Why were the ’80s such a confusing time for so many … artists? The rich musicians offering awkward “Merry Christmas” greetings on Yulesville sound like they stumbled out of a million-dollar coke party just in time to be corralled into a studio space to record these horrible spots. 

And why sequence four audio X-mas greetings in a row? The tendency would be to stagger the playlist a bit so the listener doesn’t go absolute banana fuck-nuts by the time the records over; seems at Warner Bros they never learned this skill.

These curiosities aside, Yulesville is a fascinating compilation that serves as a glimpse into another dimension, where Madonna suddenly cares about whether you drive drunk and George Harrison is roused from a nap in order to read a cue card for a few seconds.

When you finally do get to the music, it’s pretty good. 54.40 will get your balls jingling like sleigh bells with its corn-doggin’ synths and even-higher-corn-content synth-drums, Aztec Camera offer up a cool guitar jam-off, Julie Brown’s rant … well, that doesn’t jingle a goddamn thing and it’s unfunny to boot. I think she invented the unnecessary “like” in conversation too, so, you know, she should be gassed for that (I think she invented the unnecessary “you know,” too; godDAMN).

Book Of Love’s “We Three Kings” keeps the queersville theme going with a seemingly serious and seriously flawed take on “We Three Kings”; thank god Joey Ramone and his Ramones are here to save the day with “Merry Christmas (I Don’t Want to Fight Tonight),” far from “53rd & 3rd” but still better than most of the pap on this christcomp. I just have to wonder: What happened to the fuzzy, snarly crunch of their guitars in the ’80s?

If you were old enough in the ’80s, you were probably wondering what happened to Brian Wilson, too. He’s on here, but only as a quick, record-it-and-get-out audio snippet, promising that “You’ll be hearing from me in 1988.” How comforting! Then, just as you’re starting to assume this will be a bunk stocking stuffer, The Pretenders do what they did in the mid-to-late ’80s: Kick everyone else’s ass. “2000 Miles” (no comma) does just that (check out the video above!).

Side B is an even bigger mess than Side A, full of artists that never were, never could be or never should have been considered. Here’s a quick round-up:

•  Weirdos I’ve never heard of like The Winans (a bad combo of Michael McDonald and Michael Bolton), Siedah Garrett, Force M.D.’s and Sherrick offer limp-dick holiday cheer;
• Prince offers a “Purple Rain”-esque cut that really, really cooks; no smart-ass comment here … he’s … he’s the king …
• Bee Gees talk for 11 seconds, then leave;
• With Body Count still just a gleam their collective eye, Ice-T and Evil-E embarrass the SHIT out of themselves;
• The New Monkees — there was a New Monkees? HOLY GOD — stink things up; this idea should have never left the office building it was cooked up in;
• Fleetwood Mac, Randy Travis and Los Lobos? Ok, time to end this while I’ve still got dignity …

And there you have it: Way too much confusion on nice, red vinyl. At least they had artistic sense in the ’80s! Just to make sure you hear it, here’s an MP3 link to The Pretenders song:

The Pretenders – “2000 Miles”

“Chestnuts roasting on an open fire, Jack Frost nipping on your nose, yuletide carols being sung by a choir, and folks dressed up like Eskimos.”  Everybody knows… the next line.  The Christmas holiday season wouldn’t be complete without the music.  Songs reminding us of love, hope, and peace fill the air and warm the hearts of listeners world-wide.  According to ASCAP, The Christmas Song (Chestnuts Roasting On An Open Fire) by Mel Torme and Robert Wells is the most recorded song of all time.

Other songs like Santa Claus Is Coming To Town, White Christmas, Winter Wonderland, and Have Yourself A Merry Little Christmas round out the top five of most recorded Holiday songs.  Whether it is in the shopping malls, radio stations, in movies, the songs of the season add the finishing touch to most events. The rich history of holiday music goes way back.  Music was an early feature of the Christmas season and its celebrations.

The earliest chants, litanies, and hymns were Latin works intended for use during the church liturgy, rather than popular songs.  The 13th century saw the rise of the carol written in the vernacular under the influence of Francis of Assisi.  The word carol comes from the Greek word choraulein, meaning a circle dance performed to flute music.  In the Middle Ages, the English combined circle dances with singing and called them carols.  Later, the word carol came to mean a song in which a religious topic is treated in a style that is familiar or festive.  From Italy, it passed to France and Germany, and later to England.

Christmas carols in English first appear in a 1426 work of John Audelay, a Shropshire priest and poet, who lists twenty five “caroles of Cristemas”, probably sung by groups of wassailers, who went from house to house.  Music in itself soon became one of the greatest tributes to Christmas, and Christmas music includes some of the noblest compositions of the great musicians.

This year Country, Classical, Pop, and Christian artists have tried to reinvent the season once more with new Christmas music.  The following projects have a moving mix of classic tunes as well as newly written tunes, on their way to becoming holiday favorites.  Check out the links for the following CDs – they would make great stocking-stuffers and help to top off any family holiday party.

