Tag Archives: news

Audio: Listen to Ray Benson & Asleep At The Wheel & Merle Haggard & More Do Bob Wills Songs

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The new album from Ray Benson & Asleep at the Wheel is called Still The King: Celebrating the Music of Bob Wills and His Texas Playboys. It’s out March 3, 2015.

The 22-track album includes these guest artists: Willie Nelson, Amos Lee, Merle Haggard, Old Crow Medicine Show, The Del McCoury Band, Robertt Early Keen, Carriue Rodriguez and others.

Give it a listen:

Tracklist:

1. Intro—Texas Playboy Theme (with Leon Rausch)
2. I Hear Ya Talkin’ (with Amos Lee)
3. The Girl I Left Behind Me (with The Avett Brothers)
4. Trouble In Mind (with Amos Lee)
5. Keeper Of My Heart (with Merle Haggard and Emily Gimble)
6. I Can’t Give You Anything But Love (with Kat Edmonson)
7. Tiger Rag (with Old Crow Medicine Show)
8. What’s The Matter With The Mill (with Pokey LaFarge)
9. Navajo Trail (with Willie Nelson and The Quebe Sisters)
10. Silver Dew On The Bluegrass Tonight (with The Del McCoury Band)
11. Faded Love (with The Time Jumpers)
12. South Of The Border (Down Mexico Way) (with George Strait)
13. I Had Someone Else Before I Had You (with Elizabeth Cook)
14. My Window Faces The South (with Brad Paisley)
15. Time Changes Everything (with Buddy Miller)
16. A Good Man Is Hard To Fine (with Carrie Rodriguez and Emily Gimble)
17. Ding Dong Daddy From Dumas (with Robert Earl Keen and Ray Benson)
18. Brain Cloudy Blues (with Jamey Johnson and Ray Benson)
19. Bubbles In My Beer (with The Devil Makes Three)
20. It’s All Your Fault (with Katie Shore)
21. Three Guitar Special (with Tommy Emmanuel, Brent Mason and Billy Briggs)
22. Bob Wills Is Still The King (with Shooter Jennings, Randy Rogers and Reckless Kelly)

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
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[I published my novel, True Love Scars, in August of 2014.” Rolling Stone has a great review of my book. Read it here. And Doom & Gloom From The Tomb ran this review which I dig. There’s info about True Love Scars here.]tter

Bob Dylan’s ‘Shadows In The Night’ Charts At #6 & #7 In The U.S.

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Well I was wrong. Very wrong.

While I predicted last week that Bob Dylan’s excellent new album, Shadows in The Night, would chart at #1 in the U.S. following its first week of release, in fact the album has charted at #6, according to Nielsen SoundScan sales data chart for current releases.

Or #7, depending on which chart you consult.

The album is at #7 on the Billboard Top 200 albums chart, which also includes older releases.

The Billboard Top 200 albums chart is partially based on sales information collected by Nielsen SoundScan but incorporates other data as well.

Shadows In The Night has sold 49,791 copies following its release on Tuesday, February 3, 2014, according to Nielsen SoundScan.

The album has done better, chartwise, in other countries. It charted at #1 in England (Official Charts Company), Ireland (Irish Recorded Music Association) and Sweden (Sverigetopplistan).

Additionally, Shadows In The Night has charted at #3 on Austria’s Ö3 Austria Top 40 Longplay (Albums) chart, #2 on the Swiss Hitparade Albums Top 100, #3 on Belgium’s Ultratop albums chart, at #2 on the Dutch MegaCharts albums chart and at #6 on the German Offiziell albums chart.

In the U.S, the albums that sold more copies than Shadows In The Night are the various artists compilation, NOW 53 (99,543) at #1, Taylor Swift’s 1989 (76,769) at #2, Fifth Harmony’s Reflection (61,854) at #3, Sam Smith’s In The Lonely Hour (56,937) at #4, and Ed Sheeran’s X (53,262) at #5, according to SoundScan.

