Lo-Fi darling Ariel Pink has come to the surface to debut a new track with mentor and influence R. Stevie Moore (who has over 400 self-released albums to his credit).
Mr. Stevie Moore never gets a whole lot of press due to his DIY way about things and out-there persona, so it’s good to see Ariel Pink giving back and helping him get a bit of much-deserved exposure, even if their new track, “Dutch Me,” is far from both of their best work.
Listen to “Dutch Me” below and click after the jump for one of R. Stevie Moore’s better tracks that showcases him at his most-accessible and most-eclectic.
This is not a dream, this is most-definitely a real thing that now exists.
The track is a collaboration between White, Insane Clown Posse, and JEFF The Brotherhood working off of a Mozart melody. Mozart, also known for being kind-of a fetishist, might have had a thing for rimjobs, so clearly, in this case, ICP were the perfect guys for the track.
The song title is “Leck Mich Im Arsch” which loosely means “Lick My Ass.”
If you ever thought Jack White would be involved in a song with two dudes in clown makeup singing about rimjobs, then you just won the greatest “I called that shit!” of all time.
Is it Blur? Gorillaz? A proper solo LP? Well, not quite.
The prolific Damon Albarn has announced a new project called DRC Music; set to release their first album this October.
According to Pitchfork:
recording in Democratic Republic of Congo with XL Recordings boss Richard Russell, Dan the Automator, Actress, Kwes, T-E-E-D (Totally Enormous Extinct Dinosurs), Jneiro Jarel, Marc Antoine, Alwest, Remi Kabaka, and Rodaidh McDonald as DRC Music.
Now, that project has an album ready for release: Kinshasa One Two will see release via Warp digitally on October 4 in the U.S. (October 3 in the UK) and physically on November 8 (November 7 in the UK). The album was recorded in Kinshasa over the course of five days, in collaboration with local musicians. Proceeds will go to Oxfam to help their relief efforts in Democratic Republic of Congo.
A worthy cause indeed, produced by a stellar team of praise-worthy musicians. Hear the first track, “Hallo,” from their album below.
A few months back The Beach Boys announced plans to release a massive box-set of ALL of the elusive SMiLE sessions, thought to have been hidden away and relegated to bootlegs and old-man Brian Wilson’s 2004 re-recorded version.
Here’s the whole, giant package:
The long awaited release of the Brian Wilson and Beach Boys masterpiece, SMiLE Sessions. With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has, for the first time, collected and compiled the band’s legendary 1966-’67 sessions for the never-completed SMiLE album. Rolling Stone magazine recently called SMiLE “the most famous unfinished album in rock & roll history.”
In several sessions between the summer of 1966 and early 1967, The Beach Boys recorded a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band’s 1966 album, Pet Sounds. The master tapes were ultimately shelved, and The Beach Boys’ SMiLE has never been released. Drawn from the original masters, SMiLE Sessions presents an in-depth overview of The Beach Boys’ recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world.Artwork for all of the SMiLE Sessions’ physical and digital configurations has been created with and inspired by Beat-Pop artist Frank Holmes’ original 1967 LP sleeve art and booklet designs intended for the SMiLE album.
Vinyl Product contains:
- 12″ x 12″ gatefold packaging featuring Frank Holmes cover art
- 2 LPs
- Inner sleeve art (not contained on box set vinyl)
- 12″ x 12″ booklet created for original release features:
- Photos by Guy Webster
- Drawings by Frank Holmes
Not to mention several CDs, VInyl singles, booklets and other rare goodies for the perfectionist collector out there.
The SMiLE Sessions box set is set for release on November 1st. Hopefully Mike Love won’t find a way to screw it up.
Picking up slightly as we ease into a new school year, August 29th sees the return of several familiar faces including Weezy F. Baby, The Red Hot Chili Peppers, Counting Crows, and Mike Doughty. Some of these releases seeming to be more of the same (good and bad), but hopefully the Fall will mean a new freshman class of artists releasing solid material in the weeks to come. For now we’ll just have to make due with the tried and true.
Look, we all know the weekend is the time to unwind and break free from the shackles of work and responsibility for a little bit, but we’ve got things to look out for this weekend with the impending Hurricane.
Sometimes as New Yorkers (or members of the tri-state area) we need to band together and stay strong and this would be one of those times, no matter how cynical, lighthearted, or fear monger-y the media is getting about this situation.
The bottom line is: It’s A hurricane, it’s going to hit us, but we’ll make it out alive. So be smart this weekend and don’t go out. Show Irene you’re not a dummy and be safe, not stupid.
Earlier this week, legendary songwriter Jerry Leiber passed away, he and his partner Mike Stoller gave us so many rock and roll classics, Springsteen has covered numerous of their songs througout the years including a great version with U2 of “Stand by Me” that didn’t make the Rattle and Hum movie and multi star version of “Jailhouse Rock” with Elton, Sting and Others, but if you troll youtube you can find those, but i can guarantee you’ve never seen this, so to honor Jerry Leiber here’s Bruce Springsteen with Cats on a Smooth Surface from the stone pony in 1989 covering Leiber/Stoller’s “Hound Dog”
When the Black Flag album Damaged came out in the early 1980s it was a beacon of light for raw, DIY punk rockers everywhere.
In the mid-Aughts, the, decidedly more mellow, band Dirty Projectors chose to do an album where they reinterpreted Damaged in it’s entirety from memory. The result was interesting and pretty warmly received by the music press at the time, with it’s lush production and complete 180 turn in style.
Which version do you prefer? The hard-rocking Rollins original or the meticulously mellow Indie-Pop quirk-fest of the latter?
You know that feeling where completely irrational partisanship takes over and you almost don’t even give a remake or, in this case, a collection of cover songs, a chance? This is an album that almost falls into that category.
It’s not that the band’s they’ve gotten together to contribute Muppet covers are all bad, per se (though some can definitely argue that), it’s that most, if not all, of these songs serve no purpose above [insert band] covering [insert song]. Most times that would be exactly what you want from an album of covers, but here it comes off as odd because, as much as I’m breaking every rule of being fair, I find myself going “this just doesn’t have the charm of a felt puppet with a weird voice singing it.”
Take the opening track, a cover of the theme from The Muppet Show by OK GO. It’s interesting; but It’s kind-of played too-dark and off-putting for a Muppet song. Or the misguided Weezer/Hayley Williams cover of Rainbow Connection, over-produced to the point of missing the mark; there was no need for a second vocalist and the autotune is dripping of both of them.
Again, I’m not saying you can’t enjoy these covers for what they are, but I’m saying not to expect anything that either blows you away or adds anything new and exciting to the Muppet music canon.