Legacy Recordings

Legacy will be releasing 14 Rory Gallagher albums which have never
before been available digitally in the United States.  These albums
are a must have for anyone whose a fan of the blues and blues guitar. 
Included in the mix are some live albums of his such as “Irish Tour”
and “Live in Europe” where Rory’s raw talent truly shines.  Rory has
played with various blues legends such as Muddy Waters and Albert King
and although he never achieved superstar status in the U.S., he has his
own street named after him in Ireland.  Rory’s life was tragically cut short
at the age of 47 and these albums are a true testament to his love of music
and the unbridled enthusiasm that he brought to each and every one of his performances.

Punk rock was (or “is,” depending on your age and point of view) a visual and physical manifestation, an explosion of emotion and energy that went beyond language. While the Clash rose above the nihilism of the movement and became known for their politics and social commentary, their artistic expression was always as much through the physical as the written word.

Appropriately, the new DVD from the Clash out this week THE CLASH LIVE: REVOLUTION ROCK, directed by longtime Clash collaborator Don Letts, tells the story of the band the most fitting way possible, through their performances. From their early club shows to the blow out arena events, this is the Clash at their best, all emotion and electricity.

Putting this together, we researched hours of video, went on crazy hunts for rumored footage and looked for stuff Don or the band wanted to include, compared set lists in attempting to determine performace dates and tried to keep the wheels spinning on a project being worked on in two continents.

I wish we could have included all the footage that we came across, all the news clips, all the international tv appearances, but we had to edit, had to keep within certain constraints, as this was originally a one-hour program for PBS. When an official release became a reality, we went back and added footage, but as a fan, I know how these sets elicit the “why didn’t they add this?” or “why did they only include 1 song from that show when 4 exist?” or “why did they put that in there?” Trust me, if we could have we would have.

In the meantime, this is a cool DVD and there is some fantastic footage on here that you cannot get anywhere else, in a store anyway. Where Westway To The World had the band telling their story, Revolution Rock sees the band performing it. (And yes, there is a way to turn off the narration.)You can watch the trailer online on YouTube for a glimpse of what’s in store..

Speaking of birthdays, as we prepared to launch our year-long celebration for Willie’s 75^th, it struck us we didn’t actually know on which day to bake the cake. Why, we asked, do we keep seeing both April 29^th and April 30^th as Willie Nelson’s birthday?

Well, dear reader, Willie’s birth certificate lists his date of birth as April 30, which is what Doc Simms, who delivered Willie in Abbott, Texas, wrote down. But apparently Willie was born a few minutes before midnight, so says a cousin who was there at the birth and named Willie Huge Nelson. Willie says his birthday is the 4/29/33. Public record says 4/30/33. We say celebrate both!

How do I start celebrating the 75th birthday of an American icon, you ask? Start by putting some Willie on your page so you can play music, videos, podcasts, get wallpaper, buddy icons, news updates and the “daily Willie” - a year of aphorisms, advice, jokes and facts delivered to you every day.

April is when we celebrate spring, birthdays and complain about taxes. Willie Nelson’s 75^th birthday is April 30^th, and today is tax day (better get moving). One homage to this great cross section of events is in the commercial clip below.

Thanks to our friends over at YouTube, most of you now know about the Internet meme known as Rick Rolling. There’s also another growing meme where fans create graphical representations of their favorite song lyrics. Known as “song charts,” these are illustrations that chart or graph a particular song.

For example, here’s a song chart of things Rick Astley would never do:

Here are a few of my fav’s from Legacy artists:

Right Says Fred

Justin Timberlake

Eurythmics

Kelis

Michael Jackson

Nena

Here are a few that aren’t Legacy artists

The Beatles

Evita

Rock Master Scott & the Dynamic Three

Beck

Aqua

Prince

And here’s a bunch more:
http://www.flickr.com/groups/songchart/
http://flickr.com/photos/boyshapedbox/sets/72157603957925616/
(Troy, thanks for sharing.)

            It certainly is great to escape the waning days of winter every March by leaving behind New York City and heading to the sunny climes of Austin for South By Southwest.  With an all-time high of nearly 1700 acts this year, the 22nd annual  fest offered non-stop ear candy from March 12-16^th.  From conjunto to electro to stoner rock, SXSW offered all things to all musical tastes.  The event provided a forum for new projects from established acts like Lou Reed, Van Morrisson, R.E.M. and Ice Cube, as well as acting as a buzz amplifier for developing artists like Vampire Weekend, Black Mountain, Duffy and Santogold.  Lou Reed was on hand to promote “Lou Reed’s ‘Berlin,’” a newly-shot live concert film directed by Oscar nominee Julian Schnabel (“The Diving Bell and the Butterfly”).  In addition to delivering the fest’s keynote address, Reed performed an impromptu jam alongside Thurston Moore, My Morning Jacket and Moby, among others, in an event that had a line of shut-out fans stretching for blocks.  If you stayed alert, you could also cross paths with a few holdovers from the SXSW film festival held the previous week.  I spotted Steve Buscemi at my hotel, while Zooey Deschanel performed a few gigs with her music partner, M.Ward, under the name She & Him. 

