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Vee-Jay records re-release

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(Note: After his fast start – posts on Hangar 18 and Too Short – my man J.J. checks back in with a post. I’ve threatened to remove his right hand if he doesn’t post more.)

I’m not usually a huge fan of re-releases.

The last time I got into big a set was when MCA re-issued Fela Kuti’s catalog, which tapped into an unbeknownst Afrobeat gene for a couple years and ruined a couple of relationships.

These Vee-Jay recordings digitally re-released by the Orchard late last year are about to do the same with my inner soul junkie.

The Vee-Jay Records story itself has the makings of a blues classic: love, family infighting and corporate tyranny were scattered throughout the label’s history before it finally closed its doors in 1966.

In the four decades since, fans have made several efforts to resurrect the label’s catalog – most notably on the 1990s Vee-Jay Box Set: The Definitive Collection.

But technology, and music, has come a long way since then.

That box set attempted to sum up Vee-Jay’s 13-year history with three easy-to-absorb discs; the recent reissues open an entire 17-disc catalog to a new generation of fans … specifically, those born in the last 40 years.

Whether this generation has the patience to look past some of the hits available here to see the light in an Original Blind Boys gospel track; feel the pathos in Lightin’ Hopkins guttural blues guitar; enjoy the innocent funk of a nearly pre-pubescent Curtis Mayfield doo-wopping with The Impressions; or marvel at Little Richard’s earnest soul before he got all weird … well, people seek it out in record stores, and this stuff sounds better and is easier to find.

The re-releases – 17 albums deep – are available on eMusic.

general, video

Radar Bros.: When Cold Air Goes to Sleep (video)

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Jan. 29 is a day I am eagerly anticipating. That’s when the Radar Bros. release their new record Auditorium on Merge Records. But, you know, I might have mentioned that once or twice or thrice before.

To whet the appetite, here’s the first video from the album for the song When Cold Air Goes to Sleep. Seriously: Radar Bros. as Kiss? And what’s with this … this … up-tempo stuff? I like it. Anyway, the video was directed by Bradley Beesley, the man responsible for, among other things, the great Fearless Freaks documentary on the Flaming Lips.

Also, bassist Senon Williams has possibly overtaken Band of Horses’ Ben Bridwell for best indie-rock beard.

Lastly, here’s a new track, Warm Rising Sun.

hip-hop, remix

Mr. Lif: Feb. 1 in Phoenix

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The concert calendar has been slooooow around here lately. But there are signs of life, including a Feb. 1 show at the Brickhouse from Mr. Lif, who put out the fantastic Mo’ Mega last year on Definitive Jux.

I got a chance to catch Lif at the Paid Dues Festival, but I’m eager to catch him in a smaller venue that isn’t outdoors in the dead of an Arizona summer. He’s calling this the Road to the Super Bowl tour; the big game is at University of Phoenix Stadium in Glendale on Feb. 3, in case you weren’t paying attention. So it’s only appropriate that he plays Phoenix that weekend.

Kudos to the guys at Universatile Music, who are bringing this show – and so many other hip-hop acts – to the Valley.

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Nada Surf: Lucky cover art/tracklisting

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Not sure if this has made its way around the Internets, but it looks like we have some cover art for the new Nada Surf album Lucky, due out on Barsuk on Feb. 5.

Here’s the tracklisting, via Barsuk.

1. See These Bones.
2. Whose Authority.
3. Beautiful Beat.
4. Here Goes Something.
5. Weightless.
6. Are You Lightning?
7. I Like What You Say.
8. From Now On.
9. Ice on the Wing.
10. The Fox.
11. The Film Did Not Go ‘Round.

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A note to commenter “Michael”

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If you were man enough to leave an e-mail address, I wouldn’t have to show, in a public forum, how you embarrassed yourself in comments on the post about Z-Trip offering a remix of Lounge Act for download.

For starters, your comments were never deleted, as you claimed. Actually, I have to approve comments before they are published to prevent comment spam – you know, messages about penis and anxiety pills that are only slightly less unreadable than your trash. For the record, though, I did not approve two comments: the one in which you repeated “FUCK YOU DJZTRIP” ad infinitum and the other in which you so eloquently said, “You suck more dick than your mom.” Classy.

Look, if you don’t like a song, I don’t really care. And I’m always happy for someone to say so. But attacking me (“eater of shit” … oh, BURN) or the artist is just a pathetic cry for attention. I mean, for a song and a site you claim to hate so much, you sure spent a lot of time whining about it.

You said you’d never come back to this site (God willing), so I doubt you’ll even read this. But if you do, please do forward your remix of Lounge Act – with beats made on a pen, right?? – or direct us all to a Web site with your music. We’re all very eager to hear how much more talented you are.

general, video

New Calexico: Absent Afternoon

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I feel like I should have something heavy and important to say with this first post of 2008. But I don’t. So, on with the show.

