Medleyville

KURT RUSSELL WAS 'ELVIS' … FIRST

Nowadays, it seems anyone with easy access to Velcro sideburns and a karaoke machine is busy making a living (of a sort) out of playing Elvis Aaron Presley.

After all, Mojo Nixon was right: Elvis is everywhere.

But retrospective credit is definitely due director John Carpenter and dick clark productions for getting there fastest, and first: Even before the autopsy was cold, they were readying their own Elvis for his home screen resurrection during prime time in February 1979.

The vehicle? An ambitious, yet quite reverent (especially in view of subsequent bio-pics) made-for-TV motion picture starring Kurt Russell in that title role of a lifetime. And to watch this particular Elvis again today, newly available from the fine folk over at Shout! Factory, is to be reminded just how larger-than-life The King had already become as the ’70s ended and the deification was only about to begin.

Indeed, the original, uncut Elvis tele-film, now packaged alongside some revelatory bonus footage, makes for a surprisingly entertaining -- and sometimes even thought-provoking -- two hours of music, mayhem and, as is often hinted, pure madness. Yes, it's the story of a simple man blessed with unusual talents and drive who, armed only with his wits and a $12 guitar, aspired to little more than moving his beloved parents out of the Memphis, Tenn., projects and into a comparatively better life.

Of course, what transpired over the next 10 years, Presley in even his wildest adolescent dreams could hardly have imagined.

Under Carpenter's direction, this still-improbable tale is told with an unusual eye for detail and a true sense of middle-1950s America, with its music and its morals struggling to break free. More remarkable still, Elvis succeeds in conveying just how one most unlikely young man came to embody this entire socio-musical upheaval, and how it eventually swallowed and, yes, broke him.

Pedigree is present as well, as the cast of Elvis features two actual Memphis Mafia members, Larry Geller and Charlie Hodge. Much screen time as well is devoted to the Presley of Sun Records, where during the years 1954-55, he and his raw-diamond accompanists Scotty Moore and Bill Black just so happened to change the course of musical history under the ever-watchful ears of producer Sam Phillips. This is a key era of Presley’s development that is much too often ignored for flashier and/or seemlier events in most retrospective recreations of the man, cinematic and otherwise.

Keen observers also will spot Ed Begley Jr. in the role of Presley's first drummer, D.J. Fontana. Interesting as well to see the role of Presley's long-suffering daddy, Vernon, played by Russell's real-life father, Bing (!), and to realize within weeks of the ABC-TV premier of Elvis, Russell up and married Season Hubley, who portrayed his on-screen wife, Priscilla Presley! And keeping things as familial-y dysfunctional as possible, the great Shelley Winters is brilliantly cast as Presley’s closer-than-close mother, Gladys, a role she plays throughout Elvis with all her usual devotion and gusto entirely intact.

But it is truly the 27-year-old Russell who excels throughout, more than ably filling gigantic shoes and faltering only occasionally during some of the key musical numbers. He portrays the King with a respect and, believe it or not, sly subtlety that has been sorrowfully lacking in most every subsequent way-over-the-top Presley portrayal.

To be truthful, I was personally surprised at just how well Elvis stands up musically, historically and purely cinematically, amidst the three decades – and insurmountable flood of Presley "tributes" – that have followed. So then I do suggest you watch it today, and watch it often (followed, if you dare, with Allan Arkush's Elvis Meets Nixon, to pick the story up where Carpenter and Russell leave off).

Then, of course, pull out all the old RCA and especially Sun tracks that you can, and marvel anew at the real thing as well, don’t forget.

Musician/writer Gary Pig Gold is the co-founder of the To M'Lou Music label.