            As in previous years, parties held outside the conference’s official jurisdiction flourished, bringing even more big names into the mix.  Motorhead was the main draw at the Vice party on Thursday afternoon, the Breeders and NOFX were among the 30-plus acts that played a massive free “Mess With Texas” park concert on Saturday, while a full slate of other events were hosted by Playboy and Toyota, and numerous others.

            Rather than make an attempt to cover all 46 bands I witnessed, I’m going to limit my comments of the five best new acts I discovered, as well as five shows from established acts that knocked my socks off.

For a more thorough recap cut & paste my Flickr.com link into your browser: http://www.flickr.com/photos/worldofrandsom/sets/72157604189798192/

FIVE NEW DISCOVERIES

JOE LEAN & THE JING JANG JONG at the Fader/Levi’s Fort, Thursday, 3/13.

This rather preposterously named London act delivered classic British Invasion thrills during their afternoon stint in the Texas sun.  Vocalist Joe Lean was the drummer in the Pipettes up until June of last year, but now commands his own spotlight, prowling the stage like the lovechild of Ian Brown and Jane Birkin.  Guitarist Tom Dougall (brother of Rose Pipette) provides the perfect foil for his frontman and plays with the rock-god showmanship of Jimmy Page.  Both Dougall and second guitarist Dom O’Dare are fiendishly handsome, Dougall boasting the pin-up looks of Kula Shaker’s Crispian Mills while O’Dare bears a striking resemblance to Dave Davies circa ’66.  The Jing Jang Jong’s music is a brash blend of the Creation and the Music Machine, and I look forward to the May release of their Mercury debut album.  Oh, yes, I do.

CPC GANGBANGS at Emo’s Jr., Friday, 3/14.

This mysterious Montreal quintet strafed the disbelieving crowd at Emo’s with caterwauling vocals and a massive guitar squall.  I still feel dirty.  Visually the band is a ragtag conglomeration with various members looking like they could be from Motorhead, Rank & File, the Misfits and Weezer.  Check out their debut album, Mutilation Nation, on Swami.

THE COOL KIDS at Emo’s Main Room, Friday, 3/14.

I heard more than one person refer to the Cool Kids as “the new Run-DMC,” which seems a bit obvious considering they’re a young, charismatic rap duo backed by a turntablist/laptop DJ.  In any case, they seem poised to blow at any minute, having effortlessly inspired the capacity crowd at Emo’s to bounce in place while grinning from ear to ear.  Fresh rhymes and a tight lyrical flow set to booty bass and old school big beat are the order of the day.  Could well bring FUN back to mainstream hip-hop since their set recalled classic platters by House of Pain and J.J. Fad.

THE WHIP at Maggie Mae’s Upstairs, Friday, 3/14.

Taking full advantage of a stateside recession and a weak dollar, the Brits once again travelled to Austin in droves for SXSW.  The conference has truly become the leading “spring break” destination for serious UK music fans.  Their presence was palpable at the Whip’s showcase as fellow Mancunians mobbed the flimsy upstairs balcony at Maggie Mae’s and made me realize the night might end with a Great White-type tragedy.  The Whip delivered a rousing set for its supporters, laying down thick, meaty basslines over a slowly building wall of electro.  Recalling the heady dancefloor utopia of New Order and the Chemical Brothers, the Whip will only strike harder in the coming months.

MANNEQUIN MEN at B.D. Riley’s, Saturday, 3/15.

This Chicago quartet certainly isn’t reinventing the wheel with its hell-raising combo of blues and punk.  But Mannequin Men write great beer-drenched punk tunes that occasionally rise to the rarefied heights of the Gun Club and former Homestead Records’ rockers the Gibson Brothers.  That’s more than enough for me.

FIVE SOLID OLD-TIMERS

X at the Spin party, Stubb’s, Friday, 3/14.

Exene, John Doe, Billy Zoom and D.J. Bonebrake cranked out classics from their first four Slash albums.  I admire the fact that John never fails to honor the memory of deceased Big Boys vocalist Randy “Biscuit” Turner every time X comes back to Austin.

NAKED RAYGUN at the Red-Eyed Fly, Wednesday, 3/12.

