Thursday, May 31, 2012

May 31: Daily Guru, "Music Myths #10"

In today's video, I delve deep into two of the most widely held and longest standing music myths. Share and enjoy.

Wednesday, May 30, 2012

May 30: Daily Guru, "Get Over Yourself, Suburban Gangsta"

In today's video, I take a moment to give a reality check on behalf of the entire music loving community. Share and enjoy.

Tuesday, May 29, 2012

May 29: Daily Guru, "Music School: Motown Records"

In today's video, I take a look back at the history and impact of the iconic Motown Records. Share and enjoy.

May 29: Daily Guru, "Gurucast #126"

CLICK HERE TO LISTEN (will open in new tab)

(Left Click (PC) or Command-Click (Mac) to save it to your's about 75MB)

One hour of amazing music and commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. Frankie Rose, "Apples For The Sun"  Interstellar
2. The Ventures, "Walk-Don't Run"  Walk-Don't Run
3. The Men, "Animal"  Open Your Heart
4. Tool, "Prison Sex"  Undertow
5. The Jesus And Mary Chain, "Just Like Honey"  Psychocandy
6. Blue Scholars, "Motion Movement"  Blue Scholars
7. Little Walter, "Juke"
8. Zero 7, "Home"  Sessions At AOL EP
9. Bernie Worrell, "Much Thrust"  All The Woo In The World
10. Sublime, "Chico Me Tipo"  40 Oz To Freedom
11. Derrick Harriott, "Walk The Streets"  Trojan Rocksteady Box Set
12. Spiritualized, "Freedom"  Sweet Heart Sweet Light
13. Minor Threat, "Seeing Red"  Dischord 1981: The Year In Seven Inches
14. The Roots, "Adrenaline"  Things Fall Apart
15. The Clash, "Clash City Rockers (Alt Mix)"  DOA

Monday, May 28, 2012

May 28: Daily Guru, "Something Old, Something New #75"

It’s Monday, and that means another edition of “Something Old, Something New.”  Share and enjoy.

Sunday, May 27, 2012

May 27: Daily Guru, "The Playlist #05: May 27, 2012"

In today's playlist, I give you some good music you MUST check out! Share and enjoy.

May 27, Múm, "We Have A Map Of The Piano"

Artist: Múm
Song: "We Have A Map Of The Piano"
Album: Finally We Are No One
Year: 2002

While no single musical approach can be seen as "easy" by any stretch of the imagination when it comes to producing quality sounds, it can be argued that it is within the sonic extremes where the most difficulty can be found.  That is to say, when an artist or band attempts to make very loud or exceptionally soft and delicate sounds, there is far less margin for error than when working in the "middle' or more common musical spaces.  Furthermore, due to the way that sounds move and play against one another, it is the quieter, almost ambient genre where some of the most stunning musical achievement can be found, as even the smallest mis-step by an artist can be easily heard.  This is why within the down-tempo or ambient styles of electronic music, when a performer "gets it right," it is both clear to the ear, as well as musically stunning, rarely losing its impact with repeated listenings.  However, the reality remains that such performers often operate far from the musical mainstream and it is this unfortunate circumstance that has kept the Icelandic group called Múm a bit of a secret to the music-loving public.  Working with some of the most fragile, yet outright gorgeous melodies and landscapes that have ever been created, the group has rarely sounded as perfect as what one can hear on their 2002 song, "We Have A Map Of The Piano."

Truth be told, the entirety of the Finally We Are No One album is exceptional, and the group rarely falls below the standard this song sets; and yet it is the combination of sounds and moods that pushes "We Have A Map of The Piano" slightly above the other tracks.  One of the keys that also places this track apart from most other ambient-style songs is the fact that it is not based around a repetitive drum pattern; and it is this reality that in many ways places Múm in a category all their own.  The slow, almost meandering bassline and seems to sway behind the song is without question the driving force, and it is the way that the rest of the instrumentation plays along with this backbone that crafts the song into such a hypnotic masterpiece.  While the rather unique percussive sound certainly gives "We Have A Map Of The Piano" its pace, it is the chirps and other small sound effects that command greater attention, almost reducing the percussion to the sound of a run-out groove on an old vinyl record.  It is also what sounds to be a harmonium that plays across the track which gives it a great deal of depth, and yet it is the song's namesake, which comes into focus during the latter stages of the track, that lends a dark, almost mysterious feel to the overall musical work.  The way that each of these sounds are able to create a very full and engrossing musical landscape, yet remain very delicate from end to end is all the proof one needs to understand the exceptional talents found within the members of Múm.

However, one clear aspect that sets "We Have A Map Of The Piano" apart from much of the groups' catalog is the fact that there are vocals throughout a majority of the piece.  Often times, it is when an ambient-style group decides to include vocals that the potential greatness of the song in question is completely lost; and yet in this case, it manages to add the ideal finishing touch to both the mood and flow of the track.  It is the fact that at some level, the lyrics become almost inconsequential, as it is the way that her voice slides through and around the music that makes "We Have A Map Of The Piano" move from soothing and soft to outright mesmerizing.  In every sense of the word, the vocals found on this track are the epitome of what it means for a voice to become an instrument onto itself, and it way it blends in with the other elements of the song is nothing short of stunning.  At the same time, it is within the words she sings that one can fully understand and appreciate the rather "Earthy" and artsy statement the group is attempting to make, as the lyrics suggest a common sound between a piano, and the sounds created by moving water.  It is this connection to the natural world, as well as the moving, yet somehow motionless appeal of water that gives the song even greater depth, finishing off the entirety of a masterful musical achievement.

Though many way wish it to be untrue, the fact of the matter is that certain parts of the world have shown a far greater understanding and ability to perform specific styles of music.  Whether it is the darker side of metal being at its finest in Scandinavia, or the reality that hip-hop music is rarely better than what can be found across the United States, one can find countless examples of this truth.  Along these lines, there is no question that when it comes to creative, ambient sounds, Iceland certainly has a stronghold on the finest examples, with both Múm and Björk standing high atop the list.  It is the way that they are both able to find unique ways to create sonic textures, rarely making two songs that sound similar; and yet there is always a beautiful consistency to their songs.  In the case of Múm, their musical creations are far more delicate than those of almost any other group on the planet, and the fact that they are able to deliver with such regular levels of exceptional work is a testament to their abilities.  The fact of the matter is, their entire Finally We Are No One album flows perfectly from track to track, and it is the sort of record from which each person can cite their own personal favorite song for a wide range of reasons.  Yet there is no question that to understand everything that makes then such a phenomenal group, one need look no further than Múm's dazzling 2002 song, "We Have A Map Of The Piano."