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Raphael Saadiq – March 19, Austin Music Hall

Wanda Jackson's trademark guitar -- March 17, Beauty Bar/Palm Door

John Hiatt – March 18, La Zona Rosa

Memphis Music booth – March 18, Austin Convention Center

Tim Brantley – March 18, The Tap Room at Six

Spring Tigers – March 19, The Ghost Room

Findlay Brown – March 17, Galaxy Room

James Burton – March 19, "Elvis at 75" panel

Tommy Keene – March 20, "I Never Travel Far Without a Little Big Star" panel

Big Star's Jon Auer, Jody Stephens and Ken Stringfellow – early March 21, Antone's

-- Photos by Chris M. Junior

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March 16, 2010
La Zona Rosa -- Austin, Texas

Ray Benson, the leader of Asleep at the Wheel, had a few close friends drop by March 16 for his birthday party, which also served as a fundraiser for the Health Alliance for Austin Musicians.

Ray Benson (left) and Raul Malo

Shawn Sahm (left) and Flaco Jimenez of the Texas Tornados

Radney Foster

JD Souther

Kat Edmonson

-- Photos by Chris M. Junior

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Man or Astroman?

As Austin, Texas, prepares to be overrun by musicians from around the world for this year's South by Southwest, Joe Belock makes life a little simpler by offering his Top 10 acts to check out during SXSW.

1. Man or Astroman? -- March 18 at Club DeVille.
Reunion ready for liftoff! These sci-fi obsessed space nuts (whose Earthly base is Auburn, Ala.) reactivate their rocket-fueled surf rock for the first time in a decade. Expect space suits, weird films, sound clips and stage props to accompany your flight.

2. Mouse and the Traps -- March 20 at the Continental Club.
One of the more unexpected reunions of the year -- SXSW or anywhere in the world. These garage legends from Tyler, Texas, are best known (or only known, if at all!) for their 1965 Bob Dylan-inspired snarler "A Public Execution," which appeared on the original Nuggets double album. "Maid of Sugar, Maid of Spice," an even crazier tune, made it onto Rhino's four-CD version of Nuggets in 1998.

3. New Wine (a.k.a. Moby Grape) -- March 20 at Dirty Dog Bar.
Another old band, but these star-crossed '60s San Francisco legends are worth checking out. Original members Jerry Miller, Bob Mosley, Don Stevenson and Peter Lewis are joined by Omar Spence, the son of the late, great Grape Skip Spence. In 2009, the band released The Place and the Time, a rocking comp of demos, outtakes and alternate takes.

4. Sweet Apple -- March 18 at Habana Calle 6.
Here's a new band, albeit one made up of familiar faces and voices: J. Mascis of Dinosaur Jr. is the drummer, like he is in the band Witch. Add in another Witch member and two members of Cleveland glam-punkers Cobra Verde and you have a new supergroup for 2010!

5. The Golden Boys -- March 20 at Encore Patio.
Get in on the ground floor with these soon-to-be Austin legends before it's too late. To call them punk or garage is not enough -- psychedelicized Tom Waits-influenced numbers, country-rock and numerous other styles blend in to make The Golden Boys a must-see/hear at SXSW.

6. Brimstone Howl -- March 18 at Jaime's.
These young howlers hail from Omaha, Neb., with a punk-blues blast worthy of a missile silo. Their debut was produced by Dan Auerbach of The Black Keys; the next was helmed by Detroit soundmaster Jim Diamond. See what all the fuss should be about!

7. Harlan T. Bobo -- March 18 at Barbarella.
It's hard to pin down this mysterious Memphis, Tenn., singer/songwriter, but Leonard Cohen is a good starting point -- and not just because he named his second album I'm Your Man. His new album, Sucker, will be released in April.

8. Greg Ashley Band -- March 18 at Jaime's.
Modern psychedelic master Greg Ashley shows off his new band to the SXSW audience. Expect to hear tunes from his former bands the Mirrors and the Gris Gris, plus material from his solo albums and some new stuff.

9. Parry Gripp -- March 20 at Cedar Door.
As the singer/songwriter for the punk pop band Nerf Herder, Gripp penned his share of novelty numbers, and the fact that SXSW lists his genre as comedy suggests he is continuing in that vein. Gripp's solo career started with an album of fake jingles in 2005, For Those About to Shop, We Salute You. He has since graduated to real jingles, most notably the Beatles-inspired sandwich tunes for the WaWa chain that match anyone's best material (check www.hoagiefest.com).

