As All Get Out – New from MLV
Ickmusic favorite Matthew Logan Vasquez (aka the front man of the great Delta Spirit) is back with another great batch of songs on his brand new album, As All Get Out (Bandcamp), released this past Friday. This is Matt’s 5th full length solo album since 2015. Pretty prolific considering there’s also been an EP and two Delta Spirit albums released in that same time frame. It must be nice to let the songs spill out of you like that. I’m still struggling with writing my first full song, and yes, I’ve read Jeff Tweedy’s ‘How To Write One Song!’
This new album came to my attention via Matt’s Instagram, where he posted a video of himself along his his two band mates playing a great version of the album opener “Untouchable.” I was ‘reeled’ in!
With Friday’s release, I dove in. The second song in, the lead single “Over It,” has that driving Delta Spirit / Vasquez signature beat, and has me coming back for many repeat listens. The video is fun. I’m guessing that’s Matt’s son front and center.
And if you want an emotional, poignant ballad (see the DS tune “Vivian” too), then listen to “Recognize,” which is written from the point of view of someone just diagnosed with a memory-killing disease like Alzheimer’s. “Would it offend you if I left here tonight / while I’m still someone I recognize?” Crushingly beautiful.
Recap: Leif Vollebekk comes to Phoenix
Since discovering Leif Vollebekk’s music a few years back, I’ve looked forward to the day I’d see him live. Last night, St. Patrick’s Day 2022, was the night. Leif is back on a big tour, and thankfully he was booked into a cool small Phoenix club called Valley Bar – a speakeasy style venue that’s accessible from a downtown back alley off Central Avenue, down a flight of stairs. Really cool vibe.
Leif hails from Montreal, Canada, and his whole essence as a musician is infectious. He pours his heart & soul into his performances. You see him lost in the music, closing his eyes, waving his head – the same kind of soul-shaking moments at the piano and keys you’d see from Ray Charles. And that voice man.. soulful, smooth with that ever so slight raspy-ness. Just gorgeous to watch and hear live.
The night was spontaneous, straying from the set list for moments like Prince’s early 80’s B-side “How Come U Don’t Call Me Anymore” (maybe in response to a fan in the front row who was wearing a Prince shirt, as Leif pointed out).
As the pandemic decides to subside a bit for now, it’s intimate live moments like this I’m so glad to have back – a chance to stand 20 feet from a great musician, watching it happen in the moment.
Leif’s song “Transatlantic Flight” is one that resonates most with me. I captured it all here.. enjoy.
Bruce Cockburn’s cover of Ribbon of Darkness
This song has been percolating happily in my headspace for a good month or two now. From a 2003 tribute to Gordon Lightfoot, here’s the great Bruce Cockburn with a sublime take on Gord’s “Ribbon of Darkness.”
11 Past the Hour
Another spellbinding few minutes of music, this time courtesy of Irish singer Imelda May. Silky smooth, effortless and beautiful, the tune has a dreamlike, gliding quality that hits me in just the right place.
Imelda hit my radar about 10 years back when I saw her on Later with Jools Holland (singing “Johnny Got a Boom Boom”). At that time she was married to British rockabilly guitarist Darrell Higham, who played a bit with Jeff Beck. She definitely had that retro, throwback vibe at the time. Which leads me also to this question – have you heard Jeff Beck’s version of “Lilac Wine,” featuring Imelda? Oof.. take the time to listen to it as well.
But I digress. Click Play, close your eyes, and enjoy the beautiful voice of Imelda May (with the sweeping, impressive production of “Budapest” producer Cam Blackwood).
when black midi comes to town
Always a treat to come across multi-talented new bands. black midi are young UK guys in their late teens / early 20’s who sound years ahead of their time. I bought this record after hearing “John L.” once and simply looking at this awesome album cover. Lots to discover here. Lots going on.
“John L” is the first song on this cool KEXP At Home performance.
Jaime Wyatt’s Misery & Gin
If you haven’t checked out Amoeba Records’ long running “What’s in my Bag?” series on YouTube, I recommend it. It’s easy to go down the rabbit hole watching different musicians point out their favorite records and films. The Shooter Jennings episode hipped me to Jamie Wyatt’s debut album ‘Felony Blues,’ which Shooter produced. I love it, especially her version of Merle Haggard’s “Misery & Gin” (written by Snuff Garrett and John Durrill) that closes the album. Jaime’s vocal performance, especially in those first two verses, just floors me.
It’s perfection.
My intro to Nicole Atkins
Nicole Atkins has evaded me all these years, but thanks to a friend pointing me to her latest release earlier this year (Italian Ice), and the last 24 hours of deep diving into her music, I am on board.
Her voice blows me away. Songs like “The Way It Is” that just hit me in all the right spots. A throwback 60’s pop diva feel… the voice as an instrument, one that is completely at her command.