Saturday, May 26, 2012

May 26: EPMD, "Strictly Business"

Artist: EPMD
Album: Strictly Business
Year: 1988
Label: Priority

As is the case with every genre, during the early years of hip-hop, almost every sub-genre was founded in some manner, though some can be found in more subtle places.  Though there is no question where styles like "gangsta" and "jazz fusion" hip-hop came from, there were other artists that were making statements in other directions, and even in its earliest years, one can find an "underground" sound within the hip-hop community.  It was within this sub-culture that some of the finest records of the "Golden Age" of hip-hop emerged, and there were few artists that could hold their own when compared to the duo known as EMPD.  Comprised of emcees Erick Sermon and Parrish Smith, the pair are responsible for some of the most iconic songs in the entire history of the genre, and yet it is also their distinctive rapping style that would influence countless later performers.  Though there was never anything "shocking" about the sounds one could find on EPMD records, it was the way that the songs were constructed, along with the focused, straightforward vocal delivery from the pair that set them far apart from the songs of their peers.  Each of the studio releases from EPMD carries with it a great deal of power and presence, and yet one can easily argue that it was their 1988 debut, Strictly Business, that remains a landmark recording in hip-hop history, as it is filled with some of the most memorable songs and lines ever captured on tape.

Perhaps moreso than any other early hip-hop artist, the musical arrangements over which EPMD performed were some of the most perfectly balanced one can find.  While in many cases they seem to be a bit less aggressive, there is always a strong, driving force within the music, and that which one can experience on Strictly Business is unquestionably one of their finest.  Throughout the album, DJ K La Boss mixed together a number of iconic songs, working with everything from Eric Clapton's cover of "I Shot The Sheriff" to Kool And The Gang's, "Jungle Boogie" to Michael Jackson's "Thirller" to Stve Miller Band's "Take The Money And Run," the album is as unique as one can find anywhere, and the fact that Strictly Business is able to stand as so distinctive, whilst being comprised of such well-known songs is a testament to the talents of the entire musical and production team.  Furthermore, Strictly Business carries with it a far more inviting musical feel than most other hip-hop records at the time, and while this in no way diminishes the power of the album, the tone is clearly different.  The group compensates for this less aggressive approach by securing a firm, bouncing beat, and it was this element that engaged all of the fans of the more mainstream style of hip-hop at the time.  This is yet another balance that is carried out with absolute perfection, pushing Strictly Business to a status far beyond almost any other hip-hop recording in history.

However, there is no question that while the musical arrangements found throughout Strictly Business are now considered "classic," as the overall impact of EPMD lives within the vocal style and lyrical brilliance from Erick Sermon and Parrish Smith.  The instant that the rapping begins, it is clear that these two are taking a completely new approach, as there is a relaxed, almost mellow feel to their voices.  In many ways, this represents the most natural, unforced rhyming ever recorded, and this in itself is proof to the exceptional level of talent within both emcees.  Each line comes off as amazingly organic, and it is this almost "freestyle" sound that would influence the next generation of rappers.  Furthermore, it is the rhyming on the title track of Strictly Business that remains proof that it is unnecessary to get loud or wild to have impact, as the perhaps more thoughtful approach EPMD display throughout the track were able to appeal to a far wider audience.  This greater concentration on the actual lyrics across the album serve as a reminder that one need not use any sort of "abusive" or "foul" language to make a point or a "good" rhyme, and it is this approach that has in many ways become the foundation of the "underground" hip-hop style.  Yet these are not a passive set of lyrics, as the pair do their best to remind all other emcees that not only are they (Sermon and Smith) far superior in rapping skill, but they have all the other elements needed to be the best of the best in life in general.  This at its core is the essence of modern hip-hop, and there have been few other artists to strike this balance as perfectly as one can hear on EPMD's Strictly Business.

Though upon first release, Strictly Business was not widely regarded as anything overly spectacular, as the decades have passed, there are few records that have proven to be as timeless or widely influential.  From the musical arrangements to the rhyming techniques, the entire record shines from end to end, and it is almost impossible to cite all of the performers that have borrowed from this album.  Furthermore, the lyrical content in itself has become iconic, and countless emcees have taken parts of the rhymes for their own, referencing them in part or whole in later songs.  This in itself is the most undeniable testament to the impact that EPMD have had on the entire world of hip-hop music, and yet even more than two decades after its initial release, songs like "Strictly Business" retain their power within the current world of hip-hop.  Truth be told, the completely distinctive way that both Sermon and Smith rap can easily overpower the louder, and less intelligent emcees that currently dominate the hip-hop charts, and this is all the proof one needs that on many levels, content is far more important than volume or attitude.  Yet the smooth, unforced style with which they rhyme can still be heard within a number of today's most famous emcees, and there is no question that EPMD stand as one of the most iconic groups in hip-hop history.  While a number of their singles are deserving of the term "classic," there may be no better representation of everything that makes the music of EMPD so fantastic than what one can experience all across their phenomenal 1988 debut, Strictly Business.

Friday, May 25, 2012

May 25: Daily Guru, "Music News: May 20 - May 26"

In today's video, I recap some of the biggest music stories of the week. Share and enjoy.

Thursday, May 24, 2012

May 24: Daily Guru, "Music Myths #09"

In today's video, I explore myths surrounding The Byrds, Elvis, and 311. Share and enjoy.

Wednesday, May 23, 2012

May 23: Daily Guru, "Gabbing With The Guru: Patrick Dennis"

In today's video, Patrick Dennis from Wirepony and Truckee Brothers stops by to chat and play a song. Share and enjoy.

Tuesday, May 22, 2012

May 22: Daily Guru, "Music School: Woody Guthrie"

In today's video, I discuss the history and importance of the great Woody Guthrie. Share and enjoy.

May 22: Daily Guru, "Gurucast #125"

CLICK HERE TO LISTEN (will open in new tab)

(Left Click (PC) or Command-Click (Mac) to save it to your's about 75MB)

One hour of amazing music and commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. Bob Dylan, "Corrina, Corrina"  The Freewheelin' Bob Dylan
2. Heavy Blanket, "Galloping Toward The Unknown"  Heavy Blanket
3. Joe Strummer & The Mescaleros, "Mega Bottle Ride"  Global A Go-Go
4. Led Zeppelin, "I Can't Quit You Baby"  BBC Sessions
5. Scott Walker, "Farmer In The City"  Tilt
6. George Harrison, "Let It Be Me"  Early Takes Volume 1
7. Julia Holter, "Try To Make Yourself A Work Of Art"  Tragedy
8. Bjork, "I See Who You Are"  Volta
9. Cake, "Strangers In The Night"  B-Sides & Rarities
10. Nick Cave & The Bad Seeds, "The Ballad Of Robert Moore And Betty Coltrane"  B-Sides & Rarities Volume III
11. Eddie Vedder, "End Of The Road"  Into The Wild
12. Fats Waller, "Until The Real Thing Comes Along"  Ain't Misbehavin'
13. Tripping Daisy, "I Got A Girl"
14. Frank Zappa, "Flakes"  Sheik Yerbouti

Monday, May 21, 2012

May 21: Daily Guru, "Something Old, Something New #74"

It's Monday, and that means another edition of "Something Old, Something New." Share and enjoy.