10. Sons of Hercules -- March 20 at Jaime's.
These San Antonio garage-rock mainstays hardly tour, so if you are coming to SXSW from out of town, this is your chance to see them! Bass player Casino El Camino also cooks up a mean burger at his self-titled establishment on Austin's Sixth Street.

-- Joe Belock is the host of Three Chord Monte, which airs from noon to 3 p.m. ET Tuesdays on WFMU-FM.

Golden Boys photo by James Rippey

Brimstone Howl photo by Patrick Boissel

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Southern Gothic (EMI/Virgin), the debut album by the style-blending Atlanta-based collective The Constellations, won’t be released until June 22. But curious music listeners can get a taste of the album by visiting the Constellations site or, better yet, by checking out the band (which tours as a five-piece unit) at one of its many scheduled shows during South by Southwest.

Leader Elijah Jones took a few minutes to discuss the making Southern Gothic, the music scene in Atlanta and what's on his shortlist of things to do while in Austin, Texas.

Medleyville.us: There are a lot of sounds going on throughout Southern Gothic. If you were to assign the following titles to your bandmates based on the strongest influence they brought to this album, who would be The Rocker, The Hip-Hop Head, The Experimentalist and The Psychedelic Wonder?
Elijah Jones: "We all have a wide range of musical tastes, but I would say I'm the biggest hip-hop head in the crew, but all of us wear a number of different musical hats."

What was the most challenging aspect of making an album that involved so many musicians?
Jones: "It wasn't a challenge at all -- more of a blessing. Everyone always had a fresh idea and brought life to the studio."

Were there any mysterious sounds, feedback or minor mistakes during the recording of Southern Gothic that sounded so cool they stayed in the final mix?
Jones: "While recording 'What I See,' we used a drumstick banging on a windowsill and a toy piano to get the constant beat that goes through the whole song. On 'Step Right Up,' we used an African talking box."

What's the Atlanta music scene like these days?
Jones: "It's a great place to be if you want to make music -- everyone is super-supportive. Bands like Gringo Star, Blair Crimmins and the Hookers, Ruby Velle and the Soulphonics and The Black Lips are putting a new spin on a throwback sound.Hollyweerd, Grip Plyaz and Future Shock are pushing hip-hop in a new direction. We take from both worlds."

Finish this sentence: When I'm in Austin for this year's SXSW, I will …
Jones: "When I'm in Austin for this year's SXSW, I will drink Lone Star [beer] and pass out in the street with a smile on my face."

-- Introduction and interview by Chris M. Junior

The Constellations at SXSW (schedule subject to change):

* March 18:
6:50 p.m. – Malaia Lounge (Entertainment Weekly Lounge)
Midnight – Dirty Dog Bar (official SXSW showcase)

* March 19:
2 p.m. – Phoenix (DMX/Express showcase)
5 p.m. – The Ranch (Digiwaxx showcase)
2 a.m. – PureVolume House (The Syn/Taco Bell/Feed the Beat showcase)

* March 20:
3:30 p.m. – Cedar Street Courtyard (Filter magazine party)
8:15 p.m. – La Zona Rosa (WMEE showcase)

The Constellations on tour (schedule subject to change):

* March 22: Local 506 – Chapel Hill, N.C.

* March 23: Mercy Lounge – Nashville, Tenn.

* March 24: Drunken Unicorn – Atlanta

* March 25: Café 11 – St. Augustine, Fla.

* March 26: Club Downunder – Tallahassee, Fla.

* March 29: Thirsty Hippo – Hattiesburg, Miss.

* March 30: Spanish Moon – Baton Rouge, La.

Photo by Jennifer Tzar

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Matthew Ryan gets creative with his own label, new video collection

One man's early leak of a new album is another man's staggered release. Singer/songwriter Matthew Ryan prefers the latter to describe the fall 2009 digital distribution of his latest, Dear Lover (Dear Future Collective), that preceded the mid-February arrival of the physical product in retail outlets.