Or “Forever,” where the intro and verses have a familiar ring (I hear “Time After Time” and “Little Red Corvette”) and then changes gears into a catchy chorus.
I’ve been discovering her collaborations with other artists too. A couple of really cool covers:
One collab I would love to see: Nicole teaming up with New Zealand’s Marlon Williams, who captures that same shimmery retro vibe.
Italian Ice pays homage to her Jersey Shore upbringing, and is a great listen. It was recorded in Muscle Shoals, Alabama, and features session legends Spooner Oldham and David Hood, as well as friends like Spoon’s Britt Daniel. The final song on the album is “In the Splinters”, and this live video from a July WFUV performance really sums up Nicole: fun, enthralling, entertaining, and a voice that can kill.
So, watch! And check out NicoleAtkins.com for more. For me, file under Late to the Party, and… On. board.
Midnight to Stevens – The Clash Pay Tribute to an Original
I’m about a quarter of the way through Marcus Gray’s Route 19 Revisited: The Clash and London Calling. It’s a meticulously detailed account of absolutely everything having to do with the landmark 1979 album. Gray also wrote one of the best full biographies of the band, The Clash: Return of the Last Gang in Town.
Needless to say, I’ve been buried pretty deep in Clash music over the last few weeks, listening to the albums, live shows, outtakes, B-sides and the like. This includes listening to my old Clash on Broadway CD collection, and encountering a great song I don’t recall hearing before. Apparently, when I bought the box set back in the 90’s, I didn’t give it the listen it deserved. Shame!.
Guy Stevens and Mick Jones “Midnight to Stevens” is an outtake from the Combat Rock demo sessions, cut in September of 1981. The subject is music industry/producer Guy Stevens, who produced Procol Harum and Mott the Hoople in the late 60’s and early 70’s – and who, along with the Clash, produced London Calling. From what I’ve read, Guy was wild, unpredictable, and a raging alcoholic. Underneath it all though, he was loved by the musicians he worked with – in spite of the his behavior (he’d pace the studio during takes, throw chairs and ladders, and get in the face of the musicians). Clash guitarist Mick Jones, for one, was a huge Mott the Hoople fan, so would have been excited to have Guy on board for London Calling. Guy was absent for a good portion of the LC sessions, but his eccentric spirit likely helped fuel the creative and unpredictable spirit of the album – inspiring the band to produce a multi-genre masterpiece.
Sadly, on August 28, 1981, Guy Stevens died of an overdose of prescription medication, which he was taking to try and combat the alcoholism. He was only 38 years old. Just three weeks later (Sept 17), at the People’s Hall in London, with the Rolling Stones mobile studio parked outside, the Clash recorded this tribute to Guy.
The song itself is a more subdued, pop-oriented tune than one is used to hearing from the Clash. It’s a sad, beautiful tune if you ask me – and I know you are. It was a nice surprise to discover this after all these years.
So here’s a short clip of the London Calling sessions at Wessex Studios in London, where you can see Guy exhibiting his Guy-ness:
And here is the song (available on the Clash mega set Sound System).
Hold Me – Oz Soul from The Teskey Brothers
If you close your eyes and throw on The Teskey Brothers latest record, Run Home Slow, you may think you’re hearing some recently unearthed Memphis Stax soul. What you’re actually hearing is the soulful voice of Melbourne, Australia’s Josh Teskey and the throwback sounds of the Teskey Brothers. Josh definitely channels the spirit of Otis Redding.
“Hold Me” strays just a little from the Stax formula and mixes in some folk/roots with infectious foot stomps, hand claps and harmonies. The video adds to its allure, with its atmospheric, earthy, outdoorsy setting (directed and produced by local filmmakers We Are The Moon House, and filmed at sunrise in the Teskeys hometown of Warrandyte).
This one hit my radar recently on a Tidal video mix. I’m thankful for the recommendation engines churning behind the scenes on Tidal, Spotify, Apple Music and such. This one’s a keeper.
In Appreciation of: Honey in the Sun
Please add me to the Tracyanne Campbell appreciation society. The Scottish lead singer/guitarist for Glaswegian Indie Pop band Camera Obscura caught my attention recently when “Honey in the Sun” rang out sweetly from my Mac speakers (hard to romanticize, ha).
Her voice is indeed sweet like honey, and the sun-kissed, wistful beauty of the song itself just hits me right where it counts. “Honey in the Sun” is the last song on their fourth album, My Maudlin Career, released in 2009. The comparisons to Belle & Sebastian are obvious, and after reading up, I came to discover that B&S singer Stuart Murdoch produced their debut album Biggest Bluest Hi-Fi.
In fact, “Honey in the Sun” gives off the same vibes as my favorite Belle & Sebastian tune, “Another Sunny Day.”
Long story short, I’ll be exploring Camera Obscura’s discography, and taking in the beauty of Tracyanne’s voice.
