18-09-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2011-2007

David Lynch's strange world

18-09-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2011-2007  >>David Lynch, Karen O, Black Devil Disco Club, Martina Topley-Bird, Zaz, Bushman's Revenge, Malachai, Rival Sons, Roy Hargrove, Elvin Bishop, Back Door Slam, Radiohead<<

M U S I C

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2011-2007

The visionary director has also had a healthy musical career, as a collaborator and on his own.  In addition to his prodigious careers as a director, writer, producer, sound designer, and carpenter (to name a few), David Lynch also stretched his artistic reach to music. He collaborated heavily with his go-to composer Angelo Badalamenti on the scores and soundtracks to his projects, including the music for Blue Velvet, 1990's iconic Twin Peaks soundtrack, and Mulholland Drive...
David Lynch
So Glad (Dean Hurley / David Lynch) 3:35
Pinky's Dream feat. Karen O (Dean Hurley / David Lynch / Karen O) 4:00
from Crazy Clown Time 2011
Crazy Clown Time may be David Lynch's first solo album, but he’s far from a newcomer to music-making. He worked so closely with Angelo Badalamenti on the soundtracks to his films and television shows that the term “Lynchian” can be applied to music as well as movies, and his work with acts such as Blue Bob, Sparklehorse's Mark Linkous, and Danger Mouse as a musician and sound designer underscored that he has clear, and creative, musical ideas of his own. He continues to explore these ideas -- plus a few new ones -- on Crazy Clown Time, handling all the instrumental and vocal duties, with one notable exception: opening track “Pinky’s Dream,” which features the Yeah Yeah Yeahs' Karen O. ..

Initially a one-off "collaboration" between French producer Bernard Fevre and alleged financier Jackie Giordano -- credited, respectively, as Joachim Sherylee and Junior Claristidge -- Black Devil released a six-track album of spooky electro-disco entitled Disco Club...
Black Devil Disco Club
Fuzzy Dream feat. Jon Spencer (Bernard Fevre) 3:24
To Ardent feat. Nancy Sinatra (Bernard Fevre) 3:19
from Circus 2011
When Bernard Fevre, the soi-disant Black Devil, released 2008's Eight Oh Eight, it was allegedly the capstone to an increasingly redundant trilogy of electro-disco albums he'd begun 30 years earlier. Some might have assumed he'd slink back into his accustomed obscurity, his diabolical mission accomplished. But little about the Frenchman's career trajectory to date has been straightforward, so it's not all that surprising that now, following 2009's cobbled-together The Strange New World of Bernard Fevre, we're presented with a fourth Black Devil Disco Club album. This time, though, he's learned a few new tricks: instead of six five-minute dance tracks, Circus consists of ten three-minute pop songs, each featuring a different vocalist. For an artist who's never before enlisted collaborators, Fevre's amassed an impressive roster of guests here...

Because of a printing error on Maxinquaye, Martina Topley-Bird has often been referred to as "Martine," an error the unpredictable, low-profile, and confusion-loving singer/songwriter didn't bother correcting. The woman Vibe referred to as "the black Dietrich of Soul" grew up in London and went to schools that were mostly white and middle class...
Martina Topley-Bird
Baby Blue (Martina Topley-Bird) 2:47
Phoenix (Martina Topley-Bird) 2:45
Lying (Martina Topley-Bird) 3:49
Da Da Da (Martina Topley-Bird) 1:20
from Some Place Simple 2010
Martina Topley-Bird's Some Place Simple follows the release of her dynamite 2008 Danger Mouse-produced Blue God full-length by two years. That said, this set wasn't planned. She was actually approached by Damon Albarn who suggested recording stripped-down versions of songs from both her albums (the other is her 2003 debut, Quixotic) for his Honest Jon's imprint. What's more interesting is that the production on both of those recordings -- which were wildly different from one another -- was far from excessive. Nonetheless, Topley-Bird took Albarn up on his offer, and stripped her songs to the bone, completely recontextualizing her melodies. Some Place Simple is driven by minimal instrumentation on each of its 15 tracks. Other than her melodies, her approach is unique, even riveting...

French pop singer with a Gypsy jazz style that brought her commercial success across Europe.  
Zaz
Les Passants (Isabelle Geffroy / Tryas) 3:33
Dans Ma Rue (Jacques Datin) 5:02
Je Veux (Kerredine Soltani / Tryas) 3:35
from Zaz 2010
The self-titled album debut of Zaz is one of the more exciting French revelations of 2010, boasting a refreshingly unique gypsy jazz style as well as plenty of contemporary pop appeal. Thirty years old at the time of her solo album debut, Zaz is a seasoned vocalist with years of experience as a performer, and her vocals are indeed a wonder to behold. She's a talented jazz vocalist, for sure, and her resemblance to Edith Piaf is striking. In addition to her singing, Zaz is a gifted songwriter credited with either writing or co-writing six of the 11 songs on her debut album...