Believe - 33 Miles

Gold and Green – Sugarland

If On A Winter’s Night – Sting

This Christmas – Michael McDonald

The Irish Tenors Christmas – The Irish Tenors

193.41MB
1. Lady GaGa – Bad Romance
2. Blatta & Inesha – Urban Cougar (The Bulgarian’s Hunt The Hunter Remix)
3. Peaches – Mud
4. City And Colour – As Much As I Ever Could
5. Morrissey – I’m So Sorry
6. PNAU ft. Ladyhawke – Embrace (DJ DLG Re-Edit)
7. Julian Casablancas – 4 Chords of the Apocalypse
8. Gojira – Where Dragons Dwell
9. Radiohead – Pyriamid Song (Zeds Dead Illuminati Remix)
10. Slagsmålsklubben – Brutal Weapons
11. Felix Cartal – Skeleton (KILLABIT Remix)
12. Snoop Dogg – Drop It Like It’s Hot
13. Taylor Swift – You belong With me (Makaio’s Kanye Club Mix)
14. Chromeo – Night By Night
15. The B-52’s – Rock Lobster
16. Steely Dan – With A Gun
17. Nick Lowe – So It Goes
18. R. Kelly – Ignition (Remix)
19. Final Fantasy – Lewis Takes Action
20. James Ingram – Yam Mo B There
21. Turboweekend – Trouble Is (Joker Remix)
22. Biz Markie – Just a Friend
23. TC – Deep (Jack Beats Remix)
24. Mountain – Don’t Look Around
25. The Devin Townsend Project – Hyperdrive!
26. Amon Amarth – Thousand Years of Opression

I suck at updating. Instead of daily/weekly updates I’m just going to post a mixtape once a month. ~25 songs is what you’ll get each mixtape. They’ll have a pic and stuff. Yeah.. I’ll post little things when I feel like it, but otherwise, mixtapes. Lots of them. They all contain individual tracks.

Another Thanksgiving has passed, another Black Friday has trampled by, another Cyber Monday (can we please change that name, guys?) has been placed in the annals of history. This past week has left many of us here in the U.S. with bellies full of delicious foods, hearts warmed by family, friends, and loved ones, and our fridges stuffed with leftovers that will serve to remind us – at least for a little while – what we are all thankful for (they also help us to get through these two huge shopping events so we can worry more about deals and less about what to eat).

I am sure many of us have braced the crowds and cold (region-depending) over the weekend to secure some of the deals that went on out there, possibly treating ourselves to any number of the gaming deals to be had. Not me, however. Monetary reasons aside, I have leftovers of a different kind to munch on, and these ones will not go bad by any date.

My leftovers are of the videogame variety and take on two forms. I have talked about one form a number of times over the past few weeks (either in my introductory post, in the comments, or on one of the last few podcasts): My ability to complete games was compromised years ago. It really is something I am working on, and perhaps making this known publicly here will encourage me to take a stand and fight like a man… Virtually speaking.

The other form is one that does not rear its head in all our gaming habits, but it does in mine: The quest for Trophies (or Achievements for lesser men and women). I will not necessarily go out of my way to get a Trophy (I will never play 50 ranked online matches in MotorStorm: Pacific Rift regardless of how great the game is (really great!) or how smooth the online play is (really smooth!), but I’ll gladly waste a few minutes here and there to score one (I spent 20 minutes one day waiting for any random player to join my hosted online quest in Sacred 2: Fallen Angel to get the Bronze “Hospitable” Trophy only to log off immediately after they joined).

Eric J’s Guide To Hospitality:
“Thank you so much for coming over!
Now get the HELL out of my face, BUP!”
(… if that is your real name…)

Having a list of leftover games and an even longer list of things to do within them is something I am thankful for. It never gets old and is always in season! And that has got to be the cheesiest thing I have ever said.

What are you Lusiprites thankful for in relation to gaming? Do you have gaming leftovers you are working on? (Ginia: You only have to answer the first question; we both know you have games unfinished.)

Modest Mouse—The Moon and Antarctica
Epic, 2000

Despite the overwhelming success of 2004’s Good News for People Who Love Bad News, The Moon and Antarctica still seems to inspire the most resounding acclaim from longtime Modest Mouse fans. It highlighted a point in Modest Mouse’s storied career where, even though radio still wasn’t really playing them, they were becoming impossible to ignore. Their enormous fan base was built almost solely from extensive touring, and when a band plays together that much for that long, the music can reach insane highs. Moon proved two things about Modest Mouse to the world: 1) They weren’t going to be fading away any time soon, and 2) They were capable of much more than ripping off Black Francis. Those things were important to establish, but the record is actually much more than a stone of proof—though thematically similar to MM’s other albums, Moon has the ability to work on many levels. There’s a sort of code of ethics to its moral ambiguity, a kind of spirituality to its atheism. It’s a very human record that deals with human afflictions, while not failing to comment on how silly many of these afflictions are and how badly they cause some people to screw up. “3rd Planet” and “Dark Center of the Universe” have both become anthems on this topic in their own right, boasting melodic yet dreary guitar lines that tend to inspire ornery grins—the stuff from which rock and roll is brewed. Amazingly, Modest Mouse never lose themselves in this process of reinvention, a sure-footed attitude that no doubt helped to poise them for the great takeover. (Note: Though this album was reissued in 2004 with a new mix and new artwork, all the info in this review is based on the original 2000 release.)

My Morning Jacket—Z
ATO/RCA, 2005

Like Summerteeth did for Wilco in 1999, 2005’s Z changed how the world listened to My Morning Jacket. It showed the band taking their alt-country upbringings, slingshotting them as far off into the mountains as they would go, and replacing them with a more psychedelic-pop-oriented approach. Jim James’ songwriting may have taken a more upbeat turn on this record in favor of commercial appeal, but he sounds more driven than he ever has before or since. Plus, the songs on Z are still as emotionally immediate as his earlier gospel-inspired work; and on top of that, it’s easy as hell to rock out to them. “Anytime” sounds like a radio hit in all the best possible ways—the verse feels like a chorus, the chorus feels like a verse, and the bridge feels like Jerry Lee Lewis somehow avoided self-sabotaging his career back in the 50’s. “Off the Record” is probably what Sticky Fingers would have sounded like with some more reggae thrown in, with an extended end-solo a la “Can’t You Hear Me Knocking?” that feels more tip-of-the-hat than uninspired rip-off. James’ ability to humbly wear his influences on his sleeve while still creating unique rock music is one of the many things that make MMJ so much fun. (Note: This was the RGH selection for Best Album of 2005.)

