Rolling Stones Friday: Sympathy For the Devil

This one is especially for our many Catholic readers on Good Friday -- "Sympathy for the Devil", the Stones compelling hypnotic samba, looking at history through Lucifer's eyes, referencing Christ's crucifixion ("Made damn sure that Pilate washed his hands and sealed his fate").

The lead track on Beggars Banquet (1969), "Sympathy for the Devil" represents a high water mark for the Stones in terms of both bold creativity and sheer musical power. The song was reportedly written by Mick Jagger.

In a 1995 interview with Rolling Stone magazine, Jagger said, "I think [Sympathy] was taken from an old idea of Baudelaire's, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can't see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song."    

The song has so many memorable elements, notably the "woo-woo" background vocals (reportedly belonging to Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, and producer Jimmy Miller), Nicky Hopkins' rhythmic piano, the Latin jazz drums of Charlie Watts, and the congas (Rocky Dijon) and maracas (Bill Wyman). Inspired musicality in all regards.

Here's the studio version:

There are a great many live versions out there, notably the footage from the tragic concert in 1969 at the Altamont Speedway in California, but the best performance I came across was this one, recorded in 1969 in London's Hyde Park, Mick Taylor by then with the band:

Thanks to Frank Fahey for suggesting this song on this day. We're always open to your requests and suggestions for Rolling Stones Friday. We still have 36 weeks and thus 36 Stones songs to feature here at WYMA in 2014.

New French Garage Psych Discovery: Les Rivals - Les Rivals

Les Rivals are a French garage rock outfit playing in a style that incorporates a 60's proto-punk approach with an intriguing 70's British punk influence. Like some of the other acts we've seen from Casbah Records (Mesa Cosa, Future Primitives, Owen Temple Quartet), they are proud of their raw, unfiltered attack, and rightly so. But there's more to the record - the 11 tracks here feature some variety, leavening the minimalist approach with touches like the reverb-laden twelve-string guitar on “Halfway There”, the sitar on “Take Me For A Ride”, and even oboe and harpsichord on “The Park”. "Falling From The Shelter" just swings, with keyboards and guitar jangle right up front.

Here is "Glory Days" - shades of Ian Dury and other classic 70's/80's British punk, delivered by what sounds for all the world like a Guy Ritchie character:



And here is "Police Station" - expansive, psychedelic and snotty, a great mix of punk and 60's garage rock:



This is out now, released in March on Casbah Records. We've learned to pay attention when we get something from these folks, and you should too.

Les Rivals at Casbah Records
Les Rivals Bandcamp Page

Baggy Attitude 7" Flexi Disc - Record Store Day pick #2

This two-track release from Baggy Attitude is my second Record Store Day pick.  I admit that technically this isn't even a Record Store Day release, but I'm not big on following rules.  It is limited and hard to find, we are close to Record Store Day, and I think it is very good.  That is enough for me.

Baggy Attitude are Roxanne Clifford from the brilliant UK group Veronica Falls and Jess Scott from the wonderful San Francisco band Brilliant Colors.  The songs are covers of "Don't Ask Me" and "Swimming Pool", which were penned by Chris Knox of Dunedin, New Zealand legends Tall Dwarfs and Toy Love.  The release is a 7" flexi put out by Wacky Wacko.  By the way, I can't take any great credit for discovering this release, as I found it mentioned in this indie music blog from New Zealand:  Pop Lib blog.  The man knows what he is talking about.





Wacky Wacko

Witching Waves - Concrete single

London duo Emma Wigham and Mark Jasper are Witching Waves, a garage band that has an unbridled, exciting sound.  The duo take turns on the guitar and drum kit, and they both sing.  The Concrete single featured here is a two-track cassette to be released in a super limited run of 100 tapes by our friends at Soft Power Records.  The title track is a straight ahead lo-fi garage rocker with jangling, scratching guitar, a steady beat and male/female vocals.  It isn't happy, but it is very captivating.  The second track, "Chain of Command", begins sweet and then explodes with pounding drums and snarling guitar.

Yes, just two tracks and fewer than eight minutes.  But it is enough to conclude that this is a band to watch.  And I think that another release for Soft Power is planned for later this year, so you won't have to yearn long.   But back to the present -- with only 100 copies available, you may want to jump on this one at the pre-order stage rather than wait for the April 21 release.



Witching Waves on Tumblr
Witching Waves on Soundcloud
Soft Power Records' Bandcamp page for release
Soft Power Records Website

REVIEW: Musi-O-Tunya - Give Love To Your Children

Give Love to Your Children is an amazing record, a medley of sweet soul, Afrobeat, funk and pure psychedelia (with some amazing, truly breathtaking fuzzy lead electric guitar). Musi-O-Tunya was a groundbreaking band at the forefront of a thriving mid-70's rock scene in Zambia, featuring artists who would go on to have very successful solo careers. Rikki Ililonga is a Zamrock superstar, as were fellow group members drummer Brian Chengala and guitarist Wayne Barnes.

Give Love To Your Children was their last album (and this package also features a few out-of-print singles to complete the story). In this fantastic record, you can hear the influences of Fela, James Brown, Jimi Hendrix, Cream - a host of soul and psychedelic rock influences, and on tracks like "When I'm Gone" and "Njala" they are particularly well-synthesized. The guitar work on "Sunkha" is sprawling, and along with a great horn section, makes an unforgettable noise. "Starving Child" features another great horn section, gentle rhythms, slightly more understated guitar and a suitably mournful vocal - it's impeccable, really.

