Beck and Feist are just two of the musical luminaries stepping in for an assist on UK blue-eyed soul meister Jamie Lidell’s new platter due out in May. This goes beyond the casual guest appearance, as both Beck and Feist wrote tunes with Lidell for Compass. Oh, and some folks from Wilco and Grizzly Bear turned up too. This should be a good one and here’s a stream to whet the appetite.
Sigur Rós’ Jónsi Birgisson has big plans for a solo career this year with Go, due out in April on the uber-trendy XL label, and a long list of upcoming US and Canadian tour dates (listed after the jump).
01 Go Do
02 Animal Arithmetic
04 Boy Lilikoi
05 Sinking Friendships
07 Grow Till Tall
08 Around Us
Erykah Badu New Amerykah Part II: Return of the Ankh
Releasing: 30 March
It has been two years since singer/songwriter/producer Erykah Badu’s last release, New Amerykah Part 1: 4th World War. Now the empress of soul has announced her follow-up New Amerykah Part II: Return of the Ankh. The album is scheduled to be released 30 March by Universal Motown. Each song was either produced or co-produced by Badu, and features a guest appearance by drummer/DJ ?uestlove. The album will also include a web-only track featuring Lil’ Wayne and Bilal.
01 20 Feet Tall (produced by Erykah Badu and 9th Wonder)
02 Window Seat (produced by Erykah Badu and James Poyser, featuring ?uestlove)
03 Agitation (produced by Erykah Badu and Shafiq Husayn of SA-RA Creative Partners)
04 Get Money (produced by Erykah Badu)
05 Don’t Be Long (produced by Erykah Badu and Taarak)
06 Love (produced by Erykah Badu and J Dilla)
07 Umm Hmm (produced by Erykah Badu and Madlib)
08 Fall in Love (produced by Erykah Badu and Karriem Riggins)
09 Incense (Instrumental) (produced by Erykah Badu and Madlib)
10 Out My Mind Just in Time (Part 1) (Undercover Over-Lover) (produced by Erykah Badu)
11 Out My Mind Just in Time (Part 2) (produced by Erykah Badu and Georgia Anne Muldrow)
12 Jump in the Air (ft. Lil Wayne and Bilal) (produced by Erykah Badu, RC Williams and Jahborn)*
* web-only bonus track
I just finished watching the sexy 1989 thriller Sea of Love that I picked up from the library. The title intrigued me, and it was a VHS. My DVD player is broken, so I’ve been renting VHS tapes. Well, the movie was a gem; if you haven’t seen it, you should. More appropriately, the film piqued my curiosity about the song it was named after, “Sea of Love”.
The song was written by Phil Phillips and George Khoury and, in 1959, Phillips’ version of the song charted at #1 on the Billboard R&B chart and #2 on the Billboard top 100. It’s had several reincarnations. In 1981, ‘60s rocker Del Shannon took the tune to #33 on the Top 40. In 1983, the Honeydrippers (Jimmy Page, Robert Plant, Jeff Beck et al) launched their version to #3 on the Billboard Hot 100.
Since those early ‘80s covers of “Sea of Love” topped the charts, “Sea of Love” has come in to the hands of two less mainstream artists who have made it their own for respective soundtracks. Tom Waits covered it specifically for the aforementioned Sea of Love film. Indie crooner Cat Power played it as part of her 2000 album The Covers Record and her version was catapulted into the pop culture zeitgeist on the Juno film soundtrack.
Here are the different versions of the song in chronological order.
Danny Paul Grody’s Fountain is the first full-length solo recording by one of the founding members of San Francisco’s Tarentel and the Drift. For those familiar with these music/art based acts, Fountain is a sweet reminder of Grody’s subtle guitar work—a cornerstone of both projects that often doesn’t get center stage in the ambitious mix of instrumentation, field recordings, and sound-scapes that make up the bulk of these bands’ output. Not that Fountain doesn’t use employ these techniques. There is no shortage of organ and feedback drones, recorded environments, modulated delay and ambience, but the album’s core is Grody’s evocative finger picking style—a style he says is an attempt to integrate something of psychedelic folk masters of the ‘60s, contemporary minimalist composers, and African thumb piano music structures. The result is pattern heavy music that achieves depth through very little surface movement. Repetition is the key to Grody’s compositions and a patient, quiet, even half dreaming approach to listening yields the best results.
Grody once went under the moniker of Furniture—a name copped from Eno’s idea that music should become furniture in the room. Like many of Eno’s concepts, this one is not quite as ephemeral as it seems. Furniture after all is integral to a room’s atmosphere as well as its functionality. The deceptive stillness of Fountain achieves both aspects of this concept quite nicely, creating an almost marginal backdrop while at same time giving us solid, haunting melodies that are perfect for resting our thoughts and memories upon. While some of these pieces are certainly stronger than others, hopefully Fountain is just the beginning of a wellspring that Grody will continue to draw from.
Fountain is available at Root Strata. Grody’s award wining soundtrack collaboration for the documentary feature October Country will be available soon and can be heard at the film’s New York release Feb 12 -18th at the IFC Center in NYC.