Sunday, May 20, 2012

May 20: Daily Guru, "The Playlist #04: Patrick Dennis"

Today on The Playlist, the great Patrick Dennis from Wirepony and Truckee Brothers stops by to give his most recent music recommendations.

May 20: Explosions In The Sky, "First Breath After Coma"

Artist: Explosions In The Sky
Song: "First Breath After Coma"
Album: The Earth Is Not A Cold Dead Place
Year: 2003

Though many may try and argue against the idea, when one looks at the music scene that dominated much of the 2000’s musical mainstream, it is impossible to deny the fact that it was largely filled with overly artificial, uninspiring artists.  Perhaps due to new recording technologies that made “legitimate” talent a secondary concern; or perhaps due to the fact that the music industry was clearly far more concerned with “sellable” artists than talented ones, these years represent some of the darkest in the entire history of music.  Yet it is often during periods such as this where some of the most stunning and outright original sounds can be birthed, and this was certainly the case when one looked into the “underground” music scenes across the globe.  Taking advantage of the accessibility provided by the internet, as well as being able to press their own music onto CD-R’s, few groups brought a more exiting or original sound that the Texas-based quartet, Explosions In The Sky.  As an instrumental-based group finding themselves somewhere between avant-jazz and hard rock, Explosions In The Sky quickly made themselves known for breathtaking live performances, the quartet compose brilliant musical narratives on their studio releases, pushing their instruments into never before explored territory.  It is due to their lack of lyrics, and outright stunning instrumental creations that make them completely unlike any other band in recent history, and having released four fantastic records over the past decade, their magnificent 2003 release, The Earth Is Not A Cold Dead Place, stands as their finest work thus far.  Though the record is perfect from end to end, it is the albums' opening track, "First Breath After Coma," that captures the perfection of the band in every way.

Across each of the bands’ releases, the music of Explosions In The Sky is rarely anything less than a fantastic, completely captivating sonic journey, with each song leading perfectly into the next.  Using only their basic instruments, and occasionally a sound effect here and there, the sonic landscape that the band creates on each song and album redefines what can be done within the rock and roll paradigm.  Though many may have pre-conceived notions about “instrumental rock,” there is an edge and tone running throughout this entire record that can easily win over even the most staunch of critics.  It is the fact that there is so much energy and emotion running throughout each track, and even without lyrics, the song titles give the album a clear concept, and the music fits the titles without question. On The Earth Is Not A Cold Dead Place, the concept seems to be one of love, longing, and loss, and these themes can be felt in the way that each musician plays his instrument.  The talent of the four musicians is so outstanding that this idea comes across clearly without a word being spoken, and guitarist Munaf Rayani has also been quoted saying that the album was the bands, "attempt at love songs." On both ends of the album, the guitar work manages to come across as powerful, yet undeniably heartbreaking simultaneously. It is this ability to transcend words that makes the music of Explosions In The Sky so awe-inspiring, and makes each of their albums a refreshing shock to the system with each and every listening.

The core of the music of Explosions In The Sky revolves around the guitar pairing of Mark Smith and Munaf Rayani, and whether it is a lulling, melancholy progression, or a series of forceful, crushing chords, the duo are able to create some of the most intense and “lyrical” compositions in all of music history.  All across this album, their sound does nothing short of creating lyrics through their phenomenal playing, and this in itself is a testament to their exceptional level of talent.  Furthermore, the ways in which the guitar work translates into moods and words throughout all of "First Breath After Coma" is nothing short of spectacular, and it is the main reason why this song becomes so uniquely mesmerizing. Drummer Chris Hrasky is equally as brilliant, easily able to work the kit in soft, subtle ways as masterfully as he can knock out a full on, rock and roll breakdown. Bassist Michael James holds his own with the band, providing the extra punch that makes the sound of the band far more enthralling and full to the point that it becomes pure sonic beauty.  It is the way that the sound starts off in a more mellow, almost unassuming manner that becomes so enjoyable.  As the song progresses, the tension builds to an almost overwhelming level, and it is the manner with which the band crashes through in the middle section, letting the tension not only release, but create entirely new waves and moods that makes this such an impressive musical work to experience.

While there were a handful of bands in the early part of the 2000’s that seemed to have no interest in going anywhere near the mainstream sound, most of these bands were simply staying in the “standard” rock format.  Yet there were a few groups that decided to attempt and make their name as an instrumental rock band, and this sort of approach and configuration had not been heard in decades.  It is the overall impact of the music of groups like Explosions In The Sky that prove that in many cases, not only are words unnecessary, but they can often get in the way of the overall mood of a song.  With this in mind, for well over a decade, Explosions In The Sky have been completely rewriting the books on what is possible within music, and they stand as one of the most impressive and original bands of their generation.  Composing astonishingly beautiful and complex musical masterpieces, the group truly makes music unlike anything ever seen or heard. Forming dense musical soundscapes, the quartet masterfully paints vivid pictures with their music, conveying as much emotion and feeling as any "traditional" rock band. Transitioning from mellow, simple guitar work to swift waves of crushing percussion and chords, every song the band plays is truly a musical experience. Each of the four albums that Explosions In The Sky have released are well worth owning, but their 2003 release, The Earth Is Not A Cold Dead Place stands above the others and is undoubtedly their musical masterpiece thus far in their career, and the albums' opening song, "First Breath After Coma," is without question the ideal summary of the bands' talents.