I’m a Naked Raygun fan from waaay back, having first seen the band play with the Laughing Hyenas at a New Music Seminar showcase in 1989.  I was also at Austin’s Cannibal Club in the early ‘90s when Jeff Pezzati’s crew last came through.  So I was fired up to see these Chicago punk legends again after all these years.  Despite a slow start, their set gained momentum and wide-eyed grins could be seen throughout the slampit as old favorites like “Rat Patrol” and “Home of the Brave” were wheeled out for the faithful.

THE STEMS at the Pop Culture Press party, Saturday, March 15.

The Stems rose to prominence in the same rich ‘80s garage scene that gave us other Australian psych revivalists like the Scientists, Lime Spiders, Exploding White Mice and the Eastern Dark.  For this rare appearance, we were treated to the original lineup of the band, performing hits from their heyday as well as a strong set of tunes from Heads Up, a studio album they released last year.  Based on this showcase, I picked up both Heads Up and the Terminal Cool compilation from the merch table on my way out.

THE REDWALLS at El Rio, Saturday, March 15.

Chicago definitely gets my award for “Most Valuable City” at SXSW this year, bringing to Austin unforgettable gigs from Naked Raygun, Mannequin Men, the Cool Kids, and the Redwalls.  I admit I’m kind of late in discovering the Redwalls, since I only first heard them last year when I was sent a copy of their excellent self-titled third album.  For this set at El Rio, the band was pure professionalism, but not in any sort of bad way.  They were pros in the sense that they were charismatic, focused, excellent musicians, and they looked and felt like a proper band.  Best of all, they write and deliver perfect pop songs that can make you swoon with fond reminiscences of Badfinger and the Faces. 

PAUL COLLINS BEAT at the Soho Lounge, Saturday, March 15

As a member of the Nerves, Paul Collins helped give power pop a new lease on life by co-writing the immortal “Hanging on the Telephone.”  In 1979, he followed that coup by releasing The Beat, a fantastic collection of songs that still sound just as great today.  All these years later, Collins is still at it, having released the Flying High album last year and running the awesome independent label Get Hip.  This SXSW showcase was a real treat as Collins delivered crackling, energetic versions of “Rock’n’Roll Girl” and “Work-A-Day World,” among others.  He’s got the beat!

On Friday, we launched a new promo for Michael Jackson. Using a technology from a company by the name of BigStage, MichaelJackson.com now allows you to insert yourself into the original Thriller video by uploading 3 still shot images. Here’s my video:

For more information, visit www.michaeljackson.com/mythrillervideo

Everybody who’s lived a musical life can name the moments when music changed their lives forever. Many of us who were kids in the ‘60s could tell you about the first time they saw the Beatles on TV or heard that Motown track on the radio or took umbrage to Dean Martin insulting the Stones.

In 1968 I was 12 years old and already a voracious music consumer. I listened to the radio in my hometown of Chicago incessantly, rode the bus to the closest record store and bought the singles that I loved. Thanks to my own big brother who was already in college, I was also being turned on to LPs by the likes of Cream, The Who, Jimi Hendrix and Jefferson Airplane.

In the summer of ’68 my parents decided to take me on vacation to a resort in Indiana called Indiana Beach. The attraction there for me was a huge arcade room and a primitive early attempt at a water slide that was as thrilling as it was dangerous (or is that thrilling BECAUSE it was dangerous?). They also had a small discothèque that was really a converted gym and as I passed by it on my way to the arcade I couldn’t help but notice a sign that said in great big letters TONIGHT: BATTLE OF THE BANDS and then underneath in smaller letters: also Big Brother and the Holding Company from San Francisco.

I’ll be honest. The thought of a battle between some bands was the selling point for me and I convinced my folks to let me attend this show by myself. When I walked into the place it was immediately apparent that I was the youngest person in the house by far and the teenagers and college kids that packed the place looked at me with what I perceived to be bemusement mixed with scorn.

The three bands that were battling were all set up on the dance floor and each played 2 or 3 songs. They were all young local bands with tiny amps, crappy drums and singing through the clubs tiny PA. This was my first exposure to live rock music and I was duly unimpressed. Partly because I was literally getting stepped on by all these big kids and partly out of boredom with a battle that drew no blood, I withdrew to the back of the place where there was a large curtain covering up a 3 foot riser that turned out to be a stage. I leaned up against that stage and watched the crowd crown the band “Nobody’s Children” the winners and then suddenly someone announced over the PA “Ladies and Gentlemen…Big Brother and The Holding Company.” The curtain parted behind me, and as I turned around the house lights went down, a psychedelic light show started and a blast of musical energy came screaming out of the band’s Marshall stacks. And wailing away right in front of me, close enough to touch (especially as the crowd surged behind me and pinned me to the edge of the stage) was Janis Joplin.

