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Thursday, Sep 20, 2012
Celebrating the great lost (and never found) Love single from the Summer of 1967.

Today, with summer not quite over, I have some thoughts about the great lost single from 1967.


Lost in that it was never found. It was, in fact, left off Love’s masterpiece, Forever Changes, for a perfectly understandable reason: Arthur Lee felt it was too upbeat and would have marred the fragile balance between solemn and stirring that the eleven song cycle achieved.


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Wednesday, Feb 29, 2012
The late Johnny Cash (who would've turned 80 this month) was a combination of Keith Richards, Elvis Presley, and Public Enemy. Only he did it first, and no one before or since ever did it quite like him.

Two questions: 1. Is that the most bad-ass picture ever taken of a pop icon? 2. Is there a more bad-ass pop icon who’s ever walked the planet?


(Those questions are rhetorical in case you didn’t already know.)


Sex, drugs and rock and roll? The late Johnny Cash (who would’ve turned 80 on February 26th) was a combination of Keith Richards, Elvis Presley, and Public Enemy, only he did it first and no one before, or since, ever did it quite like him.


Quite literally too big (or complicated, or cool) to be contained by labels, he dabbled in rock and roll, rockabilly, blues, gospel, and folk. And while he can—and should—be considered an obvious lock for the Mt. Rushmore of Country Music, Cash was an American who wrote and sang about the country that made him. Even though at various times Kris Kristofferson attributed multiple sources of inspiration for his song “The Pilgrim, Chapter 33”, it is hardly a stretch to imagine who he had in mind for these lyrics (“He’s a poet, he’s a picker / He’s a prophet, he’s a pusher / He’s a pilgrim and a preacher, and a problem when he’s stoned / He’s a walking contradiction, partly truth and partly fiction / Taking every wrong direction on his lonely way back home”). Is there a better description out there for the icon who came to be known as The Man in Black?


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Wednesday, Feb 22, 2012
Back in February of 2002, ...And You Will Know Us by the Trail of Dead was expected to make a good first impression with their major label debut, Source Tags and Codes. Nobody expected the indie rock group to craft a landmark piece of art. Let's take a look back.

Indie rock—raw, passionate, forceful indie rock—was at a bit of a crossroads around this time a decade ago. Its monuments had long been crumbling. Fugazi had just released The Argument, what would be (and as of now, still is) their final album together. Sonic Youth, long parted from the days of Daydream Nation, was still a few months away from releasing Murray Street, what many would hail as their “return to form”. At the Drive-In had given way to the Mars Volta. Drive Like Jehu and Sunny Day Real Estate had long been dead and buried. The most critically acclaimed rock band at the time (by most accounts at least), Radiohead, technically wasn’t even a “rock band” any more, venturing into the realm of the ambient and the electronic with Kid A and Amnesiac. The list went on and on.


In its stead came what we today term the garage rock revival. Led by the four “The” bands—the Vines, the Hives, the Strokes, and the White Stripes—the indie rock scene came to focus upon minimalism, skuzzy, simplistic hooks, and a messy-haired, energetic panache that was at once rocking and easily digestible for the masses. It was fun, breezy music, catchy and small-scale in scope and intention; it’d be as easy to picture a track like “Get Free” by the Vines selling Volkswagens as it would be tearing the roof off of some dingy local club. It was undoubtedly image-centric, with as many people interested in the created mythos of Jack and Meg White or endless cool of Julian Casablancas as there were genuinely interested in the art these guys were making. It was pleasant and entertaining, and major record labels were soon fiercely throwing this movement out on stage at every opportunity. It was cute.


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Thursday, Jul 7, 2011
Marvin Sease will likely never be remembered as a big star, but he knew what worked for him and he mastered it. His fans have always loved and will continue to love him for that.

This past February, the chitlin circuit became a little less funky when one of its greatest performers died following complications from pneumonia. Marvin Sease, a native of Blackville, South Carolina, was 64 years old and only eight days short of his 65th birthday when he passed. He was originally a gospel singer and as is the case with many southern gospel singers, he made his way into secular R&B music. In 1986, Marvin Sease released his self-titled album which included the tune that would become his trademark for the remainder of his days, “Candy Licker”.


From that point on, Marvin Sease built a career and a cult following based on his racy and raunchy songs. He never saw even a portion of the mainstream success that some of his peers did. Johnnie Taylor, Tyrone Davis, and to a lesser extent, Bobby Rush all come to mind. Perhaps that’s something to be expected here though. With songs like “The Power of Coochie”, “Rather Be Licked”, “The Bitch Git It All”, and “I Ate The Whole Thang”, chances of getting radio play would have to be slim to none.


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Thursday, Jun 23, 2011
The Band’s mythical country rock came to define a genre with its illuminating self-titled second record.

When it comes to legends in rock ‘n roll, the Band seemed to have left its mark in so many different genres and on so many influential musicians that it’s hard to keep track. Raised on the road by Ronnie Hawkins and later battered into shape by touring with Dylan during his conversion to electricity, the Band went on to influence everyone from George Harrison to Neil Young to and Eric Clapton (in fact, the Band may have been one of the factors for getting Clapton out of Cream), and has since served as a template for the resurrected Americana movements of the last decade. 


From a critical standpoint, the group first managed to wow critics and fans with their debut homemade masterpiece Music From Big Pink (1968) and its return to simple, stripped-down songs and arrangements. However, it would be the Band’s self-titled sophomore record from 1969 (sometimes known as “The Brown Album”) which would catapult it into a stratosphere of commercial success.


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