It’s been quite a rollercoaster of a year, for all sorts of reasons, and there were times when it felt like we were hunkering down and waiting for a beating to end. But people are getting vaccinated now and it’s spring, and suddenly it seems reasonable to start hoping once more.
Musically, the period I associate most with “hope,” as opposed to “nihilism” or “despair” or “80s hair,” is the time from the late 1990s through about 2003 or so, which produced some of the loveliest songs of hope and happiness I can remember. Part of it was the rise of indie rock, part probably the sustained recovery of the world economy. Maybe it was just that I got married at the beginning of the period, who knows? For whatever reason, it feels like a good time to dust off some of these tracks and start hoping again.
Do not attempt to adjust your set…
Untitled 4 (“Njósnavélin”) – Sigur Rós (( ))
Scratch – Morphine (Yes)
The Laws Have Changed – The New Pornographers (Electric Version)
When You’re Falling – Afro Celt Sound System (Volume 3: Further in Time)
The Way That He Sings – My Morning Jacket (At Dawn)
Diamond In Your Mind – Solomon Burke (Don’t Give Up On Me)
Brief & Boundless – Richard Buckner (Since)
All Possibilities – Badly Drawn Boy (Have You Fed The Fish?)
Time Travel is Lonely – John Vanderslice (Time Travel Is Lonely)
Shine – Mark Eitzel (The Invisible Man)
Why Not Smile – R.E.M. (Up)
You Are Invited – The Dismemberment Plan (Emergency & I)
Where Do I Begin – The Chemical Brothers (Dig Your Own Hole)
I’ve been going down a rabbit hole in my listening lately, as I grow increasingly conscious that great artists live among us… but perhaps not for too much longer. One I’m thinking about right now is the great saxophonist and composer Wayne Shorter.
I started listening to Shorter over 30 years ago, thanks to a CD copy of The Best of Wayne Shorter: The Blue Note Years that I found in Plan 9. Like all single-disc anthologies (and like this mix!), it’s a sparse summary of an astonishing period of creativity and excellent performances. But it hooked me… especially the opening track, the title from Shorter’s sixth album, which manages to be both relaxed and full of tension at the same time thanks to his unshowy use of modal scales.
I think I heard this album before I came across the Second Great Quintet recordings he did with Miles, which included many of Shorter’s compositions (especially the great “Footprints,” heard here) in very different arrangements. Miles’s version of “Footprints,” on Miles Smiles, ups the anxiety in the modal scale through tempo and urgency, especially in Tony Williams’ polyrhythmic drumming. I also looked backwards in time, finding some of the great recordings that he did with Art Blakey and the Jazz Messengers (and recently uncovering some of the sideman work he did for some of his colleagues, including Lee Morgan here).
Thanks to early-90s bias against fusion (which, in fairness, had fallen pretty low by the late 1980s), it took me years to discover Weather Report, particularly the first album, and I only recently began to listen to some of Shorter’s mid-1970s output, which featured a more accessible side of the great composer on songs like “Ana Maria.” And his late-period works with Danilo Perez, John Pattituci and Brian Blade continue to blow my head off with the genius of the collective improvisation, even as they document Shorter’s declining physical stamina. (He retired from performance in 2019 due to mounting health issues.)
Like that first Blue Note compilation, this sixty minute set is necessarily scanty, but hopefully will convince you to seek out more of Shorter’s work as well—and to utter a silent word of thanks that we walk the earth at the same time he does.
Speak No Evil
Speak No Evil
Ping Pong (No. 1)
Art Blakey and the Jazz Messengers
Complete Studio Recordings (with Lee Morgan, Wayne Shorter…)
Yes or No
Miles Davis Quintet
Aung San Suu Kyi
Wayne Shorter and Herbie Hancock
Adventures Aboard The Golden Mean (live)
Wayne Shorter Quartet
Herbie Hancock Quintet
A Tribute To Miles
I was a sixth grader in 1983 from a very white part of town. I went from going to school less than two miles from my home to getting on a bus and riding 40 minutes every day to my middle school, one of two sitting next to each other on the edge of downtown. (Kind of reverse-busing.) The bus was loud, the older kids were scary. But… someone always had a radio.
Technically, they had a boom box. But no one ever seemed to be playing a cassette; it was almost always tuned to one of the local stations, often Z-104. I had grown up in a house that played classical radio, and when not that, easy listening (WFOG!), so the top-40 stuff that was being played was new to me.
