en http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Thu, 1 Jan 1970 00:00:00 +0000 Thu, 1 Jan 1970 00:00:00 +0000 60 http://www.audioscrobbler.net/data/webservices http://www.last.fm/user/rfduck/journal The Last.fm journal for rfduck. Last.fm journals are a place to talk about all things music. http://www.last.fm/user/rfduck/journal/2009/09/10/300pt2_beatles_songs_i_love Thu, 10 Sep 2009 00:20:11 +0000 http://www.last.fm/user/rfduck/journal/2009/09/10/300pt2_beatles_songs_i_love Today is the day. All of The Beatles' original albums are being re-released in new, improved, remastered versions. We've bought these albums before, and we're buying them again. They're worth it, aren't they? I can't afford to buy too many right now, but I'm starting with the must-have: Sgt. Pepper's Lonely Hearts Club Band.

In honor of this special day, I am presenting here a list of Beatles Songs I Love. This isn't an exhaustive list, nor is it a definitive list of my favorite tracks. These are just Beatles songs that have moved me, made me say "Hell yeah!" and have become part of my life. A few things to know: I haven't heard every Beatles song yet, and I strongly prefer the late-era Beatles. The White Album is my favorite Beatles album thus far. With that in mind, in no particular order, here are some Beatles Songs I Love:

I Want to Hold Your Hand

This is it. The perfect love song. This is, in my opinion of what I've heard, the cream of the crop of the early Beatles recordings. It has a great melody and a very simple but powerful message. It's also quite innocent considering what kids today want to hold.

Revolution

Crunchy electric guitars! This is Heavy Metal Beatles. I just love the layers upon layers of thick, loud guitars. The lyrics are quite deep, too. The Beatles progressed quite a bit by the time they released this. It wasn't all about holding hands anymore.

Dear Prudence

This song has a wonderful sound. Absolutely wonderful. I love the chiming guitar, the punctuation of Paul's bass, and John's lazy melody. I also love how the song gets more and more frantic as it nears the end. "Dear Prudence" is my favorite song on the White Album. This song is really inspirational. The sun is out, and the sky is blue. Come out and play.

Lucy in the Sky With Diamonds

Never before had there been a perfect synthesis of lyrics and music to create an image in a listener's head. This song is pure candy, an audible dream. It takes you to a place of magic and wonder. This is a good song for getting out of whatever rut or trouble you're in and surrendering to the dream world. This is one of my favorites. It still sounds great 40 years later.

And Your Bird Can Sing

As soon as that happy guitar melody kicks in, you know you're in for a treat. The Beatles were changing by 1966, but they could still make a perfect pop song. That's what this is. The harmonies, the melody - it's all a big bundle of joy. I always want to sing along, and sometimes I do.

Being for the Benefit of Mr. Kite!

Again, the lyrics and music create a picture for you to relish. That's what I love about John's songs on Sgt. Pepper - they're more than mere songs. Right in the middle of the album, we get a circus! The sound effects really make this one special, as does John's carnival-barker singing as he tells a tale he read off a vintage poster. Ideas like that made Sgt. Pepper a great album.

Hello, Goodbye

Why are the Beatles so loved around the world? They made songs that you can instantly love. This song may be simple, but it's another that I always wish to sing along with. I'm a big fan of melody, and this one is all about the melody.

Something

Remember what I said about "I Want To Hold Your Hand"? I was wrong. This is the perfect love song. It might be the best Beatles song ever, and it was written by George Harrison.

Paperback Writer
This song rocks! Why does it rock? Because it features one of Paul's best bass performances. The bass is so thick on this song, you can almost grab it!

I Will

The Beatles did some wonderful complex songs, but they also excelled at the simple. This is simple and straightforward, and all the more powerful for it. I like how the Beatles weren't afraid to make a song only as long as it needs to be. They knew the perfect thing to do each time. I also like this song because it reminds me of a good memory. I was at the Farmers' Market last year, and a singing group was performing this song. Hearing it made me happy.

Her Majesty

By 1969, The Beatles had been to the top of the world and were about to come crashing over the edge. It's highly appropriate, then, that the last track on their last recorded album be a silly little throwaway. It brought back the essential Beatles ingredient - fun!

Hey Jude

Why is Paul one of pop's best songwriters? He can get anyone to sing along to his songs. "Hey Jude" is the best example of why that is true.

Rocky Raccoon

Who doesn't love a good story? Paul tells a great story on this song. I like Paul's voice here (he was really the best singer in the Beatles). I like how he gives it an old-west feel. I also like how the Beatles were willing to try anything.