Saturday, May 19, 2012

May 19: Camper Van Beethoven, "Telephone Free Landslide Victory"

Artist: Camper Van Beethoven
Album: Telephone Free Landslide Victory
Year: 1985
Label: Cooking Vinyl

Though it often makes it easier to describe the sound of a particular band, there is no arguing the fact that genre classifications are completely arbitrary, and in many cases they are rather meaningless.  This idea is perhaps easiest seen in the fact that there are a number of bands playing a particular sound far before it is given the more popular genre title, and yet these early bands are often placed into a different category.  While this has occurred a number of times over the course of music history, it has rarely been more obvious than in the case of the handful of bands in the 1980's that bridged the gap between punk rock, folk rock, and "garage" rock.  In more modern times, the sound these bands created would certainly be called "alternative" or "indie" rock, and yet in their own time period, it was so unique that it was often not given any classification at all.  Bringing one of the most unique sounds in all of music history, and laying the groundwork for what would become the "alt rock boom" of the early 1990's, there are few groups that better display this reality than Camper Van Beethoven, and there are few records of the entire decade more impressive than their 1985 masterpiece, Telephone Free Landslide Victory.  Filled with a massive array of sonic approaches and influences, the record still easily holds its own to this day, and there is simply no other album in history that can measure up to this work of absolute musical genius.

Only a few notes into the album, the unique and almost defiant nature of Camper Van Beethoven becomes apparent, as the band seamlessly fuses together the core of folk music with the angst and spirit of the punk rock sound.  Though other bands had experimented with stripping down the punk sound, none did so in a similar manner, and one can easily hear the wide range of influence that this track had on later bands.  It is the way that the grouped guitars ring across the track that makes the song so distinctive, as they seem a bit rough and edgy, and this is where one can hear the punk influence.  Many might argue that the tone of the guitar sounds unfinished or perhaps even "off" at certain points on the record, and yet it is this same element that stands as the albums' most enduring musical aspect, as there is an energy within the guitars that is unlike any other recording.  It is also the fact that there are multiple guitars at work that make songs like the iconic "Take The Skinheads Bowling" so unique, and their sound is perfectly complimented by bassist Victor Krummenacher.  Within the bassline, the songs gain a fantastic sense of movement, as one can feel the tracks sliding back and forth, and yet this is also what keeps any of the bands' songs from becoming labeled as punk, furthering its distinctive nature.  Drummer Anthony Guess rounds out the band, and it is his fast paced, almost nervous sounds that serves as the ideal finishing touch to these tracks, and once heard, it is impossible to forget the musical performances and amazing hooks found throughout the album.

Yet while the musical arrangements all across Telephone Free Landslide Victory are superb, there is no question that the spirit and soul of both the sound and band reside within the vocal performance of David Lowery.  Furthermore, it is Lowery's vocals that cement the bands' place within the punk aesthetic, and yet on many levels, the singing and lyrics are more "artsy" than what one expects from the punk genre.  However, Lowery's seemingly detached, almost nonsensical performances are truly fantastic, and it becomes almost, if not more iconic than the music over which he sings.  Moving between speaking and almost uncontrollable shouting, there is simply no parallel for the style of David Lowery's singing, and on many levels, it is these performances that would become the blueprint for every "alternative" singer that would emerge half a decade later.  It is this unique swagger that manages to make the often extremely strange lyrics somehow work, and due to the way with which he presented them, countless people assumed there was some "deeper" message within the words of many of the songs.  However, when one steps back and inspects the lyrics to a song like "Take The Skinheads Bowling," they are completely random, and though the chorus is beyond catchy, the verses themselves are as dadaist as one can find anywhere within the history of music.  Yet the fact that they are so unforgettable serves as proof to the power of a great vocal delivery, and it is the reason that David Lowery stands so far apart from his peers.

There is no question that Telephone Free Landslide Victory stands as one of the most iconic albums of the entire decade, and few can recall a time when the record did not exist.  However, while this is all true, the fact of the matter is that the album never even came close to charting on any sales records.  Though the most memorable track became a staple of college and independent radio during the 1980's, this did not lead to greater success for the band; and in this way, Camper Van Beethoven stand as one of the most unique acts in all of music history.  Yet the reason why the album became such an "underground" success is completely clear, as few other recordings in history are as outright irresistible and unforgettable as one can experience in every aspect of Telephone Free Landslide Victory.  The trio of guitars are nothing short of perfect, and it is largely the attitude behind this sound that defines the bands' music.  Rarely has their been a record based around a largely acoustic instrumentation that has as much attitude as one finds here, and this is much the reason that Camper Van Beethoven was able to appeal to such a wide range of music fans.  This seemingly limitless appeal can be seen in the fact that in the time since the album was first released, the many of the tracks have been covered by artists ranging from rock to ska to punk to folk, and in each case, it seems to fit perfectly with the genre in question.  Taking this all into account, there is no question that Camper Van Beethoven stand as one of the most distinctive bands in all of music history, and there are few records as uniquely timeless as their 1985 album, Telephone Free Landslide Victory.

Friday, May 18, 2012

May 18: Daily Guru, "Music News: May 13 - May 19"

In today's video, I recap some of the biggest music stories of the week. Share and enjoy.

May 18: Help The Guru!

I need help from ALL of you to try and coerce the Foo Fighters into letting me interview them...check the video below for more info...and pass it on!

Thursday, May 17, 2012

May 17: Daily Guru, "Music Myths #08: Robert Johnson"

In today's video, I explore some of the many myths behind the great Robert Johnson. Share and enjoy.

Wednesday, May 16, 2012

May 16: Daily Guru, "Ask The Guru #07"

In today's video, I discuss a cover song, desert islands, and where to find the best new music. Share and enjoy.

Tuesday, May 15, 2012

May 15: Daily Guru, "Music School: CBGB's"

In today's video, I discuss the history and importance of the legendary club, CBGB's. Share and enjoy.

May 15: Daily Guru, "Gurucast #124"

CLICK HERE TO LISTEN (will open in new tab)

(Left Click (PC) or Command-Click (Mac) to save it to your's about 75MB)

One hour of amazing music and commentary from "The Guru" himself.

Tracklist: (all links are to MY review of that artist, song or album):
1. Vintage Trouble, "Blues Hand Me Down"  The Bomb Shelter Sessions
2. Rondelles, "Distraction"  Fiction Romance, Fast Machines
3. Hogman Maxey, "Stagolee"  Angola Prisoners' Blues
4. Goldfrapp, "Black Cherry"  Black Cherry
5. Public Image Ltd, "Swan Lake"  Second Edition
6. Tori Amos, "Landslide"
7. Soccer Team, "World Series Apathy"  3 Song 7"
8. The Supremes, "Come See About Me"  Where Did Our Love Go
9. Cowboy Junkies, "Damaged From The Start"  The Nomad Series: The Wilderness
10. The Damned, "Noise, Noise, Noise"  Machine Gun Etiquette
11. Bruce Springsteen, "Racing In The Street"  Darkness On The Edge Of Town
12. The Clash, "Lonesome Me"  The Vanilla Tapes
13. Nine Inch Nails, "Sanctified"  Pretty Hate Machine
14. X-Ray Spex, "Oh! Bondage Up Yours!"  Germ Free Adolescents

Monday, May 14, 2012

May 14: Daily Guru, "Something Old, Something New #73"

It’s Monday, and that means another edition of “Something Old, Something New.” Share and enjoy.