Portastatic—Be Still Please
Merge, 2006

Superchunk may be the banner under which Mac McCaughan achieved his status as indie cult auteur, but Be Still Please (the 2006 offering from Portastatic, McCaughan’s solo project) is one of the finest records he has made—bold proof that he not only deserves more credit as a songwriter, but is in fact one of the indie generation’s greatest. As an album, it is a departure from everything McCaughan has done in any of his projects, boasting Dylan-esque arrangements and loads of unorthodox instrumentation like clarinet, oboe and bassoon. Given this fact, as well as the ultra-personal nature of the songs, one could wonder why McCaughan didn’t choose to release the album simply under his own name. It probably has something to do with the fact that—despite the overall melancholy tone of Be Still Please—he is still too rock and roll to pull that move. He could easily become the old guy who is still making music because a handful of people like him enough to buy his records, and to make it easier for them, he records and performs Michael McDonald style. But, as proven by the track “You Blanks”, he is anything but that guy: “All my songs used to end the same way/Everything’s gonna be okay/You fuckers made that impossible to say!” Whomever those “blanks” are, the tone is not an accommodating one, and it’s clear from this album’s beautiful beginnings to its whispery end that McCaughan is doing this for himself.

My dear Miss Molly Motown sent me this video, and I really like it. It reminds me of this. And this. And also of this. And oddly, this.

That’s a pretty good video.

Also since I love doing it (ever since I told a cab driver that “What a Fool Believes” sounded like if Aaron Neville and Jaco Pastorius made incidental music for “Designing Women“): Department of Eagles sounds like Nancy Sinatra hogtied Donovan and made him re-write Andrews Sisters charts for the Village Stompers.

If you have any appreciation whatsoever for 70’s rock, and recognize the inherent goofiness of the adult contemporary sounds of “smooth rock,” a la Kenny Loggins, Michael McDonald, Christopher Cross, etc. – basically that “laid back California” sound – then there us a web video series that you MUST see.  It’s not an option; you are required to view this 11-part semi-fictional docudrama known as “Yacht Rock.”

The geniuses behind this have filmed 11 vignettes, each focusing on a different aspect of “smooth rock” during the 70’s and early 80’s.  They re-create collaborations and meetings between the key artists of this genre, with extremely exaggerated costumes/hairstyles and hysterical dialogue.  I don’t want to give anything away, because I don’t want to lessen the awesomeness that you will experience.

Each episode is only about 5 minutes in length, and you can view them all right here:

http://www.channel101.com/shows/show.php?show_id=152 (scroll to the bottom to start with episode #1)

Yacht Rock gets a billion out of a kajillion stars!!

Well alright. Now that you’re here, let me share with you some things of interest I found for today…

Born on This Date…
~1944,  Memphis Tenn, Booker T. Jones (of Booker T. & The MG’s). “While still in high school, Jones wrote the group’s instrumental “Green Onions”, which not only became a hit in 1962, but remains an enduring classic more than 40 years later.” And my personal favorite-”Time is Tight”.
“Jones produced three albums with his former wife, under the name Booker T. & Priscilla, as well as making the charts as a solo artist in 1981 with “I Want You”. He produced Priscilla’s sister Rita Coolidge, Bill Withers’s debut album Just As I Am (on which he also played several instruments), and Willie Nelson’s album Stardust. He has also lent his trademark keyboards to artists ranging in genre from Ray Charles to Neil Young to Natalie Merchant. Jones still plays with Booker T. & the MGs and his own Booker T. Jones Band.
Jones was inducted into The Rock and Roll Hall of Fame in 1992, and was honored with a Grammy Award for lifetime achievement on February 11, 2007.”
1945,  Neil Young, Toronto, Canada. “Young was diagnosed with diabetes as a child and a bout of polio at the age of 6 left him with a weakened left side; he still walks with a slight limp.”
“…Young has consistently demonstrated the unbridled passion of an artist who understands that self-renewal is the only way to avoid burning out. For this reason, he has remained one of the most significant artists of the rock and roll era..”-from the Rock and Roll Hall of Fame’s website

Firsts…
~1910 1st Movie stunt: man jumps into Hudson river from a burning balloon ~1933 1st known photo of Loch Ness monster (or whatever) is taken
~1946 1st drive-up bank window established (Chicago)

Fab Four Fix…
~2002, die-hard Beatles fans were enraged after Paul McCartney altered the song writing credits on his ‘Back In The US 2002′ album, changing them to McCartney and Lennon from Lennon and McCartney.

More Music…
~1966, The Monkees debut album started a 13-week run at No.1 on the US album chart, selling over 3 million copies in three months.
~1968, UK book and record chain W.H. Smiths refused to display The Jimi Hendrix Experience album ‘Electric Ladyland’ due to the naked girls featured on the sleeve. The album was then made available as two albums with changed artwork after the complaints.
~1990, Rolling Stone Ron Wood broke both his legs after his car crashed on the M4 motorway near Marlborough, Wiltshire, England. Wood was trying to wave other cars past his when he was run over.

