the budding international cumbia cult. Actually, cumbia's been around for 200 years, since African slaves brought its loping beat to the shores of Colombia's Caribbean coast, mixing African rhythms with indigenous flutes and pipes. The catchy, hesitating beat is caused, they say, from the way the slaves had to dance with shackles on their legs. Cumbia's gone through quite a few changes since then and this new Zizek phase is the latest. Cumbia Villera (gangster cumbia) was the previous version and like early hip-hop, originated in tough urban slums, in this case from the villa miserias or shantytowns ringing Buenos Aires. Like hip-hop, Cumbia Villera had a bad reputation, with misogynistic tunes about sex, drugs and violence, but the Zizek folks knew it, studied it, played it. In one peculiarly ironic stroke, I was told stories about Pablo Lescano of Damas Gratis (Women For Free) - the Elvis or Bob Dylan of cumbia.<br /><br />But cumbia evolves regularly, so now there's Zizek. Co-owner/honcho Grant C. Dull explained, "We call ourselves ZZK in the US, to avoid copyright problems. "You know, Zizek the (Slovenian) philosopher is kind of a rock star in the philosophical world."<br /><br />Grant C. Dull is one of three label managers at ZZK and a co-founder of Zizek Club. He's a 6-year adopted citizen & cultural ambassador of Buenos Aires and a transplanted Texan also known as El G. ("I answer to both English and Spanish pronunciations.") He's also a musicologist, editor, theorist, deejay and internationalist. He runs the ZZK operation with two others, both deejays and more, Diego Bulacio aka Villa Diamonte, and Guillermo Canale aka DJ Nim. Grant was leaving soon on his North American/Euro tour, but Diego stayed behind suggesting proper clubs, musicians and bands. "You'll like the band before me. Come early at 2:30 and you'll catch them." Fantasma was the band and they were fantastico. Accordions are king in Argentina and Fantasma rocked out as a live band with accordion, reggaeton/rap and a full throttle sound, heavy on percussion. Villa Diamonte deejayed after and was more vital and contemporary than most deejays back home, playing cumbia electronica, oddities, mashups, screeches and bleeps.<br /><br />***<br /><br />Edgy, tropical cumbia made itself a second home in Argentina and is presently going global. There was Seattle, New Zealand, Iceland, Chapel Hill and now maybe Buenos Aires. As Grant said, "This is maybe the only time in Argentina's history that this can happen." He wasn't only referring to the music but perhaps to Argentina's recent, calamitous history; the collapse of their currency ten years ago and prior to that, Argentina's murderous military dictatorship. Now comes the rising of new music representing a new alternative in Latin consciousness; a mixing of technology with Andean cosmology, not just here but in other hotspots like Bogota and Mexico City. Buenos Aires, with its boundless, new artistic energy is like Weimar Germany in the ‘20s - or Paris in the ‘60s or New York in the ‘50s. It's emerging, hung-over from an extraordinarily horrific state of affairs - universities closed; you couldn't study sociology, history, psychology or anthropology; the economy tanked, and worse than Greece today; no one bailed them out; and they defaulted. It couldn't get any worse, but it did. There were concentration camps. Their own armed forces declared war on their own people - called the Dirty War (La Guerra Sucia), thousands were murdered. So-called subversives were dragged from classrooms, flung out of planes, babies were snatched from pregnant women who were then murdered after giving birth, their children given to childless military families. In terms of numbers, Pinochet's dictatorship in neighboring Chile was murder-lite in comparison. The word "disappeared" was synonymous with Argentina, culminating in a war with England as the last gasp of a dying military dictatorship.<br /><br />After the Argentine peso collapsed ten years ago, Buenos Aires, once the most expensive city in South America, overnight became its most affordable. Foreigners, like Grant, investigated the city and the country and liked what they saw. "I came here (to Argentina) first maybe ten years ago, after the devaluation, then came back for good in 2005. Before, in the last ten years, I lived in eight countries - China, Spain, Ghana, Chile. I taught English around the world, immersed myself in many cultures. I dove into cultures, staying up all night, jamming with musicians."