Sunday, May 13, 2012

May 13: Daily Guru, "The Playlist #03: May 13, 2012"

In today's playlist, I give you some great music you MUST check out! Share and enjoy.

May 13: Albert King, "Born Under A Bad Sign"

Artist: Albert King
Song: "Born Under A Bad Sign"
Album: Born Under A Bad Sign
Year: 1967

Often times, as amazing as a musician may be, until they have the correct backing band, their true potential may not be realized. There are also a number of times throughout music history that one is left to ponder what certain musicians could have been had they found a backing band that could properly support their skills. The former of these two scenarios is perhaps no more obvious then in the case of one of the "Three Kings Of Blues Guitar," Albert King. Along with B.B. King and Freddie King, Albert King helped to shape the sound and style of electric blues, and he remains one of the most unique and sensational players in history. Fusing together soul, funk, and rock into a blues format, Albert King is responsible for some of the most treasured blues songs in history, and it is also largely due to King's influence that the practice of "bending" guitar strings has become such a significant part of rock and blues music. It is almost impossible to name all of the bands that have taken from his style, and whether it was the way in which he approached the guitar, or the brilliant songs he wrote, his musical contributions helped to shape nearly every genre over the following decades. Though a majority of his early career was filled with singles, these songs stand as his finest work, and they were all compiled and re-recorded for his 1967 debut with Stax Records, the magnificent Born Under A Bad Sign, and the title track may be the albums' definitive moment.

Truth be told, Albert King had already recorded a number of single sides before this album for different labels, but after their lack of success, he moved to Stax Records, where he teamed up with the backing band that would make him famous: Stax's "house band," Booker T & The MG's. Not only did they present the musicians that King needed, but Booker Jones and Steve Cropper co-wrote some of the song in question. The fact that Albert King aims to incorporate so many different genres into his music works so well on Born Under A Bad Sign because Booker T & The MG's are so musically brilliant, that they are able to infuse their funky grooves into any style King wishes to explore on this song. Cropper's guitar presents a fantastic counter-point to that of King, and the way in which the two musically interact with one another is nothing short of stunning. Standing today as one of, if not the greatest rhythm section in history, bassist Donald "Duck" Dunn and drummer Al Jackson, Jr. have rarely sounded as muscially perfect as they do here.  There is a loose feeling to their playing, and yet the "sting" that they bring to "Born Under A Bad Sign" is in many ways the very definition of the blues.  The slow, deep tones from The Memphis Horns give even greater depth to the song, in many ways vaulting it far beyond any other blues recording in history.  In the background, one can also hear a bit of piano adding to the rhythm, and this is provided by none other than Isaac Hayes.  It is the way that all of these phenomenal musicians come together as a single unit that makes the song so fantastic, and once heard, "Born Under A Bad Sign" can never be forgotten.

While one cannot overlook the phenomenal playing of Booker T & The MG's, every moment of the song reinforces the notion that, at the end of the day, this is Albert King's record. Possessing one of the most classic blue voices in history, King is almost a cross between Bo Diddley's gruff, loose sound and B.B. King's rich and powerful voice. It is the way that with every line, King pulls the listener in deeper and deeper, bringing a unique liveliness to his blues style, that sets the song apart from others; and on many levels, this is the definitive moment of King's early career.  Yet while his vocal work is fantastic, it is his stunning guitar playing that sets Albert King apart from nearly every other musician in history. Without question, the most interesting aspect of the playing of Albert King is the fact that though he was left handed, he played an upside down right handed guitar, as opposed to a "proper" left handed guitar. This is clearly what gives him his signature sound, and this approach would be imitated by the likes of Jimi Hendrix and Kurt Cobain among countless others. Playing in unorthodox tunings, as well as truly turning note-bending into an art, King was one of many of the early "less is more" blues guitarists, and this helped to bring more focus to the beautiful riffs and progressions that he created. It is these elements that makes the sound of Albert King immediately recognizable, and it is also why he remains one of the most important and influential guitarists in music history.

From Diddley to Hooker to both of the Kings, the truth of the matter is, without the pioneering work of the electric blues masters, music simply would not exist today in its current form. Without question, Albert King and his style and approach to the genre were one of the key elements in these developments, and the impact of his playing can be heard across the musical spectrum to this day. Directly influencing artists like Stevie Ray Vaughan, ZZ Top, and Jimi Hendrix, both the playing style and songwriting of Albert King rank among the most important and significant of all time. Powered by his own talents, as well as the brilliant performances from Booker T & The MG's (and Isaac Hayes), "Born Under A Bad Sign" is an absolute classic of the blues-rock genre, and one cannot overstate the amount of impact that it had on nearly every style of music. Finding this superb musical partnership, Albert King was finally able to fully realize the complete potential behind his songs and playing, and his work with Booker T & The MG's still stands far apart from all of his other recordings. With their supporting sounds, King unleashes some of the most blistering and stunning guitar lines ever recorded, and it is through this song that King almost instantly cemented his name as a guitar legend. Bringing soul and emotion to guitar playing like that of nobody before him, Albert King is unquestionably one of the most important figures in music history, and the true beauty and genius of his music is on brilliant display throughout his landmark 1967 song, "Born Under A Bad Sign."

Saturday, May 12, 2012

May 12: Tom Verlaine, "Dreamtime"

Artist: Tom Verlaine
Album: Dreamtime
Year: 1981

Though one can easily name the handful of musicians that "the media" claims were the most important of any given generation, it is often those that are able to work out of such a spotlight that truly make the most impact on the direction of music.  Perhaps due to the fact that they are more free from the constraints of label pressure to make a certain sound, one can often trace the larger changes in music to the efforts of these individuals.  It is also such performers who seem to find new ways to deploy this sound, and whether it was with his band or as a solo performer, there are few musicians from the past forty years that are on the same musical level as Tom Verlaine.  Having honed his skills and made his name within the confines of the absolutely phenomenal band Television, following the breakup of that group in 1978, Verlaine set out as a solo artist, releasing a number of brilliant recordings that are clearly the logical progression of his previous bands' work.  Possessing one of the most distinctive guitar styles and singing voices, there are few musicians from any era that have proven to be as creative and truly unique as one finds all across Verlaine's work, and this exceptional talent came to a head in the form of his 1981 solo album, Dreamtime.