I Feel Fine

Years before Jimi Hendrix was doing it, the Beatles were using distortion in their songs. That opening whine of the speaker lets you know you're about to hear something wonderful. John's vocal, Ringo's crazy drumming, George's great guitar tone - everything works well.

Let It Be

Paul is the master of simple, direct messages. What better message to the world than "Let it be"? Ironically, at the time of the recording of the Let It Be album, the Beatles were fighting with each other and getting nearer to a breakup. If they had just followed Paul's advice, they might have stayed together longer. Also, this is a very beautiful song, one of the Beatles' most beautiful.

A Hard Day's Night

Forget Michael Jackson - John, Paul, George and Ringo were the Kings of Pop. I don't know what to say about this song, other than it's just simply great!

Helter Skelter

Paul McCartney had developed into a very awesome bassist by the time of the White Album. Oh, he was always good, but this song makes him great. Here he's almost playing lead bass. It's that thick and loud. Matching his booming bass is his booming voice. Some people associate the Beatles with poppy love songs and flower power, but they could rock as hard as anyone. Other things to love about this song are the false ending and Ringo's "blisters on (his) fingers!"

Rain

Just like the above song, here Paul is nearly playing lead on bass. Keeping up with him is Ringo, pounding the crap out of his drum kit. Set against that blast of sound is John's lazy vocal performance. This song is enough to put you in an altered state of mind. Everything seems slowed down and surreal. Especially freaky is the backward lyric near the end. This song relaxes me and makes me think of home. It's rather hypnotic.

Happiness Is a Warm Gun

People say that Paul was taking more control of the band in the last few albums, but John's contributions to those albums (and singles) were nothing short of magnificent. One example is this mish-mash from the White Album. It sounds like John crammed three or four songs in here! John even breaks out a falsetto in the last part. This is weird, wonderful and all Lennon. My favorite bit is the heavy part in the middle with the "I'm going down" lyric.

Penny Lane

This would have fit perfectly in the Sgt. Pepper album. The melody is incredibly catchy and the whole song brings a smile to your face. It makes me feel like a child. The Beatles can do that. I dare you not to sing along with the chorus.

Tomorrow Never Knows

It may be repetitive, but Ringo Starr's drumming on this groundbreaking track is funky! This was one of the strangest Beatles songs released, and it still sounds fresh today. There are many things to love - the lyrics, the effects, the leslie vocal in the last verse - but for me, it's all about that drumming.

Come Together

This is absolutely one of my favorite Beatles songs of all time. It has a great sound, especially because of Paul's heavy bass and the unique rhythm the song has. John's lyrics make no sense, but the song just sounds so great that I don't care. It's just a cool song, and that's why I like it so much.

Getting Better

The harmonies on this song are just incredible. No one could harmonize like the Beatles, and they weren't even related! I have always suspected a Beach Boys influence in this song. The tambura appearance from George midway through the song takes things to a new level.

Polythene Pam

This almost sounds like a punk song to me. I like the crunchy, lo-fi sound and the rough guitar playing. You just can't categorize the Beatles because they did it all.

Cry Baby Cry

John Lennon had a very powerful singing voice (as shown on "Twist and Shout"), but he could also sing gently when needed. This song is one of his most gentle, and it's wonderful. It's almost like a nursery rhyme. Like many White Album songs, this one gets me relaxed and reflective. It's one of the hidden gems on that great album. I especially like the guitars and the pounding piano. I can't wait to hear this in remastered form. Paul's bit at the end is kind of creepy.

If I Needed Someone

It's kind of sad that this is the only song from Rubber Soul on my list, but I guess that album hasn't really made much of an impact on me. I really need to get the remastered version someday, because the sound on the older CD isn't the greatest. As for this song, it's one of George's best with the Beatles. I don't know why, but I really like it. The harmonies are lovely, as is George's singing. It's a job well done.]]> http://www.last.fm/user/rfduck/journal/2009/08/21/2ycljl_introductions:_leona_naess Fri, 21 Aug 2009 05:56:24 +0000 http://www.last.fm/user/rfduck/journal/2009/08/21/2ycljl_introductions:_leona_naess Leona Naess is not the artist for those concerned with looking "tough" or "manly." Her music is straight-up girly, pretty, and has not a bit of edge. That's OK with me. If listening to Leona Naess makes me look like less of a man, it's a small price to pay for great songs.

