Guest Stars: Raleigh and Spencer

Tony Furtado Band w/ Kelly Joe Phelps: Raleigh and Spencer

People keep recommending that I check out the jazz and delta blues fusion sound of Kelly Joe Phelps, and here's just one more reason to pursue it: a wonderfully slow and mystical blues take on American oldtime tradtune Raleigh and Spencer from the Tony Furtado Band's 2001 self-titled album, in which Tony's jambanjo and jazzy summery production mix exquisitely with Kelly Jo Phelps' gorgeous lapstyle slide guitar and vocals.

Phelps has made a name for himself as a guest and session player -- you've heard him with Tim O'Brien, Greg Brown, Bo Ramsey, Jay Farrar and Townes Van Zandt -- but it's less common to hear his voice alongside the playing. Personally, I think his vocal style rivals his prowess with the lap steel.

Guest Stars : September Song

Pascal Comelade : September Song (with Robert Wyatt)

[purchase]

Pascal Comelade is a French (or,I'd better say, Catalan) musician with a passion for instrumentals (he doesn't sing)and unconventional arrangements.

In this 2000 EP, dedicated to covers of pop standards played with toy instruments (along with "Knockin' On Heaven's Door", "The Sheik of Araby" and others) the only vocal track was by Robert Wyatt, legendary musician and genius, I mean the one who made my all-time favorite album (Rock Bottom), and another specialist for quirky covers of great standards (remember his version of "I'm a beliver" in 1974). He also plays the trumpet on this one.

Guest Stars: Four Leaf Clover

The Old 97's: Four Leaf Clover
[purchase]

The Old 97's feat. Exene Cervenka: Four Leaf Clover
[purchase]

"Four Leaf Clover" is the perfect example of how the right guest can enhance a track and really turn it into something special.

The song first appeared on The Old 97's 1994 debut Hitchhike to Rhome. It was a decent enough song at the time with a rolling drum beat and bit of a harder edge than the rest of the songs on the countrified album. But, even with that edge 97's vocalist Rhett Miller still sounds a little reserved. Solid... but not a standout track by any means. That's the first version of the song that is linked above.

In 1997, the band reworked the track for their classic album Too Far to Care. Here, they played up the rock side of the track even more with feedback, ramped up guitars, and a scorching vocal from Exene Cervenka. As a veteran of L.A. punk rock stalwarts X, Cervenka certainly knew how to bring a fire and energy to the track that was lacking in the original. Miller fed off that fire... peppering his own vocal with growls and howls that were absent the first time around.

Exene Cervenka's mere presence transforms the track from a forgettable filler to an essential album closing rocker.

Guest Stars: Song No. 6

Ane Brun (feat. Ron Sexsmith): Song No.6

Norwegian singer-songwriter Ane Brun teamed up with Canadian singer-songwriter Ron Sexsmith for a track on her 2005 album "A Temporary Dive". The song is a love song, and one of the few marginally upbeat songs that Brun has sung, as her music usually tends to be more melancholic and filled with longing. Her voice is mesmerizing to me. It usually sounds like the flutter in her voice is out of despair, but in this track it doubles for enthusiasm.

Featuring a male vocalist in the song brings an already great song to a whole new level, making it feel more intimate and real, like a conversation between smitten lovers. Ron Sexsmith's slow laid-back vocals make a beautiful match to hers. This could be considered a duet as well, but at the same time, the song could have been successful as her song alone, and the obvious caliber of the singer chosen makes this most certainly something special.

Guest Stars: Steady Pull

Jonatha Brooke feat. Michael Franti: Steady Pull

[purchase]

2001's Steady Pull represented new directions for Jonatha Brooke. She had just completed a cross country move prior to recording the album and was feeling refreshed and reinvigorated in the studio.

The album itself contained many artistic leaps and experiments for Brooke. She co-produced the album, played several instruments (guitars, wurlitzer, finger bells, ukulele, piano, bass), and even arranged strings for the first time in her career. The feeling of experimentation was carried over on the album's title track as well when Brooke enlisted the help of socially conscious hip-hop artist Michael Franti. Franti's involvement is minimal on the track... mostly just a background vocal. His presence, however, lends credibility to the track that the folky Brooke may not have been able to achieve by herself.