From the moment that the album begins, the sonic proximity that it has to Television's extraordinary 1977 Marquee Moon is apparent, as many of the songs are clearly based around a slightly stuttered, ringing musical arrangement.  Perfectly balanced between "art rock" and punk rock, Dreamtime has a tone that instantly grabs the listener, completely enveloping them in the sounds as they flow from one track to the next.  The way in which every element of the songs comes together at every turn is far beyond that of almost any other Verlaine work, and this is likely due to the fact that Verlaine himself plays both lead guitar and bass guitar on a number of the tracks.  This leads to an interlocked sound between the two instruments that has rarely been achieved elsewhere, and it is this duality that remains one of the strongest aspects of the album.  It is also the almost military-like drumming from Jay Dee Daugherty that makes songs like "Penetration" so unique, as there are a number of different rhythms simultaneously at play.  Though they are slightly understated, the keyboard fills from Bruce Brody are as essential as any other aspect, enabling many of the tracks to have a full feeling that is far beyond almost anything else being recorded at the time.  It is the way in which all of these instruments play off of one another, giving the songs a fantastic sway, yet retaining a unique edge that pushes it to such heights, making Dreamtime the type of album that can never be forgotten once heard.

Along with the link one can hear to Television within the musical arrangement, there has never been another voice that sounds even remotely similar to that of Tom Verlaine, and one cannot help but hear the connection to his former band.  This is in no way a bad thing, and it is the fact that Verlaine sounds just as good in this solo setting as he did with Television that proves his exceptional talents as a vocalist.  The almost detached, almost nervous persona that he perfected over the years it as its best on throughout Dreamtime, and even those unfamiliar with his work will be instantly drawn in by these stellar vocal performances.  Bringing a number of peaks and valleys in terms of vocal power, Verlaine is able to make the singing just as dramatic as the music, which further sets the songs aside from others.  Yet much like his work within Television, on a number of the songs, the high level of quality within the singing has just as much to do with his brilliant lyrics as it does with his voice itself.  While many of the song titles certainly suggests certain meanings within his writing, there are a number of ways that one can interpret Verlaine's words, and one can cite these as some of the finest of his career.  From the sensual to the sorrowful, one can hear a wide range of emotions within the lyrics to the songs on Dreamtime, and it is the way that Verlaine pulls the listener in deeper with each line that makes this such a wonderfully unique performance.

The end product of Dreamtime is without question an amazing effort, yet there are few records that have as troubled a timeline as one finds in the history of this album.  The initial recording sessions for Dreamline were largely lost due to low quality reel-to-reel tapes, and more than half of the record had to be re-recorded after the fact.  Due to this, there are two almost completely different band lineups on the record, and this makes the overall consistency of Dreamtime even more impressive.  While former bandmates from Television appeared on the record, it is also filled with members from Patti Smith's band, whom Television had toured with in their final years.  Yet all of these difficulties and differences only prove the talents of Tom Verlaine, as one would be hard pressed to find a more enjoyable and appealing record than Dreamtime, and the album easily holds up as the decades and musical trends pass.  The music has an absolutely full sound, and yet on many levels it is a rather stripped-down approach, and there is no other group in history that has shown such an ability to strike this balance.  Furthermore, the unique vocal approach of Tom Verlaine, though often copied, has never been equaled, and it is his singing that keeps the song exciting even after hearing it countless times.  Every moment of the album is absolutely flawless, and there are few recordings  in history that are on par with Tom Verlaine's marvelous 1981 album, Dreamtime.

Friday, May 11, 2012

May 11: Daily Guru, "Music News: May 6 - May 12"

In today's video, I recap some of the biggest music stories of the week. Share and enjoy.

Thursday, May 10, 2012

May 10: Daily Guru, "Music Myths #07"

In today's video, I explore the truth behind myths about Pink Floyd, The Meat Puppets, and The Beatles. Share and enjoy.

Wednesday, May 9, 2012

May 9: Daily Guru, "Daily Guru PSA: Concerts & Your Ears"

In today's video, I take a moment to discuss a serious precaution that could add years onto your musical enjoyment. Share and enjoy.

Tuesday, May 8, 2012

May 8: Daily Guru, "Music School: Concert Ticket Pricing"

In today's video, I break down exactly why concert tickets are so expensive, and where all that money goes. Share and enjoy.

May 8: Daily Guru, "Gurucast #123"

CLICK HERE TO LISTEN (will open in new tab)

(Left Click (PC) or Command-Click (Mac) to save it to your's about 75MB)

One hour of amazing music and commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song or album):
1. Beastie Boys, "Shake Your Rump"  Paul's Boutique
2. Dr. John, "Gris-Gris Gumbo Ya Ya"  Gris Gris
3. Fear, "I Love Livin' In The City"
4. Woody Guthrie, "Pretty Boy Floyd"  Dust Bowl Ballads
5. Mark Lanegan Band, "St Louis Elegy"  Blues Funeral
6. Tori Amos, "Baker Baker"  Under The Pink
7. POS, "Bush League Psyche-Out Stuff"  Audition
8. Steve Poltz, "Kicking Distance"  One Left Shoe
9. Tinariwen, "Soixante Trois"  Aman Iman: Water Is Life
10.  Allman Brothers Band, "Crazy Love"
11. AC/DC, "Let Me Put My Love Into You"  Back In Black
12. Mississippi Fred McDowell, "Louise"  Live At The Mayfair Hotel
13. Truckee Brothers, "Mega Watt"  Double Happiness
14. Joe Strummer & The Mescaleros, "Midnight Jam"  Streetcore

Monday, May 7, 2012

May 7: Daily Guru, "Something Old, Something New #72"

It’s Monday, and that means another edition of “Something Old, Something New.” Share and enjoy.

May 7: Daily Guru, "Vintage Trouble - Terminal 5 - NY"

Last week, I was at Terminal 5 here in New York City to see The Cranberries perform. Their opening act, Vintage Trouble, absolutely blew me away with their energy and songs. I caught up with the band between sets, and they ended up using some of my comments in this sure to check them out, and you'll be seeing them on The Daily Guru on YouTube early next month!

Sunday, May 6, 2012

May 6: Daily Guru, "The Playlist #02: Mr. Jotz"

Today for The Playlist, I have the great Mr. Jotz in studio to offer his music recommendations. Share and enjoy.