<br /><br />So, world traveler, culture surfer Grant picks BA as his home, builds a website for travelers - people who like to hang out, play music or listen all night. "Connecting us to the rest of the world and to my own world view," is how he describes it. He came up with the bilingual What's Up Buenos Aires (<a href="http://whatsupbuenosaires.com/wuba2">http://whatsupbuenosaires.com/wuba2</a>), and to publicize his project he and his pals threw parties every week "We wanted to emphasize local producers. After one and half years we decided to form a record label - ZZK". Not a big shot label, more a collective, "Now we have 30 deejays/bands, almost all Argentine. Only exception is Douster, who was here as a French exchange student and he's still here. And there's me." The dance parties known as Zizek Club, expanded to clubs and nightspots throughout Argentina. But the actual club according to Grant, "Is really a state of mind. We have shows in Niceto, but it's all over." In clubs El G - Grant - spins what he calls, "Mashups, bootlegs, official and unofficial releases plus the newest music from the ZZK label. Plus, found sounds, B-sides, alternative cuts."<br /><br />ZZK is also live music. Grant explains, "Some (on our label) are traditional with full, live bands and percussion while some are minimalist, just using a shaker or guacharaca and go electronic. We're creating something new." ZZK infuses cumbia with new sounds - dark, psychedelica, trippy beats, reggaeton rapping, accordion sounds. Accordion is king in Argentina and being an accordion player myself, I felt at home. It's been tango country for eighty years, and now apparently, it's cumbia time.<br /><br />Cumbia has a long history and ZZK brings a pleasingly progressive, cross-pollinating mix of new electronics and Argentina folk/trad. One of the groups on the current tour, Tremor, uses authentic traditional Andean instruments like charango, standup drumming and extensively trained musicians. Another positive for ZZK is having King Coya aboard. "He's part of our original Zizek Collective." His live show is phenomenal as he's an acknowledged, multi-dimensional force." Coya typifies Zizek's mutant blend of techno-cumbia/Andean trad recombinants making his music unique, adventurous and listenable.<br /><br />As Grant puts it, "We're taking cumbia into 2010, 2011, and 12, mixing, mashing, sampling, bastardizing and creating something new."<br /><br />Coya - real name, Gaby Kerpel - is an Argentine of eastern European background. His recordings under his own name like "Carnabailito" on Nonesuch are exquisite creations, while his ZZK recordings as King Coya are delicious mixtures of folklore electronica. His Cumbias De Villa Donde is available in the US on Nacional. He performs live with five drummers and percussionists plus sexy, charismatic vocalist/sorceress La Yegros. Onstage, Kerpel wields a snake charmer type reed attached to his melodica, wheezing weird, accordion-ish sounds, blending Buenos Aires hipster sensibilities with indigenous themes, Arabic trance and Brit trip hop making for a hallucinatory, spellbinding, experience. Tunes like "Trocitos De Madera" and "Un Nino Que Llora en los Montes de Mara" are wigged-out, rhythmic classics.<br /><br />At Niceto, I watched King Coya while sipping bitter fernet con coke with my friend, Wade, who said repeatedly, "This is great! Greatest show ever." Later, he sent me an email saying, "Going to Niceto has really gotten me excited about Buenos Aires. I was getting so sick of dancing to suffocating electro and whiny reggaeton. This cumbia is legit. It's sexy. You've got to look for it and if I'm lucky enough to find it I will be very happy." He's not the only one bored to tears by endless drum 'n' bass and four to the floor house.<br /><br />Other deejays in the ZZK fold besides the previously mentioned musicians are Fauna, Frikstailers, Chancha Via Circuito, El Trip Selector, El Remolon and Lagartijeando. We're not listing everyone, but all represent the top of the Argentine crop when it comes to the new music explosion. El Remolon's "Bolivia", is a minimalist mix of new and old. The Frikstailers are a mutant, stoner rap duo, with post-rock sensibilities. Lagartijeando mixes jungle chants with charango loops and psychedelica. Tremor mixes Andean flute with digital drum samples. Chancha Via Circuito is hypnotic, heavy and psychedelic. His ZZK Mixtape Vol. 2 (online) or album Rodante are both superb. All these groups are innovative, adventurous, moody and trippy. Elements of surprise and recognition add to the pleasure and fun.