Brooke says she just wanted the song to have a nice groove. Franti's funky vocals helped to ensure that happened.

Guest Stars: If I Could

Phish feat. Alison Krauss: If I Could

[purchase]

Alison Krauss was just 22, the youngest cast member of the Grand Ole Opry and two Grammys into her career when her sweet and breathy twang startled the hell out of me on this dreamy, swirling slowjam from Phish's underrated 1994 studio album Hoist.

Eventually, of course, Krauss would become the go-to sidegirl for harmonies and countrygrass credibility. But Krauss was still a true blue bluegrass voice back then, known only to the in-crowd, not yet the Grammy-sweeping cross-over artist she would become with Raising Sand. The track is gorgeous, and the boys of Phish deserve major props for correctly gauging just how much string-band legitimacy and ballad beauty would come of such a guest.

Guest Stars: Old Times Good Times

Stephen Stills: Old Times Good Times

[purchase]

Stephen Stills's first solo album is a buffet of guest appearances. I could post to this week's theme at least five times from this album alone, and each post would include an amazing guest appearance by a well known artist (think Eric Clapton, Cass Elliot, Ringo Starr and others). But I think out of all of the guest appearances on this album the best one has to be the performance by Jimi Hendrix on Old Times Good Times. I have always thought it was a bit odd that Hendrix, a superstar at this point in his career, didn't force himself on the song more than he did. He plays a solo, but it's not blaring and self-serving like Clapton's is on the following track, instead his contribution is more understated and supportive. But this is exactly what makes his work on this song so excellent. He adds a unique sound, a bluesy grit, that few other people could add as effectively.

Give it a listen.

Guest Stars: Galileo

Indigo Girls: Galileo

[purchase]

I was an active Indigo Girls fan throughout my teen years, and well into my late adolescent protogrunge period; though their first album Strange Fire and their subsequent major-label self-titled debut remain the gold standard for their dark acoustic alternative folk, in many ways, 1992 release Rites of Passage, which many ex-fans mark as the beginning of the end, was also the best of their subsequent high-production albums, most notably for the tight harmonies, full band orchestration, and percussive rhythms that pepper the disk.

My two favorite songs on that album, the one above and album denoument Let It Be Me, feature especially rich vocal mixes, starring the distinctive backup tones of both Jackson Browne and David Crosby. Their presence in the tracks themselves is light and sparse -- that's Browne on the three part harmony, and Crosby on the faint frills between the lines -- but the addition of such elder statesmen into the mix makes all the difference.

Creepy Crawlies: I Just Killed Kafka

Eric Schwartz: I Just Killed Kafka

[purchase]

Eric Schwartz is a twisted genius, a brilliant degenerate... taking everyday characters and situations (Charlie Brown, elderly women downstairs neighbors, Bill Clinton... to name only a few) and warping them until they're like the printed warnings on passenger side mirrors of cars: closer than they appear - nothing and no one is safe. It's exhiliarating yet frightening to follow his meandering musical paths that are equal parts hysteria and horror, delight and disgust - imagine what it would be like to inhabit his brain for a while?!? (oh, no... can't go there... :-)

This is Eric tackling the age-old problem of what to do with an unwanted night-time pest, weaving good fun and great literature with a pop-rock-meets-Russian-dirge melody... as he personalizes and metaphorizes and eventually euthanizes - SQUOOOOSH!

Creepy Crawlies : Two Bugs and a Roach

Earl Hooker : Two Bugs And A Roach

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"If there was a more immaculate slide guitarist residing in Chicago during the 1950s and '60s than Earl Hooker, his name has yet to surface. Boasting a fretboard touch so smooth and clean that every note rang as clear and precise as a bell, Hooker was an endlessly inventive axeman who would likely have been a star had his modest vocal abilities matched his instrumental prowess and had he not been dogged by tuberculosis (it killed him at age 41)."

I have to say i really like AMG bios, especially their introductions, when they are well made. Earl Hooker was a specialist for killer instrumentals. Recorded for Arhoolie in 1968-69, this song features funky beats and a great repartee between Earl and Andrew 'B.B. Jr.' Odom. And of course, that bug which eventually killed him.