Whether talking about the thought process behind the two-part release of Dear Lover, why he started his own label or explaining the story arc that runs through the new album, Ryan is not at a loss for words.

Medleyville.us: What's the full story behind the so-called early leak of Dear Lover, and what have been the positives and negatives from making it available digitally months before its brick-and-mortar release?
Matthew Ryan: "Well, I've been releasing records for a while now and have come to understand that often my music requires room to breathe. Dear Lover is a collection that once again deals in a bit of the unexpected. It's a grower; these are the types of songs that deal in subtlety and patience. Because of that, we wanted to give people time to fall in love with it, and become advocates. Our process and my music depend on advocacy. I would rather attract people to my music than to sell it to them.

"If there was a drawback to releasing it digitally, well, I would only be guessing. So far, it seems to be helping to build momentum. Rather than a leak, though, I would refer to it as a staggered release, with our official efforts revolving around the Feb. 16, 2010, traditional in-store release. Admittedly, though, the staggered release has caused some confusion as to the actual release date. That's the only negative I can gather."

Dear Lover was released on your Dear Future Collective imprint. What were the reasons behind starting your own label?
Ryan: "Honestly, I got tired of feeling that my ambition and dreams were being compromised -- even downsized -- by some other entity's willingness to work or not work. Self-possession, conviction, work ethic and commitment are important elements to any success in any life.

"Monica Hopman, my partner in the DFC, and I are committed to making a case for my art over time without compromising or feeling that success or failure is measured solely by a week-to-week stock report. Again, our goal is to build it over time. Our mode is to attract people, not to sell to people. It's gonna take time, but we feel it's the right road.

"I also just wanted to have only myself to answer to as far as what I do creatively. Monica is a true advocate in that she never interferes with the creative process. Often, in the past, opinions would fly around and interfere with the distilling. I believe the best music and art in general comes from a pure place, where there's no doubt. So I guess on some level I'm trying to insulate myself from static that can undermine my intent as an artist.

"To be clear, though, I love the world and community and collaboration -- I just want to be able to limit the interference [and] make the purest music I can. And usually, that's a very singular process for me, like a photographer or painter."

Do you see yourself signing other artists to Dear Future Collective, or will it be strictly for your music only?
Ryan: "Personally, I would love to bring other artists into the DFC. But it's gonna take time for us to reach our goals and define our waterlines. Monica and I haven't really thoroughly discussed this. Our priority right now is to right my ship and correct some mistakes that have been made in the past. It's gonna take time, but we're up for it; we have plenty of patience and work ethic.”

"Spark" is a curveball of sorts when compared to what you've done in the past. Talk about your collaboration with DJ Preach on that song.
Ryan: "I've done things in the past that hinted at a track like 'Spark.' 'I Hope Your God Has Mercy on Mine,' off Regret Over the Wires, was scratching at that door. But Preach is an excellent and immersed trance DJ and producer. He did a great remix of 'American Dirt' off Matthew Ryan Vs. The Silver State that got some pretty good play in clubs in Europe and Canada last year. He really earned my trust with that, so it seemed only natural that we do more together.

"You see, my goal was to make an internal movie for lovers with Dear Lover. 'Spark' represents the collapse, the implosion even, of the space between the characters on Dear Lover. The production Preach created really adds to the manic sense of desperation, like a skidding car, out of control. It feels good to me, and it makes sense if you follow the arc of the story on Dear Lover. It's one of my favorite moments on the record. It's a car chase of sorts."

In May 2008, you included a copy of your last album, Matthew Ryan Vs. The Silver State, with every ticket sold for your concerts that month. What promotional efforts do you have planned for Dear Lover?
Ryan: "Well, with Dear Lover there are various things we're doing that are within our means to do. Most of it leans on creativity and the live show. We're trying to create an intimacy with Dear Lover. The live shows have reflected that, as have a collection of videos we've been releasing via YouTube called The Raw Version. Basically, they are solo versions of songs off Dear Lover recorded in various intimate locations. We also just collaborated with the great fine-arts photographer Jack Spencer for a video.