Now, I don't mean to imply that there's something wrong with men who listen to music made by women. I do so all the time. I'm just saying that there are moments when I listen to Leona's music and say to myself "this music is really not meant for my ears." No matter the case, Leona Naess makes some wonderful music.

Leona Naess, 35 years of age, has a very diverse background to say the least. She is the daughter of a famous Norwegian businessman and mountain-climber (Arne Naess), was born in New York City and was raised in London. At one point, she was the step-daughter of Diana Ross. These connections are interesting, but not necessarily a large part of her story as a professional musician. She may not be a huge star (hence my writing of this introduction), but whatever fame she has earned has been earned through her own talents and hard work.

She came on the scene in 2000 with Comatised. This album introduced her special style of music - part folk, part rock, part pop and all Leona. The single "Charm Attack" put her on the map and smoothed the way for her second album, 2001's I Tried To Rock You But You Only Roll. That album found her reaching for her 1980s pop influences to create songs full of electronic textures and dance beats. However, she didn't totally abandon the sound of her first record. Songs like "Serenade" and "Promise To Try" brought back her singer-songwriter side.

2003 gave us her third, self-titled album. This was the one that was supposed to really break her through to the mainstream. However, mainstream success didn't quite happen. I've recently listened to that album (on the Myspace Music service) and I can see why it didn't stick around. It doesn't really have a particular sound like her second release, and the songs just aren't as strong as some on her previous albums. I think she was possibly trying too hard, which as we all know can backfire on an artist.

Things did not improve for Leona after that career letdown. Her father died the next year in a mountain climbing accident, and she was dropped from her label. She took some time off from being a recording artist to regroup and mourn her father's death. To get through the tough times, she started writing. And writing. And writing some more. She recorded what she wrote, often using the first take of a vocal. Her friends helped her out with instrument contributions, and she eventually came up with a reputed thirteen albums' worth of new material.

The result of all that new material was her latest release, 2008's Thirteens. Out of great tragedy came beautiful music, as this new album is possibly the strongest of Leona's career. It is full of gorgeous sounds and beautiful melodies and is the most honest and raw Leona Naess release to date. Personally, I can say that Thirteens renewed my interest in her and is currently one of my favorite albums in my large CD collection. It is really that good.

So how did I learn about Leona anyway? I first saw her on Sharon Osbourne's now-canceled talk show, most likely back in 2003 after the release of the Leona Naess album. I don't remember which song she performed, but she left enough of an impression to warrant my checking out her website. Impressively, Leona's website at the time allowed one to listen to all of her music for free. I took that opportunity and was absolutely hooked, especially on I Tried To Rock You. I really liked the dance-ability of the music, the bright pop sounds combined with Leona's sweet voice. Sometime in 2004, perhaps in the summer, I bought that album.

I enjoyed I Tried To Rock You But You Only Roll for a few months, and then moved on to other things. I didn't listen to it all that much over the next years, and I mostly forgot about Leona. I didn't bother buying her other albums. This disinterest didn't last forever, though - sometime in 2007 or 2008, I started listening to her CD again and remembered why I liked her in the first place.

Sometime in 2008, I found out she has released a brand-new album. I had no idea what happened to her in the interim, and I was saddened to learn about her father. I was intrigued by her new album, though. I listened to sound clips and was impressed. I put her album on my "to-buy someday" list. Early this year, I listened to Thirteens on the new Myspace Music service. Once again, I can listen to any Leona album in full. I was incredibly impressed! I fell in love with the acoustic, low-key production of the album and the utter rawness of Leona's vocals. I also like the ear-worm melodies that fill the album's songs. It didn't take me long to purchase Thirteens for myself, and I've been enjoying it ever since. I especially love the songs "Shiny On The Inside" and "The Lipstick Song." I feel that Thirteens is the album Leona had in her all along, and I can't wait to see what the next one sounds like.

Ok, that's how I became interested in Leona Naess. What is it I like about her? I think the first thing I like about her is her voice. It is tender, vulnerable, feminine, soft, and comforting. Yeah, comforting. Listening to Leona Naess sing is like wrapping yourself in a warm blanket on a cold, icy morning. Her voice can do some amazing things. It's not what I'd call a strong voice, but it works perfectly for the music she and her fellow musicians create and the songs she writes.