Smoooth Music…
~”Grammy Award-winning vocalist Michael McDonald this week stopped by the Smooth Jazz Top 20 studio to talk about his current release This Christmas. McDonald had a conversation with Smooth Jazz Top 20 host Allen Kepler, who is also president of the Smooth Jazz Network and Broadcast Architecture.
This Christmas showcases McDonald’s distinctive vocals on holiday favorites such as “Have Yourself A Merry Little Christmas” and “White Christmas,” as well as his versions of the Stevie Wonder Motown classic “That’s What Christmas Means to Me” and the Donny Hathaway song “This Christmas.” The album includes a special duet on “I’ll Be Home for Christmas” with McDonald’s 17-year-old-daughter, Scarlett. There are three originals: “Every Time Christmas Comes Around,” “On This Night” and “Peace” the latter which McDonald wrote with Beth Nielsen Chapman.
McDonald also spoke to Kepler about the upcoming holiday shows in December that will see him performing in 11 cities, beginning December 5 in Snoqualmie, Washington, and continuing through December 20 in Detroit. McDonald also told stories of his successful summer tour with Boz Scaggs. The duo will continue the tour next year in Australia and New Zealand.
The Smooth Jazz Network’s programming is heard weekly on more than 45 radio stations across the US, Canada, India, Trinidad and the Philippines. The Smooth Jazz Top 20 is produced by Broadcast Architecture, the world’s leading smooth jazz programming, research and consulting firm for more than 20 years.”

Following Tweets from…
~Thisdayinmusic:  Today’s Anagram – Britney Spears – Rips teeny bras
~Thisdayinmusic:  Today’s Anagram – Alanis Morissette – SOS! I’m a senile tart!

Deeep Thoughts…
~”Clothes make the man. Naked people have little or no influence on society.” -Mark Twain
~”Life is what happens to you while you’re busy making other plans.”- John Lennon
~”Sincerity is the key. If you can fake that, you’ve got it made.”-George Burns
~”Ever notice that ‘What the hell’ is always the right decision?”-Marilyn Monroe

Thanks for swingin’ by today.
In case I don’t get to a post tomorrow, you’ll need to know this…
–>Paraskevidekatriaphobics — people afflicted with a morbid, irrational fear of Friday the 13th.

"Bah-bye for Now...Ohhh, Nathaniel...How 'bout a glass of orange juice?"

From the OC Pavilion Calendar – From November 12 – November 15, there will be eight special tapings for Comedy Central at the OC Pavilion in Santa Ana, which is located along OCTA Routes 53 and 83.

November 12
7PM – Loni Love – Her many television appearances include “Chelsea Lately”, her own “Comedy Central Presents,” “The Tonight Show with Jay Leno,” “The Late Late Show with Craig Kilborn,” “The Best Damn Sports Show Period”, VH1’s “I Love the 70’s/80’s/90’s,” and “Comics Unleashed.” Loni was named 1 of the top 10 comics to watch by both Variety and Comedy Central. This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

9PM – Hal Sparks – At a young age Hal was named “Funniest Teenager in Chicago” and went on to have a very successful run with the famed Second City Troupe. Hal has been seen as the host of the Emmy winning “Talk Soup” on E!, 5 seasons of Showtime’s “Queer as Folk,” VH1’s “I Love the 70’s/80’s/90’s & New Millennium,” and in the box-office hits “Spider-man 2,” “Dude, Where’s My Car?,” and “Dickie Robert’s, Former Child Star.” This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

November 13
7:30PM – Bobby Slayton – A true “comic’s comic,” Bobby Slayton is often referred to as “The Pitbull of Comedy.” You’ve seen him in movies such as “Get Shorty,” “Bandits,” and “Dream Girls,” not to mention multiple late night appearances and whose voice has been heard on “Dr. Katz, Professional Therapist,” “Family Guy,” and popular radio shows across the country, including “Howard Stern.” This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

9:30PM – Orny Adams – You’ll recognize Orny from his multiple appearances on late night including “The Tonight Show with Jay Leno,” and “Late Show with David Letterman,” Jerry Seinfeld’s “Comedian,” his debut CD/DVD “Paths of Most Resistance,” and comedy clubs across the country. This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

November 14
7PM – Kevin Pollak – Having appeared in over 50 films including “The Usual Suspects,” “Grumpy Old Men,” “Casino,” and “A Few Good Men,” Kevin has established himself as one of the few comics to have both a successful comedic and dramatic career. Best known as a stand-up for his dead-on impressions and countless late night appearances, Kevin now hosts his own online talk show, appropriately titled “Kevin Pollak’s Chat Show.” This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

9PM – Jamie Kennedy – A multi-talented actor, writer, producer and comic, Jamie’s many credits include “Scream” and “Scream 2,” which he won a Blockbuster award for, his own show “The Jamie Kennedy Experiment,” “Malibu’s Most Wanted,” MTV’s “Blowin’ Up,” CBS’ “Ghost Whisperer,” countless late night appearances and his recent comedy documentary “Heckler.” This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

November 15
6PM – Michael McDonald – With dozens of appearances including 10 seasons of FOX’s “MADtv,” scene stealing roles in the Austin Powers Trilogy, and multiple episodes of “Scrubs,” Michael is also an accomplished writer and director. This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

8PM - Steve Byrne – You’ve seen Steve on NBC’s “The Real Wedding Crashers,” “Four Christmases,” numerous late night appearances, “The Kims of Comedy,” his own “Comedy Central Presents,” and his first hour long Comedy Central special and DVD, “Happy Hour.” This is a special taping for Comedy Central. Please arrive no later than 1 hour prior to show time to guarantee your seat.