Now-Again is known for the quality of its reissues, and this set from 1976 is certainly emblematic. As a taste, here is a free download of "When I'm Gone".

You can learn more and buy at Now-Again Records. The initial pressing is sold out, but the music is still available, as are other Zamrock reissues... and I'll try to be more timely in the future.

REVIEW: Chet Faker - Built on Glass

This sort of masterfully assured combination of R&B, electronics and chillwave is to be hoped for from the top producers and singers working Berlin, London and New York, and poorly imitated by the rest.  Except for the untidy fact that this Built on Glass is the debut album from Melbourne singer and producer Nick Murphy, working as Chet Faker.  The melding of components is not only seamless, but complimentary.  This is an electronic album that manages to be rich, warm, and captivating without resort to any gimmicks.  It is soulful and smooth, but with some interesting touches bubbling along just below the surface.  Try the "Talk Is Cheap", "Melt" and "1998" below to get a taste of the range on this album.  The first two are in the R&B camp, but "1998" stretches a bit further and hints as additional heights to be accomplished in the future.

Chet Faker has a high profile in Australia, built on a single previous EP and his live shows, so I wouldn't be surprised to read some skepticism regarding his ability to rise to the advance hype. Of course, that is an opinion that you can and will make on your own, but I find this to be one of the more satisfying electronic albums I've heard since Jon Hopkins' Immunity last year.  And if you want to experience Chet Faker live and you are in North America, I've provided the upcoming dates at the bottom of the post.

I'm at the point of my life when planning seductions isn't part of the schedule (it isn't that I'm unromantic -- it's just that world famous music writers don't have to seduce, we get seduced), but in listening to this album it occurs to me that this album would be the right choice for an intimate dinner of my specially prepared "catch a girl fish").






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Currently Scheduled North American Tour Dates:

May 13 Brooklyn, NY - Output

May 14 Boston, MA – Brighton Music Hall

May 15 Washington, DC – U Street Music Hall

May 16 Philadelphia, PA – Union Transfer

May 17 Brooklyn, NY – Music Hall of Williamsburg

May 19 Toronto, ON – The Hoxton

May 20 Chicago, IL – Lincoln Hall

May 22 Portland, OR – Doug Fir Lounge

May 23 Vancouver, BC – Fortune Sound Club

May 24 George, WA – Sasquatch Festival, George Amphitheatre

May 26 San Francisco, CA – The Independent

May 27 Los Angeles, CA – The Roxy

May 29 Los Angeles, CA – The Roxy

May 30 San Diego, CA – Casbah

May 31 Phoenix, AZ – The Crescent Ballroom

Jun 01 Tucson, AZ – Club Congress

Jun 03 Salt Lake City, UT – Urban Lounge

Jun 04 Denver, CO – Bluebird Theater

Jun 06 Dallas, TX – Club Dada

Jun 07 Austin, TX – The Parish

"Minha Menina" from Donovan Blanc; free download

This post offers you a free song, but also serves as a teaser for the debut album from Donovan Blanc, which will be released via Captured Tracks on June 24.  While the New Jersey band is new to us, its members are not.  Joseph Black and Raymond Schwab previously were in Honeydrum, a band which featured numerous times on these pages over the years.  The song is "Minha Menina" (trans: "My Girl"), and is a track from the upcoming album.  With soft vocals, jangling guitars and a nice melody, I think it suggests very good things for the upcoming album.  The vibe is relaxed, but not languid, and hints of Brazilian influences.  While it shares the attention to detail that marked Honeydrum's work, the sound is cleaner.   Stream it or watch the video below. The Soundcloud link has a download button.




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NEW SONG: Centro-matic - "Salty Disciple"

This qualifies as the best music news of the week for me: a new track from Centro-matic is always cause for celebration. "Salty Disciple" is a long track with a few changes, and like Centro-matic's last album, 2011's universally WYMA-acclaimed Candidate Waltz, it contains some new sounds - a bracing keyboard fanfare right at the beginning, some growling guitar, and a sort of sly, understated, in places spoken vocal approach. Like so many of my favorite Centro-matic tracks, it starts off with a good Matt Pence drum intro and fills out into a terrific chorus. Yeah, it's a familiar musical formula, but there aren't too many artists doing the chorus better than these guys.



Lyrical snippet for reflection: "Maybe you were just plucking it out of books and not living it..."

The album, titled Take Pride In Your Long Odds, will be out June 3. I can't wait.

By the way, they'll also be releasing a double vinyl version of Redo The Stacks at the same time, but will have 30 copies available for RSD in Austin, and online beginning next week. Check the website to learn more.

Centro-matic website

REVIEW: Omi Palone - Omi Palone

Well, the self-titled debut LP from Omi Palone is an absolutely wonderful surprise, akin to discovering a lost set of tapes from an '80s recording session on New Zealand's south island with added hints of early R.E.M.  A baritone lead vocal with others singing in unison, a distinctive bass line and upfront drums adding a steely backbone for the twanging, jangling guitars and robust chords.  The music is melodic, enveloping.  The lyrics are pointed, intimate, concise, and the writer shows no fear of dark places or difficult themes.  The vibe is relaxed and confident, if a bit moody, but the band is tight.  There is a punk energy and pace underneath the jangling guitars.

