Richard Hawley makes me want to turn the lights down low, light a few candles, settle with a cat in my lap, dog to my right, leather ottoman under my feet, adjust my ascot and purr. No computers within 10 miles of this fantasy, just four electrical outlets for the phonograph, lamp, electric tea kettle and… cell phone charger in case I want to text someone about it.

Mr. Sentimental Crooner from Sheffield — who played with Pulp, the Longpips and was rejected as guitarist for Morrissey’s backing band after performing Elvis’s “One Night” at the audition — takes huge cues from Roy Orbison and Scott Walker. (more…)

I first saw Rainer Maria early in their career when all they had for merch was a cassette demo that I thought was one of the coolest things ever (for a dollar). In fact, to this day I wonder where that tape went. I took them as a superior localish bands us high schoolers would see in the basement of the downtown coffee shop; I had no idea that they were part of a larger national scene, and it would be another year or two before I heard the word “emo” (which I pronounced E.M.O. as in R.E.O. Speedwagon). A thousand miles later when new P.F.s (Potential Friends) would ask what music I liked Rainer Maria always made it on the list which thrice initiated decade-long friendships. (more…)

Here’s a 4CD collection of Simone’s Philips-era albums all released from ‘64 through ‘66 including my personal favorite, Wild Is The Wind.

AMG says:

Despite the fact that she recorded great albums both before and after her years with Philips (most notably with RCA), her Philips period is easily her most enigmatic. Among her Philips recordings are her live label debut and six studio recordings featuring wildly varying instrumentation, arrangements, and contents. The box contains all seven LPs on four CDs, and includes one bonus track. But Simone’s Philips period is a monolithic accomplishment when measured against many of her peers, both male and female… Four Women documents all the knots, turns, twists, peaks, and valleys of that journey and makes for an essential listening experience. This is history, this is art, this is the joy of pop at its finest.

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When I was 15 my favorite musician ever was Ani Difranco. By favorite I mean sketching elaborate pictures of her during my lunch break at Wal-Mart; signing up for her mailing list then archiving label postcards like I’d been entrusted with the dead sea scrolls; and summoning my Righteous Spirit Guide to write angsty acapella songs which I’d later sing to my best friend who’d say “Hm, sounds like Ani Difranco” while I’d nod, scary smile and think, my masterpiece.

For some reason I didn’t get many (or any) dates until I graduated (or dropped out of) high school — I dunno why, it couldn’t have been all the “I love you… I mean I love you. I mean, I am in love with you” letters to boys I barely knew — and for some reason people thought I was a lesbian, which I blame on all the Difranco, kd lang, and Team Dresch in my walkman, but not on my borderline crew cut. (more…)

Elinor Blake is not only totally adorable, she’s also quite accomplished.

Her resume includes: animator for Archie Comics, Disney and Pee-wee’s Playhouse; writer and principal animator for Ren & Stimpy; illustrated Madonna for the opening credits of Who’s That Girl? and respective music video; released six full lengths and several EPs; recorded with Allen Ginsberg, Jonathan Richman, Brian Wilson, Jon McEntire and Elliott Smith.

Yet, a relative few know about her. (more…)

The other night I caught a couple repeats of The Henry Rollins Show, which until then I’d taken measures to avoid. Well, not only did I witness a moment of Janeane Garofalo actually being funny, a bucketful of awkward Henry Rollins moments (as expected), and an unfortunate Ryan Adams performance; I also enjoyed a solid 13 minutes of Mars Volta in all their heavy duty King Crimson-meets-John Zorn-by-way-of-Led-Zeppeliness which, despite frontman Cedric Zavala, was freaking awesome. (more…)

For the most part Breathe Owl Breathe meets my requirements for acceptable if not desirable slow, indie acoustic sounds. Could it repel hippies (i.e. insufficient jamming)? Yes. Folkies? We’ll pretend yes. Is there a 12 string? No. Can I cite Will Oldham, Ida, Low or Smog as a reference point? Yes. Will I? Yes. Cello? Bonus. Tasteful harmonies? Uh huh.

Deliberate, spare, pretty, just rough enough though wholly inoffensive. It does remind me of Smog (requirement: met) without any of Bill Callahan’s perversions. Indeed Micah Middaugh’s dry baritone is SO similar to Callahan’s it’s almost impossible not to compare the two. Breathe Owl Breathe: Smog meets girl, without the bite, in Ann Arbor, Michigan. You get the point.

Of course there are a couple issues that demand attention. For instance: their label is called “Earthwork Music” which sets off a red alert (could attract didgeradoo havers) (more…)

The older I get the more intolerant I become of youth, especially teenagers (in coffee shops) but also people two or three years younger than me. I know it’s unfair and it’s worse with talented musicians. I mean, how dare they!

St. Vincent got a dose. I mean, how dare she! I was able to like Feist because she is older and therefore provided something to aspire toward in terms of perfecting your craft. As in, “Oh, she’s in her 30s, so I still have time…” whereas Annie Clark aka St. Vincent inspired only feelings of humiliation and self-degradation. How dare she! Thus, as with several other worthwhile artists, I called bullshit and locked the door to my heart. Envy, malice and low self esteem: that’s just how I roll, B. (more…)

Not long ago I posted Nick Drake’s version of “All My Trials” off Time Has Told Me, a two disc collection of unreleased material. Since then the Drake family authorized another posthumous release entitled Family Tree. I didn’t bother getting it assuming everything off Family Tree was already on Time Has Told Me. Of course, I was wrong.

Here’s an alternate (brain-melting) piano version of “Way to Blue” set to rare footage and photographs of a (very) young Nick Drake. (more…)

The other night I was watching Dave Chappelle’s Block Party which had me wonder, “What happened to Cody ChesnuTT?”

In 2002 Chesnutt recorded 36 songs on a 4-track and released them as The Headphone Masterpiece; Thom Yorke’s mind was blown; The Roots covered “The Seed” which was pretty weak; and then he disappeared. So where did Cody ChesnuTT go? Tallahassee, Florida. (more…)