"But again, all of these efforts are an attempt to attract people to us. Music plays many roles in people's lives. All of those roles are important, be it escapism, anger, romance, reverence for the past, humor, heroism, politics, comfort and so on. I guess we're trying to carve a place for honest music – and, maybe in turn, [we can] turn people onto other music, arts and films. Hopefully, we can become a conduit of sorts."

-- Introduction and interview by Chris M. Junior

Matthew Ryan on tour (schedule subject to change):

* March 11: Tin Angel – Philadelphia

* March 12: Iota Club & Café – Arlington, Va.

* March 13: Drew's House Concerts – Ringwood, N.J.

* March 14: The Saint – Asbury Park, N.J.

* March 16: Eddie's Attic – Atlanta

* April 12: Cicero's – St. Louis

* April 14: Vaudeville Mews – Des Moines, Iowa

* April 15: Rochester Civic Center – Rochester, Minn.

* April 16: Sauce – Minneapolis

* April 17: Project Lodge – Madison , Wis.

* April 18: Schuba's – Chicago

* May 7: Memphis House Concerts – Memphis, Tenn.

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Jimi Hendrix, Texas Tornados, Old Man Luedecke and The Postelles

* Jimi Hendrix -- Valleys of Neptune (Experience Hendrix/Legacy)

Each new posthumous Jimi Hendrix release makes it seem entirely possible that whenever the man plugged in his guitar, a tape machine was rolling to capture whatever he played.

Nearly 40 years after his death comes Valleys of Neptune (due March 9), which contains 12 fully realized studio recordings previously unavailable on a Hendrix album. Aside from three songs having some additional bass and drum tracking done in 1987 (under the guidance of veteran Hendrix producer Chas Chandler), everything else on Valleys of Neptune was recorded between 1967 and 1970 by Hendrix and friends, which include Noel Redding and Mitch Mitchell.

These songs are by no means leftover late-night, never-ending jams – in fact, the restrained title track lacks a guitar solo, and in no way does the song suffer. While the Neptune renditions of "Stone Free," "Fire" and "Red House" don't top the original studio versions, they certainly add more proof that Hendrix was a forward-thinking artist who still had a way to go before reaching his artistic peak.

* Texas Tornados -- Esta Bueno! (Bismeaux Records)

Who better to take over for the late Doug Sahm in the Texas Tornados than son Shawn Sahm? After all, he has Tex-Mex music running through his blood, making him a natural fit to sing and play guitar alongside the remaining core of singer/pianist Augie Meyers and singer/accordionist Flaco Jimenez.

Esta Bueno! (available now) melds the past lineup with the current one, as the 13-track album (produced by Shawn Sahm) features songs and performances by his father and fellow late co-founding member Freddy Fender. That said, the qualities that made previous Texas Tornados releases enjoyable – most notably a good sense of humor and Jimenez’s carnivalesque accordion – remain at the forefront on this album. Highlights include "They Don't Make 'Em Like I Like," "If I Could Only" and "Who's to Blame, Senorita?"

* Old Man Luedecke -- My Hands Are on Fire and Other Love Songs (Black Hen Music)

At 34, banjo-strummin' Canadian Chris Luedecke isn't anywhere near the same age as Pete Seeger, but the folk legend is among the rootsy acts that are stylistic touchstones for the man who bills himself Old Man Luedecke.

My Hands Are on Fire and Other Love Songs (due March 16), Old Man Luedecke's follow-up to the Juno Award-winning Proof of Love, is a full-band effort with name-brand players, including bassist Keith Lowe and fiddle/mandolin player Tim O’Brien. While folk, bluegrass and Appalachian mountain music are at the heart of Old Man Luedecke's latest, there are some light rock 'n' roll touches that don't disrupt the big picture. With its steady beat and dry vocal, "Woe Betide the Doer of the Deed" could be a long-lost, easygoing Tom Petty recording, and there's a little bit of Roger McGuinn in Luedecke's voice as he sings "My Love Comes Stepping Up the Stairs."