The band played their set and even though they struggled with some technical difficulties throughout, when it was over my life had changed. I truly understood the power of rock n’ roll. When I returned to Chicago I told all my friends about my experience. Repeatedly. Like a new convert would. Then I went out and purchased my very first LP…”Cheap Thrills.”

When I went back to school in September the teacher asked us to write about the highlight of our summer. That was a no brainer for me. As you can see, she liked my little essay. Hope you do too.

Typically I share my “Top 10 Film” list with friends around the middle of January.  But this year I was tardy.  It’s not that I was late in compiling the list — that was no problem.  It’s just that I never got around to typing and sending it out.   

In the wake of the Oscars, several folks have asked me what I thought about last night’s telecast.  And more than one has remarked, “Why didn’t you send out your Top Films list this year?”  So with the blush of Oscar fever still rosy on my cheeks, I’ve decided to cave in to pressure and present my top cinematic picks from calendar year 2007.  The astute among you will notice that the film at the top of my list, The Lives of Others, received precious little fanfare this year.  That’s because it won the Oscar for best foreign language film LAST YEAR.  The film, however, didn’t reach most U.S. screens until January 2007, which, in my book, makes it eligible for consideration on my list for 2007.

Now a few random thoughts about last night’s Oscars. 

I was quite pleased with the winners.  Daniel Day-Lewis deserved the statue for Best Actor.  I was equally pleased about the wins for Javier Bardem, Marion Cotillard and Tilda Swinton.  The Best Picture and Best Director awards for Joel & Ethan Coen were right on the money.  I was disappointed that No Country For Old Men failed to win for Best Cinematography; I found it much more evocative and haunting than There Will Be Blood.  I thought Tilda’s dress was striking and futuristic – down with the fashion police who attacked her for it!  I’m glad the Academy allowed Marketa Irglova, who shared the Oscar for Best Song (“Falling Slowly” from Once), to return to the stage and express her uplifting views on working in the independent film sector.   And how could you not be happy for Diablo Cody?  Talk about a rags to riches story — Oscar gold with her first screenplay!  I’m looking forward to the next installment of her monthly column in Entertainment Weekly, in which she will hopefully take us behind the scenes on her big Oscar night.

So now, without further procrastination, are my own personal picks for the year’s best.

TOP 10 FILMS OF 2007

“The Lives of Others” (Florian Henckel von Dommersmarck)

“No Country For Old Men” (Joel & Ethan Coen)

“There Will Be Blood” (Paul Thomas Anderson)

“The Assassination of Jesse James by the Coward Robert Ford” (Andrew Dominick)

“Control” (Anton Corbijn)

“Eastern Promises” (David Cronenberg)

“Margot at the Wedding” (Noah Baumbach)

“Death Proof” (Quentin Tarantino)

“Paranoid Park” (Gus Van Sant)

“Zodiac” (David Fincher)

ALSO WORTH YOUR TIME: “Before The Devil Knows You’re Dead” (Sidney Lumet), “The Savages” (Tamara Jenkins), “La Vie en Rose” (Olivier Dahan), “Brand Upon the Brain” (Guy Maddin), “Southland Tales” (Richard Kelly), “This Is England” (Shane Meadows)

BEST DOCUMENTARY:  “No End In Sight” (Charles Ferguson).  RUNNER UP: “Helvetica” (Gary Hustwit)

Shout out to Jimmy Traina and the Sports Illustrated Extra Mustard staff for a mention of Thrillercast - The Michael Jackson Podcast in yesterday’s Hot Clicks. Whether they knew it or not, Jimmy (and his readers) also pointed out three videos deeply rooted in Legacy.

#1. Acoustic Version of Outkast’s “Hey Ya”
You know, I thought I’d seen just about every take possible on this song (the original, Charlie Brown Style, VAW-116 Hawkeye Squadron and Wellington International Ukulele Orchestra,) but this one takes it to another level. Mat Weddle of Obadiah Parker shows us how it’s done with just an acoustic guitar. RIP Polaroid

#2. Big and Rich perform AC/DC’s You Shook Me All Night Long
Everyone loves Columbia Records musicians, AC/DC, but few know that John Rich recorded a solo album between his stints as the lead singer in Lonestar and his current band, Big and Rich.

#3. Paula Abdul Dances in Toto video
Oh, Paula, you never cease to amaze us. In this classic Toto, Paula shows us how she became a highly sought-after choreographer during the height of the music video era.