Custom etching of Mose Allison on Side D. Features performances by Taj Mahal, Robbie Fulks, Jackson Browne, The Tippo Allstars featuring Fiona Apple, Ben Harper and Charlie Musselwhite, Chrissie Hynde, Iggy Pop, Bonnie Raitt, Loudon Wainwright III, Richard Thompson, Peter Case, Dave Alvin and Phil Alvin, Anything Mose, Frank Black, and Amy Allison with Elvis Costello. Includes Ever Since I Stole The Blues DVD, a Mose Allison documentary by Paul Bernays.

Wainwright remembers, “For many years I made a point of going to see Mose Allison play wherever I could -In London, Chicago, LA, and , of course, in my hometown of New York. I considered his gigs essential listening and going for me was, not to get too highfallutin’ , a pilgrimage. When I nervously would approach to say hello to him after a show I was always thrilled that he seemed happy to see me. Mose’s cover version of my song “I’m Alright” was an unparalleled highlight of my career and I can only hope he would have approved of my stab at “Ever Since The World Ended.”

Mose’s daughter Amy Allison teamed up with musician/producer Don Heffington to honor her father’s rich catalog of songs. “We were talking about my dad’s legacy and thinking about all the musicians who were fans, and how a tribute album featuring some of these artists would be cool, especially if it were to benefit a worthy cause. Don said “Let’s put it together ourselves” and introduced the idea (and me) to his friend producer/engineer /studio owner Sheldon Gomberg. Sheldon ALSO happens to be on the board of Sweet Relief Musician’s Fund, an organization started by Victoria Williams to benefit musicians in need. And so it began…”

Sweet Relief Musicians Fund is a 501(c)3 nonprofit that provides assistance to career musicians who are struggling to make ends meet while facing illness, disability, or age-related problems. Grant recipients include recording artists, club and session musicians, and composers and songwriters from every musical genre. Since its inception, Sweet Relief has helped musicians with medical and living expenses, including insurance premiums, prescriptions, medical treatment and procedures, housing and food costs, utilities, and other basic necessities.

Born in 1927 in the Mississippi Delta, Mose John Allison grew up listening to jazz and blues greats such as Louis Armstrong, Memphis Minnie, Duke Ellington, Louis Jordan and the Nat Cole Trio. He learned to play piano and trumpet as a boy. After a stint in the army and then several years playing in clubs around the South, he moved to New York City to make his career as a pianist, songwriter, and performer fronting his own trio. Allison performed with jazz greats such as Stan Getz, Zoot Sims, and Gerry Mulligan, and developed a distinctive style of playing that fused blues and jazz with succinct and timeless lyrics. Mose Allison became a favorite among his peers and his songs have been covered by other great artists such as Van Morrison, The Who, Bonnie Raitt, Elvis Costello, The Clash and many others. Allison passed away in 2016 at the age of 89.

The Electric Banana, are actually the Pretty Things. And the Pretty Things… ah, but you don’t need Spin Cycle to tell you that. The Pretty Things are one of the greatest bands that ever stalked this earth; purveyors of so much great music that it hurts to think of how many people have never actually heard it; and if you want to know why they changed their name for these sessions, that was down to business and contracts. They could never have realized they were also creating a legend.

The Electric Banana were one of the greatest bands that ever stalked this earth, purveyors of… etc

Three discs and a terrific booklet tell the story, how a beat band of somewhat ill repute was invited to record what was known as library music for one of the companies that specialized in such things, DeWolfe Music.  Intended for use in film, television and similar enterprises that required some appropriate tunes to play beneath the action, it’s an avenue that a lot of musicians recognize, even if they don’t always admit to it.

The Pretties, however, saw the opportunity as something more than that; a chance to experiment on somebody else’s budget, to lay down ideas and thoughts that may or may not go any place else, and even to demo songs that they might want to use on their own LPs. 

Both SF Sorrow and Parachute arguably have their roots in these sessions, and that’s one of the reasons why the original Electric Banana albums (Electric Banana in 1967; More Electric Banana in 1968 and Even More Electric Banana in 1969) have been so highly prized by collectors, since their existence first became well-known. 

But wait, there was more – a return to DeWolfe’s fold in 1973 for Hot Licks, and again in 1978 for The Return of the Electric Banana. In truth, this pair are not as exhilarating as the earlier albums; accurate or otherwise, there’s definitely a sense that the band reconvened more for financial than creative reasons. But still there’s much to be enjoyed as the box plays through, from playing “spot the riff” across discs one and two, to just rocking out on disc three.

Plus, it’s the Pretty Things.  What more do you need?

Frank Zappa typically performed one-of-a-kind Halloween shows starting in the ’70s. In 1974, the concerts found a home in New York City, where they remained until 1984, when Zappa staged the last Halloween show. This 1973 date — one of the few Halloween concerts to be recorded, though the 1977 one was released in 2017 — featured a new band onstage at Chicago’s Auditorium Theater.

The limited-edition box includes previously unreleased performances that total more than four and a half hours, including songs from his most recent album, Over-Nite Sensation, like “Montana,” plus cuts from 1974’s Apostrophe(‘) (“Cosmik Debris”) and older favorites (“Uncle Meat,” “The Idiot Bastard Son”).