* The Postelles -- White Night (Astralwerks/Capitol)

No wonder The Postelles were tapped to participate in the Who tribute show earlier this month at Carnegie Hall: This promising New York band has a punchy sound that tips its hat to very early Who material. There are serious shades of The Strokes in "Looking Glass," which is not a surprise considering Strokes guitarist Albert Hammond Jr. produced the three new songs on this EP (and the upcoming Postelles album as well). White Night also includes an iTunes exclusive remix of the song "Sleep on the Dance Floor" by Grizzly Bear's Chris Taylor.

-- By Chris M. Junior

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The 88 hits the road with Ray Davies

Only time will tell if the rumored Kinks reunion tour will become a reality. Meanwhile, leader Ray Davies hit the road recently with a very capable band in The 88 backing him on classic Kinks songs.

The Los Angeles-based quartet may not be a household name, but its music has made its way into households nationwide via song placements in various network TV shows (such as CBS' How I Met Your Mother and NBC's Community) and through performances on late-night TV talk shows (among them Jimmy Kimmel Live! and Last Call With Carson Daly).

Singer/guitarist Keith Slettedahl recently talked about how The 88 landed the opening/backing spot on the Davies tour, the value of distributing music through TV shows, movies and commercials and what it was like for his band record an entire song using an Apple iPhone.

Medleyville.us: How did the tour with Ray Davies come together?
Keith Slettedahl: "We were made aware of the opportunity through our former booking agent and former manager. They thought we'd be a great fit for the tour and submitted us for it. We started receiving questions from Ray's people about availability, and they wanted some info about the band. At that point, I couldn't believe we were even in the running for it.

"Then we received an e-mail saying Ray wanted to hear a live recording of us doing some Kinks songs. We recorded the songs and I think two days later we got word that we had got the tour. Needless to say, I'm still pinching myself. It's so incredible. I really don't know what else to say about it."

Were there any songs from the Kinks catalog that proved to be a challenge for the band to learn?
Slettedahl: "So far, so good. The biggest challenge for me has been learning the Dave Davies guitar parts. I thought I knew a lot of the songs already but realized there was a lot more goin' on guitar-wise. But it's been a very fun challenge. We just keep picking songs to learn each time we get together."

Do you think song placement in TV shows, commercials and movies is the new terrestrial radio for today's acts in terms of reaching a wide, mainstream broadcast audience for free?
Slettedahl: "Song placements in TV, commercials and film have been a great blessing for us. We've been able to reach a lot of people, whether they're aware of it or not. I'm not really sure what radio is like now compared to what it was, but the whole TV placement thing is obviously a relatively new phenomenon. When we started out, we had no plans of getting our stuff into TV shows or film. I don't think we were even aware that world existed, but it's turned out to be our niche. Plus, I think mainstream radio can be so narrow and predictable, whereas, you can hear a lot of different stuff in commercials, film and TV -- and it reaches so many people who are actually listening to and inquiring about what they hear on the shows."

Talk about recording "Love Is the Thing" using an iPhone. Whose idea was it, and how long did it take to record? What were some of the technological challenges and advantages?
Slettedah: "We had discovered the four-track app on our iPhones and thought it would be cool to try it out when we were away from home. About a week later, an old friend who works for Apple approached us about recording a song on the iPhone, so it was perfect.

"We had heard small examples of short acoustic songs using the app, but no electric, full-band stuff. So it was just an experiment, and it was really fun and quick to do. Coming off making our last record, we were ready to do something simple and raw -- the total opposite of that record. The only real challenge was getting the vocals right because we did everything in the microphone built into the phone, so to sing dynamically was an issue. It was a challenge to get it to not peak out in spots. We had to use a piece of equipment that the iPhone hooks into (alesis pro track), and then we were able to control the level of the vocal. Otherwise, [it was] pretty easy. It was done in a day."