So was the other stuff that was sometimes played. I don’t remember the station identifications, but a fair amount of what I remember wouldn’t have been played on Top-40 radio — think “Roxanne, Roxanne” or “Electric Kingdom.” So part of my memory from this time comes with no liner notes and I’m still finding some of the songs.
But the stuff that stuck the longest, earwormed the most thoroughly, was probably the adult contemporary balladry of the time. Many of them aren’t great songs! But they’re really easy to get into, even for a pop music neophyte — the “quiet storm” jazz crossover stuff like Sade’s “Sweetest Taboo” flavored some of what was going on (there’s a common thread between this stuff and Sting’s Dream of the Blue Turtles that also touched the Pointer Sisters; listen to “Automatic”).
And then there were the really goopy ballads. Anita Baker need have felt no shame for “Sweet Love,” but oh man, “On My Own.” And “All Cried Out.” I banished them so far from my memory, I never even touched them when going through 1980s music in a series of ten mixes starting in 2003. But they’re there, and some of them might be worth more than you think.
Just maybe not Gregory Abbott. (Oh well well.)
One last note: I was reminded about more than a few of these songs courtesy of Stereogum’s The Number Ones column, which is essential reading. I’ve linked a few articles below for further reading on some of the tracks, but you should really read the whole thing.
Rumors – Timex Social Club – Timex Social Club (Un, Dos, Tres…Playa Del Sol (12 Magic Summer Hits))
Radio People – Zapp (The New Zapp IV U)
Fresh – Kool & The Gang (The Very Best of Kool & The Gang)
In My House – Mary Jane Girls (20th Century Masters: The Millennium Collection: The Best of Mary Jane Girls)
Juicy Fruit – Mtume (Juicy Fruit)
Mr. Wrong – Sade (Promise)
Automatic – The Pointer Sisters (Break Out)
Sweet Love – Anita Baker (Rapture)
Love Zone – Billy Ocean (The Very Best of Billy Ocean)
I’ve been listening to a lot of classic Blue Note recordings recently—thanks to a bad HDTracks habit—and what struck me the other day is how the composition of the recordings changes the further back you go. What had become a jazz-funk fusion label by the 1970s was principally a hard-bop label in the 1960s with an incredible stable of performers (even if you could expect to find some of them, like Bobby Hutcherson or Grant Green, on recording after recording during the period). But if you look even further back, the label was unearthing and recording new artists in the early to mid-1950s, like Jutta Hipp, Horace Silver, Gil Mellé, Kenny Drew, and others, on albums that bore the common title New Faces, New Sounds.
So this session of Exfiltration Radio digs into our current crop of new faces and new sounds, with a setlist that is heavy on the current crop of London jazz geniuses (Theon Cross, Nubya Garcia, Sarah Tandy), a few new faces from around the edges of Bandcamp (Joe Fiedler’s nutso take on Sesame Street, Chip Wickham’s meditative cuts from Qatar, the absolutely intense Damon Locks, the Lewis Express), the intense hard bop of Connie Han, the stretch music of Christian Scott aTunde Adjuah—and a few old souls, including the drum-led trio of Jerry Granelli playing the music of his colleague Mose Allison, and the Afrofuturist spiritual excursions of Idris Ackamoor & the Pyramids.
Do not attempt to adjust your set!
X. Adjuah [I Own the Night] – Christian Scott aTunde Adjuah (Axiom)
For the O.G. – Connie Han (Iron Starlet)
The Colors That You Bring – Damon Locks – Black Monument Ensemble (Where Future Unfolds)
Activate – Theon Cross (Fyah)
Tico Tico – The Lewis Express (Clap Your Hands)
People In Your Neighborhood – Joe Fiedler (Open Sesame)
Baby Please Don’t Go – The Jerry Granelli Trio (The Jerry Granelli Trio Plays Vince Guaraldi and Mose Allison)
Timelord – Sarah Tandy (Infection In The Sentence)
Dogon Mysteries – Idris Ackamoor & The Pyramids (Shaman!)
La cumbia me está llamando (featuring La Perla) – Nubya Garcia (SOURCE)
There have been such a lot of mixes this year! It’s almost as if we’ve doubled down on music making to compensate for the otherwise almost complete lack of normalcy.
