The avant-garde music scene in New Orleans is a bit rough – there is so much other great musics going on there it gets ignored by most. Jonathan Freilich (New Orleans Klezmer All-Stars) put this group together to explore the outside possibilities of New Orleans & klezmer traditions. The others in this orchestra come from some of the best brass/funk/punk/junk bands. Some of the compositions are a bit stiff and “anti-funky” – something that is very hard to do in “The Big Sleazy,” but the rest have an unusual energy. Track 5 takes klezmer harmonies at an analytical pace so you can really hear the complexities of the chords and rhythms. *review by Studebaker Hawk
A modern version of the Everly Brothers, Buddy Holly & the Crickets, Chad & Jeremy, The Beach Boys, early Beatles, any surf band, any rock’n’roll band, any rockabilly (old style) – these two actual brothers can do it well! These tracks are not covers of obscure 50’s and 60’s songs – they are original “oldies” in the best meaning of the term. Rockin’ good times, and I hear they are a great show to see live (mostly in SoCal region, but they do tour this way.) *review by Studebaker Hawk
A hard call between spoken word and Comedy, but I think Southern would have wanted to be in that category. He was a contemporary of W.S. Burroughs, Lenny Bruce and the Beats of the late 1950s, but he was also a major influence on the young writers of the National Lampoon generation. His writing included “Candy,” “The Magic Christian,” and the screenplays for “Barbarella,” “Dr. Strangelove” and “Easy Rider.” among many others. This recording is a collection of some of his readings and comedy productions, done by him and his friends (including Michael O’Donoghue and Martin Mull.) Not everything is a real winner, as satire & “black comedy” can be a very fine edged sword. Terry Southern died in 1995 at the age of 71 after a long spell of not doing too much…
MOST OF THIS HAS TONS OF “BAD LANGUAGE & PRURIENT CONTENT” AND CANNOT BE PLAYED DURING THE 6AM-10PM TIME PERIOD. PERIOD!!!!!!
*review by Studebaker Hawk
Back in 1958 Mad Magazine was not as juvenile as it is now – adults could read it without too much shame. From time to time the magazine produced recordings, this was their first attempt. With a studio orchestra led by Bernie Green, a TV and movie soundtrack writer/conductor plus the very dry humor of Henry Morgan on some tracks, this is a very mixed bag of trash. Nowhere near as funny as earlier Spike Jones or the Hoffnung festivals recorded in the late 1950s (or PDQ Bach later on,) but for it’s time I guess it is OK stuff. Apply to Affected Areas, Close Cover Before Striking and RUN AWAY! RUN AWAY! RUN AWAY!
(I don’t think this is an authorized in USA issue – there is no mention of it on the official Mad Magazine website…) *review by Studebaker Hawk
Once again this somewhat mysterious personage from some place or the other regales us with a non-stop stream of commentary on his life, friends, enemies, and whatever. This time there is only one long track (with some music as a bed) so you will just have to find your own starting and finishing point.
I heard one tiny “Shit” at about 8 minutes till the end but it is not something to worry about… *review by Studebaker Hawk
Much more Rube Waddell from various recent live & studio recordings. Mutant Sea Chanteys, Jug Band Classics, Stompin’ One String Guitar, Sousaphone Squonk, Beat-up Pie Tins, Tom Waitsish Vocals, A Tribute to “Mannix” and other goofy fun junk from this local trio – they have toured all over the place but now reside in the Mission District. Track 14 fades into a long ambient wash but comes back for a thrilling conclusion – wait for it!
(BTW, the actual R.W. was a famous screwball pitcher from the early 1900s – quite a character on and off the field…)
*review by Studebaker Hawk
Long after leaving Capt. Beefheart and The Magic band, guitarist Bill Harkleroad (AKA Zoot Horn Rollo) now living in Eugene, OR recorded this tasty rock-jazz fusion thing. At first it was going to be a home-studio solo project but he made connections with drummer Greg Bendian on the Internet and the project grew into this form. All instrumentals and mostly twisted yet beautiful, this is “Good Fusion” with varied guitar tastes, some sax and harmonica and a lot of local Eugene talent. By the way, Harkleroad also was a founder of the group “Mallard” and he also wrote a book about Capt. Beefheart. *review by Studebaker Hawk
Laika & The Cosmonauts, direct from Finland in 1997 take another look at the surf music thang – they are not as frantic as some bands, an easy beat and clean melodic guitar, some organ/synth – reminds me more of the Ventures than anything else. All instrumental tracks (only a tiny amount of vocal effects and shouts, still qualifies for “Surf’s Up!”) with just a taste of that Finnish Reggae Tango on some cuts. check out the “Zap Comix” style booklet… *review by Studebaker Hawk
David Richoux 1/15/2005 CD
A very laid-back 1969 recording session with Lee “Mudboy” Baker helping out (check out that giant can o’ Falstaff!) this is a simple, honest Memphis/Delta blues style – easy pace, classic lyrics, big ol’ guitar. Furry was born sometime around 1893 so he would have been about 76 at the time of this recording. He played guitar for traveling “medicine shows” in the early 1900’s and got into the blues in the 20’s. Lost his leg in a train accident but he still got around quite a bit, recording in Chicago and Memphis, even worked as a street sweeper! – check out the full biography inside the booklet… great stuff!
*review by David Richoux
Back with Attitude – the Youngbloods have jumped up several levels since their last CD. with special guest vocal by Ike Willis (ex-Zappa) track 4 and lots of & rap-poetry stuff with Talib Kweli and Mike Ladd – some bits of bad language tracks 7 & 8, DJ Skooly scratching and a solid brass section, lead by “The Warrior” on Sousaphone (check out his acoustic-weird tones on some tracks using no electronic effects…) These guys are from the suburbs of Madison, Wisconsin but they still live in the heart of New Orleans Soul. *review by David Richoux
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