What are the band's plans following the tour with Davies?
Slettedahl: "Following the Ray Davies dates, we are planning on finishing a new record we had started before leaving. Also, we're planning on getting over to the U.K. at some point, so [there's] a lot of exciting stuff coming up. But for now, we're trying to enjoy this moment, playing every night with one of our idols. Stay tuned!"

-- Introduction and interview by Chris M. Junior

The 88 on tour (schedule subject to change):

* March 5: Scranton Cultural Center – Scranton, Pa. ++

* March 6: Webster Theatre – Hartford, Conn. ++

* March 7: Bardavon 1869 Opera House – Poughkeepsie, N.Y. ++

* March 8: Pianos – New York

* March 9: Broome County Forum – Binghamton, N.Y. ++

* March 11: Michigan Theater – Ann Arbor, Mich. ++

* March 12: Palace Theatre – Lorain, Ohio ++

* March 13: Riviera Theatre – Chicago ++

* March 14: 400 Bar -- Minneapolis

* March 15: Liberty Hall – Lawrence, Kan. ++

* March 17: Palladium Ballroom – Dallas ++

* March 18: La Zona Rosa – Austin, Texas/SXSW (9:30 p.m. original material showcase; 10:30 p.m. with Davies)

* March 19: The Shadow – Wichita, Kan.

* March 20: Paramount Theater – Denver ++

* March 21: Mike’s Music Exchange – Eldorado, N.M.

* March 22: Hotel Congress – Tucson, Ariz.

* March 23: Arizona State University – Tempe, Ariz.

* March 23: Dodge Theatre – Phoenix ++

* March 24: The Grove of Anaheim – Anaheim, Calif. ++

* March 25: Canyon Club – Agoura Hills, Calif. ++

(++ = dates with Ray Davies)

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Minimalism makes for an intriguing project

For his daring all-covers album, Scratch My Back (EMI), Peter Gabriel reworks classic as well as lesser-known works, and the former Genesis frontman does so with good intentions.

The end result is a grand success and noble failure at the same time.

A typical Gabriel solo album features layers of instrumentation, carefully crafted synthesizer treatments and dynamic, almost intrusive percussion that would make the listener think the end of the world was nigh.

On Scratch My Back, though, the songs are stripped bare, then coated in an orchestral bath that is in most cases majestic and in others pedestrian and distant. John Metcalfe, a noted violinist (and ex-member of the punk group Durutti Column), was enlisted to compose and arrange the strings; Bob Ezrin and Tchad Blake were picked to produce and engineer the tracks.

The minimalism puts the spotlight on the lyrics of the songs without the inclusion of guitar and drum arrangements. And this is the fly in the ointment. Enhancing the lyrics is the measure of the song, and a reinterpretation of the song can often infringe on the intent of the composer. But somehow, in most cases, Gabriel makes it work wonderfully considering the limits he has placed on himself.

Gabriel's interpretation of David Bowie's "Heroes" begins quietly, with a fragile vocal comparable to Roger Waters' disquieting readings on The Final Cut. One of the signature marks of the original tune is Robert Fripp's shimmering guitar, replaced by a wall of vibrating strings and a thumping bass line.

The album's highlights include a rendition of "Listening Wind" by Talking Heads. Written in 1980, this timeless story is a disquieting portrait of a lonely Middle Eastern boy whose alienation turns him into a suicide bomber. This song could have been written yesterday.

Neil Young's "Philadelphia" is one of those rare songs that approach John Lennon's "Imagine" in quiet grandeur. For his version of "Philadelphia," Gabriel infuses the arrangement of strings and tempered horns with a heartrending quality that elevates Young’s dreamy lyrics into the stratosphere.

The cover of Elbow's "Mirrorball" might best be described as George Gershwin meets Pink Floyd. One almost imagines Gene Kelly in Paris spinning against a painted plywood cityscape as strings wind a web around a moon painted by Gerald Scarfe. Arcade Fire's "My Body is a Cage" (like Gabriel’s own "Here Comes the Flood") is a mournful tune that starts off slowly and then builds to a crescendo that seeks to spring open the kingdom of heaven.

