Recorded live in August of 2001 in Santa Barbara and in January of 2002 in Pasadena, Dave Alvin's album comes by its title honestly. As live albums tend to be, it's a curious mix of the familiar and the obscure; concerts always have to offer the hits and standbys, but they also offer the performers a chance to play old and unfamiliar songs that hold a personal significance. Thus, listeners get rawboned performances of the inevitable "Fourth of July" (an Alvin composition recorded more famously by X, of which he was a member for a while) and "American Music" (recorded more famously by the Blasters, the band with which he made his breakthrough albums in the 1980s), along with a lascivious old Bo Carter blues, the Bo Diddley classic "Who Do You Love" (here performed in a medley with another old Blasters tune, "Little Honey") and the hoariest of old blues-rock chestnuts, "Don't Let Your Deal Go Down." The album's finest moment is a stunningly beautiful rendition of Alvin's "Abilene," which is beautiful in large part because the other bandmembers pitch in on vocals -- Alvin is a fine guitarist and an even better songwriter, but he's no kind of singer. At the very end, there is a hidden track; an audience member calls for "Freebird" in an ironic tone of voice, and Alvin responds, "What, you think we can't play that?" With that, the band rips into "Freebird" with a (mercifully brief) vengeance. It's the perfect ending to a very impressive album. ~ Rick Anderson, All Music Guide
Dave Alvin & The Guilty Men:
Dave Alvin (vocals, acoustic & electric guitars, national steel bodied guitar); Rick Shea (electric, pedal & steel guitars, mandolin, background vocals); Brantley Kearns (fiddle, background vocals); Chris Gaffney (accordion, background vocals); Joe Terry (keyboards, background vocals); Bobby Lloyd Hicks (drums, background vocals).
Additional personnel: John "Juke" Logan (harmonica); Greg Leisz (electric guitar, dobro).
Recorded live at The Blue Cafe in Long Beach, California in August, 2001 and at The Neighborhood Church in Pasadena, California in January, 2002.
trax:
1. Out in California 2. Haley's Comet 3. Little Honey/Who Do You Love? 4. Abilene 5. Don't Let Your Deal Go Down 6. Highway 99 7. Andersonville 8. All 'Round Man 9. Blue Boulevard 10. Wanda and Duane 11. 4th of July 12. American Music 13. Evertthing's Gonna Be Alright
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11 comments:
Dave Alvin & The Guilty Men "Out in California"
gitit! pw: rideyourpony
http://www48.zippyshare.com/v/66777882/file.html
BONUS 1 (for Jeff McKee, all 6 Releases)
LEWIS TAYLOR - Lewis Taylor (1996)
http://www62.zippyshare.com/v/56778296/file.html
When Lewis Taylor's self-titled debut burst upon the U.K. pop and R&B scenes, punters and gasbag critics were beside themselves in trying to offer enough superlatives to describe its seamless blend of soul, sophisticated pop, streetwise grooves and laid-back white-boy funk. Taylor, who possesses a voice that is infinitely more emotionally expressive than Jamiroquai's without all the faux-hippie hyperbole, or forced Stevie Wonder-isms. Taylor waltzed onto the pop music stage and created, seemingly effortlessly, the same kind of record that Paul Weller has wet dreams about. From the outset, Taylor is reminiscent of other modern visionaries in that he composes his own tunes, plays all the instruments, and is the entire range of voices. He also produces his material with Sabina Smyth. From the shimmering synths that so languidly open "Lucky," with a snaky electric guitar creeping through the percussion and a bassline that immediately goes to the bottom of the spine, the listener knows that this is a pop encounter of the third kind. Oh yeah, it's slick, it's got sheen, but its also got that unspeakable kind of murk in its tracks that breathe and infect. Taylor's gorgeous tenor is full of a masculine ache that asks directly for what it wants -- check the tough drum and jazzy guitar shimmy of "Bittersweet," the blessed-out transcendence of "Track," ( which Hall & Oates would have killed to record), the spiny backbeat funky bass-driven of "Whoever," or the dubby soul of "Song." Considering that all of these cuts are on the first half of the record sets a new watermark. But cuts six-ten deliver an entirely different kind of payload. The easy blue-eyed rock and shake of "How," the burning blue sex balladry of "Betterlove," the tense steamy drama at the heart of "Right," and the backbone dropping languor of "Damn" are the precursors to the album's glorious closer "the a cappella "Spirit," which is sexier than anything Take 6 ever fantasized. This is a debut that doesn't just show promise; it delivers brilliance. (Thom Jurek, Allmusic)
BONUS 2 of 6:
LEWIS TAYLOR - Lewis Taylor II (2000)
http://www41.zippyshare.com/v/457166/file.html
On his sophomore effort, singer/songwriter, multi-instrumentalist, and producer Lewis Taylor drives home the more muscular, up-tempo side of his prodigious gift. There are a couple of drummers on this set playing on selected tracks, and this outing also features a cover of Jeff Buckley's "Everybody Here Wants You." To start with this remake is significant. Taylor is deeply influenced by Marvin Gaye, and Buckley's tune was an obvious homage to Gaye. Taylor's reading of Buckley's reading of Gaye takes some interesting liberties with the tune. The guitars are more overtly psychedelic, without ever leaving the soul groove. The piano is icy, while Taylor's voice provides the fire: it's a stark contrast to Buckley's own performance, which consciously tried to keep everything firelight warm. It's as deeply moving without being desperate, and in this way ghosts Gaye, who sang everything, no matter how desolate, with the warmth and immediacy -- as if the sheer act of singing might take the darkness from a situation and place it in redemptive terrain. As for the album proper, it is kicked off by the moody dark funk of "Party," that forgoes all slinkiness for the razor wire tightrope walk of sheer sensuality and verve. The slide guitar mixed through the middle of the tune is soon covered over by the fuzzed-out, single-string lead guitar anticipating the vocal, and is as steamy as hell itself. On "My Aching Heart," the wah-wah whispers offer a window into a percussive funk that allows for need, want, and pleading while going after what it wants via Taylor's insistent vocal performance. On "You Make Me Wanna," a murky atmospheric groove insinuates itself just below the growling eroticism in the grain of Taylor's delivery. As evidenced by the tracks "Lewis II" and "I'm on the Floor," Taylor does some real sonic and textural experimentation here that makes this album not as immediately accessible as its predecessor. But that doesn't mean it's not as fine; it's just focused in a different way. Just check out the majestic balladry of "Satisfied," or the dubbed-out and spaced out "Never Gonna Be My Woman," or the positively swoon-worthy "Blue Eyes." Lewis II is a worthy follow-up that breaks plenty of new ground. It will be years before most punters catch up with its vision and courageous articulation. (Thom Jurek, Allmusic)
BONUS
Daniel Johnston - Why Me?