There is no filler in this eight song sets, and I'd be hard pressed to find a favorite.  While I was listening to the album and writing this post I hit the repeat button several times for "Void", which sounds like it came from The Bats' Daddy's Highway and the energetic closer "Sleepwalk".  But I'd be happy to have any of the songs showcase the record.  This may be the coolest little album you'll hear this spring.





Omi Palone is Philip, Simon, Liam and Jack, and they are based in London.  Prior to this album they released a cassette and two split 7" records.  Omi Palone is a joint release by Faux Discx and Negative Space, and is available now.  There are limited vinyl LPs and digital downloads.

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Record Store Day: The Minus 5 "Scott The Hoople in the Dungeon of Horror"

Record Day should be a national holiday. Though at least it's on a Saturday. And it is this Saturday.
Certainly the grandest Record Day release that I've heard about is The Minus 5's 5 LP box set entitled Scott the Hoople in The Dungeon Of Horror. That's all new material mind you, and all vinyl, in fact colored vinyl.  55 songs, 5 LPs, The Minus 5 - capiche?

Look here comes one now - "All The Trouble I've Made":

The Scott in question here is Minus 5 ringleader Scott McCaughey (The Baseball Project, Young Fresh Fellows, R.E.M.). The dungeon in question is apparently the home studio in McCaughey's basement where for the past two years, he's been bringing in band members (including Peter Buck) and various visiting musicians to record a new song or three. The Hoople in question is of course Mott the Hoople,  who are one of the The Minus 5's inspirations.

One more: "Adios Half Soldier":



It being Scott McCaughey, we can expect smart songwriting, elements of garage/jangle rock/punk/British invasion, with keen wit and superior rock'n'roll playing from the likes of Peter Buck, Steve Wynn, many of The Decemberists, and various Portland and Seattle all stars.

We'll close with an especially great one from Scott The Hoople in the Dungeon of Horror, "Blue Rickenbacker Guitar", done live at this year's SXSW, with the sublime Ms. Linda Pitmon on drums:



Yep Roc Records - release info
Facebook - The Minus 5

REVIEW: Doug Gillard - Parade On

Doug Gillard's latest work, Parade On, is a solo album, and when he says "solo" he means it. Apparently he created almost every sound on this record. He's played on a dizzying number of projects, always bringing guitar wizardry and a terrific melodic sense. This album is a logical step in his musical development, featuring as it does a wide variety of classic rock and postpunk sounds - not unexpected given his work in Lifeguards with Robert Pollard. Gillard has an easy way with the vocals here - nothing too grandiose, no fake British accent, just some engaging harmonies.

"Ready For Death", the opener, is upbeat and kind of Beatlesque - you could almost overdose on the jangle (in a good way):



Not to overdo the GbV connection, I think it's worth noting that Gillard spends plenty of time in all four P's, the most prominent being prog. But there's an underlying pop sense (a terrific one, really), plenty of psych and some punk elements - like his longtime playing and writing partner in Lifeguards and on the great Speak Kindly Of Your Volunteer Fire Department, Gillard serves all four major rock food groups to great effect.

Check out the prog/punk stylings of "Angel X". This video is from our friends at BreakThru Radio and if you stick around through the end of "Angel X" you will see some world-class Gillard shredding and a bit of the title track, performed live in studio:





In a similar vein are the longer tracks "Come Out And Show Me" and "Overseas", which also serve the purpose of giving Gillard plenty of room to stretch out and show off his guitar chops. And for fans of his expansive, varied work, that's going to be the highlight of Parade On, and is the main reason this one is not to be missed.

Parade On was recorded in New York City and Austin, TX, with Gillard playing every instrument except drums, which were played by George Duron and Travis Harrison, who also did some of the engineering. The album is out now (released 4/8).

Doug Gillard website
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"Flesh War" from Total Control

Melbourne's Total Control is Mikey Young (of Eddy Current Suppression Ring, among other projects) and Dan Stewart (of UV Race).  "Flesh War" is the first release from their second album, Typical System, which will be released on June 20.  Fans of the band, myself included, have been eagerly awaiting the album.  Moving the perimeter of their music outside the punk orientation of some of their other projects, Total Control shapes a synth, post-punk and gloom sound that sounds pretty refreshing to my ears despite some echoes of the '80s.  Check out "Flesh Wars" and mark your calendars.



Tpyical System will be released outside of Australia/New Zealand by Iron Lung Records on June 24, and self-released in Australia/New Zealand on June 20.

Bandcamp (for certain previous releases)
Iron Lung Records
Iron Lung Record's blog

Record Store Day Pick: Dunedin Double

This week I'm going to highlight a few of the Record Store Day releases that I think are especially worthy of your consideration.  This is pick number one, and it is one of the easiest decisions I've made for this Blog.  Over the years numerous music writers from many countries have referred to the "Dunedin sound" and the influence certain Dunedin, New Zealand bands in the '80s have had over guitar pop globally.  Dunedin Double was one of the ignition points for this reputation.  Long unavailable, the Flying Nun label is repressing a limited edition vinyl the album for Record Store Day 2014 (April 19, for those of you who use calendars).