This time I revisited an old mix in progress that had been kicking around my iTunes—er, Apple Music—library for at least seven or eight years. Originally titled “Unrepentant Throwbacks,” this one went after a certain strain of college rock that emphasized guitars, odd lyrics, borderline competent vocals, and weird band names. You know, like R.E.M..
Only there were probably hundreds of bands that mined the same lode that they did, who never looked beyond their original sound and never got the major league deal. I asked some friends on Facebook and got over 100 great suggestions, which I couldn’t fit into this sixty-minute slot. I’ll post the full list later; it was awesome.
Anyway, hope you enjoy this sixty minute blast of nostalgia, which for some of you will take you back to before you were born. And see you again, sooner than you think.
Fun & Games – The Connells (Fun & Games)
Do It Clean – Echo & The Bunnymen (Songs To Learn & Sing)
I Want You Back – Hoodoo Gurus (Stoneage Romeo)
Watusi Rodeo – Guadalcanal Diary (Walking In The Shadow Of The Big Man)
Talking In My Sleep – The Rain Parade (Emergency Third Rail Power Trip: Explosions In The Glass Palace)
With Cantaloupe Girlfriend – Three O’Clock (Sixteen Tambourines/Baroque Hoedown)
Kiss Me On The Bus – The Replacements (Tim [Expanded Edition])
I Held Her In My Arms – Violent Femmes (Add It Up (1981-1993))
Voice Of Harold – R.E.M. (Dead Letter Office)
Writing the Book of Last Pages – Let’s Active (Big Plans for Everybody)
Think Too Hard – The dB’s (The Sound of Music)
Spark – The Church (Starfish)
My Favorite Dress – The Wedding Present (George Best Plus)
Muscoviet Musquito – Clan of Xymox – Clan of Xymox (Lonely Is an Eyesore)
Tripped Over My Boot – Storm Orphans (Promise No Parade)
It’s that time again… time for the Godfather to grace you with an hour of weird music. Today’s playlist comes from the cusp of jazz’s transition into fusion and dives into the music that came around In a Silent Way, still one of the most revolutionary recordings in jazz.
In this 1969 record, Miles had reached the end of standards, the end of modal changes, the end of the post-bop revolution he had led with his second great quintet. He was listening to other innovators, working beyond jazz, especially Jimi Hendrix. And most importantly, he was continuing to surround himself with musicians who innovated, listen to them, and push them to take their performances beyond where they could on their own. (He also sometimes claimed authorship of those songs, but that’s a different story.)
The sound at the back of this new direction in jazz was the electric piano (usually a Fender Rhodes) fed into the echoplex and joined by musicians who were playing, as Miles said on the back cover of Zawinul, “cliché-free,” not relying on changes or modes but on rhythm and vamping and atmosphere and sometimes incredibly gorgeous scraps of melody that come and go in the middle of the track like smoke.
One of the things that’s hard to appreciate just by looking at the track titles is how much of this music was made by the same handful of musicians. Let’s take a look:
Herbie Hancock (electric and acoustic piano) plays on “Doctor Honoris Causa” (which Zawinul dedicated to him for his honorary doctorate from Grinnell), “Mountain in the Clouds,” “Opus One Point Five,” “Filles de Kilimajaro,” his own “You’ll Know When You Get There,” and “In a Silent Way.” Miroslav Vitouš (bass) is on “Causa,” “Mountain,” “Orange Lady,” and “Water Babies.” John McLaughlin (electric guitar) is on “Mountain” and “In a Silent Way.”
Billy Hart is on “Causa” (percussion) and “You’ll Know” (drums). Joe Henderson (tenor sax) is on “Mountain” and his own “Opus One Point Five.” Jack DeJohnette (drums) is on “Mountain,” “Opus One Point Five,” and “Water Babies.” Chick Corea plays electric piano on “In a Silent Way” and drums and vibes on “Water Babies.”
The great Wayne Shorter (tenor sax) is on “Orange Lady,” “Filles De Kilimanjaro,” his own “Water Babies,” and “In a Silent Way.” Airto Moreira plays percussion on “Orange Lady” and “Water Babies.” Ron Carter is on “Opus One Point Five” and “Filles.” Tony Williams plays drums on “Filles” and “In a Silent Way.” And Joe Zawinul plays on “Causa,” “Orange Lady,” and his composition “In a Silent Way.”