Leona prefers to surround her soft vocals with acoustic guitars, gentle pianos and poppy keyboards. I Tried To Rock You is a great album, but not really indicative of her sound. "Lazy Days" from her debut Comatised is a good song to give you some idea of what she's about. Leona herself plays acoustic guitar and some piano. Her album credits show that many of the instruments are played by others - she doesn't even play guitar on all her songs. I think she sees herself as a vocalist first, and there's nothing wrong with that.

Her music is deceptive. It makes you think you're hearing only a guitar or a piano and a voice. If you look at the album credits and really listen to the songs, you'll discover that she uses so many more instruments that you think. I believe that's because of the way her music speaks directly to your heart and soul. It just sounds like the kind of music that begs for simplicity. I think that's why I like listening to her - her music is simple, honest and direct.

Her music is also very pretty. Her melodies are like lullabies. You can easily fall asleep to some of Leona's songs. That relaxing beauty and grace is what makes her music worth listening to. Now, as I've said above, these are songs written, sung and performed from a female perspective. Men might not find much to identify with in Leona's music, but I hope more men can see her music for the beautiful stuff it is. She's not hugely famous, but I don't want her to be. I want her to be able to continue to create music, but I'm also fine with having her be known mostly to those of us who get her and get her music. I'm glad she came back after her third album, and I don't think she's the type to be a huge superstar musician anyway. She's just Leona, and I like that.

Songs To Hear:

Leave Your Boyfriends Behind (from Thirteens)
Calling (from Leona Naess)
The Lipstick Song (from Thirteens)
Charm Attack (from Comatised)
Yes, It's Called Desire (from Leona Naess)
Home (from Leona Naess)
Lazy Days (from Comatised)
Ballerina (from Leona Naess)
Blue-Eyed Baby (from I Tried To Rock You But You Only Roll)
When Sharks Attack (from Thirteens)
Hurricane (from I Tried To Rock You)
Comatised (from Comatised)
Anything (from Comatised)
Shiny On The Inside (from Thirteens)
Ghosts In The Attic (from Thirteens)
Serenade (from I Tried To Rock You)

Albums To Buy:

Start with either Comatised or Thirteens. Honestly, I'd recommend Thirteens over all the others. Then, buy I Tried To Rock You and/or Comatised. If you still like what you hear, go for Leona Naess but keep your expectations in check.

Final Thoughts:

I think I pretty much said everything. I did most of my research from Wikipedia, but if you find any mistakes, please let me know so I can correct them. Finally - go listen to Leona! Her music is on Myspace and probably iLike and other services, so you have no excuses.]]> http://www.last.fm/user/rfduck/journal/2009/07/21/2vt2tc_an_idea_for_last.fm_-_song_commenting Tue, 21 Jul 2009 03:16:28 +0000 http://www.last.fm/user/rfduck/journal/2009/07/21/2vt2tc_an_idea_for_last.fm_-_song_commenting I'm an avid user of Facebook, and one of the features I like best about it is the ability to comment on anything. Well, I thought Last.fm could use the same feature for songs!

Imagine leaving a comment on a friend's scrobble telling them that you love that song, or hate that song, or that song reminds you of that time when . . .

I'm not sure exactly how it would work, but perhaps all of a comments on a user's songs could be collected on one page. I think this would be a great idea, and more relevant than leaving comments on the shoutbox. Songs come and go, so comments that stay with the song would be the key idea.

What does everyone else think?]]> http://www.last.fm/user/rfduck/journal/2009/01/04/2dfrly_songs_that_grow_on_you Sun, 4 Jan 2009 03:32:10 +0000 http://www.last.fm/user/rfduck/journal/2009/01/04/2dfrly_songs_that_grow_on_you I've been listening to my new Neil Finn album (One All), trying to let the songs sink in and make their home in my heart. It got me thinking about the digital revolution in music and the death of the proper album. When you buy your music online, piece by piece, song by song, there is no such thing as 'letting a song grow on you.' Songs aren't always supposed to find your favor immediately. Some songs need time to do their magic. Those are the songs you remember fondly. It's always rewarding to have that moment when you finally 'get' a song. Of course, there's also the matter of hearing a song in the context of an album, figuring out where it fits into the whole.

If the album truly dies, how will music making change? Will musicians give up quantity for quality? Will they focus only on the songs they (or their producer, or their record label) deems most commercial and widely appealing? It is likely that those sneaky, rewarding songs will be discarded and forgotten. Listeners will no longer have the opportunity to give things a chance and have faith in the abilities of their favorite artist. They'll merely buy what they like and ignore what they don't. Hits will become big hits and misses will sink into the void.