Over thirty years ago four Dunedin bands each recorded a side of a 12" for inclusion in a double EP to be released by Flying Nun (a fledgling Christchurch label founded by Roger Shepard).  The album wasn't assigned an official name, but it became known as Dunedin Double.  Reportedly, the tracks were recorded on a portable four-track in various apartments over two weekends.  The recording was lo-fi and DIY, but the music was vital and exciting.  It was the sound of young musicians with songs, intent and a naive confidence.  It was the essential sound of rock and roll.  The bands were The Chills, Sneaky Feelings, The Stones, and The Verlaines, each supplying three tracks except for the overachieving The Stones, which provided four.  While through the years both The Chills and The Verlaines became much better known than the other two bands, all of the contributions to this record are worthy.  And the case can be made that the songs from Sneaky Feelings and The Stones are to be prized especially because their works are harder to come by at this point.

The lead track of the A-side for EP 1 was "Kaleidoscope World", from Martin Phillipps' The Chills.  It is one of their better know songs, and one of my favorites from their catalog.  But tracks two and three, "Satin Doll" and "Frantic Drift" are sublime, demonstrating that this band is Exhibit A for chiming guitar pop.  I wanted to present videos of one or more of these songs, but Universal Music Group (which seems to universally hate enjoyment of music) has been disabling embeds of YouTube clips of The Chills' songs (heaven forbid that I write a post encouraging you to enjoy an artist with material to which UMG claims to have rights -- what the hell was I thinking?  And the dirty secret is that UMG very often doesn't even have the rights to the videos they prevent form being embedded).

 Sneaky Feelings, formed in 1980, was named after the Elvis Costello song.  At the time of this recording, the members were Matthew Bannister, David Pine, Kathryn Tyrie and Martin Durrant.  The band's scruffy charm is on display in "Pity's Sake", the first track of the B-side of EP 1 --



The Stones occupied the A-side of EP 2.  Their songs were, perhaps the most free-wheeling rock songs on the double EP.  I've provided more than two of the four, because their songs are hard to find, and this post will provide you comfort until your copy of Dunedin Double arrives.  The band's members were Wayne Elsey, Jeff Batts, and Graeme Anderson.





The Verlaines also get two songs here.  Why?  Well, their songs are that good.  Second, unlike The Chills, Universal Music Group (which seems to universally hate enjoyment of music) isn't disabling clips of The Verlaines' songs.




Dunedin Double is remastered, and is being released in its original format and limited to 2,000 copies.  I suggest that this is an album to covet, and if you wait, you may never have a copy.  I've provided links for Flying Nun and their US partner, Captured Tracks in Brooklyn.  You may be able to order from them, you may have to go to a record store.  Indeed, you may have to work for this one.  Sometimes things of value are like that.

Flying Nun
Captured Tracks

"To Be Alone" from Hozier, EP out April 28

Brandishing his own personal take on the blues, with soul and jazz touches, young Irishman Andrew Hozier-Byrne has one of those rare voices that will quiet a room.  Not through sheer volume, but via the power of emotion and the precision of his expression.  His songs are poetic and deep, and with his voice and sincere arrangements, it is blues for modern times.  His first EP was the four-track Take Me To Church.  His second EP From Eden will be released near the end of this month.  Here is a live version of one of the tracks, "To Be Alone", performed in Kilkenny, Ireland.




Here is the lead track to his first EP --


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"Dark Sunglasses" by Chrissie Hynde, new album coming in June

Yes, Chrissie Hynde is back with her debut solo album, Stockholm in early June.  The first song to be released from the album is "Dark Sunglasses", which will be available on April 21.  I could take time to write about Chrissie Hynde and my feelings about her importance to preserving no-bullshit, no gimmick guitar pop with punk attitude back in the day.  But a better time for that may be when we review the album.  Suffice it to say that Chrissie still has what it takes, and as long as there is brass in my pocket, Chrissie has a market.





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REVIEW: Virgin of the Birds - Winter Seeds

In a few weeks Jon Rooney has gone from "who's Jon Rooney" to a guy a check in with daily.  Well, to be honest, I really don't have any daily contact with Jon, despite both of us living in the Seattle area.  But I have been wearing out the little digital coding of Winter Seeds, Jon's first LP in the guise of Virgin of the Birds.  Winter Seeds consists of nine nuggets of well-crafted guitar pop centered on interesting reflections and observations, and conveyed with shimmering guitar, burly electric bass and Jon's intimate, folky vocal delivery.  It all goes down so well that I had to rewind a bit to think about why this album felt so special.  For me, despite the obviously adept musicianship and professional, sincere delivery, is the songwriting.  With many things in life, there are dozens of ways to phrase it, but a master songwriter knows how to turn the phrase and construct the rhyme for maximum evocative payload.  If you are looking for such a guy, my recommendation is Jon Rooney (he can even put that on his resume).  The first single from the album is track three, "Every Revelry", and I think it is a fitting introduction to the craft of Virgin of the Birds.