Fonte: “lasicilia.it“

Giuseppe Attardi
Quanto è lunga la strada che da Catania porta ai vertici delle classifiche di mezzo mondo? Lunga, lunghissima. Lo sa bene Mario Ranno, in arte Biondi, in omaggio al nome d’arte del padre Stefano, anche lui cantante. «Mi ha trasmesso la passione per il blues e il soul degli anni Sessanta – ricorda – Vinse il festival della canzone siciliana, un suo pezzo è diventato la canzone ufficiale di Catania. Anche mia nonna cantava, alla Eiar. Mi imboccava con pappe e canzoni anni Cinquanta: Benny Goodman, Fred Buscaglione». Poi la gavetta nei pianobar, come apripista al “Tout Va” di Taormina per Fred Bongusto o Ray Charles: «E’ stata una grande fatica fisica, ogni sera scaricavamo gli strumenti e l’amplificazione, facevamo tutto dall’inizio alla fine. E ancora oggi, ai miei concerti, mi presento molto prima di tutti, seguo il montaggio, attacco le spie… Al “Tout Va” ho imparato il reale valore delle cose, anche quelle considerate marginali. Quell’esperienza mi ha insegnato tanto: avevo 17 anni, l’età in cui assorbi tutto come una spugna».

Mario Biondi ascoltava Al Jarreau, Isaac Hayes, Lou Rawls, Bill Withers, Michael McDonald, e modellava una voce alla Barry White, già da allora, molto prima che un dj della Bbc trasmettesse This is what you are trasformandolo in un tormentone jazz e che il cd Handful of soul e il successivo Live raccogliessero tre dischi di platino con oltre 300.000 copie vendute in tutto il mondo. Adesso, a cinque anni dall’esordio discografico, torna con un nuovo album, If, e 15 brani, 11 inediti e 4 cover, che partono da una già considerevole base di partenza di 70.000 copie vendute in prevendita, equivalente a un primo disco di platino. «Che è importante per uno che non è diventato miliardario come Michael Bublè, ma che rischia di rimetterci tutto», tiene a sottolineare. Già, perché la voce nera di Sicilia ha voluto salvaguardare la sua indipendenza, non ha ceduto al richiamo delle Major ed ha accettato l’invito di Renato Zero di far parte della nuova etichetta “Tattica”. «Dopo il successo, c’era la fila di produttori, arrangiatori, manager alla mia porta. Mi cassiarai – ride – Entrai in confusione. Renato Zero mi ha convinto a contare solo sul mio istinto. Così ho chiamato i musicisti con cui volevo suonare, da Jacqués Morelenbaum al violoncello a Michael Baker, batterista di Whitney Houston, e poi Sonny Thompson, bassista di Prince, e Giovanni Baglioni. Ho scelto io gli arrangiatori, le canzoni, tutto».
Il risultato è davvero eccellente: una festa di suoni, mood, swing, dinamica, fiati, orchestrazioni. Un respiro sonoro internazionale, che spazia dal nu-soul al jazz, dalle ballads al r’n'b, dal funk a Bacharach (autore di Something that was beautiful) ai ritmi sudamericani, fino ai richiami africani e a una versione scanzonata ed esotica di E se domani di Carlo Alberto Rossi, tradotta in I know it’s over: «Prima di registrarla – racconta – ho ascoltato tutte le versioni esistenti di questa canzone, ed erano tutte lente, strappalacrime, io ho voluto mettere un po’ di allegria con un po’ di Caraibi e di rock-steady, come fece il musicista hawaiano Israel Kamakawiwo con Over the rainbow».
In inglese tutte le canzoni, fatta eccezione per la conclusiva Bon de doer, in portoghese. Eppure Biondi non disdegna l’italiano, come accaduto nei duetti con Amalia Grè, Ornella Vanoni e Zero (sarà, invece, in inglese il cammeo registrato per il nuovo disco di Claudio Baglioni). «No, nessun tipo di preclusione, sono orgoglioso di essere italiano – precisa – Non ho alcuna remora a cantare in italiano, ma questo disco è la continuazione del discorso cominciato con Handful of Soul». In inglese sarà anche il cammeo registrato per il nuovo disco di Claudio Baglioni, mentre all’orizzonte si profila un duetto con Chaka Khan «che per me è un mito». Nel cassetto, però, l’artista conserva anche tanti brani in italiano «e non è detto che prima o poi non li tiri fuori, magari per darli a qualche giovane promessa del nostro Paese».
Biondi non nasconde l’obiettivo di mirare al mercato internazionale, dove è ormai molto popolare: «In Giappone, a parte il fatto d’incontrare catanesi di Tokio, è stato sorprendente sentire il pubblico fare il verso “sha-la-la-la” a This is what you are. In America sono molto incuriositi da un bianco italiano che fa musica nera. Anche in Europa le risposte sono ottime: in Francia la gente mi fermava, stupita per questo genere poco italiano, e mi diceva: “Ma come, non eravate il Paese della Pausini e di Ramazzotti? Adesso vi siete messi a fare i raffinati?”».
Una soddisfazione per Mario Biondi, 38 anni, sei figli, autodidatta. Come l’e-mail che gli arriva mentre parliamo al telefono. Il mittente è Bacharach, ha appena ascoltato il disco: «Mi dice che non vede l’ora di farlo conoscere ad alcuni suoi amici importanti, perché ci fa una “bella comparsa”», traduce in siciliano Mario Biondi. If esce domani in Italia, tour tra marzo e aprile.

Morris ‘MO’ Pleasure

April Sims A and E Radio

or

click here to listen to interview.

April Sims and Vincent Versher (sitting in for Christopher ‘Poetry Man’ Fields) welcome keyboardist and musical director for band in the movie ‘This Is It’ to April Sims A and E Radio.