There are some reservations here. Randy Newman's quirky edge is missing from Gabriel's innocuous rendering of "I Think It's Going to Rain Today." After hearing this, one may want to hurry to listen to the original. Radiohead's "Street Spirit (Fade Out)" is not overshadowed here by Gabriel's raspy vocals; Regina Spektor's "Après Moi" is given a lukewarm presentation, as is a take on "The Book of Love" by The Magnetic Fields.

As with many highly touted releases, Scratch My Back is available in a standard 12-track disc and a special two-CD edition with three remixes and one additional cover tune -- a spirited handling of The Kinks’ "Waterloo Sunset." (The artists represented on Scratch My Back will reciprocate by doing covers of Gabriel's songs on a forthcoming CD called I'll Scratch Yours.)

Overall, Scratch My Back is an intriguing project from a consummate performer and perfectionist that will not disappoint Gabriel’s legion of fans who expect nothing less than novelty from him.

-- By Donald Gavron

Posted by Medleyville at 10:48 AM | Permalink | TrackBacks (0)

Newseum examines Elvis Presley's impact on popular culture

Jet-black dyed hair, long sideburns, frenzied performances, flashy clothes, innovative music, mediocre movies -- when Elvis Presley's name is mentioned, these are some of the things that immediately come to mind.

But don’t forget about freedom of expression, censorship and massive media exposure.

In its exhibit Elvis! His Groundbreaking, Hip-Shaking, Newsmaking Story, the Newseum in Washington, D.C., takes an all-encompassing look at Presley's personal life, career and overall impact on popular culture.

"If you're an Elvis fan and have never been to Graceland, you need to come to the Newseum," says Ken Paulson, who's been the Newseum president since February 2009. "This is truly the best collection you'll find outside of Graceland, and much of what we have here is on loan from Graceland."

Paulson is quick to point out that the Newseum's Presley exhibit, which is scheduled to open March 19, tells a different story from the one at the late entertainer’s Graceland mansion in Memphis, Tenn.

"It's really about Elvis and his impact on America and his coverage in the news media," Paulson explains. "Long before there was the kind of celebrity coverage there is today, Elvis was getting that level of attention. The National Enquirer was all over Elvis long before there were tabloids everywhere. When [daughter] Lisa Marie was born, when [wife] Priscilla divorced him and when he got fat, the press – particularly the tabloid press – was all over him. So in some ways he inspired a certain kind of journalism that is still with us today.

"And then you go back and look at the original newspapers and magazines covering his career, it's really astonishing," Paulson adds. "There was so much concern that Elvis was going to cause riots or lead young people down the path to disgrace. When you look at this footage today, it's pretty tame."

The Newseum exhibit will feature Presley recordings and video footage, newspapers, magazines as well as rare photos and a variety of clothing and other personal Presley items.

"One of the most amazing things to me is the federal narcotics badge that [President Richard M.] Nixon gave to Elvis, as well as the coat and belt Presley wore at the White House," Paulson says.

The exhibit also includes a number of items that have rarely or never been shown to the public, including Lisa Marie’s footprint that was made at the hospital after her birth and scrapbooks chronicling Presley's rise to fame that were assembled by his longtime manager, Colonel Tom Parker.

"When Priscilla and Elvis got married, they autographed a champagne bottle for Elvis' parents, signing it Mr. and Mrs. Presley – no one's ever seen that," adds Paulson.

Paulson has given serious thought to scheduling special guests and events during the exhibit's run.

"We would love to have [Presley guitarist] Scotty Moore here … [Presley biographer] Peter Guralnick would be on our short list," he says. "So we will do programming here, and it will largely be about the music and the cultural impact."

Elvis! His Groundbreaking, Hip-Shaking, Newsmaking Story will be on display at the Newseum through Feb. 14, 2011.

-- By Chris M. Junior

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