Billboard has a slightly different order since their chart combines physical album sales, audio on-demand streaming activity and digital sales: Taylor Swift at #1, the NOW 53 compilation at #2, Ed Sheeran at #3, Sam Smith at #4 and Fifth Harmony at #5 and Meghan Trainor’s Title (59,000) at #6.

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
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[I published my novel, True Love Scars, in August of 2014.” Rolling Stone has a great review of my book. Read it here. And Doom & Gloom From The Tomb ran this review which I dig. There’s info about True Love Scars here.]

Bob Dylan’s ‘Shadows In The Night’ To Chart At #1?

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While the sales info is not all in yet for Bob Dylan’s latest album, Shadows In The Night (SoundScan won’t reveal the numbers until next Wednesday), and the album has only been available for five days, I believe it will debut on the Billboard charts this coming week at #1.

This is speculation on my part, but based on the album’s current ranking at Amazon, I think I’ll turn out to be right on the money.

The album is currently #1 on both Amazon’s Pop and Rock charts. And it’s already #1 on the Swedish chart.

However today the album was #13 on the iTunes album chart.

Still, since iTunes only tracks digital sales while Amazon tracks CD and digital sales, I think the Amazon chart is likely a better gauge of how the album will do in the Billboard Top 200.

The Dylan album has gotten a tremendous critical reception with rave reviews in Rolling Stone, the New York Times, England’s The Guardian, Paste magazine and numerous others.

Writing in The Guardian, Alexis Petridis ends his review:

Dylanologists could doubtless tell you a lot about the relationship between the songs here and his own oeuvre: you suspect they’ll have a field day with the religious overtones of Stay With Me. To say that all seems besides the point isn’t to rubbish their close reading and study, which at its best is genuinely illuminating. It’s merely to suggest that Shadows in the Night works as an unalloyed pleasure, rather than a research project. It may be the most straightforwardly enjoyable album Dylan’s made since Time Out of Mind. He’s an unlikely candidate to join the serried ranks of rock stars tackling standards: appropriately enough, given that Frank Sinatra sang all these songs before him, he does it his way, and to dazzling effect.

In Paste magazine Douglas Heselgrave writes:

Musically speaking, all of the songs on Shadows In The Night never come off as anything less than fabulous.

If Shadows In The Night charts at #1 this coming week, it will be Dylan’s third U.S. chart-topper since 2000. Both Modern Times and Together Through Life charted at #1. Dylan’s last album of new recordings, Tempest, reached #3 on the Billboard Top 200. And while Dylan’s Christmas In The Heart did’t top the Billboard Top 200, it reached #1 on Billboard’s Holiday and Folk Albums charts.

So what do you think? Will Shadows In The Night chart at #1 in the Billboard Top 200.

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[I published True Love Scars in August of 2014.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]

Bob Dylan Reinvents Himself – One More Time

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Improbable as it might seem at first, Dylan has recorded Shadows In The Night, an album of songs associated with Frank Sinatra – and it’s damn good.

By Michael Goldberg.

I hated Frank Sinatra. As a teenager, Sinatra, who was my mother’s favorite singer, represented my parents’ middle class world, a world I was desperate to escape. I wrote Sinatra off as one of those puppets, a Hollywood-invented pop star who sang Tin Pan Alley love songs, the kind that rhymed moon and June.

Silly love songs. That was what Frank Sinatra was all about. Trivial.

And worse still, I read that he hated rock ‘n’ roll.

In 1957, in the Paris magazine Western World, Sinatra called rock ‘n’ roll “the most brutal, ugly, degenerate, vicious form of expression it has been my displeasure to hear … It fosters almost totally negative and destructive reactions in young people. It smells phony and false. It is sung, played and written for the most part by cretinous goons and by means of its almost imbecilic reiterations and sly, lewd—in plain fact dirty—lyrics, and as I said before, it manages to be the martial music of every sideburned delinquent on the face of the earth. This rancid smelling aphrodisiac I deplore.”

So yeah, for me Sinatra was Public Enemy #1.