This Norwegian power trio melds jazz improvisation with prog rock composition and heavy metal's dynamics. 
Bushman's Revenge
Always in Motion the Future Is (Even Helte Hermansen) 10:00
While My Guitar Gently Breaks (Even Helte Hermansen) 6:33
Waltz for My Good Man (Even Helte Hermansen) 4:49
from Jitterbug 2010
Rune Grammofon's contributions to the Norwegian jazz scene (and that of the world at large) continues with Bushman's Revenge's third album, finding the trio again exploring their own variety of garagey psych fusion. (Not for nothing does the band cover a kindred spirit from previous years -- no less a noteworthy trio than Mötorhead, with "Damage Case" being given a "happy go lucky karaoke version," as it's rather tongue-in-cheekily described.) Jitterbug is at once a product of its time -- namely a worship of a lot of things going down sonically at the dawn of the '70s -- and something that doesn't quite fit into any easy description of that; they're a power trio and a jazz trio without settling for being specifically one or the other...

Malachai are a cryptic, capricious, Bristol-based duo whose perplexing, structurally erratic cut-and-paste songs bear the unmistakable imprint of classic late-'60s/early-'70s British rock -- psychedelia, prog, heavy blues, and white-boy garage-soul -- stitched together with traces of trip-hop, hip-hop, dub, Krautrock, and more.
Malachai
Warriors 3:06
Lay Down Stay Down 2:33
from Ugly Side of Love 2009
There may indeed be nothing new under the sun, but the cunningly crafty Bristol duo Malachai have hit on some fairly novel and idiosyncratic ways of reinvigorating the sounds of bygone days, while drawing their proudly retrogressive sonic cues from a surprisingly under-plundered patch of the pop-history dustbin. Ugly Side of Love is a rambunctious pastiche of classic British AOR, circa 1968-1973 -- a pastiche in the sense of unabashed stylistic mimicry -- steeped deep in the grooves of psychedelic and progressive rock, sunny power pop, high-octane blues, gritty white boy soul, and even early metal -- as well as a motley and often muddled hodge-podge, structurally and sonically...

Fuzzed-out classic rock revivalists from Los Angeles whose sound evokes the bluesy sound of legendary bands like Led Zeppelin. Based in sunny Los Angeles, California, Rival Sons evoke the bluesy rock of bands like Led Zeppelin and the Black Crowes. Formed in 2008, the quartet of Scott Holiday (guitar), Robin Everhart (bass), Mike Miley (drums), and Jay Buchanan (vocals) captures that massively huge, guitar-driven classic rock sound, with rock-solid drumming and a riff-oriented approach to songwriting backing up Buchanan's soaring vocals.
Rival Sons
Tell Me Something 4:06
Pocketful Of Stones 2:56
Pleasant Return 3:42
On My Way 5:18
from Before the Fire 2009
...Despite the uncannily resilient popularity of music from the golden age of rock and roll, no band (that I have heard) has been able to write original music that rekindles the raw, authentic soul of good ‘ol rock and roll. I might be unqualified to discuss this issue being that I was regrettably not alive in the generation that produced my favorite music, and am adamantly ashamed of the music that my generation has to show for itself…and I know I’m not the only one. That being said, the music of The Rival sons makes no secret about it’s influences from Zeppelin, Floyd and other iconic sounds, but they are far from a ‘throwback band’. Probably the best word to describe the connection between The Rival Sons’ music and their influences is ‘homage’. They do not emulate their rock and roll influences, they pay tribute to them and build upon them to produce a sound that is entirely their own. Bluesy and soulful to raw and driving to sprawling and melodic – Miley’s solid, relentless drums and Robin’s groovy bass lines lay the foundation for Scott’s blood-boiling guitar riffs and face-melting solos, all topped off by Jay’s gritty-yet-smooth vocals that fall somewhere between Robert Plant and Axel Rose...

