Tuesday, September 6, 2016

SOUNDPRINTS (Sept. Edition)


ON DECK FOR NEW MUSIC BOOKS IN SEPTEMBER:

The reprint of Ed Ward's Michael Bloomfield: The Rise and Fall of an American Guitar Hero apparently has so much new material it should be considered a brand-new book. (Watch the book promo here.) Chuck Eddy's Terminated for Reasons of Taste: Other Ways to Hear Essential and Inessential Music makes a case for an "appreciation of the lost, ignored, and maligned." (Read a review here.) For over a decade, Guido Harari was singer Kate Bush's official photographer; The Kate Inside, 1982-1993 is a limited edition collection of his most indelible images of the British siren. (See a smattering of them here.) Jim Marshall, another veteran photog, trains his camera eye on the Jazz Festival. (Read a profile of Marshall here.) Thames + Hudson rolls out a pricey 400-page coffee table celebration of Motown: The Sound of Young America. This couldn't have been more well (or sadly) timed: The recently departed Maurice White's posthumous memoir My Life with Earth, Wind & Fire.


Rush drummer Neil Peart continues his road diaries with the new volume Far and Wide: Bring That Horizon to Me! Bloomsbury's 33 1/3 series continues unabated with The Jesus and Mary Chain's Psychocandy. (Read a Q&A with author Paula Meija here.) L.A. Weekly scribe Ben Westhoff tells a LoCal tale in Original Gangstas: The Untold Story of Dr. Dre, Eazy-E, Ice Cube, Tupac Shakur, and the Birth of West Coast Rap. Daniel Bergner went from trailer park with an abusive mother to juvenile solitary confinement to the stage of the Metropolitan Opera in New York; read about how he got there in Sing for Your Life: A Story of Race, Music, and Family. Tim Lawrence focuses on a vibrant and gritty account of Life and Death on the New York Dance Floor, 1980-1983 while the hangovers of AIDS and Reagan were beginning to kick in. Oh, and this guitarist from New Jersey has his first memoir coming out:

Thursday, June 9, 2016

STOMPBEAST GOING DARK FOR SUMMER

We are in the final six months of working on Midnight Pacific Airwaves, so things are getting pretty packed in 'beastville and we need to take a brief hiatus until the Fall. Have a great summer, and in the meantime, enjoy this brand-new track from Lovers, Nels Cline's new Blue Note debut (arriving August 5):
 

Tuesday, June 7, 2016

SOUNDPRINTS (Summer 2016 edition)


ON DECK FOR NEW MUSIC BOOKS THIS SUMMER:
Following recent "pivotal year" books on 1965 and 1966, David Hepworth declares 1971 "the year that rock exploded" in Never a Dull Moment. (Read a review here.) The great tenor saxophonist Benny Golson recalls his tutelage under John Coltrane (and many other memories) in Whisper Not. (Read a review here.) George Plasketes plumbs the life and career of L.A.'s answer to Elvis Costello in Warren Zevon: Desperado of LosAngeles. (Read about Zevon's wild life here.) Brendan Mullen, Jello Biafra, Mike Watt, Lorna Doom, Ian Mackaye and Malcolm McLaren all contribute to The Fucked Up Reader. Martin Power offers No Quarter in his new biography on the life -- well, three, actually -- of Led Zeppelin guitarist James Patrick Page. Newly reminted Hold Steady keyboardist Franz Nicholay tours the global punk underground in The Humorless Ladies of Border Control. (Read an excerpt here.) It's been delayed for at least a couple months, but let's hope Hat & Beard's 500-page Slash: A History of the Legendary LA Punk Magazine: 1977-1980 lives up to all the hype. One of the founding members of NYC's Black Rock Coalition, Greg Tate, releases his second essay collection Flyboy 2: The Greg Tate Reader, while Ed Piskor adds a fourth volume to his gorgeous graphic novel series The Hip Hop Family Tree. Grafton Tanner gives the dance-music micro-genre called "Vaporwave" the rigorous academic treatment in Babbling Corpses. Ricardo Cavolo's hallucinatory folk art is the highlight of Scott McClanahan's graphic novel The Incantations of Daniel Johnston. (Read an interview with McClanahan here.) The concert festival that allegedly killed the 1960s finally gets its own book in Joel Selvin's Altamont: The Rolling Stones, the Hells Angels, and the Inside Story of Rock's Darkest Day. Yacht rock's gruesome twosome of Walter Becker and Donald Fagen get their laundry aired in a new expanded reissue of Brian Sweet's Steely Dan: Reelin' in the Years. When the Brooklyn alt-rock venue Death by Audio shut its doors in 2014, they held an epic 75-day goodbye party that was documented by photog Ebru Yildiz in We've Come So Far. (Look at some of her amazing images here.) And barely six months after the death of David Bowie, Your Band Is Killing Me author Rob Sheffield offers perhaps the first significant piece of posthumous appreciation in On Bowie. (Check out Sheffield's Spotify playlist here.)

Wednesday, May 25, 2016

75 HOT LINKS (w/ Dirty Rice & Sausage Gravy)


Mmmff, this should keep us all full for awhile...