Sinatra was, in my opinion, the polar opposite of my idol, Bob Dylan, the brainy rock ‘n’ roll star who had in rapid succession released three of the greatest albums ever: Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde.

Dylan wrote his own songs, sang with a voice like no other, was a poet, brought the art of songwriting to a level it had never previously reached and was the hippest of the hip.

In 1965, while Sinatra was singing retro pop like “The September Of My Years” and “Last Night When We Were Young,” Dylan was spitting out such modern cubist masterpieces as “Ballad Of A Thin Man,” “Subterranean Homesick Blues” and “Like A Rolling Stone.”

Sinatra was ancient history, the pop singer my mother’s heart beat fast for during her teenage years as a bobby soxer.

I had no interest and no time for Frank Sinatra.

But 23 years later, in 1988, thanks to Beach Boy Brian Wilson, my attitude towards Sinatra changed. I was on assignment for Rolling Stone, writing a feature story about Wilson, who had a debut solo album about to be released. I was hanging out with Wilson at his townhouse in Malibu, and I was checking out some of his favorite CDs, which included recordings by Randy Newman and Phil Spector. There was one by Frank Sinatra, possibly In the Wee Hours or it might have been September Of My Years. Whichever it was, I listened to it there at Wilson’s place, and I opened up to Sinatra. I heard him for the first time.

I came to appreciate Sinatra, and the songs he sang, and I came to dig the often sentimental arrangements provided by Nelson Riddle and others.

Still, when I learned that Bob Dylan, BOB DYLAN, had recorded Shadows In The Night, a full album of songs previously recorded by Sinatra, my initial reaction was that of my 15-year-old self: horror.

Dylan singing those songs? Those corny Tin Pan Alley songs? How could he?

Read the rest of this column at Addicted To Noise.

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[Last August I published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of the book. Read it here. There’s info about True Love Scars here.]

Video: Preview Guitarists Henry Kaiser, Ray Russell Collaboration, ‘The Celestial Squid’

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Some months back the extraordinary experimental guitarist Henry Kaiser dropped an advance of his upcoming collaboration with free jazz guitarist Ray Russell, The Celestial Squid.

The album is a free jazz mindblower.

Today a 12 minute promo video for the album was released:

I’ve been digging Kaiser’s music since the late ’70s when I wrote a short article about him for New West magazine. We subsequently became friends. Recently, in December, we collaborated when Henry improvised as i read from my novel, True Love Scars, at Down Home Music in El Cerrito, CA.

Here’s info on the album direct from Cuneiform Records, which will release it on February 3, 2015.

Guitar summits don’t ascend higher than when legendary British free-jazz pioneer and longtime session ace Ray Russell meets the brilliant California avant-improv overachiever and Antarctic diver Henry Kaiser in the realm of The Celestial Squid. With more than countless session and soundtrack performances to his credit, including the early James Bond film scores, Russell is returning to his bone-rattling, noise-rocking roots for the first time since the very early 70s. You’ll be shaken and stirred as Kaiser, Russell and eight super friends deliver a no-holds-barred, free-range sonic cage match.

Russell created some of the early ’70s’ most outrageously outside music, releasing hallmark works of guitar shock-and-awe. Russell’s “stabbing, singing notes and psychotic runs up the fretboard have nothing to do with scalular architecture,” wrote All Music’s Thom Jurek, “but rather with viscera and tonal exploration.” Russell anticipated the wildest and most intrepid vibrations of Terje Rypdal, Dave Fuzinski, Sonic Youth, Keiji Haino, Tisziji Muñoz and their boundary-dissolving ilk. Russell is hardly a niche performer, though. Untold millions of music and film fans have actually, if unknowingly, already enjoyed Russell’s riffs – at least if they saw any of the James Bond films that John Barry scored, beginning with Dr. No in 1962.

For over 40 years, Russell would not make such exploratory music until West Coast guitar experimentalist Henry Kaiser called him out of the blue and asked if he would be interested in co-leading an ensemble in the style of his ’71 masterpiece, Live at the ICA: June 11th 1971. Russell was surprised and delighted by the offer, and readily accepted. Why had he waited so long to once again explore the free-jazz spaceways you might well wonder? Simple – no one had asked him to do so!