A little bit more about Mo Pleasure

Join April Sims and Vincent Versher (sitting in for Christopher ‘Poetry Man’ Fields) as they welcome MO Pleasure to April Sims A and E Radio Show. MO shares his experiences with Michael Jackson, Janet Janet and countless other celebrities in the music world as well as his upcoming cd project and more. (click links above to listen to the interview)

A little bit about MO Pleasure

Known affectionately as Mo Pleasure, this renowned multi-instrumentalist, songwriter and producer, began playing acoustic piano at the age of four and by his early teens already mastered several instruments including bass, trumpet, guitar, drums and violin.

Upon receiving his Bachelor of Arts degree in Music from University of Connecticut, Mo began his professional music career playing bass with Ray Charles. He then began working as a session musician, backing some of the most accomplished talents in Jazz and R&B including George Duke, Natalie Cole, Dianne Reeves, Jonathan Butler, Rachelle Ferrell, Michael McDonald, Oleta Adams, Roberta Flack, Marcus Miller and Frankie Beverly and Maze, to name a few.

From 1989 through 1992, Mo was both keyboardist and musical director with saxophonist Najee, pianist Alex Bugnon, and vocalists Philip Bailey, Patti Austin and Jon Lucien. In 1993, he became a member of the legendary group Earth, Wind & Fire, and ascended to become the band’s musical director in 1994. Mo was featured playing keyboards, trumpet and guitar with Janet Jackson’s 2001 “All For You” tour and played keyboards and trumpet with Boney James’ 2004 “Pure” tour. As a principal member of the group Devoted Spirits, Mo was featured playing keyboards for Jimi Hendrix’s 60th Birthday Celebration and the 2004 “Power of Soul: A Tribute to Jimi Hendrix” tour. Mo most recently toured with Roberta Flack and Rachelle Ferrell.

In addition to performing at worldwide jazz festivals including Montreux, North Sea, St. Lucia, Cancun, and Montreal, Mo has been a featured concert pianist, performing Gershwin’s “Rhapsody in Blue” with the Eastern Connecticut Symphony Orchestra and for the Boston Ballet.

There are many Television and Video performances to Mo’s credit, including Ray Charles BBC Special, Mad TV, BET on Jazz, VH1, The Tonight Show, Earth, Wind & Fire documentary Shining Stars and HBO Special – Janet Jackson in Hawaii. His movie soundtrack credits include Talkin’ featured in the Disney movie “Three Men and a Little Lady” and the EWF single “Cruisin,” featured in Spike Lee’s “Get On The Bus.”

Two of Mo’s CDs were released independently in Spring 2005. Devoted Spirits’ “Tribute to Earth, Wind & Fire” and Audio Caviar “Transoceanic.” Audio Caviar is a collaboration featuring Mo on piano, bass, trumpet and flugelhorn, Ralph Johnson on drums and Denmark guitarist Steen Kyed.

Mo’s first offering as a solo artist, Elements of Pleasure, was released in 2006. The release earned him a devoted worldwide following and established him as a producer and multi-instrumentalist with singular talent. Scheduled for release in late 2008, Mo’s second solo effort, Mo’Elements of Pleasure, expands upon his first project. The lyrical movement of the piano, the soulful sounds of the trumpet and flugelhorn and the funky rhythm of the bass are the elements that touch the heart, mind and soul. The music is a combined collaboration of instrumental funk and soulful vocals, reminiscent of his many musical influences. Demonstrating the respect and cache he has garnered in his illustrious career, the album is chockfull of special guests including Tony Terry, Maysa, Ali Woodson, Philip Bailey, Maxayn and Bobby Ricketts.

Posted by: April Sims (http://www.wearegreaterthani.com)

Chart Position: 5

• Lead vocals: Michael McDonald
• Written by Michael McDonald and Patrick Henderson
• The song’s inspiration was singer Amy Holland, whom McDonald married in 1983
• Sax solo: Cornelius Bumpus
• Backing vocals: Nicolette Larson
• Produced by Ted Templeman
• Recorded in Hollywood CA

I usually go to the same dining facility for lunch every day. I’m a creature of habit. However, I’ve just about had it with the music they play in there.

Most of the time they play what sounds like a Kenny G album.

It’s always on a loop, and it’s always unbearably loud.

It reminds me of scene in “The 40-Year-Old Virgin” dealing with Michael McDonald and his song “Yah Mo B There.”

In the movie, the main characters work in a Circuit City-like store called Smart Tech. Paul Rudd, who plays one of the workers trying to get Steve Carrell hooked up, complains about the music choice playing through the televisions in the store.

If I have to hear “Yah Mo B There” one more time, I’m going to “Yah mo” burn this place to the ground.

I kind of feel this way about the Kenny G crap. I’m not kidding. If I have to hear easy listening saxophone one more time, I’m going to easy listening burn this place to the ground.

Also, the food is horrible. I am a tortured man.

Grizzly Bear is a band that likes to take their sweet time and get things right. The three years that separated their second full-length album, Yellow House and this year’s dynamic Veckitemist were spent expanding their sound and exploring a new writing process. For fans (a group that includes the likes of Johnny Greenwood and Jay-Z), the three years of pent-up excitement were rewarded with a meticulously crafted album that marks the latest development in Grizzly Bear’s evolution from folksy Suburban kids, to under-the-radar indie A-listers, to their current status as “next-Radiohead” wonderboys. They’ve been on the road since Veckitimest’s late-May release, most recently accompanied by Beach House for a handful of U.S. dates before they head to Europe with St. Vincent in November. I checked in with Daniel Rossen, singer, songwriter, and multi-instrumentalist for Grizzly Bear, to discuss everything from the band’s Brooklyn inception to their recent collaboration with Michael McDonald, and, of course, their graduation from hip obscurity to public adoration.