Earl Hooker played not only blues, but also country (as you'll see in this video), jazz and rock. He sure was an influence for Henrix, who called him the "master of the wah-wah pedal".

Creepy Crawlies: There's a New Sound

The Muppets: There's a New Sound

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The Muppet Show had a great way of taking a classic novelty song and giving it new life for a new generation. We talked about this back in BoyHowdy's post for the song "Mahna Mahna" here, and it holds true again for the classic novelty hit "There's a New Sound" originally by Tony Burrello (which you can hear on YouTube here if you're interested). The original was a staple of the Dr. Demento show but was all but forgotten until it appeared again on The Muppet Show.

On the Muppet Show, stage manager Scooter sings this classic about the sound of these underground creepy crawlies. The original version is creepier and stranger, but when it appears on The Muppets it feels like it was made for them and has a charm children and families will appreciate. And this recording comes complete with a joke by Fozzie Bear at the end.

Creepy Crawlies: Mayfly

Jeffrey Foucault: Mayfly

[purchase]

Jeffrey Foucault's rough and raspy voice and sparse folkblues style ring evocatively of prairiedust and hard roads; his lyrics and tone tend towards the dark and introspective. His tender treatment of other people's songs in this vein has made him a constant presence over at Cover Lay Down, both solo and as a member of folk collaborative Redbird, and it would not be hyperbole to say that he may well be my favorite male singer-songwriter of his generation.

But despite his penchant for Townesian melancholy in his songcraft, in person, Foucault is wry and self-effacing, a shy, grinning, easygoing country boy with a guitar in his hands. Nowhere does this lighter side come out more clearly than on Mayfly, which Foucault wrote by accident while trying to figure out the guitar part to Freight Train. The metaphor of the short-lived mayfly -- a year in waterbound larval state, a day of adulthood before death -- carries plenty of baggage, but Foucault manages to transcend the weight; the upbeat simplicity of the tune and lyrics treat the subject delicately, perfectly capturing the fleeting beauty of life.

Creepy Crawlies: Boll Weevil

Eddie Cochran: Boll Weevil

[purchase]

You don't hear much about Eddie Cochran or the boll weevil anymore, but they were once both a pretty big deal.

Creepy Crawlies: Hey There Little Insect

Jonathan Richman & The Modern Lovers: Hey There Little Insect

[buy]

No creepy crawlies edition would be complete without Jonathan Richman pledging his love to the insect kingdom, provided the little creatures don´t bug him too much of course. Jonathan certainly doesn´t want to risk any insect bites.

"Hey there little insect, please calm down,

then we´ll have fun and fool around..."

As a bonus, here´s a very early (´74) acoustic demo of this gem, from a boot called Living Room Demos, also known as the Solo Acetate. Apart from the praying mantis and the hornet, this one also features the potato bug and... the California watchdog. Say what?

Jonathan Richman: Hey There Little Insect (demo version)

Creepy Crawlies : La Cucaracha

Orquesta Pajaro Azul : La Cucaracha

[purchase]

One of my "bubbling under" songs of the drug week, "La Cucaracha" (the cockroach in Spanish), finally makes its way here. A satiric corrido (Mexican ballad) of obscure origin (see here) it lived through different eras of Mexican history and especially the revolution of 1910-1929.

The cucaracha, as in English, is a weed joint. Some say the chorus as it is known nowadays "La Cucaracha, la cucaracha ya no puede caminar" (the cockroach, the cockroach cannot go forward), "por que notiene, porque le falta, marijuana que fumar" (because he lacks, because he lacks, marijuana to smoke) was written by Pancho Villa supporters and was referring to President Victoriano Huerta, "a notorious drunk and weed addict who was considered a villain and traitor due to his part in the death of revolutionary President Francisco Madero" (Wikipedia). Huerta was said to wear big dark glasses and a long coat which made him look like the abhorred insect.

Then every faction wrote its own version of the song, "La Cucaracha Carransista", "La Cucaracha Porifirsta", "La Cucaracha Villista" and even a cucaracha which could not go forward because it lacked coca cola (porque le falta coca cola que tomar)!

The catchy melody made it a favourite all around the world and perhaps the most popular Mexican song abroad.