Thanks to tucsonscene.com, we have some audio AND visual proof of new material from one of Tucson’s finest, Calexico. The band just played at the Temple of Music and Arts in Tucson for a benefit show, and Tucson Scene – as its name might imply – was there to videotape the proceedings. The site kindly added seven video clips to its YouTube page from the show, including one of a new track called Absent Afternoon. Judging by this song, I’m more than excited about a possible Calexico album in ’08.

Remember, you can download an acoustic version of Calexico’s All Systems Red via City Slang right here.

general, year end

Favorite albums of 2007

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I intended to stick to last year’s model of just writing about my favorite album of the year until Kimber Lanning, owner of Stinkweeds and Modified, asked me for a top-10 list for a year-end booklet she puts out at Stinkweeds.

So here’s the list, even though, quite honestly, I’m pretty list-ed out at this point.

It should also be noted that The Fast Escape, an album released this month by my brother’s band Source Victoria, is not included. Given my personal ties, it exists on a different plane and is more difficult to put in proper context. I don’t hesitate to say, though, that it belongs alongside any of these.

10. TRAVIS: The Boy With No Name (Sony/Independiente)
It’s too late now, but this record easily could have served as the successor to 2000’s humongous hit “The Man Who,” perhaps a sign that Fran Healy and Co. are comfortable letting the Coldplays of the world fight over the biggest-band-in-the-world title.
Favorite tracks: Selfish Jean, My Eyes.

9. WILCO: Sky Blue Sky (Nonesuch)
Who knew an album as seemingly innocuous as this would piss people off so much? I didn’t care much for the album upon first and second listens, and I still think drummer Glenn Kotche is severely underutilized. But the musicianship is unmatched (thank you, Nels Cline), and the songs show Jeff Tweedy in a comfortable place, which isn’t a bad thing.
Favorite tracks: You Are My Face, What Light.

8. THE BESNARD LAKES: The Besnard Lakes are the Dark Horse (Jagjaguwar)
If the black stallion engulfed in flames on the album cover wasn’t enough to convince you, this album is a pretty epic piece of atmospheric space/pych-rock. And if you get the chance to see them live, do it. I have just two words about that: fog machine.
Favorite tracks: Devastation, Disaster.

7. THE BROKEN WEST: I Can’t Go On I’ll Go On (Merge)
An impressive debut from an LA band that reminds me of Summerteeth-era Wilco. Not a dud in the bunch. Seriously. When I was trying to decide what track (or tracks) to put on a year-end CD mix, it was damn near impossible to choose. For the record, I eventually decided on Brass Ring, though Shiftee is probably my favorite song.
Favorite tracks: Shiftee, Brass Ring, Hale Sunrise, on and on.

6. SPOON: Ga Ga Ga Ga Ga (Merge)
“Less is more” might be cliche, but I don’t understand why more bands don’t heed its message. That Spoon has delivered such a satisfying album in 10 songs/36 minutes shows the focus and ambition (not to mention self-editing) of a band in its finest moment.
Favorite tracks: You Got Yr. Cherry Bomb, The Underdog.

5. KANYE WEST: Graduation (Roc-A-Fella Records)
Kanye overcomes his shortcomings as a lyricist – “I’m like the fly Malcolm X, buy any jeans necessary” (ugh) – with focused production and impassioned delivery. Cutting out the cumbersome “skits” – yeah, we know, concept record – can’t be overlooked, either. Despite what I said, I really love this record.
Favorite tracks: Can’t Tell Me Nothing, Flashing Lights, Barry Bonds.

4. BAND OF HORSES: Cease to Begin (Sub Pop)
I love that Ben Bridwell, with his endearing falsetto, can pull off potentially trite lines – “The world is such a wonderful place” – without causing so much as an eyeroll or snicker from my direction. I’ve either gotten a little soft or Bridwell just writes/sings with a sincere passion in what he believes. I say the latter.
Favorite tracks: Ode to LRC, No One’s Gonna Love You, Islands on the Coast.

3. EL-P: I’ll Sleep When You’re Dead (Definitive Jux)
Even if El-P takes himself a little too seriously, his unease and paranoia make for a sobering dose of reality. When so many rappers live in a fantasy world, El-P delivers post-9/11 doom and gloom in gritty Orwellian fashion. Favorite tracks: Smithereens (Stop Cryin’), The Overly Dramatic Truth, Flyentology (specifically, the Cassettes Won’t listen remix).

2. THE NEW PORNOGRAPHERS: Challengers (Matador)
I don’t know how they do it, but the New Pornographers just crank out hit after hit. It took me about a month before diving into this album, and once I did I was hooked. Dan Bejar’s three contributions – Myriad Harbour (song of the year), Entering White Cecilia and The Spirit of Giving – anchor the album. Favorite tracks: Myriad Harbour, The Spirit of Giving, Mutiny, I Promise You.