Just a few thoughts from an old-fashioned music fan.]]> http://www.last.fm/user/rfduck/journal/2008/11/17/2a6vp7_introductions:__robert_randolph_and_the_family_band Mon, 17 Nov 2008 05:21:40 +0000 http://www.last.fm/user/rfduck/journal/2008/11/17/2a6vp7_introductions:__robert_randolph_and_the_family_band Robert Randolph and the Family Band are:

Danyel Morgan (bass, vocals)
Robert Randolph (pedal steel guitar, electric guitar, vocals)
Marcus Randolph (drums)
Jason Crosby (organ, piano)

Whenever someone asks me to describe the music of Robert Randolph and the Family Band, I never know what to say.

R&B?
Soul?
Funk?
Rock?
Gospel?

I think we need an entirely new genre to describe what Robert Randolph and his Family Band do.

RR&TFB (which is how I'll refer to them from this point on - they have a very long band name) would seem like any other modern funk/rock band, except for the instrument played by lead guitarist and bandleader Robert Randolph.

He plays pedal steel guitar.

RR&TFB may well be the first rock band led by pedal steel. The instrument differs from a regular guitar in many ways: It has 13 strings; it is played flat with a series of pedals for chord-changing; and the player uses a slide over the strings. It has roots in Hawaiian music and is typically used in country music and gives it that distinctive crying moan.

When Robert Randolph plays it, it becomes a whole other animal. Once you hear a RR&TFB song, you'd be hard pressed to identify the lead guitar as the same thing used in the Grand Ole Opry.

How did a guy from New Jersey end up playing a country instrument in a rock style? It all goes back to his church, the House Of God. This denomination uses pedal steel instead of the more typical organ. This style of playing is called Sacred Steel and it's what Robert Randolph grew up hearing and playing.

After growing up in the Sacred Steel tradition, it wasn't long before Robert had the desire to marry his pedal steel skills to contemporary rock and r&b. He recruited a couple cousins, Danyel and Marcus on bass and drums, to join him in a band. After original organist John Ginty joined, the band was complete and the buzz began to spread.

RR&TFB built a reputation through great musicianship and showmanship. Guitarists started to take notice of this guy playing pedal steel as a rock instrument. The Family Band eventually toured with the likes of Dave Matthews Band and Eric Clapton. 2002 brought their debut solo recording, Live At The Wetlands. Their infectious energy shown on this album brought further acclaim, and a couple years later they recorded their studio debut Unclassified. Life has been good to Robert, Danyel, Marcus and new organist Jason Crosby ever since.

I'll never forget the first time I heard RR&TFB. I must have heard the name Robert Randolph somewhere, because it sounded vaguely familiar. I was watching VH1 and saw the video for "Thrill Of It," the first single from their latest album Colorblind. Of course, that weird-looking guitar caught my interest. What really did it for me was the musicianship, how good the song sounded. "These guys are good," I told myself. Of course, I had to find out more. A trip or two to the internet later and I was hooked. In March 2007, I bought Unclassified and started my journey.

What's so great about Robert Randolph and the Family Band? How can one explain greatness? Let's start with the pedal steel. Most of the time, Robert plays it like it's an electric guitar. Let me tell you, he's a great guitar player, no matter what kind of guitar he's playing. He's been compared to the likes of Duane Allman and Jimi Hendrix, and I think he'll get close to living up to those comparisons. Of course, the pedal steel can be played in ways an electric guitar cannot. Robert uses the full potential of his instrument, making it growl, cry, scream, and even talk. Only a truly talented guitarist can make a guitar sing like a human voice. Hendrix could do it, and so can Robert Randolph.

I think the fact that Robert's music has church roots contributes to the fun factor of his music. A church musician must be able to get people in a frenzy. He or she has to play with emotions, bringing them up and down and finally releasing them. RR&TFB understand this dynamic. If you let go and allow the music to carry you, you'll be moved in ways you can't rationalize. Robert's music is a great stress-reliever.

The rhythm section of Danyel Morgan and Marcus Randolph anchors the emotional impact of Robert's guitar playing. Danyel plays a mean bass guitar, often bringing out the funkiness of the instrument. He's a fine singer too, adding falsetto to the emotional mix. His voice is almost the equivalent of Robert's pedal steel. Both sounds can take you higher. Marcus Randoph isn't a flashy drummer, but he plays steady and focused. He does a lot more with the beat than just keep it. He keeps your feet stomping and your hands clapping.