This Tejano version was recorded in San Antonio by Bluebird in 1934. I love its old-fashioned sound, with trumpets and strings.

Read more about the context ofthat recording and "Corridos de la revolucion" here in this great article I found on the Web.

Creepy Crawlies: The Bees

Belly: The Bees

[Purchase]

This is my favorite song by Belly (remember "Feed The Tree" from the 90s?). This song appeared on their sophomore (and final) album "King". The song uses bees as metaphor. Within the song we find a girl warning someone not to get too close because of the possibility of getting hurt (or stung) by her. She sings:

The bees behind my eyes sing beware.

I felt this image seemed appropriate as it combines symbols used to warn people of impending doom.

But what I love most about the song is the way it is sung in the tone of bees buzzing. Even the opening guitar riff hints at buzzing. The repeated and elongated vowel sounds make it perfect, especially in the chorus. Even the play on "bee-ware" is well played out. This idea could have been taken too far and been hokey, but instead it's perfect.

Creepy Crawlies: John's Cocoons

Michael McNevin: John's Cocoons

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Michael McNevin's musical forte is story songs... about his family, his friends and growing up in the small town of Niles, California... where he still resides - John's Cocoons is a true tale about the hobby/passion of his brother John when they were growing up, as well as a metaphor for one's comfort zone...

It was the first song I heard of Michael's, which caused me to fall in love with his music and be his booking agent for two years - John's Cocoons was featured on Christine Lavin's The Stealth Project: Music Under the Radar in 1999, high praise indeed...

Michael became a bit reclusive over the last three or so years, opening up a shop in his town, used as a gathering place for locals as well as featuring his Etch-A-Sketch Art - he's venturing out a weekend at a time these days, having just appeared in my concert series this past Saturday night and looking forward to the upcoming Kerrville Wine and Music Festival in Texas Labor Day weekend...

Creepy Crawlies : Moustique

Zao: Moustique (Mosquito)

[purchase]

One of the funniest songs I know is about insects, but, eh, it's in French, in this West African colourful French that I love so much.

Casimir Zoba, aka Zao (see bio), a Congolese singer songwriter from Brazzaville, uses humor as a social and political weapon in songs such as "Ancien combattant" (war veteran), "Ivrogne" (drunkard). He's a sort of clownish Fela, although more limited musically than the Nigerian.


Awkward home made translation :


Mosquito, mosquito, You are a bandit
Mosquito, mosquito, You are a bastard
You sting me, you sting me, I can't sleep
You are a bastard

You suck my blood and bring it to the factories where they make red wine
You're so tiny but your name is big, ah, you are a bandit
You come and sing to my ear, without any fear, ah, you are a pain

You sting my wife without paying adultery, ah, you are a crook
You're romantic, tragic oh and you are indecent

You tickle the European girl, and sting the African girl, you are a racist
You slip past the sentry, you sting Mr. President, you're an assassin
You come and sting the king, without protocol, you are a criminal

Mosquito, Mosquito, you're an assassin
You give me malaria, death, and misery
There are many corpses in the neighbourhood, wakes every night
Every town hall in the world fights you, but you're still alive
They use insecticide, acid, but you're invincible

You sting my comrades, the sick, and the salad
You're in ponds, in jars and in bars
I'm gonna suit you in court, before the judge
You give me the fever that cracks my lips so that I can no longer eat the goat
Mosquito, mosquito, You are a bastard
Mosquito, Mosquito, you're an assassin
Mosquito, mosquito, You are a bastard

Creepy Crawlies: I Am The Fly

Wire: I Am The Fly

[purchase]

British artpunks Wire never shied away from unusual points of view. In the remarkably catchy I Am The Fly (´78) they look at the world through the eyes of a rather determined member of the Diptera order.

"I am the fly in the ointment
I shake you down to say please

as you accept the next dose of disease..."

Creepy Crawlies: Boris The Spider

The Who: Boris The Spider

[purchase]

They don't write 'em like this anymore.

Too bad.

While there are many many high points to this tune, my favorite is the matter-of-fact last stanza:

He's come to a sticky end
Don't think he will ever mend
Never more will he crawl 'round
He's embedded in the ground