CityBeat: You guys have accomplished a lot in the band’s history, including securing a large, loyal fanbase that was, until recently, mostly underground. A lot of your new fans probably feel like they need to be quickly caught up on what they missed. Everyone knows the best way to show time that has transpired in a rapid manner is a rad ‘80s movie montage. So if you put one together of the history of the band to catch up all your new fans, what are a few scenes we would see, and what song would be playing?

Daniel Rossen: [Laughs] God, I guess it has been almost five years now. It could go very far back if we wanted to. I met Chris Bear, the drummer, when I was 15 at a dorky jazz camp. I lived across the hall from Chris Taylor, the bassist, my freshman year of college and we sort of nerded out on jazz records together when we were teenagers. Then after school I met Ed [guitarist and co-singer Ed Droste]. We did our first show at an art gallery in Brooklyn and it was terrifying. We did a really strange two and a half month tour around the country that we booked ourselves and played all kinds of weird shows. We played a show at a bar in Oklahoma. We played a show in the coffee shop at UCLA. We did all kinds of weird shows over time. I couldn’t do it! There’s too many scenes. We played a million shows with a lot of sleeping on the floor in the van, all kinds of stuff. But it’s slowly gotten better. Too many things to include in one ’80s montage, now that I think about it.

CB: It would be to the entire catalog of Hall and Oates, then. Obviously things got a lot better by the time you were opening for Radiohead. What went through your mind when you heard Johnny effin’ Greenwood say your band is his favorite band?

DR: [Laughs] It was a great honor. Really sweet of him. Opening them was a huge, huge honor. I was a huge fan of them when I was young. When I was a teenager that was pretty much the one newer rock band that I really liked. I feel like when Kid A came out when I was in college, that was the record that kind of got me interested in rock music again. Because I really sort of had lost interest in newer rock music when I was in college, and all of a sudden that record came out and I was just floored. So for me it was a huge, huge honor. I mean, that was the only big, big rock star I saw when I was a kid. I never went to big arena shows, but I saw Radiohead at the Hollywood Bowl when I was 18. That was the one big show I ever went to, so it was pretty amazing for me. For everyone, really, it was a huge honor.

CB: If you lost interest in rock in college, what were you listening to?

DR: When I was a teenager I was a real jazz/classical nerd. I lost a lot of interest in rock music. I mean when I was a little kid I loved Elvis and the Beatles and had that classic rock taste when I was really young, but I lost a lot of interest and didn’t really expect to even play music when I was in college. I was kind of a nerd about it, but Radiohead was actually the band that kind of got me interested in it again. From there I actually started learning about indie rock, and I learned about newer bands. It was an entry point for me to be interested in it again, and to even consider playing it.

CB: How would you describe Grizzly Bear’s sonic evolution from Yellow House to Veckatimest?

DR: A lot of it changed from just playing so many shows, and the process of figuring out ways to perform the songs that were layered before we’d even played them as a band together. We just kind of layered and layered and made a sort of sonic soundscape for a lot of the songs. In the process of trying to perform them, we kind of gelled more as a live band and developed our own way of actually playing together as a band rather than just recording and layering. I think a lot of that fed back into the way we did Veckatimest because a fair number of those songs were brought in much earlier on. A lot of the Yellow House demos were very flushed out and had all these parts already all ready for them, and then we just kind of re-layered and recorded and all that. But Veckatimet, a lot of the songs were brought in much earlier and we actually played them together a lot before recording which was a newer thing for us. We even played some of them on that Radiohead tour. We got to flush “Two Weeks” and “Cheerleader” and a couple of other songs out on the road actually playing them live. And “While You Wait for the Others” obviously we played for like a year before we recorded it. That’s the main difference.

CB: The Veckatimest recording process took place in some interesting places including a church, one of your grandmother’s houses, and the uninhabited island that lends its name to the record. Which aspects of these surroundings inspired you guys the most?

DR: They were all amazing places. We’ve never recorded in a studio. Our way of recording has always been to go somewhere kind of remote, and preferably kind of beautiful and idyllic, and just be as relaxed as possible and record at whatever hour of day we feel like to make it as fun as possible. It’s kind of the way we’ve always done it. It takes a lot longer that way, but it’s just a lot more enjoyable and fun for us. Ed’s grandmother’s house in Cape Cod was particularly memorable, and that’s partially why the album ended up being named Veckatimest, which is that island off the coast there in that region. We spent a lot of time up there in his family’s house and did a lot of our early rehearsing there as a band, and there’s a really sort of sentimental value for the time that we’ve spent there as a band working on music together. So I hear a lot of that area on the record for sure. But of course that’s just all our association with being there, playing there, and working on songs there. Big part of it.

CB: Veckatimest has received a lot of positive feedback and all-around great reviews. How is this tour going in the wake of that success?

DR: Eh, there’s been stressful moments and some high-pressure shows at times, but over all it’s been really fun. This tour is especially kind of fun since it’s the second tour of the U.S., it’s kind of not as high pressure. We can just kind of play shows and have a good time, so it’s been great. We’re very lucky.

CB: How did you get involved in the whole indie Twilight super-soundtrack?

DR: I hardly even know. Essentially the music director asked if we would be interested in submitting a song and we thought, Hm, could be interesting, we’ll give it a try, because why not? I don’t know. It was just a “why not?” situation. [Laughs.] So we did. That’s basically how it happened. We ended up bringing Victoria Legrand [of Beach House] to come in and sing a lot of the lead of the song because we love her and love Beach House and it seemed fitting for her to sing it. It seemed like a melody that was really suited for her so that was great. We’ve always wanted to do something like that. I mean, we obviously brought her in for “Two Weeks” on the record, but we’ve always wanted to do something with her that she takes a little more of a prominent, lead presence on in the song. So that was fun. It was a good excuse to work that out.