One of the best trumpeters to emerge from the 90s, blending Afro-Cuban rhythms inventively with neobop. Roy Hargrove is a hard bop-oriented musician (and acclaimed "Young Lion") who became one of America's premier trumpeters during the late 1980s and beyond.
Roy Hargrove
I'm Not So Sure (Cedar Walton) 5:48
Brown (Roy Hargrove) 4:30
Strasbourg/St. Denis (Roy Hargrove) 4:38
from Earfood 2008
The now mature jazz trumpeter/composer/bandleader Roy Hargrove, who has been utterly masterful since the beginning of his career, has been involved with various all-star bands, neo-fusion outfits, and made a very good living playing modern instrumental music. Now he is reaching a new and elevated level of pure jazz artistry with Earfood. A studio recording of his live touring repertoire with his working quintet, Hargrove presents several ballads, favorites from jazz veterans, and well rendered originals, all in the spirit of the famed trumpeters who preceded him. Alto saxophonist Justin Robinson and pianist Gerald Clayton are not only rising stars and standout soloists, but also players perfectly compatible to play this contemporary and mainstream modern jazz. Add young bassist Danton Bolder and the excellent drummer Montez Coleman, and you have a band that can bring Hargrove's music fully to life. It is said that everyone learns from their mistakes, but if that is true, Hargrove has gone far beyond the pale, and is flawless here, in terms of both concept and execution...

Original member of the Butterfield Blues Blues Band who had a mid-'70s country-soul hit. A veteran guitarist who fused the blues with gospel, R&B, and country traditions, Elvin Bishop was born in Glendale, California, on October 21, 1942.
Elvin Bishop
The Blues Rolls On feat: Warren Harris / Kim Wilson (Elvin Bishop) 4:23
Yonder's Wall feat: Ronnie Baker Brooks / Tommy Castro (James Clark) 4:06
Send You Back to Georgia feat: George Thorogood 3:15
from The Blues Rolls On 2008

Bishop hops labels once again, this time to the relatively young and scrappy Delta Groove imprint, while calling up some names in his obviously well-stocked Rolodex to assist on his first predominately studio album in three years. Like most guest studded affairs, this is an inconsistent but enjoyable romp... As you can see, the album is pieced together from a variety of sessions in different locations, resulting in a patchwork set that, despite many excellent and above all enthusiastic performances, never quite gels. Like the collage of pictures on the back cover, this is more a scrapbook of Bishop playing with his pals and acquaintances than a focused project, but there is enough quality music here to attract established fans, even if this isn't the place to generate new ones.

British blues-rockers Back Door Slam boast a tough, streetwise sound that recalls veteran U.K. blues players such as Eric Clapton, Peter Green, and John Mayall, though these young guitar slingers represent a new generation -- when bassist Adam Jones joined the group in 2006, guitarist and singer Davy Knowles and drummer Ross Doyle were all of 20 years old, while Jones himself was just 19...
Back Door Slam
Come Home (Davy Knowles) 4:16
Outside Woman Blues (Blind Joe Reynolds) 3:27
Stay (Davy Knowles) 5:36
from Roll Away 2007
Who would have thought the guy who sang "money for nothing and your chicks for free" could inspire a kid to grow up and become one of the most promising bluesmen of his generation -- at the tender age of 20? The listener doesn't need to know the back story of this slamming, high-intensity Isle of Man-based blues-rock trio led by multi-talented singer, songwriter, and guitarist Davy Knowles to be inspired by the band's blistering excitement. But like all tales of great blues makers, origins are important, so here goes: at age 11, Knowles was in the car with his father and heard Dire Straits' "Sultans of Swing," which changed his life and put him on a mission to explore Dad's vast record collection. This included John Mayall's Bluesbreakers, Eric Clapton, Peter Green, and Rory Gallagher. Then Knowles started listening to their influences, soaking up Blind Willie Johnson and Robert Johnson. Back Door Slam's in-your-face debut rumbles out of the gate with the rollicking rocker "Come Home," a perfect intro to Knowles' crisply sizzling licks and gruff, wise, and pained-beyond-his-years vocals...

One of the great bands of the '90s and 2000s, a restless, experimental guitar band who incorporated adventurous electronic elements into their smart alternative rock. At some point in the early 21st century, Radiohead became something more than a band: they became a touchstone for everything that is fearless and adventurous in rock, inheriting the throne from David Bowie, Pink Floyd, and the Talking Heads.
Radiohead
15 Step 3:57
Nude 4:15
Reckoner 4:50
Jigsaw Falling into Place 4:08
from In Rainbows 2007
In Rainbows, as a title, implies a sense of comfort and delightfulness. Symbolically, rainbows are more likely to be associated with kittens and warm blankets than the grim and glum circumstances Radiohead is known for soundtracking. There's a slight, if expected, twist at play. The band is more than familiar with the unpleasant moods associated with colors like red, green, and blue -- all of which, of course, are colors within a rainbow -- all of which are present, and even mentioned, during the album... The album is very song-oriented, with each track constantly moving forward and developing, yet there are abstract electronic layers and studio-as-instrument elements to prevent it from sounding like a regression. In Rainbows will hopefully be remembered as Radiohead's most stimulating synthesis of accessible songs and abstract sounds, rather than their first pick-your-price download.