The fourth disc includes rehearsals for the shows. There’s also a single-disc version of the set available containing 16 tracks from the box.

This is our second glimpse into Frank’s Halloween archive and this one, thankfully, does not seal away its goodies on a USB stick. Rather, four CDs and a booklet join the expected seasonal goodies (a Frankenstein mask and a pair of monster gloves) in a similarly sized mega-toy box, and the whole thing is utterly fabulous. Assuming, of course, you agree that 1973 really did mark one of Zappa’s purplest patches.  

Two full shows sprawl across the first three discs, and while there’s definitely some duplication… a little more than half the set list is revisited on both nights…  the performances themselves are utterly unique, and the between song announcements as well. Which itself isn’t as easy as it sounds… how many different ways, after all, can you find to say “thank you Cleveland, you rock.”  Especially when you’re in Chicago.

The repertoire, as usual, wanders across Zappa’s catalog, leaning away from the earliest days of Motherhood (“The Idiot Bastard Son” is the oldest song on display), but hitting most of what period scholars would say are the expected highlights – “Don’t You Ever Wash That Thing,” “Dickie’s Such an Asshole,” “Penguin in Bondage,” and a great “I’m the Slime” towards the end of disc two.

The booklet, meanwhile, stuffs forty pages with photographs, commentary and memory,  with contributions from band members Ruth Underwood and Ralph Humphrey, plus archive master Joe Travers’ customary explanation of how the album came together. A  glorious package then.

Fans can also look forward to another Zappa release before 2019 ends. The Hot Rats Sessions, due on December. 20th, includes six discs documenting one of Zappa’s best and most popular albums.

That box includes unreleased basic tracks from the recording sessions, as well as rare and unedited mixes, work mixes and other songs from Zappa’s vault.

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The latest LP from the Indiana-based songwriter and Hoops member arrives in early 2020 on Bayonet Records (Beach Fossils, Frankie Cosmos). Krauter (who’s been touring with Hovvdy and Caroline Says) tells that the songs find inspiration in his religious upbringing and more recent navigations of self.

Indiana musician Kevin Krauter tackles complicated emotional states and ideas through elliptical songwriting that is at once poetic and truthful. “A lot of the lyrics touch on how I was raised religiously, touch on me understanding my sexuality more and more in recent years,” Krauter says, “just growing up and becoming more confident in myself…that process of looking inward and taking stock of myself.” It’s not especially uncommon for artists to probe deep into their own psyche to uncover what makes them tic, but Krauter’s light touch feels like something all his own.

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On the album’s first single, “Pretty Boy,” he sings, “Look ahead, say I see me now / Smiling at what used to stress me out / Cause it won’t be too long, but I’ll take my time with it / It won’t be too long till I come back home.” There’s a palpable sense of joy in Krauter’s acceptance of dire, stressful moments, and a liberation that comes from hearing him realize that the present will eventually be the past, and he’ll be able to look back and find peace.

releases February 28th, 2020

All songs written by Kevin Paul Krauter

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The Who has one of the greatest rock legacies in music history, they’re one of the all-time great live bands, have sold over 100 million records world including 9 US and 10 UK top ten albums and 14 UK top ten singles in a career spanning six decades. Now Fifty-five years after they made their first recordings, The Who is back with their first new album in thirteen years entitled Who.

Not in a million, trillion years would I have expected to love a new Who record as much as I love “WHO.” Is it “The Who Sell Out?” Of course not. Nothing is, damnit! NOTHING IS! Is it “Who’s Next?” No, not even close. But it is truly wonderful, because of what it isn’t and that is trying too hard. This is a collection of solid Pete Townshend songs, played with mature restraint, and sung by one of the greatest voices in rock and roll, Roger Daltrey. There are just enough elements of The Who you’ve grown to love scattered throughout, and when you notice them, the record gets even better. I am both thrilled and relieved by “WHO.”

The eleven-track album was mostly recorded in London and Los Angeles during Spring and Summer 2019 and was co-produced by Pete Townshend and D. Sardy (who has worked with Noel Gallagher, Oasis, LCD Soundsystem, Gorillaz) with vocal production by Dave Eringa (Manic Street Preachers, Roger Daltrey, Wilko Johnson). Singer Roger Daltrey and guitarist and songwriter Pete Townshend are joined on the album by long-time Who drummer Zak Starkey, bassist Pino Palladino along with contributions from Simon Townshend, Benmont Tench, Carla Azar, Joey Waronker and Gordon Giltrap.

All This Music Must Fade‘ from The Who’s new studio album WHO, released on 6th December 2019.

North London’s Gengahr have today dropped a new single, ‘Heavenly Maybe’.

Premiered as Annie Mac’s Hottest Record In The World on BBC Radio 1, the track is lifted from their album ‘Sanctuary’, due out on January 31st 2020.

The David J. East visuals for ‘Heavenly Maybe’ is the second of a two-part video zeries the band made in Berlin earlier this year.

