Superbowl, Rock 'n' Roll!

Last night's Superbowl MVP?


Tom Petty!

Need for The Needle...

I’m a Vinyl Junkie!

It didn’t take long but I swear I am addicted to playing records. The whole process has hooked me; taking the record out, cleaning it with the Discwasher thing, reading the liner notes and admiring the great big jacket art. etc. Mostly though, it’s the sound. My ears crave this all-analog aural opiate. No digital jitters. Gimme my fix of smooth, soothing hi-fi audio.

I put the Shure M97Xe cartridge on last night and what a difference! The signal is quieter now, more highly detailed and yet silky smooth. I might as well have been using a rusty nail before.

I think it was Rupert Neve who said he observed that when you play and listen to a record, you relax and unwind and drift and dream. When you spin a CD, by contrast, you feel jumpy and hyper and fidgety. He thinks it has to do with the ultra high-frequency harmonic content of analog, vs. the band-limited nature of CD digital. He thinks the brain responds to the super-sonic frequencies, finding them pleasing, even though theoretically the ear can’t “hear” them. Apparently Neve thinks there’s some AIR UP THERE.

Fairydust.

Sonic Smoke.

Vapors.

Whatever the cause, my lips are smacking just waiting for the needle to drop once again...

Tres Hombres Revisited!

On my new quest for vinyl, I have now received a few records, including U2’s 20th Anniversary pressing of “The Joshua Tree”. Nice. But the one I'm rockin' out to the most is ZZ Top's 1973 masterwork, “Tres Hombres”, re-cut from the original analog masters and pressed on to 180 gram audiophile vinyl.

I grew up in Texas and Billy Gibbons was my guitar God. I don't know how many copies of "Tres Hombres" I wore out trying to get his licks as a kid. To this day his earlier work (pre "Eliminator", pre MTV, pre 24-inch beard) may be my favorite rock guitar of all. I mean the guy plays like a mean motor-scooter, mama! That blues-driven, amp’d-up style is overdosed with Texas hot sauce. Mmmmm doggie!

Billy’s guitar sounds and the way they recorded and layered them were ahead of their time, and still my favorite tones other than Hendrix. Gibbons could pluck chimey, bell-like chords from a Strat or milk his vintage “Pearly Gates” Les Paul for every sonic color she had. He was one of the inventors of the "thick" tone; the "fat" sound. False harmonics, right-hand hammer-ons and pick-dives were new tricks in the early ‘70’s. He took the syrupy “Woman Tone”, established by guys like Clapton, Peter Green and Duane Allman, and added a searing harmonic liveness, like a high-voltage wire with too much juice coursing through it. You knew sparks could fly at any moment.

The Reverend Preacheth: A Nudie-Suited Billy with Pearly, 1975

So I play this record, and my jaw drops. Frank’s kick-drum socks you right in the solar-plexus, Dusty’s bass lays down the bad-ass eighth notes, and Billy’s guitar scorches. Chunky! And again, I’m listening to an all-analog signal path. Hearing the original master like this makes me really respect the recording engineers at Brian Studio in Texas and Memphis’s legendary Ardent.

The songs? Well, this is simply the most bodacious, bluesy batch of Texican tunes ever tracked, inviting us to get low-down and boogie, y’all! The LP opens with the righteous “Waitin’ For The Bus”, then busts in to the smoky, “Jesus Just Left Chicago”, a track that showcases Billy’s prowess on the Fender Strat. Then comes a helpin’ o’ “Beer Drinkers and Hell Raisers”, whose hair-raising solo is Billy G. at his blistering best. It’s arguably the best recorded solo of the Reverend’s illustrious career, and it still rips my head off every time.

Side two opens with “Move Me on Down the Line”, one of those long-gone lost and forgotten album cuts. It’s a surprisingly tasty little nugget of straight-up rock. And of course, buried in the middle of side two is…yes, “LaGrange”, the monstrous, monumental hit about the best little whore house in Texas. It’s a Muddy Waters riff on trucker speed and mezcal. Still love it! The opening chord riff is plucked while Gibbons mumbles (it has been reported that this was the scratch vocal, recorded by the talk-back mic while he was doing the basic guitar), followed by the big, bad chuggin’ train thang. The trio is incredibly tight here. I still admire how the first solo is a Strat and the second is the Pearly Gates Les Paul. It’s like havin’ a first course of brisket and a second of ribs.

“Tres Hombres” spins its Tall Texas Tales like a twister in a trailer-park. It’s a true Rock Hall of Famer, at least in my book.

I’ll never apologize (to Pearly or anyone else) for lovin’ that Li’l Old Band from Texas! Have Mercy!

Gibbons Gets A-Low Down 'n' Dirty!

My New Old Hobby!