Make your enemies, make them fast
Grow your poisonous trees to last
Spread your doom about the room
Give your dirge a place to bloom

All your venomous, vicious prayers
Won’t bring reckoning anywhere
Not at the abbey, not with the wives
Not at the fugue state of our lives

And in time we both will come to feel ashamed
Of every revelry we felt compelled to claim

When we were young, we couldn’t wait
To take our turn and savage our fate
I brace myself whenever we seem
To share our shade and drink the same dream

I am gentle because I’m strong
And you are wicked because you’re wrong
Wrong about beauty, wrong about hell
Wrong about the girls who make me well

And in time we both will come to feel ashamed
Of every revelry we felt compelled to claim

And the video --


Virgin of the Birds began in 2009 with a series of download-only EPs, through which the band drew the attention of Edinburgh, Scotland, label Song by Toad.  Originally a solo effort, Jon's Winter Seeds project expanded to include Colin J. Nelson and Marc Laurick.  The album contains four new tracks and reworked versions of five tracks from previous EPs.  Compared to the EPs, I think the album reveals Jon's growth as a songwriter and confidence as Virgin of the Birds.  The songs range from energetic to low-tempo.  While I think the band shows better on the former, there is joy to be found in the slower numbers.  Only one song, "The Serpent Plume", took some time to grow on me, but it is followed by the absolutely wonderful "Drunk on Grudges".

This is a prior version of the album opener, "They Wake".  I think the album version is a more robust.

You may seek the wind among the reeds
You may give the girls the love they need
The love they need is gold, the love is never doomed
The love they want is gilded with a lavish gloom

They wake, they marry and they cry
They wake to hear stories when they die
Stories told with joy, stories often true
Stories when their cleverness was calling you

Pay no heed to the tenor of the times
I will destroy the wisdom of the wise

They say that the lights were left on until dawn

They wake beneath the slanting sun
They wake without telling anyone
About the winter seeds, the songs too hard to sing
The pleasures wide awake in nearly everything

Pay no heed to the tenor of the times
I will destroy the wisdom of the wise

They say that the lights were left on until dawn

Winter Seeds is released on Jon's Abandoned Love Records in the US, and Song by Toad in the UK, and is available in vinyl and digital formats.

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Rolling Stones Friday: Rocks Off

Exile on Main Street: The Rolling Stones most debauched, most extreme, and to many, most beloved record. The story is well known but here's the short version: Facing heavy tax debts and trying to avoid the seizure of their assets by the British government, The Stones fled England in 1971. Keith Richards rented a villa known as Villa Nellcotte, in Villefranche-sur-Mer, near Nice France. There not being a studio nearby, Richards set up mobile recording equipment in the basement.

The recording there took place in all night jam sessions. The overall atmosphere was one dominated by heavy heroin use by Richards, producer Jimmy Miller and various musicians and hangers on (including Gram Parsons, William S. Burroughs and Terry Southern). Bill Wyman and to a certain extent Mick Jagger kept some distance from the whole scene. Also worth noting, the basement was very hot, which made it impossible to keep guitars in tune, also contributing to the ragged sound of the recordings.

Some of what ended up on Exile was the result of later recordings and overdubs in Los Angeles, the Nellcote sessions just too ragged to release. Jagger and Wyman are said to have played a much bigger role in Los Angeles.

But the record certainly reflects the Stones at their most raw and loose, rock and roll bad boy far edge. And maybe no single song captures the vibe better than the opening track "Rocks Off".

Nicky Hopkins piano really makes this song for me, along with the horns from Bobby Keys and Jim Price.    

Here's a live version from 1973, still sounding raw and loose:

The song has certainly inspired many a rock and roll band. And here's a fantastic cover by one of my favorite contemporary bands, Spoon:

  

REVIEW: Direct Effect - Sunburn

This album is nothing but a bunch of goddamned noise. It gave me a massive headache. At about the beginning of the third track, it suddenly became apparent to me that they were going to continue their brutal assault for the entirety of the album. This filled me with unspeakable joy, caused my eyes to roll back in my head, whereupon I jumped out of my La-Z-Boy, threw my arms in the air, shouted something nonsensical like "narcoterrorista!" and ran headfirst into the wall. Left a dent.

If you love Metz and Pissed Jeans, and boy howdy don't we all, you'll love Direct Effect. You can stream any or all of the album below, at their Soundcloud page.  You can buy physical copies from their label, Tiny Engines, or download it (13 kickass tracks for six bucks what are you waiting for getoutyercheckbook) from the Tiny Engines page at Bandcamp. Direct Effect are from Florida. You know, Creed and Dashboard Confessional also are from Florida, but don't worry, because Torche and Shai Hulud are also from Florida. I predict that in a few years, we'll be saying, 'don't worry, Direct Effect are from Florida.'

I give it 9.1 prison tattoos on a, say, 9.6 prison tattoo scale.

"Face Full of Sand" by Mummy Short Arms

A couple of years ago I was blown away by the debut album from Glasgow's Mummy Short Arms.  I haven't heard much about them since 2012, but since a favorable review and high year-end ranking from me likely put them into a position to travel the world, live in mansions and date supermodels, I can understand a temporarily low profile on the artistic front -- especially as we music writers enjoy a similar lifestyle.  But fortunately for the band's fans, they are releasing a new digital single, "Face Full of Sand" on April 14.  The single consists of the title track and the JMK remix of the song.

