Thursday Morning Music Shuffle – Guess That I Just Don’t Know Mix

Tweet #E2TG!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=”//platform.twitter.com/widgets.js”;fjs.parentNode.insertBefore(js,fjs);}}(document,”script”,”twitter-wjs”);https://apis.google.com/js/plusone.js I guess that I just don’t know… Shuffle after the jump—

Shuffle: “River” by The Delta Saints from Death Letter Jubilee (2013) – The Delta Saints come from Nashville but their music rises like the high humidity from a swampy place down where the Mississippi River joins the Gulf of Mexico.

“A Switch Behind the Poster? (Let’s Push it!)” by Black Doctor Jr. from Mama Coco’s Funky Kitchen – Section 5 (2014)/Single (2013) – The good doctor returnes to #E2TG with their latest single which is compiled on the latest Mama Coco’s Funky Kitchen compilation (the fifth, I’m guessing) which filled with great music. The song is chunky and soaring and freakin’ awesome. http://bandcamp.com/EmbeddedPlayer/album=378487843/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/http://bandcamp.com/EmbeddedPlayer/album=2678306607/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/“99 Shades of Crazy” by JJ Grey and Mofro from Alligator Records: 21st Century Blue and Roots (2014)/This River (2013) – We’re all crazy – get over it.  Some southern blues rock from Jacksonville, Florida from a recent Alligator Records compilation.

“Sleep/Whatever” by Ghost Pal from God Save MCFK (2013) – some sweet psychedelic sounding pop music from another Mama Coco’s band which is fronted by the ubiquitous Oliver Ignatius the man behind the curtain at the Funky Kitchen.  Which provide a good opportunity to remind you of their on-going plan to build-out a new space.

https://www.indiegogo.com/project/help-mama-coco-s-funky-kitchen-build-a-new-studio/embedded

http://bandcamp.com/EmbeddedPlayer/album=2606593525/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/“Take Your Makeup Off the Wall” by The Foresters from Living Hold (2014) – the kids from Connecticut are back in the shuffle with another great track from their latest album.  Their CXCW performance of this song (included in the video playlist below) earned them the There is Hope for the Future Award.  Hope indeed.

“Heroin” by The Velvet Underground from The Velvet Underground and Nico (1967) – I’ve never done heroin.  Thanks to Lou Reed and the Velvet Underground, I feel like I don’t need to… 47 years later VU are still way ahead of the time.

“Perfect Storm” by Jenny Leigh from Tipping Point (2013) – A nifty Country song by a powerful singer – fairly recently relocated to Nashville.

“Shops” by The Jean Jackets from Field Theory Blues (2013) – I just realized I’m a whole album behind on this great indie pop band – yet another Mama Coco’s Funky Kitchen member.  Memory and time shortages allowing, I will catch up, but in the meantime, check out this evocative final track from their second most recent album.

http://bandcamp.com/EmbeddedPlayer/album=677418331/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/“Too Many Cuts” by Pork Chop Willie from Love is the Devil (2014) – North Country Alabama blues with a Brooklyn edge helps make this album by Pork Chop Willie one of the best of 2014.  Garnering a lot of well deserved attention from the Blues community, the music is fresh and suitable for music fans of all types. Highly recommended!

VIDEO PLAYLIST

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Friday Morning Music Shuffle – PB&J Mix

It’s Friday – smile!

Um or um – not sure what to say.  I’ve found some words, and will be writing about the In-Store performance I saw yesterday…so stay tuned.

Today we have a quirkily awesome mix of music so let’s get to it…

First up we have transplanted Nashvillian Eef Barzelay’s band Clem Snide post-reunion effort The Ghost of Fashion (2010) and a track called Joan Jett of Arc which name drops Hall and Oates, John Mellencamp’s Pink Houses  and others to great effect and humor. 

   

Next we have a track from the solo debut album, Resolutions by Dave Hause who has been a member of several Philadelphia-based bands over the years. We have the excellent lead track of the album, Time Will Tell is a raw and starkly, beautiful song.

 

 Next up we have a cover, and it’s a good one.  Mitch Easter the producer was responsible for tons of my favorite music way back in my youth – R.E.M., his own band Let’s Active, yesterday’s Connells album we featured, Marshall Crenshaw, Pylon, Suzanne Vega, Game Theory … deep breath. Here we have Mitch Easter the performer from the fairly recent Velvet Underground tribute CD American Velvet.  His cover of The Black Angel’s Death Song  which was on the Velvet’s first album The Velvet Underground and Nico.  Easter’s gentle Carolina twang adds a note of Southern Gothic charm to the dark and dissonant song. 

 
Lou Reed John Cale and Nico Reuniting in 1972

(Couldn’t find a video of Mitch Easter’s version – so here’s Beck’s cover)

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Eef Barzelay Eef Barzelay

The Velvet Underground and Nico The Velvet Underground and Nico has influenced the sound of more bands than any other album. And remarkably, it still sounds as fresh and challenging today as it did upon its release in 1967. In this book, Joe Harvard covers everything from Lou Reed’s lyrical genius to John Cale’s groundbreaking instrumentation, and from the creative input of Andy Warhol to the fine details of the recording process. With input from co-producer Norman Dolph and Velvets fan Jonathan Richman, Harvard documents the creation of a record which – in the eyes of many – has never been matched. EXCERPTIn 1966, some studios, like Abbey Road, had technicians in white lab coats, and even the less formal studios usually had actual engineering graduates behind the consoles. Studios were still more about science than art. Clients who dared make technical suggestions were treated with bemusement, derision, or hostility. The Velvets were a young band under constant critical attack, and the pressure to conform in order to gain acceptance must have been tremendous. Most bands of that era compromised with their record companies, through wholesale revamping of their image from wardrobe to musical style, changing or omitting lyrics, creating drastically edited versions for radio airplay, or eliminating songs entirely from their sets and records. With Andy Warhol in the band’s corner, such threats were minimized.