May 6: Dead Meadow, "Beyond The Fields We Know"

Artist: Dead Meadow
Song: "Beyond The Fields We Know"
Album: Dead Meadow
Year: 2001

One of the greatest feats a band can accomplish is making a modern record that is so perfectly executed, that it sounds as if it could have been recorded decades earlier. While many bands attempt to do this with the mid-1960's pop rock sound, as well as countless bands trying to duplicated the magic energy of the late 1970s punk explosion, an overwhelming majority of them fail and come off and little more than second-rate copycats. One of the bands that unquestionably succeeds in creating a new take on a classic sound that could have been released in 1973 as easily as 2001 is Washington, D.C. based psychedelic-metal masters, Dead Meadow. Presenting a stunning blend of deep, dark sonic landscapes that scream of Black Sabbath and completely unique vocals that made their music like no other, Dead Meadow stand today as one of the most amazing and exciting bands on the planet. Truly masters of the "wah" pedal, there music is the absolutely perfect balance of psychedelic exploration and the power of metal, which is something that very few other bands have ever been able to achieve. Having released five albums since 2000, Dead Meadow have proved that they are able to consistently write equally fantastic songs, and there is not a bad song anywhere in their catalog. Even though each of their albums is truly spectacular, it is on their phenomenal 2001 self-titled début that Dead Meadow reaches their musical apex, and there are few moments in their catalog on par with their mind-blowing song, “Beyond The Fields We Know.”

From the moment that the track begins, there is a murky, yet completely engaging mood, and in many ways, this sound can be heard as the ultimate combination of the early sounds of heavy metal, and the full spirit of psychedelic rock.  It is the ways that the guitars of Jason Simon seem to flutter across the track, and few performers in history have so perfectly mastered the use of the “wah” pedal.  The movement that his sound creates is second to none, and as the track progresses, he digs deeper and deeper into the groove, pulling the listener along on one of the most uniquely blissful sonic journeys ever recorded.  Yet it is the way that his sound interacts with that of bassist Steve Kile that becomes the most captivating aspect of “Beyond The Fields We Know,” as there is just the right amount of “sludge” within the tone of his bass to give the song an edge and mood that is completely unique.  It is within his playing where the “darker” feel of the song resides, and yet he manages to execute this sound and mood without ever becoming even remotely cliché.  Drummer Mark Laughlin shows a similar connection with the guitars, as he is clearly “locked in” with the overall sound, and the assortment in fills, tempos, and overall percussive sound that he brings gives “Beyond The Fields We Know” a sonic diversity unlike anything that had been heard in decades.  It is the way that the trio move as a single unit, navigating this “dark jam” that one must hear firsthand to properly appreciate, as it is truly a spectacular musical moment.

Though he is first and foremost the guitar player, Jason Simon also handles the vocal duties for every song on Dead Meadow. It is through his vocals that the songs receive their amazing "finishing touch," as Simon's voice is like that of no other performer ever. With a high-pitched sound that is reminiscent of Perry Farrell, the vocals are always set slightly back in the mix, and they seamlessly move in and out of the music. This technique enables the vocals to swirl around the songs, creating a mesmerizing mood that is unlike that of any other band in history. Jason Simon's performance on every song of Dead Meadow is the ideal embodiment of a band that wants the vocals to be as much of an instrument as any other; as opposed to a vehicle for lyrical delivery. This is not to say that the lyrics are second rate or less important, as the band writes lyrics that are equally as superb as their musical performances.  In fact, one can see the lyrics to “Beyond The Fields We Know” as outright poetry, and the meaning within can be interpreted on a number of different levels.  The words themselves speak of an icy, wintery setting, and this very much reflects the overall tone of the song.  Yet it is the way that Simon delivers the words that pulls the listener further into the song, as it is clear that he understands how to make the job of a vocalist become as essential within a “jam” setting as the music over which he sings.

While the influences on the music of Dead Meadow, from Sabbath to Zeppelin to Hendrix, are quite clear, it is on their first record for Matador Records that the band finally finds their own voice, and create a musical effort that in unparalleled elsewhere in music history. Making their own brand of heavy, psychedelic sludge-rock, Dead Meadow are without question one of the most uniquely talented bands in the modern music scene. Creating stunning musical landscapes that are truly hypnotizing, the trio that recorded all of Dead Meadow makes their case as some of the finest musicians of their generation.  The rhythm section of Kile and Laughlin are absolutely fantastic, with their heavy textures setting a mood like no other. Intertwined with the extraordinary guitar work of Simon, one simply cannot find another band that so perfectly executes such an amazing sound as one finds on every song from Dead Meadow. Capped off by the unmistakably sensational vocals of Simon, the entirety that is “Beyond The Fields We Know” is nothing short of pure musical bliss, and one would be hard pressed to find a more original and intriguing band then Dead Meadow.  Though each of their releases is well worth owning, it is their first album that stands above the others, and there may be no more stunning or definitive moment within the Dead Meadow’s catalog than their magnificent 2001 track, “Beyond The Fields We Know.”

Saturday, May 5, 2012

May 5: Tim Buckley, "Tim Buckley"

Artist: Tim Buckley
Album: Tim Buckley
Year: 1966
Label: Asylum

One of the larger misconceptions across the long history of music is the idea that as you go back in time, it is easier to place artists into a single category.  That is to say, many people are under the belief that musical genres were more strict and songs less likely to cross into different styles the further back that one goes.  Obviously, music simply would not have progressed if this were the case, and one can find some of the most unique musical combinations during the under-rated period of musical exploration that was the mid-1960's.  It was during this time period that countless musical norms began to fall, and the idea of the "pop superstar" began to develop.  This was also the point where the psychedelic movement began to fully develop, and it was often the way  in which these elements were incorporated that led to the most stunning musical moments of the era.  Taking a base in folk music, and finding amazingly unique ways to infuse this new, psychedelic style, there are few performers in history that can compare to the sound and voice of the great Tim Buckley.  Recording for less than a decade before his tragic passing, Buckley left behind one of the most diverse and stunning catalogs, and yet few of his records can compare to the impact of his self-titled 1966 debut.  Standing as one of the few truly perfect records ever recorded, one can quickly understand just why Tim Buckley is held in the iconic status that he is by hearing even just one moment of the truly flawless Tim Buckley.