So on April 12, 2014, Henry Kaiser and Ray Russell – along with drummers Weasel Walter and William Winant, bassists Michael Manring (electric) and Damon Smith (acoustic), and saxophonists Steve Adams, Joshua Allen, Phillip Greenlief, and Aram Shelton – entered Berkeley, California’s Fantasy Studios for a day-long session that resulted in The Celestial Squid, a nearly eighty-minute embryonic journey through the deepest waters and most cosmic heights of improvised music. Except for melodic heads and compositional structures, everything on The Celestial Squid is improvised, down to some astonishing extemporaneous horn arrangements. While The Celestial Squid echoes the raw energy and youthful bravado of Russell’s earliest achievements, this music synergizes the combined power and imagination of all ten of these musical masters into a force to be reckoned with.

guitars: Henry Kaiser, Ray Russell
saxophones: Steve Adams, Joshua Allen, Phillip Greenlief, Aram Shelton
electric bass: Michael Manring
acoustic bass: Damon Smith
drums: Weasel Walter, William Winant

recorded live by Adam Munoz at Fantasy Studios, Berkeley, CA on April 12, 2014
mixed by Henry Kaiser, Adam Munoz, Weasel Walter at Fantasy Studios, Berkeley, CA
mastered by Paul Stubblebine
artwork and art direction by Brandy Gale
production by Henry Kaiser

– A Days Of The Crazy-Wild blog post –

Thurston Moore’s Favorites From 2014 Plus Ex Hex’s List

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This comes from Matador’s blog:

Thurston Moore

1. Chloé Griffin – EDGEWISE : A Picture Of COOKIE MUELLER (b_books)

This book is an astounding labor of love. The author, fascinated by who Cookie Mueller may have been after witnessing her in all the weirdo John Waters films, including Pink Flamingos and Female Trouble, decided to travel the USA interviewing anyone still left alive who spent time with this person. All the insane characters of early 70s Baltimore, P-Town and NYC raise their sloshing glasses to this incredible lightning girl Cookie and all their stories are told in a way which creates a historical travelogue of counter culture avant insanity which is responsible for helping to light the fuse that becomes punk rock and beyond.

2. John Lydon at Rough Trade East 17th October 2014

The Rotten one was bopping around the UK promoting his new book Anger Is An Energy (Simon & Schuster) and we caught his last stop at RT and it was as good as any Sex Pistols or PiL show. He came out with his manager / right hand man and Arsenal accomplice Rambo and a shopping basket full of lager and proceeded to have a high energy back and forth with the audience. His mates from nearby Finsbury Park were there shouting back and forth and Lydon actually did a weird physical transformation into Tony Blair (he hates ‘im). Savage, infuriating – everything his book is – but with a kindness that is always burbling through. I got to meet him fleetingly, the one person I wanted to meet most in this nutso rock n roll world, and he was nice enuff (“Sonic Youth, what are you bloody doing here?”) – but I think he more interested in drowning beers with his pals, which is what he should be doing but damn I think making a record with him in trio with Irmin Schmidt with Can is what Matador should be investing in big time for 2015.

Here’s a list from Ex Hex via Punk News:

In no particular order

* Pentagram show in Minneapolis at Mill City Nights
* King Tuff Black Moon Spell LP
* The Clean Anthology LP Reissue/ Merge
* Kid Congo and the Pink Monkey Birds show in Cincinnati at Mid Point Music Fest

Here’s Kid Congo and the Pink Monkey Birds on KXEP:

* Brooks Headley’s veggie burgers
* Slant 6 Soda Pop Rip off LP reissue/ Dischord
* Ed Schraders Music Beat Party Jail LP
* Man Made LP reissue Teenage Fan club/ Merge
* Black Bananas Electric Brick Wall LP
* Hammered Satin/The Tip/Dirt City show at Smash in DC

And lots more best-of lists over at Brooklyn Vegan.