Band Members
Felix, Danny, John, Hugh

“Heavenly Maybe” is taken from Gengahr’s new album “Sanctuary” – out Friday January 31st, 2020. Transgressive Records

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The band comprises of Primus vocalist and bassist Les Claypool and Sean Lennon, with the follow-up to 2016’s Monolith Of Phobos titled South Of Reality.

Released on February 22nd of this year via ATO Records. Speaking about his partnership with Claypool, Lennon tells Rolling Stone: “We are great friends indeed, and I guess I’m not nervous in quite the same way as I was in the beginning, but I still make sure to do as much preparation as possible.

“Ideas always come quick for us, and I think that’s why we like working together. But playing with Les is like knowing you’re gonna be playing tennis with Rafael Nadal – it makes you wanna brush up on a few things before you get on the court.”

The video for “Blood & Rockets,” from The Claypool Lennon Delirium, taken from their second album release “South Of Reality” suddenly I am no longer offended by Claypool’s sophomoric sense of humor and no longer bored with Mr. Lennon. Quite the contrary! “South Of Reality” is a smart, exciting, well-played, and admittedly, somewhat out of control mix of Pepper-era Beatles, Barrett-era Floyd, and all the listenable bits from your favorite psych and prog records. It has more than a few kitchen sinks, but always keeps you engaged by never forgetting to toss in a great hook or melody with everything else. This one is consistently entertaining, something that becomes increasingly more difficult to say.

From The Claypool Lennon Delirium’s new album “South of Reality” out Feb 22nd, 2019.

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Alison Moorer has been making records for years, She has a wonderful voice and she can certainly write a song. But it wasn’t until her collaboration of covers with her sister Shelby Lynne, 2017’s “Not Dark Yet,” that I got on board. I wish I could tell you the precise reason why 20 years of prior recording failed to pique my interest. But I can’t. Wrong place, wrong time, I guess.  Now seems to be the right time, as her new release, “Blood,” the companion to her memoir of the same name, has really shaken me up.

Moorer’s not so secret life includes among other things, a divorce from husband Steve Earle, and of course, the 1986 murder-suicide of her parents, both of which I imagine take up more than a few pages in the book. While I plan on reading the memoir, until then, “Blood,” the album, gets heavy rotation, thanks to some truly amazing songs, like the beautifully heartbreaking “I’m The One To Blame,” a song with lyrics written by her father and found in a box, or “All I Wanted (Thanks Anyway),” a song Jagger & Richards have been trying to write since 1975.

From the album “Blood” – the musical companion piece to Allison Moorer’s memoir by the same name.

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There’s something different about The Rails on their brilliant third album. It’s not just the sound of the record, which is harder, tougher and rockier than ever before. Cancel The Sun is melodic and immediate, a record that brings together the musical pasts of Kami Thompson and James Walbourne – her family heritage, as the daughter of Linda and Richard Thompson, and sister of Teddy; his as guitarist for Son Volt, The Pogues and The Pretenders – in a record that sounds like a pure version of themselves. You could spend hours casting around for a term to describe it, but maybe the best one would be pinched from an Eliza Carthy album title: Anglicana – music that might originate in America, but is clearly and resolutely English.

Their debut, “Fair Warning” was among my favorite record of the year for two years in a row. That’s how much I loved that record. “Cancel The Sun” is their third, and Kami Thompson  and husband, Pretenders guitarist James Walbourne have expanded their musical horizons a bit further from the British folk of their debut. The sublime harmonies are still there. While some of the harder rocking tunes don’t quite work for me, “Cancel The Sun” has one of the most perfect Side Twos in recent memory, including my favorite song of the year, by anyone, “Something Is Slipping My Mind.”

In 2015, when Avi Zahner-Isenberg announced the end of Avi Buffalo, he said that although the band life was not for him, he would continue making music and maybe even release some, joking that “I will probably honestly be 40 or 50 when that happens and extremely fat.”

Well, the songwriter-composer-producer-guitar whiz is still only 29, and he’s looking mighty trim in recent photos on social media. And this week brought a new Avi Buffalo song, “Skeleton Painting,” a epic 6 1/2-minute journey through the hallowed halls of orchestral and prog rock. The scope is Floydian.

To rewind: Avi Buffalo burst out of Long Beach (reluctantly, as it turned out) as a teenager, hailed as a prodigy. In 2010, he released a self-titled album for Sub Pop, followed by “At Best Cuckold” in 2014. Both earned deserved acclaim. Since he checked out of the band life, he has dabbled in ambient and improvisational music, collaborated with artists such as Litronix and Ari Prado, toured Europe and pursued painting. He’s also playing in the new band Sink Drinkers.

“Skeleton Painting” was some two years in the works. It was recorded in living rooms and various studios, including the Lab Studio in Highland Park (with Frankie Siragusa engineering) and Woodshed Music in Long Beach. Production comes courtesy of DeRock Tucker (who also played bass) and Dave Andersen, and the lavish arrangements feature strings by Meg Webb and woodwinds by Dave Dillon.

Dense lyrically and complex yet warm sonically, “Skeleton Painting” feels like some sort of thesis, a song that begs to be read as well as heard.