When I was a teen and in to my 20's I collected vinyl. I'd go to the funky record stores -- not the one in the mall -- and buy imports and colored vinyl and picture vinyl and rarities and even bootlegs. Every time I visited NYC, I'd go down to The Village and spend hours pouring through the racks of those ratty record shops. By the time I was 25 I had quite a collection. We're talkin' thousands of records, many of them collectibles. Like I had Hendrix's Electric Ladyland with the original banned cover depicting a bevy of bareskinned beauties. I had the Beatles White Album on white vinyl. I had the famous Lynyrd Skynyrd "Flame" cover of Street Survivors. My Stones collection was breathtaking--rare imports boots and picture-sleeve singles.

Sadly, over time and more than a few financial hiccups, I sold most of my beloved records, usually for far less than they were worth. For instance, I had a special audiophile pressing of Heart's debut, Dreamboat Annie, made by Nautilus. It was half-speed mastered on quiet virgin vinyl. Sold that at a yard sale. I checked on-line recently and found one place that had it for sale...$125.00. Crap.

So, now I'm rediscovering the joys of vinyl. I have a pretty good semi-vintage system: Marantz 2230 for phono-preamping, McIntosh 2105 power-amp and Tannoy SRM10B speakers. The weak link so far is the turntable. It's a Gemini DJ table I've had for years. Good turntables cost a fortune, so this will have to do for now. I'll buy a nice Shure cartridge for it in the meantime.

I've found that there's a big revival in vinyl, especially audiophile pressings. Go on-line and you'll find many sites. And it's not just old stuff. New releases are coming out, along with reissues of great albums of the past. For instance, U2 has just released the 20th anniversary The Joshua Tree on 200 Gram hi-grade vinyl, remastered from the original studio masters. Tom Petty continues to put his records out on vinyl. Universal Japan is remastering and re-releasing many great LPs in a limited run, again on 200 gram virgin vinyl. From that lot I just bought the Stones Let It Bleed. Sounds great...so clear..so big...so wide...so detailed...so, well, analog. It's amazing to hear an all-analog signal path again. Think of it: Analog master tape, mastered to analog record, played back by an analog record-player. When was the last time YOU listened to an all-analog reproduction of recorded music? (That's what I thought!)
Let me tell you it's a warm bath for your ears!

I plan to buy and album or two a month, play them only a couple times and record them on to my professional reel-to-reel tape machine.

The downside is my new old hobby will cost me far more than it did the first time around. These disks start at $30 a pop, and the sky's the limit. An unopened original Beatles record can go for $500. As a kid, the most expensive record I ever bought was $20. But that was a lot, seeing as LP records were three to five bucks.

Tacos El Charro, El Magnifico!

At long last a new blog post. It's on my other blog, Drew-Who.com

Happy new year, dammit!

I hope '08 is an improvement upon '07.

It better be! Other than my son's birth, 2007 was a total stinker. Worst year ever!

Fathom This, Baby!

I CD I poured my heart and soul in to engineering/mixing and co-producing was recently released. "Fathom This!" is the first release in nearly a decade by Boston's Daddies of Surf Instro music, The Fathoms. I had worked with them back in '95 or '96; then we started this in '05 -- 10 years later. It took a while to get it done and even longer for the label -- Cali's MuSick Records -- to release it. But it's out and I hope everybody likes it as much as I do. I listen to it in my car regularly. It's great driving music. Twang guitar God Frankie Blandino and company have created much more than a Surf LP. "Fathom This" ranges from Surf, Spy Jazz, Western film and TV themes to, I guess you'd call it '60's Brit-influenced Beat music. There's even a "Bike-Sploitation" track, ala Davie Allan and the 60's drive-in biker-bash vibe. Sax-master Dave Scholl and Mariachi Trumpeter Tom Halter make wonderful cameo appearances.
We recorded it at my Altitude Studios and then mixed it at my house in the Flying Scotsman room.
Go to Amazon, order "Fathom This!" and ride a reverb-splashed wave!

Wake Up, It's The Arcade Fire!

Photo: FLAME ON! Arcade Fire in-concert.

Another new musical discovery! From Montreal come the wonderful Arcade Fire, an eight piece amalgamation of talent led by Win Butler and wife Regine Chassagne. They play anthemic, lush and dramatic pop. It's flowery and often dark at the same time, creating a sound reminiscent of The Cure and Dream Academy. Yes, 80's influenced to be sure. But instead of synths, these guys (and gals) use accordion, mandolins, hurdy gurdy, pipe organ, violins and percussion. They've realeased two full length LP's, 2004's "Funeral" and the newly issued "Neon Bible". Highlight songs are "Wake Up" and "Tunnels" from the first CD, and "Black Mirror" from the second, a tune that conjures Bowie's "Heroes" era. And if the cathedral organ chords at the beginning of Neon Bible's "Intervention" don't raise the hair on the back of your neck, I'd question whether you actually have a soul.

In April of 2005 they appeared on the cover of Time Magazine's Canadian edition, with the headline "Canada's Most Intriguing Band."

Saw them on Austin City Limits over the weekend and both I and the wife were blown away. These kids, all multi-instrumentalists, put on an energetic show, with Butler the very charismatic front-man. No big histrionics on his part, but no shoe-staring either. Very solid, and a huge cut above the average emo-alt pablum of this generation.

Get ignited with The Arcade Fire!