(THE ATLANTIC)

(DANGEROUS MINDS)

A Guide to the Work of Diamanda Galás (RED BULL MUSIC ACADEMY)

(THE A.V. CLUB)

ARCHITECTURE + EXPLOSION: Cecil Taylor, The Composer (DARK FORCES SWING BLIND PUNCHES)

Wednesday, April 27, 2016

SOUNDPRINCE (May Edition)


ON DECK FOR NEW MUSIC BOOKS IN MAY: Bruno Ceriotti's exhaustive e-book My Little Red Book: Love Day-By-Day 1945-1971 charts the L.A. cult band's tumultuous rise and fall. Premier punk press PM publishes the second edition of George Hurchalla's Going Underground: American Punk 1979–1989. He's not dead, so you can still read Philip Norman's Paul McCartney: The Life without crying to a Spotify playlist. Rolling Stone editor Mark Binelli reanimates a gonzo R&B singer in his 'What If?' novel Screamin' Jay Hawkins' All-Time Greatest Hits. David Toop has written some of the most sublime books on the holistic effects of sound and music; now he just may top himself in Into the Maelstrom: Music, Improvisation and the Dream of Freedom Before 1970. Honestly, we're getting kind of tired on books about the "World's Greatest Rock & Roll Band," but Rich Cohen's The Sun & The Moon & The Rolling Stones examines the group through the contradictory lens of journalistic fandom. (Be forewarned: Cohen, along with Mick Jagger, is one of the co-creators of HBO's execrable Vinyl, so bring along a couple grains of salt.) John Troutman excavates an underrated and misunderstood instrument in Kīkā Kila: How the Hawaiian Steel Guitar Changed Modern Music. Ex-Grantland scribe Steven Hyden brings a kind of Monday Night Football blow-by-blow commentary to classic musician rivalries (Biggie vs. Tupac, Stones vs. Beatles) in Your Favorite Band Is Killing Me: What Pop Music Rivalries Reveal About the Meaning of Life. (Read an interview with Hyden here.) Since the turn of the millennium he's been a tireless booster for the West Coast, but in his memoir PorcelainNYC, 1989-1999 technopop auteur Richard "Moby" Hall looks back on his early DJ career in Urinetown. Yale University Press's twin volumes Conversations In Jazz and Music in the Air aim for reappraisal of the pioneering jazz writer Ralph J. Gleason. (Read The New Yorker's take on Gleason here.) Happily, the prolific Ted Gioia, who wrote the introduction to Conversations in Jazz, also has a new book, the accessible primer How to Listen to Jazz. (The Washington Post reviews it here.) Minnesota University Press collects the rare and unpublished essays of jazz and blues critic Albert Murray in Murray Talks Music. (The LA Review of Books reviews it here.) And rounding out the month for you Geminis are two very different titles from Bloomsbury's 33 1/3 series: Jovana Babovic's Sleater-Kinney's Dig Me Out and Rolf Potts' The Geto Boys' The Geto Boys.

Thursday, April 21, 2016


There is a woman who sits
All alone by the pier
Her husband was naughty
And caused his wife so many tears
He died without knowing forgiveness
And now she is sad, so sad
Maybe she'll come 2 the park
And forgive him
And life won't be so bad
In Paisley Park


Monday, April 18, 2016

Eddie Becton Schools A Young 'Un

Eddie Becton (L) with Chet Hanley and Leroy Downs

I was kicking back having a glass of wine and listening to some classic Duke Ellington and reflecting on a discussion with a young cat in my jazz history class years back:

Young 'Un: Eddie B! Hey man, I know you dig jazz, but doesn't it get boring? A lot of it doesn't have lyrics, so it doesn't really tell you anything. Are you STUCK on jazz?

Eddie B: (resisting the urge to plunder the young lad, YET conjuring the spirits/sentiments of Ellington, Louis Armstrong, Charles Mingus, among others) I tell you what. Listen to these cuts. Start out with Ellington's cut, "Gong." Listen to what Duke says throughout, but especially to what he does in the background as much as the foreground. Peep his lines from 2:47 to 3:07. Tell me what you hear.



YU: Damn! They're chillin', but it sounds like they're having a conversation, even though there were no vocals! It's like Duke was responding to whatever they played.

EB: Okay, cool. Now, listen to this cut, "All Blues," by Miles Davis. What do you hear?



YU: It's a different vibe, but it also sounds like they're having a conversation. The band seems to be feeding off each other. I dig how mellow and cool this cut is!

EB: Okay, I dig you. Now,watch this clip from by Funkadelic, "Cosmic Slop" live. What do you see/hear/feel?


YU: Damn! They're killin' it! You see how many people were on stage? Parts of it sound like rock, but it has that funky vibe to it. Everybody is having a conversation and feeding off each other. You could even feel like the people in the audience were probably going off!

EB: (laughing my head off!) Man... okay, okay. Now, listen to this cut by Dr. Yusef Lateef, "Juba Juba." Was there ANY connection between all the cuts?



YU: WOW! That cut is POWERFUL! I heard the literal voices and musical voices. It's like the cut encompassed, in some ways, the history of black music in America. All the cuts sounded good, for different reasons, but I dug them all. If there was anything across all, I guess it was they all seemed to be having a musical conversation, but the Lateef cut was like a summary of them all, if that makes sense.

EB: Exactly! When you understand the culture and the music, you FEEL it, and can relate to the band's conversations amongst itself AND the audience! While each cut you listened to might have had a different vibe, they were ALL talking to you, just using different words. ALL of it felt/sounded good, and for different reasons. It's like spirituals, work songs, blues, jazz, etc., they all speak to you, it's just that they may, in some cases, use different words to tell the same story!

YU: Ahhhhh, I didn't really think about that.

EB: Man, don't you EVER tell me that music with no verbal lyrics is incapable of telling a story! The voice is an instrument as much as a sax, but that doesn't mean they both can't talk and/or tell a story. The history of black music IS the story, man, LISTEN, and if you listened to the music at any period in history, you'll get a sense of what was happenin' at that time!

YU: Thanks, Eddie B!

EB: No problem, and remember this: Life can be much more fuller and wonderful when your ears are bigger than your mouth. Listen, son, listen!

[Eddie Becton is a professor of African-American Studies at Loyola Marymount University and hosts Eddie B's Jazz Journey on KXLU 88.9-FM. The above FB post was reprinted with his permission.]