For an artist that was largely labeled as "folk," the opening notes of "I Can't See You" seem to suggest everything but such a title, and this largely sets the tone for the entire record.  Immediately grabbing the listener with a wide range of sounds, one can easily argue that the last genre one would associate with such an arrangement is folk, and there is no question that this is the most “rock-focused” of his recordings.  The songs throughout the album are led by the guitars of Lee Underwood and Buckley himself, and there is often a winding, almost exploratory nature to the playing.  It is within this sound that the psychedelic influence of the songs becomes most clear, and one can find traces and outright copies of this musical approach in countless artists that followed.  Bassist Jim Fielder adds to this tone, as he seems to almost be trying to "out-run" the other guitarists in both his pace, as well as the twists and bends of his playing.  The final element that sets the music on Tim Buckley apart from its peers is the fast-paced, almost nervous performances from drummer Billy Mundi, and it is within his playing that the songs move far apart from both folk and psychedelic, becoming a sub-genre onto themselves.  It is the bouncing, almost manic tone within the drumming that gives many points on the record an almost haunting feel, and there has never been another record that has a similar experience that one can find on Tim Buckley.

However, while the musical arrangements and tone are wonderfully unique, there is simply no getting past the fact that Tim Buckley possesses one of the strongest and most moving voices in all of music history.  Easily able to work every note of the entire musical scale, Buckley's voice is instantly recognizable, and even within his most powerful moments, there is an intriguing, almost blissful calm that plays in brilliant juxtaposition to the music over which he sings.  It is the way in which his voice plays against the arrangement on so many of the tracks on his debut record that helps make the songs stand out from the rest of the Buckley catalog, and yet one can also easily hear just why he remains one of the greatest and most revered vocalists in history.  Furthermore, there is a unique simplicity within his singing that is more in the school of "singer-songwriter" than folk, and the way in which they seem to speak in a confused manner to a partner is one of the most distinctively beautiful moments in music history.  There are moments throughout the course of this album where Buckley seems to be trying to pull the person in question back into the relationship, and yet one can also see the lyrics as little more than a casual, upbeat remembrance of pleasant times.  Though each line is perfectly crafted, there are few lyrics in history that are as perfectly beautiful as when Buckley sings, "...don't leave me in the air to hover, sing it out don't make me suffer, don't be ashamed love is no sin..."

In every aspect, the songs found on Tim Buckley are as close to musical perfection as one will find anywhere else in any genre.  From the unique tension and mood that are set forth by the music to the soaring vocals and gripping lyrics, not a note is out of place, and the lead track to his first album certainly set high standards for Tim Buckley's career.  Yet it is the way in which all of these elements work with one another that pushes Tim Buckley into a category all its own, and it remains one of the few albums in history that must be experienced firsthand to be properly understood and appreciated.  The almost scattered, speedy tone of the rhythm section sets a tone for the album that makes it impossible to categorize, and the dynamic, yet unintrusive arrangement from the rest of the band gives the songs a depth that would serve as a blueprint for countless later artists.  But even with this exceptional playing, there is no question that the focus of every song is on the voice of Tim Buckley, and it only takes a few moments to understand why he remains such a legend.  There is a pain within his voice that suggests a close proximity to the lyrics which he sings, and the way in which he conveys the emotions of his words makes his songs impossible to forget.  Almost instantly cementing his place as an absolute musical legend in every sense of the word, there has simply never been another album in history that can measure up to the sound and presence of Tim Buckley’s 1966 self-titled debut.

Friday, May 4, 2012

May 4: Rest In Peace, Adam Yauch

About an hour ago, it was confirmed that Adam Yauch, better known as MCA from The Beastie Boys passed away early this morning after a very long battle with cancer.

To say that his music had a massive impact on my childhood is a huge understatement, as both Paul's Boutique and Check Your Head remain in regular rotation on a weekly basis.  Also, they hit their stride at the perfect time in my life to get turned on to new music and musical approaches.  It was always amazing for me to see and hear how as a group, they were always pushing the boundaries on what was "acceptable" within the world of music.  It was the live instrumentation and eventually outright jazz-based pieces that they interlaced with the more "standard" hip-hop approaches that first "showed" me how much range one could achieve within hip-hop.  I mean, just listen to the massive sonic differences between Paul's Boutique, Check Your Head, and Hello Nasty.  Few, if any other hip-hop groups ever showed this much musical range with such high quality.

Along with this, it was the way that the trio so seamlessly "passed the mic" whether it was on a word or a line, that set them so far apart from other groups in my mind.  The speed with which they often rhymed, as well as the fact that they achieved the perfect balance between humor and meaning in their lyrics made it all the better.  Everyone has their favorite line from a Beastie Boys song, and in my opinion, they were the group responsible for eliminating the difference between "rap" and "white rap" within the culture of music.

And on top of all of this, they always seemed like they were having more fun in the studio and on stage than almost any other group.  This fact alone always served as a reminder as to what the "real" meaning behind creating music is...having a blast with your friends!

It goes without saying that within the world of hip-hop, and music in general, he will be greatly pay the best respects you can and blast your favorite Beastie Boys record this afternoon in tribute to the man!

Also, here is an awesome video of the band performing "Sabotage" at Woodstock '99.

May 4: Daily Guru, "Music NewsL April 29 - May 5"

In today's video, I recap some of the biggest music stories of the week. Share and enjoy.

Thursday, May 3, 2012

May 3: Daily Guru, "Music Myths #06"

In today's video, I explore three more music myths. Share and enjoy.

Wednesday, May 2, 2012

May 2: Daily Guru, "Guru Soapbox: Sampling Done Wrong"

Today I discuss one of the most frustrating aspects of the current music scene. Share and enjoy.

Tuesday, May 1, 2012

May 1: Daily Guru, "Music School: The History Of Sampling"

In today's video, I discuss the evolution of using samples in music. Share and enjoy.

May 1: Daily Guru, "Gurucast #122"

CLICK HERE TO LISTEN (will open in new tab)

(Left Click (PC) or Command-Click (Mac) to save it to your's about 75MB)

One hour of amazing music and commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song, or album):
1. Joe Strummer & The Mescalaros, "Coma Girl"  Streetcore
2. Tom Waits, "Hoist That Rag"  Real Gone
3. Muddy Waters, "Baby, Please Don't Go"  At Newport
4. The Buzzcocks, "Ever Fallen In Love?Singles Going Steady
5. Marilyn Manson, "Just A Car Crash Away"  Eat Me, Drink Me
6. The Scientists, "Last Night"  Murder Punk: Volume 2
7. The Blasters, "She Ain't Got The Beat"  American Music
8. The Band, "Up On Cripple Creek"  The Band
9. Janes Addiction, "Mountain Song"  Kettle Whistle
10. Dizzy Gillespie, "MantecaDizzy Gillespie
11. Blonde Redhead, "This Is Not"  Melody Of Certain Damaged Lemons
12. Lionize, "The Ballad Of Ronnie Buttons"  Superczar And The Vulture
13. Talking Heads, "This Must Be The Place (Naive Melody)"
14. Bad Brains, "Send You No Flowers"  Black Dots