To my ears, Mummy Short Arms has lost none of their brilliance in songcraft, and shed none of the distinctive and individual madness that makes them, well, Mummy Short Arms.  The signature MSA package is dynamic and forward-pushing arrangements, excellent musicianship, and vocals on the brink, and it is all here on this single.  And for what its worth, while I'm not a big remix fan and I like this one quite a bit.  It retains enough of the song to be related for purposes of inheritance, but does much more with it than most remixes.





"Face Full of Sand" is available as of April 14 via Glasgow label Flowers in the Dustbin.  It will be available through normal digital outlets.  Everyone needs a bit of Mummy Short Arms in their life.

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REVIEW: Full Ugly - Spent the Afternoon

Full Ugly may be a misleading name for a band whose music is anything but ugly.  But the name of their debut album - Spent the Afternoon - is a spot-on evocation of the jangly melodies and relaxed pace of the songs.  With touches of sun and melancholy, Nathan Burgess' songwriting captures everyday life in tasty 2-3 minute capsules.  Nothing on the album is rushed or ironic, and the arrangements are perfect showcases for the scruffy charm at the heart of the album.  Breezy and slightly idiosyncratic, it passes comfortably but leaves a satisfying memory.  And I assure you, it travels well -- at the beach, in the car, in the back yard or in the park under the stars.

In addition to Burgess, Full Ugly are Thomas Mendelovits, Zach Schneider and Nathan McFarlane.  McFarlane is a replacement for original member Michael Caterer, who departed to New York with Australian band Scott & Charlene's Wedding.

Spent the Afternoon is one of the fine indie releases from Brisbane, Australia's Bedroom Suck Records, which has demonstrated over the past few years that it has its finger on the pulse of quality emerging music.  And fans outside of Australia rejoice in knowing that Fire Records has signed on to distribute Bedroom Suck's releases outside of Australia.  Note that while the album is released, Fire Records' US distribution is planned for the third week of May.

My recommended songs are "Drove Down", "Hanging Around", "Spent the Afternoon", "Nervous", and "Oh Daddy", in roughly that order.  Yes, I know that is fully half the songs, but it is that kind of album.  Enjoy "Drove Down" and "Hanging Around" below.





The album was produced and mixed by Jack Farley (Twerps and Panel of Judges) and mastered by Mikey Young of Eddy Current Suppression Ring.

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"Cherry Street" from Tijuana Panthers, new album in June

Southern California surf garage rocking trio Tijuana Panthers will grace the world with new LP Wayne Interest in early June.  The first track to be released is "Cherry Street", and I think that it suggests good things for June.


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Introducing: Radio On

There isn't much we can tell you about Radio On.  But after they reached out to us and shared the link for their track "Don't Wait", I'm betting that becoming much better known is going to happen very soon for this London band.  It features an upbeat rhythm, catchy melody and positive vocals.  Just try and get this one out of your head -- and then surrender and let it stay as long as it wants.





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REVIEW: GUMS! - Something Rotten EP

GUMS! proclaim themselves a "fake" band, apparently because all of it members also are in other bands, and GUMS! thus far is mostly a studio-only project.  Some music writers might be loathe to spend time writing about a fake band.  But I figure that this is perfect for me, because I'm sort of a fake music journalist.  After all, I don't get paid for doing this, and I only do it sitting in a room at a computer.  I don't go to the Grammys or Rock and Roll Hall of Fame inductions and interview musicians, and none of the networks or NPR call me to ask my opinion (NPR did call once, but it was a pledge drive.  I offered them some demo CDs, stickers and a poster).

This Glasgow band consists of Martin Smith (vocals), Jack Taylor (guitar, vocals), Nora Moomin (vocals, keys), and Joe Greatorex (bass).  Their music seems to have elements of Britpop, punk, garage,  and some Waits/MacColl musical storytelling, and overall it has an appealingly ramshackle DIY indie vibe.  I sense a lot of energy and fun in the music, and I like them -- that is, I'd like them if they were a real band.  In April 2013 GUMS! released the Antipathy EP, which is a free download (see link at the bottom of the post).   Their latest project is the Something Rotten EP, which will be released on April 7.  For this record, the band is joined by social commentator Callum Baird (who wrote three of the songs), and the stated intent is to chronicle everyday life and love in Glasgow.  Take a taste of the EP via the Baird-penned title track --



And here is Martin Smith's fine "Grangemouth at the Dawn" --


The Something Rotten EP was produced, engineered, mixed and mastered by Tommy Duffin.  You can stream/buy the entire record at the Bandcamp link below.

Here is a track from the Antipathy EP --


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Rolling Stones Friday - Can't You Hear Me Knocking

"Can't You Hear Me Knocking" is a creative triumph for Stones, one of their most bold and original compositions. It has two distinct parts - the harding rocking soul "song" built around a seriously nasty Keith Richards guitar riff, with standard verses and chorus, and then a 4 and a half minute instrumental jam at the end, which seems to drop in from out of nowhere. The musical extension is made so memorable by Bobby Keys' wailing sax, Rocky Dijon on congas, and most of all, Mick Taylor's blistering over-the-top guitar solo.

