I was very excited to read one my favorite phrases in the world of rock used in The Big Dipper news release: “Lost Album.” Is there anything as exciting as a “Lost Album?!” Better than a reunion album, because it suggests a band in its heyday.
I only own, what I consider, two Lost Albums and both exceeded expectations. The Lost Album then is more rare and magnificent than the Bicentennial.
Some of you know the Last Man Standing drill: we post one (1) answer at a time in response to the game’s question until no other answers are possible. The Townsperson who posts the last possible answer wins the patented RTH non-prize! More importantly, the winner get’s to strut around as if he or she just had awesome sex the night before. Past Last Man Standing winners will back me up.
As for today’s question, we’re looking for songs that sound like nothing else a band or artist ever did or would do. A few ground rules to keep in mind (please pay attention, those of you who complain that the rules too often shift):
Clear enough? Let the games begin!
Try building atop this opening volley: Queen’s “Crazy Little Thing Called Love”!
Our lips had been sealed regarding the details of the 3-CD Big Dipper anthology, Supercluster, discussed here with guitarist/singer Gary Waleik a few weeks back. Now the ink has dried on the band’s deal with Merge (click title of this thread for full details)! Start saving for the March 18, 2008 release! Here’s a sample of track from Heavens–not burned off my scratchy vinyl record!
Big Dipper, “She’s Fetching”
It’s been a while since we shared selections from the RTH Mailbag. As you know, sometimes we receive mail that readers deem unworthy of our Comments section but important nonetheless! We agree. In fact, sometimes these comments are extremely instructive and worthy of a public airing. At Rock Town Hall, there’s always room to learn and grow. So, let’s get down to business!
Regarding what we thought was a rare ZZ Top performance found on YouTube that was posted a while back, a reader informs us:
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I was out walking the pooch, earbuds locked and loaded, when David Lee Roth’s version of “If 6 Was 9” surged into my earbones. Now, as it happens, I really, really like his version of Hendrix’s freakazoid anthem. Really. As I grooved my way through the park behind my house, I found myself asking the question: “yeah, but *why* do I like Diamond Dave’s version of this song so much?” — and it became clear to me that one of the main reasons I liked it — backstory or no backstory — was because it was *Dave* doing it. Not in any kind of snarky, post-ironic way, either; I think the song *means* something to the guy, and he gets into it in his own groovy kind of way, which — well, that’s the whole point of the song, right? Of all the songs in the freaking universe Diamond Dave should be able to cover without folks getting all uptight on his ass, this is the one. Right?
Or do you guys think it sucks?
Am I alone in being dazzled by this guy’s choice in shirt?
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Today I set out to listen to and share my thoughts on the Robert Plant/Alison Krauss album, Raising Sand. This collaboration, which the artists have taken great pains to say is not an album of “duets,” was produced by T-Bone Burnett. I’ve been looking forward to hearing it in its entirety. I must note that unlike most of my Insta-Reviews, I couldn’t help but hear snippets of some of these songs on the artists’ recent radio interviews, but I’ll try to keep my thoughts as fresh as possible. You have counted on me to fire from my gut, and with 2 eggs over light and a few strips of bacon still rattling around in my innards, I’m in tune with that ample part of my anatomy.
“Fortune Teller”: Right from the start, producer T-Bone Burnett’s deliberate, futuristic-retro hands are all over the production of this chestnut. It sounds like it’s more of a set-up piece than all that this collaboration promises. Is Krauss anywhere to be found other than on the backing vocal tracks? Cool guitar solo.
“Gone, Gone, Gone”: I love this Everly Brothers song! Just seeing the title scroll across the Phawker Radio player gets me excited. Plant and Krauss sound good, but what happened to the groovy beat of the Everlys’ orginal? Burnette’s insistence on seeing through his musical designs can be his strength as well as his weakness as a producer (think the ups and downs of Sam Phillips’ Martinis and Bikinis). Watch it, T-Bone! When this version needs to cut loose and hit a new dynamic, the same beat and grinding rhythm guitar carry on, as if programmed in long before any of the players got cooking in real time. Not bad, though, not bad.
“Killing the Blues”: Here’s a tender ballad featuring sweet harmony; pedal steel guitar; and a low, twangy guitar solo. Folk Scientist Burnette lets the musicians play on this one without the need to adhere to any grand concept. AAA radio was built on such dignified takes on earlier works. Maybe getting old’s not so bad!
“Let Your Loss Be Your Lesson”: Krauss takes the lead on this track, and this woman’s got pipes! The guitar work is really nice, which I’m finding is a consistent theme throughout this album. I guess Plant is sitting this one out.
“Sister Rosetta Goes Before Us”: This track’s got that straw hat/overalls rolled up/bare feet in the pond feel. I’m afraid of it. Mischievous boys should be whitewashing a picket fence. T-Bone probably wore suspenders while producing this one. Plant looks stupid with a waxed handlebar mustache. Don’t get me wrong – this is a beautiful little song, but I have no business listening to it.
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