Antony Flew

Serge Gainsbourg 101 ‘Le Poinçonneur des Lilas’

Tom Waits on Kerouac + 3 Songs from ‘Small Change’

Tom Waits talking about his love of Jack Kerouac on Belgian TV from 1977 and unique performances of ‘Bad Liver and a Broken Heart’ , ‘Pasties and a G-String’ + ‘Tom Traubert’s Blues’. 

The Amazing Jimmy Smith Trio

A pristine 25-minute clip from 1962 of The Jimmy Smith Trio performing on Jazz Scene USA.


Get On Your Bikes and Ride!

The Dutch Daily News has this report on an apparent ban of  woman wearing skirts while bike-riding in NYC.




Love and Other Crimes

Here’s an illuminating piece of film of  Lee Hazlewood during a recording session in Paris in 1968 along with Hal Blaine, James Burton and Donnie Owens. The two songs they’re working on, ‘She Comes Running’ and ‘The House Song’, were later  released on one of my favorite Hazlewood  LP’s : ‘Love and Other Crimes’.



No Guilt Allmans

I was a teenage stoner metalhead, and I was a Texas country punk devotee. I’d even listened to a Willie Nelson record or two, but I was never an Allman Brothers fan. No. Hippies with muttonchops “jamming” with the blues was a bridge too far.

Then I met Her. She was a Marxist history major with a bitchin’ bod. When she strapped on more than one gin martini, she was trouble. But before she left me to become a lesbian, she hipped me to the wonder and beauty of the Allman’s  “Blue Skies.”

“Blue Skies” is basically two long guitar solos pasted together, with a Walt Disney-damaged lyrical chaser. Duane Allman’s playing would pierce the heart of a goddamn Republican. It is a gorgeous, utterly perfect piece of music.

And for many years after Her, I had no interest in hearing anything else by the Brothers.

Last summer, I was stealing some music from an old Austin punk rock friend, and some Allmans ended up on my iPod. My friend swore it wasn’t his, and blamed a mutual acquaintance who is a New York journalist and jam rock apologist. (I have heard that upstate New Yorkers love Southern rock in general, and the Allmans in particular.) Nevertheless, I vowed to give the muttonchops one more chance.

First I listened to Eat a Peach. I liked it! (Except for the nearly forty-minute “Mountain Jam.” ) I had always heard that this album was the Allman’s masterpiece. I had heard wrong. Peach was actually a stopgap odds and sods collection, released just after Duane Allman was killed in a motorcycle accident as the rest of the band was still reeling from the loss. But it has “Blue Skies,” and it has “Ain’t Wasting Time No More,” one of the best songs ever about not feeling sorry for yourself. Also, Gregg Allman seems to be singing around a mouthful of chewing tobaccey. Somehow this pleases me.

I wanted more, so I got Beginnings, which is notable for being a repackage of two albums with really terrible cover art. The cover of Beginnings is even worse. But the music!

It’s a surprising set, if only in the way the songs shift between breezy and boozy. What really gets me are the headbanging moments, especially two spots where the Band seems to be literally nailing the groove to the inside of your brain pan. The first comes at the climax of “It’s not my Cross to Bear,” and the second, even more nailingly, at the climax of “Whipping Post.” These climaxes build and build until they overwhelm—two piercing, fuck-you-up guitars, two drummers wailing, the notes getting higher and higher. It’s no less slamming than certain Daft Punk tracks—the Allmans just kill with different tools.

As a matter of fact, you’ll probably find the sounds at the end of “Whipping Post”—and that feeling of something that is spiraling ever upward—in plenty of other, very different kinds of music. But I also like the fact that these are songs with a real End. “Whipping Post” climaxes like a Hitchcock film. Sure, non-narrative, ultra-abstract contemporary music with guitars, or electronics, can be good. But in these less-than-narrative times, the climax of “Whipping Post” is deeply satisfying.

“Dreams” is also really, really nice. Like a very hot summer afternoon. Put it on. Grow your own muttonchops.

–Pat Blashil

Pat Blashill writes about music and zombies for his blog, Euro Like Me, and for the German language paper, SÜddeutsche Zeitung.

Spectre Folk – Northside Festival 6/18 + with Sic Alps 6/24

Spectre Folk  (led by Pete Nolan of Magik Markers along with Peter Meehan, Aaron Mullan + Steve Shelley)  will perform at the Northside Festival in Greenpoint, Brooklyn on June 18. Also performing on June 18  at the 4 day festival is Eleanor Friedberger, Rebecca Gates, Ida.  Doors are at 6:30 pm ($15 advance, $17 day of show).

Spectre Folk will also perform w/ Sic Alps and Weekends at Death By Audio at 49 South 2nd Street in Williamsburg, Brooklyn on June 24.

Spectre Folk  have a new 12″ EP – The Blackest Medicine, Vol.II now available  on the Woodsist label. Spectre Folk were recently written about in Altered Zones.

Because if we don’t update you on Sade, who will?

The Guardian’s music blog has an entry on Sade with some priceless anecdotes. Would have loved to have heard that early free-jazz version of Your Love Is King…

Meanwhile, has been overhauled to coincide with the new greatest hits release. And the boys in the band have launched a blog called Super Bien Total with some great archival items.

Visions of Dylan

Here’s a terrific, long review of two new books on Dylan by poet David Yezzi.

— CL