It was recorded in London in 1970 and released on Sticky Fingers in 1971.  Keith bristles when people suggest the jam was influenced by Santana who Richards says they most certainly paid no attention to at that time. And it was recorded a year before the Stones would have heard Traffic's "Low Spark of High Heeled Boys".  Nope, this one was all Stones, every one of those great musicians trying to keep up with Mick Taylor who was on an unbelievable roll.

Amazingly, the jam session was impromptu. Taylor continued to play as they finished recording the song, while the others then quickly picked up their instruments and joined in, not realizing that producer Jimmy Miller had kept the tape rolling. The Stones swear the final recording is unedited, intact exactly as it was played.

Here's the best live version I could find, from Japan, year not identified though 1990's would be my guess, with Ron Wood playing his ass off on the Mick Taylor part. 

Mallee Songs - Gum Creek and Other Songs

Last September I covered a bedroom release created by Australian Mike Skinner, who records and performs under the name Mallee Songs (here).  Mike's art reveals a keen sense of atmosphere and space, and is presented with simple but affecting melodies and a relaxed tempo.  This year Mallee Songs quietly released a 13-track LP titled Gum Creek and Other Songs.  There is plenty of variety in the songs, but the general template is lo-fi and hazy.  A number of the tracks are diffused takes on a melody with few or no lyrics, unspooling like a short wave transmission from a far away land.  Others are adorable little pop gems.  There is a lot to like, and a digital download of the entire set of songs is only five Australian dollars.  A few tracks can be streamed below, and you can listen to the entire album at the Bandcamp and Soundcloud links (if you want to buy, use the Bandcamp link).

One of my favorites, "Point Impossible" --


The achingly beautiful "Egyptian King" is the opening track --


The album's closing song --

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REVIEW: Little Racer - Modern Accent EP

"Oh", you say, "a Brooklyn band".  And then you frame what you expect to read through some predetermined lens.  The expectation may be precious weirdness or overwrought hipsterism.  And I may have been tempted to do the same had I not had the pleasure of possessing the single Little Racer released on London's Young and Lost Club last year.  So I knew what to expect when the Modern Accent EP arrived, but even that advance knowledge didn't prepare me for how good, and how satisfying, this record is.  Consisting of six well-crafted indie pop tracks, the layered guitars shimmer and jangle, and the rhythm section drives and throbs.  The vocals have a touch of soul, buoyed by sunny choruses.  There is almost a beach/tropical vibe to this set, without overtly qualifying as surf pop.  In my opinion, these songs are polished perfection, and with the aid of the repeat button you have a full LP of delightful music.

I've provided half the tracks below for your evaluation, and I expect you will like all of them.  "Fire Island" may be my favorite, but I don't have a stream for that one.  Don't complain -- buy the EP.

Little Racer was formed in 2010.  The current line up is Elliot Michaud (vocals, guitar), Ish Nazmi (bass), Wade Michael (guitar) and Dave Tedeschi (drums).  The Modern Accent EP will be released on April 8 via Papercup Music in North America and Young and Lost Club in the UK.







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Introducing: Bebe Black

Bebe Black is a British pop artist and songwriter who proves that big things come in small packages.  Her latest release is "Promises", which will appear on her 2014 album  I'll Wait.  Give her music a chance.  My guess is that you'll agree that she is a pop artist to keep your eye on.



And her is the not-quite-safe-for-work video of the title song of the album.



"Deathwish" is a track Bebe released last year.



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"All That Gold" by Waterford

Ignorance of great music just because it originates in another country simply isn't excusable or acceptable in the age of instant international electronic connection.   Today, we here at WYMA are doing our part for globalization by promoting Australia's Waterford to our massive world-wide readership.  The Canberra four-piece are purveyors of fine indie guitar pop, and their latest offering is "All That Gold".  For power pop fans in the States and elsewhere, you may detect the same engaging qualities that draw you to Army Navy and Teenage Fanclub.  If you think "All That Gold" is good (and you would be correct), you can download it for "name your price" here.  You also may stream/buy their previous LP here.  A follow up LP is in the works via the band's label Birds Love Fighting.  But for now, think "gold".



Waterford are Pete Huet, Glen Martin, Andy Heaney, and Cam Burns.

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New Menzingers Song: "I Don't Wanna Be an Asshole Anymore"

On April 22, Epitaph is releasing Rented World, the fourth full-length from Scranton's Menzingers. I've made no secret of my abiding love for this band -- their last effort, On the Impossible Past, was my 2012 album of the year. They're a perfect combination of literate world-weariness and unrepentant drunkenness (singer Greg Barnett wistfully mentions "whatever's left" of his "spoiled liver" just before quoting Nabokov's Pale Fire in "The Obituaries" from the last album). I've seen them compared to the Gaslight Anthem, which might have an echo of truth to it, except the Menzingers are a punk band.

I would adopt this as my personal theme song if it were titled "I'm Perfectly Content Being an Asshole for the Foreseeable Future." I've got a feeling this is going to be a great album.

"Carte Blanche Plus One" from Clearance

It seems that Chicago band Clearance is becoming a regular feature here.  What does that mean (other than the fact that we may try to get them to share the rent)?  It means that we like their music.  The band's latest release is a two-track digital release titled "Carte Blanche Plus One", and was prepared for a monthly Chicago series of releases run by Public House Sound Recordings.  To my ears, it is excellent garage/college rock, and it is available  for 'name your price' (try that with your local bartender!).