CB: I was actually just going to bring her up since she is featured on the record and her band is the current support on your tour. How did you guys first meet Beach House?

DR: They opened for us a long time ago for a couple shows on our Yellow House tour… I believe that’s what it was. Yeah, the last couple shows of our Yellow House tour they opened for us and that was right after their first record came out. We just all really loved that record and after we met them we just clicked with them very quickly. We really love them as people and I think they’re certainly one of our favorite bands in the world right now. I think they’re so amazing as songwriters and she’s such an incredible singer. They’ve become like part of the family, it’s weird. But it’s nice.

CB: Speaking of collaborations… Michael McDonald? How did that come about?

DR: Umm…[laughs.] Well, it was an idea we had. We’ve done so many remix-y things, and I thought it would be more interesting that instead of having a remix where you give them the lead vocal and they redo the whole song, I thought it would be more interesting to keep the entire song [Droste starts singing loudly in the background] and just have someone—shhh. [Laughs.] Have someone just sing the lead instead of changing the entire structure of the song, and that was just an idea to ask him. We thought that would be kind of amazing and weird and amazing. And we asked, and he agreed [laughs], which was kind of unbelievable. It was a real honor. It’s the kind of thing that because it’s such an unlikely combination, it does kind of make you smile and can even make you laugh a little bit because it’s so unlikely, but he really does such an amazing job with the song that it’s actually just a really great performance. Now I find myself trying to sing some of his embellishments because I kind of prefer his version. I think a lot of people think it was an ironic thing, like we’re making fun of him or something, and that’s not at all the case. I think he’s an amazing singer who had a really cool take on the song.

CB: If he had an animal counterpart, I’d say he purrs like a majestic walrus. So, if he’s a walrus, what characteristics of an actual grizzly bear can be applied to you and your band?

DR: [Laughs.] A fair amount of sleeping. That’s probably the only one.

CB: What’s next for the members of Grizzly Bear?

DR: We’re just playing shows right now. We’re just on tour for the next year and a half. When we get done with that, I don’t know what’s going to happen. We’ll have six months off or so, so we’ll live on a farm somewhere or something. But eventually we’ll do another record. Don’t know what’s going to happen. I’m not working on anything right now outside of the band. I did a record a year ago [with The Department of Eagles]. I mean eventually I’d like to do something else, but there’s just so much going on that I kind of have to just focus on the band right now. It’s either focus on the band, or have a little bit of a life at home and that’s about it right now [laughs].

CB: Is there anything you want San Diego to know about your live show in advance so we can amply prepare for you to melt our faces?

DR: We’ve never even played in San Diego, I don’t think. We’ve never done a show in San Diego! I grew up in L.A. so I’ve been to San Diego a couple times as a kid, but… yeah. We’re looking forward to it. Our show is a lot louder than you might think, but that’s about all I can say.

Marvin Gaye and Tammi Terrell – “Ain’t Nothing Like the Real Thing,” Pop # 8, R&B # 1

By Joel Francis

Marvin Gaye and Tammi Terrell’s first album together, “United,” was a smash that spawned three Top 5 R&B hits and turned Gaye into a soul superstar. A follow-up was inevitable. In March, 1968, less than three months after the release of their previous single, “Ain’t Nothing Like the Real Thing” announced the fruits of the duo’s new collaborations.

“Ain’t Nothing Like the Real Thing” is more of a Brill Building pop song than a soul number. Each singer gets two brief verses, but the heavy emphasis is on the chorus, which is usually repeated. There is a touch of Carol King’s phrasing in Terrell’s verses and the piano line – particularly the bit that introduces the first verse owes to King’s style. Although the structure is deceptively simple, the song works because the hook allows the complementary voices to dance. The clever bridge also surprises up the verse-chorus structure.

The song is definitely outside of the Motown paradigm, but Gaye’s voice , especially the soulful moans that appear after the drums and bass introduce the song, let the listener know we’re still deep in Motown territory.

Sadly, “Real Thing” was the next-to-last “real thing” Gaye and Terrell worked on together. In October, 14, 1967, following the completion of the No. 1 R&B hit “You’re All I Need To Get By,” Terrell collapsed in Gaye’s arms while performing at college homecoming in Virginia. Doctors diagnosed Terrell with a brain tumor and her days as a singer and performer were over.

Gaye completed the pair’s second album, “You’re All I Need,” by overdubbing his voice to Terrell solo recordings, a trick reprised on the duo’s third and final album, “Easy.” Largely present in name only, “Easy,” found Valerie Simpson standing in for Terrell on all but two albums. “Easy” spawned three Top 20 R&B hits, but nothing as influential or wonderful as “Real Thing.”

When Terrell died at age 24 on March 16, 1970, Motown released her final “duet” with Gaye in tribute.

“Ain’t Nothing Like the Real Thing” has been a go-to duet for 40 years. Diana Ross and the Supremes were the first to capitalize, recording a version with the Temptations in 1969. The following year the Ross-relieved Supremes cut another version with the Four Tops. The Jackson 5 included their cover on their 1972 album “Lookin’ Out the Windows.” Aretha Franklin recorded a rare solo version of the song in 1974.

Other performers to record “Real Thing” include Donny and Marie Osmond, Gladys Knight and Vince Gill, Elton John and Marcella Detroit, and Beyonce and Justin Timberlake. Michael McDonald and Boyz II Men also included interpretations of the number on their Motown tribute albums.

This is one of our FAVORITE MadTV skits, lmfao this shit is hilarious.