John Ginty and Jason Crosby are both fine organists, and they add to the church atmosphere. I think there is more organ present on The Family Band's first two albums compared to the last one. I missed the organ on the new album, and I hope they feature it more in their next project.

The Family Band's songs are usually very upbeat. The band packs many different tempos and styles in a song, if they're so inclined. The more funky, rocking tunes have roots in the band's jam ethic. Over the years, Robert has learned to contain his jams and structure them into songs. That structure doesn't diminish the fun, though. Sure, he performs fewer instrumentals, but he keeps the energy.

Some of their songs are performed in a slower, more vocal-oriented style. The band can display a whole lotta soul. A few of these songs aren't my thing, because I prefer the faster-paced rockers. It is good to know that Robert and his band aren't one-trick ponies, though. Robert is going to give you all the music he loves.

Songs to hear:

"Squeeze"
"Deliver Me"
"I Need More Love"
"Ain't Nothing Wrong With That"
"Soul Refreshing"
"The March"
"Thrill Of It"
"Going In The Right Direction"
"Jesus Is Just Alright"
"Ted's Jam"
"Run For Your Life"
"Nobody"
"Stronger"

Albums to buy:

Just get all of them. There are only three!

I'd recommend you buy them in the order I did.

Unclassified shows RR&TFB at their best. The songs are there, but they didn't forsake the heavy jamming that made them popular.

Colorblind takes things a step further. The extended jamming isn't there, but the songs certainly are. There is some good stuff here, but I think most people would prefer one album over the other. It depends on how much you love instrumental pedal steel. This one also has some great guest appearances from Eric Clapton ("Jesus Is Just Alright") and Dave Matthews ("Love Is The Only Way").

If you like what you hear from the above albums, move on to Live At The Wetlands. If you liked Unclassified, you'll especially love this one. Be forewarned, though, that lyrics are few and the songs are all over 8 minutes long. If that's going to bother you, wait for their next release. If you can hang with a lot of pedal steel jamming meant to get you on your feet, this is a good investment.

Final Thoughts: You have to give credit to Robert Randolph and the Family Band for doing something different musically. Not only do they blend different genres into one loud, dance-worthy soup, but they do it with an instrument you don't typically find with this kind of music. Robert Randolph is changing the game, and doing it with really fun, energetic songs. He's also bringing a positive message to the people. You can dance, let loose and have a good time without misogyny and criminal behavior. Robert Randolph and the Family Band show that modern urban music can be fun and clean at the same time. Sometimes his spiritual roots come out, as with the song "Blessed," but the music is good regardless of the message.

Robert Randolph and his band know how to play, and they feel the music very strongly. They want to make you feel it too, and I think they succeed. If you like guitars, you've never heard a guitar that sounds like this. It's new, it's hip, and it's going to change the way we look at instruments. Robert Randolph is an excellent guitarist, and he should not be missed.

Now you know. Go listen and enjoy.]]> http://www.last.fm/user/rfduck/journal/2008/11/16/2a4f6t_mitch_mitchell's_greatest_hits Sun, 16 Nov 2008 07:42:57 +0000 http://www.last.fm/user/rfduck/journal/2008/11/16/2a4f6t_mitch_mitchell's_greatest_hits Jimi Hendrix Experience drummer Mitch Mitchell passed away this week. He was probably my favorite drummer. I always enjoy hearing what crazy things he did on Jimi's recordings.

Here are ten of my favorite Mitch Mitchell performances, in no particular order:

1) Crosstown Traffic (from Electric Ladyland)

Mitch wasn't merely a psychedelic jazz rocker. He could funk it up too, as this groove-based ditty shows.

2) Manic Depression (from Are You Experienced)

This is one of Mitch's greatest. People always comment that this is Mitch's song as much as it is Jimi's. He keeps pounding away and doesn't ever let up.

3) Can You See Me (from Are You Experienced)

Here, Mitch simply attacks you with his drumming. Each hit of the drumstick is like a gunshot exploding.

4) Ain't No Telling (from Axis: Bold As Love)

Mitch's crazy drumming keeps the tempo as high as it can go. Mitch brought the ability to rock just as much as Jimi did.

5) Voodoo Chile (from Electric Ladyland)

This long jam is a feast of amazing musicianship. The guitar squeals, the organ screams, and Mitch Mitchell pounds away like his life depends on it. I don't know how he kept his energy going that long.

6) Up From The Skies (from Axis: Bold As Love)

This is the closest Jimi Hendrix ever got to playing jazz. Mitch brings his jazz background to the foreground here, laying down a silky groove with the brushes.