CD Rip/AAC/400kb
http://www74.zippyshare.com/v/88934638/file.html
When Daniel Johnston first appeared on the scene in 1981 with Hi, How Are You, he was welcomed by the alternative rock community as the ultimate outsider -- at least in the U.S. He was the Howard Finster of music long before Beck even owned a guitar and learned how to milk being a geek for all it was worth. But as the years passed, Johnston proved to be an outsider whose songs, as prolific and profound as they were, couldn't support the fragile psyche of their creator. Each bit of progress was greeted with a new breakdown or another complete episode of mental devastation. In America at least, Johnston became a curiosity piece, and what was worse, being that he's intelligent as they come, he knew it -- which further fractured an already fragile person. But the truth of the matter is, Johnston is an authentic artist, not just an outsider. His songs accurately reflect who he is at any given moment. It seems that the Germans and other Europeans at large have always understood this, in the same way they understood Townes Van Zandt -- you'd never see anybody in Europe offer Van Zandt a drink, for instance. This show from 1999 in Germany reveals the depth of Johnston's talent, the dimension of his fragile mental state, and the total commitment of the German people to his art. With his father by his side, Johnston plays piano and guitar for over an hour, digging deep into his catalog (which features almost 400 songs) with a manic and tender energy that only Jonathan Richman is capable of, and just knocks 'em dead. The songs include "Bloody Rainbow," "Spook," "Love Is Like a Toy," and "Like a Dream." Johnston is an artist in whom there is no artifice, no pose, no front; he's as naked as a baby on the stage, allowing the songs to flow from the source, playing with a sincere desperation that this is a lifeline -- and both he and his audience know it. This music, these songs, are a poetry so simple that it's confounding in its depth, so tortured in its innocence and pain that if it weren't for the loving applause it would be unbearable to listen to. (Unbearably beautiful, that is.) There's something about suffering and a person's willingness to bear it and talk about it that is heartbreakingly beautiful -- just think of Van Gogh's paintings. This disc is perhaps the most important in Johnston's catalog, and is certainly his most poignant. ~ Thom Jurek
tracklist
http://www.discogs.com/Daniel-Johnston-Why-Me/release/1943392
Thank you very much, friend RYP, for this and so many other treasures. All good wishes for the coming year.
Iggy
Merry Christmas, Happy New Year, thanks for everything, Ho, Ho, Ho.
Gyro, thanks for the Lewis Taylor releases!!!
I tried to buy all of them on import but they were hard to get here in the US, and due to similar titles it was also hard to know what you were getting when you ordered. I'm excited to go through my CDs and see if I actually have all 6 of these...I think I only have 5. Thanks again! This blog is the best.
Happy Holidays to All!!!
Thanks
Gyro,
Wowzers, when it rains it snows!!!
Little Lewie Taylor and I are going to be having a getting to know you party this Christmas week (Mr Taylor thinks, "calm down, he means that he's going to listen to your music - you don't actually have to spend any time with him - and thank you God for that."
So, Gyro, old sport, all I'm going to need is your address, and a lawn mower. If you don't have a lawn, I can paint your sidewalk green, or we can just say that it was the thought that counts and you won't need the restraining order that Lewis Taylor is currently trying to obtain.
Thank you for more than you could possibly know, signed, your buddy,
Jeff McKee
Richmond, Va.
Big thanks to The twilight zone team & to the regular posters. Merry Xmas!
Johnny Kinkdom sez: Let's Party with Dave Alvin and some of the original Blasters this Friday night at the legendary Rhythm Room in Phoenix, AZ, USA. Thanks for this warm up and Happy Christmas! He's also playing around CA and in LA for New Years Eve with brother Phil. Can you spell BLASTERS REUNION?
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