It’s not surprising that some of the tracks seem to blend seamlessly into each other. It’s more surprising how distinctive the musical identity of each track is. Definitely worth an hour, and then many more checking out the albums these came from.
Do not adjust your set; there is nothing wrong.
Doctor Honoris Causa – Joe Zawinul (Zawinul)
Mountain In the Clouds – Miroslav Vitous (Infinite Search)
Orange Lady – Weather Report (Weather Report)
Opus One Point Five – Joe Henderson (Power To The People [Keepnews Collection] [ Remastered ])
Filles De Kilimanjaro (Girls Of Kilimanjaro) – Miles Davis (Filles De Kilimanjaro)
Water Babies – Wayne Shorter (Super Nova)
You’ll Know When You Get There – Herbie Hancock (Warner Archives)
In A Silent Way – Miles Davis (The Complete In A Silent Way Sessions)
Next week would have been Veracode’s Hackathon, during which we do a lot of crazy things, including run a volunteer company Internet radio station. I’ve made a bunch of one-hour-long mixes over the last few years for this effort, and was looking forward to playing along loosely with the Hackathon theme (pirates!) this time, starting with an unusual (for me) mix of covers.
Of course, the pandemic intervened. So it goes.
But I had already completed one of my two planned mixes (the next one is, as they say, Coming Soon), so I figured, why not post it anyway?
A few notes about the mix: it is a covers mix, because what is the act of taking someone else’s song and making it yours but musical piracy? And the covers are all reggae or reggae-adjacent (except for a bit near the end of reggae and ska originals of more famous cover versions by English and American bands), because (a) there’s a long tradition of reggae covers of popular songs that is a fun rabbit hole to go down, and (b) reggae is a music of the islands where the Caribbean pirates once sailed, and (c) one of the members of our pick-up band absolutely hates reggae. Also, (d) Dread Zeppelin. Enjoy!
Randy’s Cover Versions
Mother & Child Reunion
The Song Remains the Same
Don’t Let Me Down
Reggae Anthology: Melody Life
Here Comes the Sun
20th Century Masters – The Millennium Collection: The Best of Peter Tosh
Heartbreaker (At the End of Lonely Street)
Bridge over Trouble Waters
A Little Love
High and Dry (feat. Morgan Heritage)
Easy Star All-Stars
Radiodread (Special Edition)
Your Time Is Gonna Come
Battle for Seattle
The Tide Is High
On the Beach With the Paragons
Rudy, a Message to You
Copasetic! The Mod Ska Sound
Copasetic! The Mod Ska Sound
Dub Will Tear Us Apart
Rough Mix From Their TBA 12″ | www.thesocialregistry.com
It’s still Christmas, technically, until the Feast of Epiphany on January 6. That’s what I keep telling Lisa when she asks when I’m taking down the Christmas tree, and that’s what I’m telling you when I post this new Exfiltration Radio playlist of slightly askew Christmas (and Hanukkah) tunes and a few spoken word bits. Hope you find something in it to help ease back into the daily routine.
Did You Spend Christmas Day In Jail? (excerpt) – Rev. J.M. Gates (Lit Up Like A Christmas Tree – A Vintage Holiday Mixtape)
The Toy Trumpet – Arthur Fiedler;Al Hirt – Boston Pops/Arthur Fiedler (Pops Christmas Party)
Ring Those Christmas Bells – Fred Waring & The Pennsylvanians (The Sounds of Christmas)
Good Morning Blues (feat. Cécile Mclorin Salvant) – Jazz at Lincoln Center Orchestra with Wynton Marsalis (Big Band Holidays)
Please Come Home For Christmas – Little Johnny Taylor (It’s Christmas Time Again)
I’m Your Christmas Friend, Don’t Be Hungry – James Brown (Hey America)
Who Took The Merry Out Of Christmas – The Staple Singers (It’s Christmas Time Again)
Deck the Halls – R.E.M. (Gift Wrapped – 20 Songs That Keep On Giving!)
I Hate Christmas – Oscar (Sesame Street: Merry Christmas from Sesame Street)
The Little Drum Machine Boy – Beck (Just Say Noel)
Come on! Let’s Boogey to the Elf Dance! – Sufjan Stevens (Songs For Christmas)
Do You Hear What I Hear? – Chaka Khan (Do You Hear What I Hear? – Single)
Nutmeg – Stephen Colbert & John Legend (A Colbert Christmas: The Greatest Gift of All!)