7) Third Stone From The Sun (from Are You Experienced)

This is another example of Mitch's jazz playing. He mixes it up with jazzier sections and sections that rock. He could do it all.

8) Fire (from Are You Experienced)

Here, Mitch is basically playing lead. The verses feature his strong playing, punctuated by the guitar and bass. This is one of Jimi's best songs, and Mitch's performance makes it happen.

9) Wait Until Tomorrow (from Axis: Bold As Love)

This is some of Mitch's heaviest drumming. It sounds as if he's going to puncture the drums with his sticks at any moment.

10) Catfish Blues (from Blues)

Jimi wails away on guitar, and Mitch keeps up with him every step of the way. Mitch even gets a solo, and puts it to good use.

I would say that Mitch's best drumming album is Axis: Bold As Love. His playing is commanding and spectacular on most of the album's cuts. He played in several different styles on this album, but all of them are pure Mitch Mitchell.

He will be greatly missed.]]> http://www.last.fm/user/rfduck/journal/2008/09/11/25qzic_introductions:_los_lobos Thu, 11 Sep 2008 04:41:18 +0000 http://www.last.fm/user/rfduck/journal/2008/09/11/25qzic_introductions:_los_lobos Los Lobos are:

Conrad Lozano - Bass guitars, guitarron
Steve Berlin - Saxophones, harmonica, keyboards, etc.
Louie Perez - Drums, percussion, guitars, vocals, etc.
David Hidalgo - Lead vocals, guitar, accordion, fiddle, etc.
Cesar Rosas - Guitars, lead and background vocals, one cool pair of sunglasses

Los Lobos is one of America's finest bands, performing a mix of rock, country, folk and R&B, heavily flavored with the Mexican sounds the band members heard growing up. Unfortunately, most people know them for a cover of a Ritchie Valens song and little else.

The band started in the 1970s in East Los Angeles. "The Wolves" were friends in high school, and eventually formed a group performing traditional Mexican folk music. In the early 1980s, they electrified and expanded their sound to include influences from all the music they love. Steve Berlin joined the group as a saxophone player, and shortly thereafter Los Lobos were signed to Slash Records.

Their first recording, the E.P. ...And A Time To Dance, featured the Grammy-winning "Anselma." Their next project, 1984's How Will The Wolf Survive, was their first full-length album on a major label. It proved to be a success, gaining them many fans and establishing their presence on the music scene.

In 1987, the band was chosen to record songs for the soundtrack to the movie La Bamba, which told the story of Mexican-American rock and roll star Ritchie Valens. Los Lobos cut a cover of Valens' "La Bamba," a song that had its roots in Mexican folk music. The song was a huge hit, putting Los Lobos in the mainstream. "La Bamba" was an excellent performance, but perhaps too much of a good thing.

Since the breakthrough success of "La Bamba," Los Lobos has quietly built its reputation with genre-smashing albums and rousing, no-holds-barred live shows. The band has taken some chances in song material, but always seem to return to what they do best - rock with a Mexican twist.

I saw the band live in 2006 and was instantly smitten. The show was so much fun and I could tell that I was seeing a really good band. Los Lobos do everything with conviction. They have real playing chops. David Hidalgo is the best lead guitarist no one hears about. Steve Berlin adds the key ingredient - R&B sax. The group can really get in a groove, and they should after 30-plus years as a band. They're blessed with two great singers in Hidalgo and Cesar Rosas. Hidalgo has the more tender voice, filled with beauty and sensitivity. Rosas, on the other hand, brings the rock and roll cool with his smooth delivery and slick style.

What makes Los Lobos great is their ability to perform in nearly any genre. Rock songs, ballads, psychedelic experiments, country - they do it all. David Hidalgo also plays the accordion, and that adds to their diversity. His accordion can make a song sound like zydeco, polka, or cabaret. Of course, the band cannot ignore their latin influence. They bring a variety of Mexican sounds to their songs - cumbia, nortena, and traditional, acoustic sounds. They occasionally sing in Spanish, and they sound great when they do.