<br /><br />Other groups in other places are joining the nu-cumbia fray. The Kumbia Queers from both Buenos Aires and Mexico City are a group to be reckoned with. Described by Grant as, "Punk rock lesbians in the Argentine punk scene, they're working now with a big producer." Not on ZZK but on good terms with the folks at the label, they've been touring Europe and are on the verge of bigger things, with their campy cumbia covers of Nancy Sinatra and Madonna. Uproot Andy from New York City has an outstanding cut, "Brooklyn Cumbia" on the ZZK's compilation (also on Nacional), while Chicha Libre, a group also out of NYC, plays Peruvian influenced cumbia - more indigenous and less electronic, using cheesier electronics than ZZK.<br /><br />While label ZZK in Buenos Aires is ground zero for new cumbia, Nacional in Los Angeles is cherry picking Latin America's best and the brightest for American release and distribution - for example ZZK's compilation ZZK Sound, Vol. 1 & 2, King Coya's Cumbias De Villa Donde and Colombia's Bomba Estereo ("Blow Up"). Interestingly, all three have recently been touring the US.<br /><br />The ZZK World Tour began this past June and goes through August. Beginning in Europe the tour swerves back to this side of the Atlantic to music hotspots in North America - Brooklyn, Los Angeles, San Francisco, Montreal, Toronto, Chicago, Seattle. Touring with El G are Tremor, Chancha Via Circuito and El Remolon. This is the new sound of South America and is spreading beyond its borders.<br /><br />It's the real deal, not a buncha poseurs playing crud you hear all day on the radio or in clubs. This is 21st century cumbia, tripped out, dressed up. No problem if you don't understand the words, you can dance to it like mad - all night long.<br /><br /><br />Pictured above: Frikstailers. Check out BLURT's photo gallery of some of the above-mentioned artists <a href="http://www.blurt-online.com/news/view/4034/" target="_blank">right here</a>.<br /><br /><br />ZZK label, club and tour info: <a href="http://www.zzkrecords.com/">http://www.zzkrecords.com/</a> (Don't forget to explore the site - there are some pretty awesome videos and music samples to be found therein!)<br /><br /><br /><a href="http://3.bp.blogspot.com/_BOhCzkPAc7c/TGyPHKO4UNI/AAAAAAAAANg/XwIjqsKzlEk/s1600/fotos-lagartijeando1.jpg"><img id="BLOGGER_PHOTO_ID_5506933797535895762" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 267px" alt="" src="http://3.bp.blogspot.com/_BOhCzkPAc7c/TGyPHKO4UNI/AAAAAAAAANg/XwIjqsKzlEk/s400/fotos-lagartijeando1.jpg" border="0" /></a>Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0tag:blogger.com,1999:blog-708348475032737815.post-37756287046125634542010-08-17T09:20:00.004-04:002010-08-17T10:09:54.226-04:00Review: Feufollett "En Coleurs" - Louisiana Cajun<a href="http://2.bp.blogspot.com/_BOhCzkPAc7c/TGqRlCvRjlI/AAAAAAAAANY/Z-jEelCqMdU/s1600/En_Couleurs_Cover.jpg"><img id="BLOGGER_PHOTO_ID_5506373559990193746" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 364px" alt="" src="http://2.bp.blogspot.com/_BOhCzkPAc7c/TGqRlCvRjlI/AAAAAAAAANY/Z-jEelCqMdU/s400/En_Couleurs_Cover.jpg" border="0" /></a><br />Feufollet : En Coleurs<br />Feufollet Records<br />Release date: June 1, 2010<br /><br /><br /><br />The Deal: Here’s a highly skilled Cajun band - great vocalists, male and femme – who kick it indie style, playing multi-faceted Cajun tunes. Unusual arrangements and weird instruments - like a 1980’s digital autoharp - create extra textures and mix magic. All originals, too.<br /><br /><br /><br />The Good: Spirited, innovative Cajun music, groundbreaking, but still highly listenable and danceable. Solid, satisfying, soulful, layered, playful, it’s creative yet still somewhat trad. Lots of variety here, not just two-steps and waltzes, even some experimental sounds, to boot. Gotta love the first tune “Au Fond Du Lac”, with it’s not too fast beat, oddly reminding me of a Cajun cumbia. The cuts are uniformly coherent and good, astonishing in this current realm of commercial music. Special mention goes to barn burner “Si T’As Fini Avec Moi.” Cut number 7,”Ouvre La Porte” has their two dueling vocalists suggesting shades of Kate McGarrigle meeting the spirit of D.L Menard.<br /><br /><br />The Bad: It’s all in French, but that gives it feeling, emotion and atmosphere. If you want the words, get a dictionary. Nevertheless, the songs most definitely work in any language.<br /><br />Vedict: Energetic, expert musicians, they leave you winded with their virtuosity, panache and sheer exuberance. With their infectious Francophone take, they embody the past, present and future of Cajun music, offering an entrée (sorry) into the world of Acadian culture. Not just accordions, fiddles and guitars anymore, but with glockenspiels, piano and power chords, a new genre is born.Lew Hermanhttp://www.blogger.com/profile/05831575832744521219noreply@blogger.com0