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REVIEW: Bart Davenport - Physical World

Time to go to school! Californian Bart Davenport is your professor for a review course in pop music from the '60s to current times, and the course materials are Physical World.  The melodies are instantly familiar and engaging, the vocals are delivered in a soulful croon.  The touchstones are vintage power pop, soft rock, '60s pop (check out "Pamela" and "Loop in My Head") and glossy soul (think Philadelphia more than Memphis), with some jazz touches.  It is undeniably true that you will hear some Todd Rundgren, Joe Jackson, and even a little Steely Dan (i.e. "Every Little Step"), but Bart and friends clearly aren't content to limit themselves to any handful of influences and the blending is artful.

If you like pop music, audit this course via the tracks below, and you make decide to sign up for full credit.





Physical World is out now.  Digital and vinyl is available via Lovemonk Records, and the cassette version from the inimitable Burger Records.  Bart's participating musicians on the album were Jessica Espeleta, Wayne Faler, Nathan Shafer, Andres Renteria, and Paul Burkhart.

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Review: The Baseball Project "3rd"

L-R: Linda Pitmon, Mike Mills, Steve Wynn, Scott McCaughey (missing - Peter Buck)

Baseball and rock'n'roll have quite a bit in common - distinctly American creations exported and beloved throughout the world, seen as being in decline in the US and falling behind rival activities (the NFL / hip hop and new country), full of characters and big personalities, supported by a Hall of Fame the entry into which is a mysterious and often arbitrary process, frequent scandals of drug abuse, both are simple on the surface but extremely difficult to play consistently well, and both have very devoted fans who are reverential about the history of the activity and the players who excelled in prior generations. And perhaps most importantly, when you go to watch either, they serve beer and you can hang out and visit with your pals while you watch the live action on the field or stage!

So The Baseball Project was perhaps inevitable. The title 3rd is in itself the perfect marriage of baseball and rock, referencing both the classic Big Star record that is such a huge musical influence on this band plus various major things in baseball - 3 strikes you're out, 3 bases, Babe Ruth, etc.

3rd picks up where the prior two outstanding Baseball Project records left off. The big change is the addition of Mike Mills who joins his former R.E.M. bandmate Peter Buck. Mills brings his always tuneful and tasteful bass playing and harmony vocals to the festivities. And the catchiest song here is "To The Veterans Committee", Mills' tribute to Dale Murphy, making a compelling case for Murphy's induction into the Baseball Hall of Fame.  Live version here:

While the Baseball Project is certainly a supergroup, with two members inducted into the Rock and Roll Hall of Fame, plus the highly respected Steve Wynn (Dream Syndicate, Miracle 3), steady and versatile Scott McCaughey (Young Fresh Fellows, Minus 5, and longtime "5th" member of R.E.M.), and a truly outstanding drummer Linda Pitmon (Zuzu's Petals, Miracle 3). But unlike most rock supergroups or baseball teams loaded with big name free agents, the Baseball Project are a tight band, ego free, all of them having played together with some or everyone here at some point in their long and distinguished careers.

Okay kids, enough background, let's hear one from the record - "Monument Park", Wynn praising Bernie Williams' elite play for the Yankees for so many years but destined to be overshadowed by Mantle and DiMaggio as he roamed center field amidst their monuments.


There are a lot of highlights here, but here's a few - "Hola America" (Wynn's tribute to Luis Tiant and the early players to escape Cuba),  "13" a perfect expression of a Yankee fan's 2013 frustration with A-Rod, and "They Are the Oakland A's" McCaughey's tribute to his over-achieving favorite team:

But if you are saying, "Sure JD, baseball is fine and all, but if there's a record with Peter Buck, Steve Wynn and Mike Mills playing on it what I want to hear is the jangle rock," well then you are in luck with "Pascual on the Perimeter", with Pitmon taking the lead vocal to recall the night Atlanta Braves pitcher Pascual Perez missed a start when he got lost on the way to Fulton County Stadium, his home park:

The record starts with a short song called "Stats", referencing various numbers of importance in baseball. Yep Roc is giving away a trip to the Triple A All Star game in Durham to one lucky winner who can identify the numbers in the song (link to contest here).  

All in all, 3rd is what we've come to expect from the Baseball Project - great music, spirited performances, clever writing, well conceived rock and roll, super fun, as good as an ideal night at your favorite ballpark. Highly recommended.

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Alan Smithee - "Snooze" // "The Almighty Alan Smithee Blues"

Alan Smithee is a four-piece Scottish garage band playing songs that are, at their core, classic British guitar pop.  But then there is something more.  The something more may be a bit of dreaminess, or a bit of psychedelia and some lo-fi wooziness.  It is dynamic, interesting -- even inspired -- stuff in to my way of thinking.  Glasgow label Flowers in the Dustbin is handling their latest release on April 7.  The record is a digital, two-track, double A-side single consisting of "Snooze" and "The Almighty Alan Smithee Blues", but if you pre-order on Bandcamp you receive and immediate digital download of "Missing Tongue".




"Missing Tongue"

 
Alan Smithee is Andrew Burns (vocals, guitar), Ruaridh Macpherson (guitar, vocals), Ryan Macpherson (bass), and Joe White (drums).

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