1. THE NATIONAL: Boxer (Beggars Banquet)
I’ve expended quite a bit of mental energy debating with myself over which National record is better: Alligator (favorite of ’05) or Boxer. And I still haven’t come up with an answer. It’s probably a fool’s errand to even try comparing. What I loved about Alligator – mainly its somewhat drastic emotional ebb and flow – hardly exists on Boxer, a more even-keeled, patient album. It wows you with understated but overwhelming arrangements and fewer vocal flare-ups – like, say, on Abel or Mr. November. It’s tempting to call Boxer the group’s masterpiece, but that would mean the National has reached its peak. And I hardly think that’s the case. Given the pattern, I already have an idea what my favorite album of 2009 will be. Favorite tracks: Apartment Story, Slow Show, Ada, Mistaken for Strangers.

Albums that, on any other day, could be on this list: Ryan Adams, Easy Tiger; Busdriver, RoadKillOvercoat; Common, Finding Forever; Menomena, Friend and Foe; Andrew Bird, Armchair Apocrypha; The Ponys, Turn the Lights Out; Jay-Z, American Gangster; St. Vincent, Marry Me.

Sorry, I’m just not that into you: Panda Bear, Person Pitch (I’m trying really hard, though!); Of Montreal, Hissing Fauna, Are You the Destroyer?; Amy Winehouse, Back to Black; The White Stripes, Icky Thump; Jens Lekman, Night Falls Over Kortedala.

Need more time: LCD Soundsystem, Sound of Silver; Lupe Fiasco, The Cool; Wu-Tang Clan, 8 Diagrams; Ghostface Killah, Big Doe Rehab.

Five favorite shows of the year, in no particular order:
Travis, Marquee Theatre in Tempe, Nov. 25 (recap).
Menomena, Rhythm Room in Phoenix, March 11 (recap).
The National with St. Vincent, The Wiltern in Los Angeles, Sept. 28.
The Hold Steady, The Brickhouse in Phoenix, June 2.
DJ Z-Trip, The Brickhouse in Phoenix, Aug. 22 (review at azcentral.com).

hip-hop, remix

Z-Trip offers Lounge Act remix for download

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In keeping with his generous habit of giving away music, DJ Z-Trip is offering for download his remix of Nirvana’s Lounge Act from the soundtrack to the video game Skate. I talked about this mix previously here.

Also up for grabs are two blends – M@shUptight and Soundclash – from a recently released white label 45, which I ordered and got in the mail a couple weeks ago. This saves me the trouble of digitizing the vinyl. Amen for that.

I’d say you should go to his store and order the 45, but it looks like it’s no longer available. So at least grab the downloads.

arizona, general

Jimmy Eat World: Open Bar Reception

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I was wondering recently what’s a worse fate for a band: to be panned in a Pitchfork review or to not be reviewed at all. The album that got me thinking about this was the 2007 release from Jimmy Eat World, Chase This Light.

I may be biased when it comes to JEW because the band is from Arizona, and I’ve long enjoyed pretty much everything the group has done – including Chase This Light, thank you. I found it odd that Pitchfork didn’t exert any energy in reviewing Chase This Light when they seem to have reveled in taking potshots at JEW previously (3.0 for Futures and, criminally, a 3.5 for Clarity in what might be one of the most juvenile reviews Pitchfork has written). Now that I look, Pitchfork didn’t review Bleed American either, though hasn’t stopped the editorial vitriol: “Since Jimmy Eat World’s Bleed American was grotesquely birthed upon our nation in 2001 … ” (from Game of Pricks track review).

So I guess my question is this: Did Chase This Light slip through the cracks or is Pitchfork trying to make some sort of statement by neglecting a review, like, “Please, this isn’t even worth our time.” The cynical side of me seems to think the latter.

That said, I hate to put too much stock in the value/influence of a Pitchfork review. Recently I cringed at their 2.8 review of Ryan Ferguson’s 2007 release Only Trying to Help, another album I quite enjoy (and talked about here). When I sent the review to my brother he brought up a point that’s worth noting: A low rating of a record by Pitchfork only seems to pique curiosity more. As E.J. from Loudersoft said in a forum where I posed the question: “If Pitchfork doesn’t like something, it’s as likely to generate interest as if they do.” It’s an interesting phenomenon, for sure.

Of course, the editorial minds at Pitchfork must know this, which is probably why they didn’t review Chase This Light. (Though, I have to say, nothing Pitchfork could have written would have gotten me as riled up as Idolator’s wordy rambling about the record.)

Anyway, on to the music. Open Bar Reception is a B-side from Chase This Light, one of those singles you get when you buy the album at a record store (ha, novel concept!).

  • Jimmy Eat World | Open Bar Reception