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[This year I published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]

Meet Telecaster Master Jim Campilongo, And hear Him Play

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Jim Campilongo photograpahed by JR Delia.

Great story by Paul Elie in the December 22, 2014 New Yorker on guitarist Jim Campilongo, who is known for playing a 1959 Telecaster.

Over the years some of Campilongo’s fans includes Lou Reed, Emmylou Harris, Norah Jones and Bonnie Raitt.

The story begins:

A 1959 Fender Telecaster, blond finish, white pickguard, maple fretboard, will set you back about thirty thousand dollars.

Jim Campilongo is known for playing a 1959 Telecaster, blond, white guard, maple board, and a few years ago Fender’s custom shop produced a Jim Campilongo Signature Model, based on the one he plays. It was priced at $4,499—not thirty thousand dollars, but four times the price of a regular Telecaster. The Custom Shop has fashioned signature models based on guitars made iconic by Jeff Beck; David Gilmour, of Pink Floyd; and Andy Summers, of the Police. The Campilongo signature model put him up there with them—anointed him a sultan of twang.

At the Living Room, in Williamsburg, the other Tuesday, Campilongo played the ’59 Tele, not the signature model. I could see the guitar clearly—the body nicked and cut like a hockey rink, the fretboard worn to the color of chewed gum—because I was in the front of the audience.

In a sense, I was the audience…

Read the rest of this story here.

“The Prettiest Girl In New York”:

Fantastic hour-plus set. Jim Campilongo & Honeyfingers at 55 Bar, NYC – September 8 2013:

Jim playing with Norah Jones in the Little Willies:

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[This year I published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]

Audio: New Song From The Julie Ruin, ‘Blueberry Island’ – Hear It Now!

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Kathleen Hanna of The Julie Ruin.

This song, “Blueberry Island,” was recorded for The Julie Ruin’s album, Run Fast, but didn’t make the cut.

Now you can here it.

It’s great.

— A Day’s Of The Crazy-Wild blog post —

Video: Thurston Moore Band Performs ‘Germs Burn,’ ‘Detonation,’ Speak To The Wild’ & More

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Thurston Moore and his new band, which features bassist Debbie Gooch of My Bloody Valentine, guitarist James Seward, and Steve Shelley, who of course was in Sonic Youth with Moore, perform a 32 minute, four-song set for Seattle’s KEXP.

The group sounds exceptional here and makes me want to revisit the new album, The Best Day.

Thurston Moore Band
10/5/2014

1 Germs Burn
2 Detonation
3 Speak to the Wild
4 The Best Day

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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]

Culture Critic Roy Trakin Includes ‘True Love Scars’ in His Best Books of 2014 List

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Not that I can keep from letting it go to my head (that’s long been a lost cause), but it is exciting that culture critic Roy Trakin has included my novel, True Love Scars, in his best books of 2014 list. The book is #4 in his list.

Writes Trakin:

Just call it a portrait of the young rock critic as a freakster bro, coming of age in the glorious peace-and-love innocence of the ‘60s dream, only to crash precipitously, post-Altamont into the drug-ridden paranoia of a ‘70s nightmare, characterized by the doom and gloom of the Stones’ sinister “Sister Morphine” and the apocalyptic caw-caw-caw of a pair of ubiquitous crows. The one-time Rolling Stone journalist turned-Internet pioneer with his groundbreaking mid-‘90s Addicted to Noise site has always been on the cutting edge and here he perfectly captures a horny, but romantic, teenager growing up in Marin County back in what he calls the Days of the Crazy-Wild, where getting your parents to let you grow out your hair was proof alone of your manhood. If you lived through those momentous times, or even if you didn’t, Goldberg conveys that rush of ideas, music and literature that made it such a heady era, while still ruefully acknowledge its fleeting, self-destructive aftermath in what amounts to his version of fellow one-time Stone scribe Cameron Crowe’s Almost Famous.

Read Trakin’s whole column here.

And here’s a short audio clip of me reading and Henry Kaiser riffing from my reading last weekend:

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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]