Songs To Hear:

"La Bamba" (of course)
"Don't Worry Baby"
"A Matter Of Time"
"The Road To Gila Bend"
"Set Me Free (Rosa Lee)"
"Will The Wolf Survive"
"Good Morning Aztlan"
"Dream In Blue"
"Our Last Night"
"One Time One Night"
"I Walk Alone"
"Hold On"
"Kiko And The Lavender Moon"
"Maria Christina"
"Little John Of God"
"Volver, Volver"
"Mas Y Mas"
"When The Circus Comes"

Albums To Buy:

How Will The Wolf Survive (start with this)
By The Light Of The Moon
La Bamba Soundtrack
Kiko
Good Morning Aztlan
Wolf Tracks: The Best Of Los Lobos

If you really want to get into them, there's a box set called Just Another Band From East L.A.

Final Thoughts: Los Lobos take so many types of real American music and pull them altogether into one beautiful mix. They don't do this to pander; it's authentic, because they truly enjoy what they play. No matter what sort of song they play, they play it like they mean it. They put a lot of emotion into their performance, both live and in the studio. Also, they know how to make you dance! When Los Lobos get in the pocket, there is no band more enjoyable.

A band this good should be a household name, but most people think of them as "the band that plays La Bamba." That's a crying shame. "La Bamba" is but one song in their lengthy catalog of great songs. Those other great songs should be better known, and Los Lobos should be mentioned with other great bands such as Tom Petty and the Heartbreakers and The Band. I strongly urge you to check them out.

Where can you check them out? At their website, loslobos.org. You can listen to most of their albums there for free! That is an incredible privilege and I encourage my readers to take advantage of Los Lobos' generosity. You won't regret it.]]> http://www.last.fm/user/rfduck/journal/2008/09/11/25qxcw_introduction_to_%22introductions%22 Thu, 11 Sep 2008 03:26:54 +0000 http://www.last.fm/user/rfduck/journal/2008/09/11/25qxcw_introduction_to_%22introductions%22 While doing the dishes tonight, I had a great idea for a new blog feature. I'm calling it Introductions.

It occurred to me that I listen to many artists and bands that aren't very well-known or popular. They should be, but it's not so. I'm going to do my part to make these people famous by writing blog posts about them.

I'll talk about who they are, what they do, and why they're so great. I'll list some important songs and albums to listen to. Of course, I'll also link to the artists' websites.

I realize I'm lifting this idea from the www.avclub.com's "Primer" series, but I'm calling it something different and I'll do it in my own style.

I'm going to cross-post the Introductions to my main blog and my last.fm blog. I'll try to do at least one per month.

Check back soon (could be tonight, could be tomorrow) for the first installment. It will feature the band that inspired me to start this new feature.]]> http://www.last.fm/user/rfduck/journal/2008/08/14/244lqw_random_tracks_-_%22goon_squad%22_by_elvis_costello_and_the_attractions Thu, 14 Aug 2008 00:38:02 +0000 http://www.last.fm/user/rfduck/journal/2008/08/14/244lqw_random_tracks_-_%22goon_squad%22_by_elvis_costello_and_the_attractions The lyrics here have a sort of "rock stardom as military service" theme, and the music creates an appropriate sense of dread. Some of that is created by the growling bass of Bruce Thomas. I'm not that knowledgeable about the technical side of music, but I suspect the key is minor. Something about the guitar adds to that sense of dread.

I really like the part in the middle where the guitar drops out and the bass is the only thing left. Bruce is an excellent bassist.

Armed Forces has a lot of pop music, but this is a blast of intense fury. It's spectacular. It's a great rock and roll track.

Elvis Costello and the Attractions
Goon Squad]]> http://www.last.fm/user/rfduck/journal/2008/08/14/244l2u_random_tracks_-_%22only_the_lonely%22_by_roy_orbison Thu, 14 Aug 2008 00:27:23 +0000 http://www.last.fm/user/rfduck/journal/2008/08/14/244l2u_random_tracks_-_%22only_the_lonely%22_by_roy_orbison This is one of Roy Orbison's greatest and most popular songs.

I like the way the song starts out with the harmonious male voices, and then all of a sudden you hear Roy, cutting through everything like a sword. When he first utters the words "Only the lonely," you instantly feel for the guy. It's all in his tone of voice.

Roy could have made this a sadder, slower song, but he wisely kept it mid-tempo. The heartache gets through, but it's still a song you can hum and enjoy.

"But that's the chance YOUUUUU gotta take" - this line sends chills down your spine! Roy truly had an operatic voice. It's as if an opera singer wrote and sang pop songs. There's just nothing else like it, no other voice as dramatic and gorgeous.

Well, perhaps except for Jeff Buckley. I wonder if Jeff listened to any Roy Orbison while growing up.

Only the Lonely]]>