Sleigh Ride – Dread Zeppelin (Presents)
Big Bulbs – Sharon Jones and the Dap-Kings (It’s a Holiday Soul Party)
Silent Night – Bootsy Collins (Christmas Is 4 Ever)
Don’t Shoot Me Santa – The Killers (Don’t Shoot Me Santa – Single)
Christmas Island – Bob Dylan (Christmas In the Heart)
Fan Club Christmas Record – 1964 (excerpt) – The Beatles (Fan Club Christmas Records)
Last Hackathon I made an hour long mix of Hammond organ centered jazz. In retrospect, while the listening was great, it felt like it didn’t go far enough into the different types of performance techniques on the organ, or different styles. So this time, I decided to do something a little more subtle, and focus on the bass.
It can be hard to appreciate what a bass player brings to your typical small group performance. But you can start to dig in just by considering the different choices available to the bassist: acoustic or electric? Pizzicato (plucked) or arco (bowed)? Holding down the root of the chord, or playing a counter-melody? There are a bunch of different bass players on this mix, and each of them approaches their role very differently. Enjoy!
Re: Person I Knew – Bill Evans Trio (Chuck Israels, bass) (Moon Beams [Original Jazz Classics Remasters])
Tale of the Fingers – Paul Chambers (Whims Of Chambers)
Caravan – Duke Ellington With Charles Mingus (bass) & Max Roach (Money Jungle)
Moment’s Notice – John Coltrane (Paul Chambers, bass) (Blue Train)
It’s that time again… time for a new Hackathon radio mix. The latest entry in the Exfiltration Radio series deals in spookiness and mystery, and lots and lots of black. It’s a gothic and goth-adjacent postpunk sort of set, and it’s a lot of fun even if you don’t wear black on the outside. Another one is coming soon, so stay tuned!
10:15 Saturday Night – The Cure (Three Imaginary Boys)
Bela Lugosi’s Dead (Official Version) – Bauhaus (The Bela Session)
Pink Flag (2006 Digital Remaster) – Wire (Pink Flag)
Not Great Men – Gang Of Four (Entertainment!)
Shadowplay – Joy Division (Unknown Pleasures)
Gathering Dust – Modern English (Mesh & Lace)
In the Flat Field – Bauhaus (Swing the Heartache: The BBC Sessions)
Halloween – Siouxsie & The Banshees (Ju Ju (Remastered))
Somewhere – The Danse Society (The Indie Years : 1983)
Love Like Blood – Killing Joke (Night Time)
Lucretia My Reflection – The Sisters of Mercy (Floodland (Deluxe Version))
A Short Term Effect – The Cure (Pornography)
Song to the Siren – This Mortal Coil (It’ll End in Tears)
Still catching up from Hackathon. I put together a couple of hour-long radio shows that were a lot of fun to build. The first one is an hour of 1970s and 1970s-adjacent jazz. Lots of fun stuff in this, including some electric Vince Guaraldi, tasty jazz organ, some modern finds (Yussef Kamaal for the win), and a little Digable Planets. Enjoy!
Birth Of A Struggle – Wax Tailor (Tales Of The Forgotten Melodies)
Oaxaca – Vince Guaraldi (Oaxaca)
Red Sails In The Sunset – Jimmy McGriff (Groove Grease)
Everybody Loves the Sunshine – Roy Ayers Ubiquity (The Best of Roy Ayers (The Best of Roy Ayers: Love Fantasy))
Mystic Brew – Ronnie Foster (Jazz Dispensary: Cosmic Stash)
Joint 17 – Yussef Kamaal (Black Focus)
Jettin’ – Digable Planets (Blowout Comb)
Ayo Ayo Nene – Mor Thiam (Spiritual Jazz)
Superfluous (LP Version) – Eddie Harris (Instant Death)
Lady Day and John Coltrane – Gil Scott-Heron (Pieces of a Man)
Early Minor – Miles Davis (The Complete In A Silent Way Sessions)
Black Narcissus – Joe Henderson (The Milestone Years)
Infinite Search – Miroslav Vitous (Infinite Search)
I’ve been working on this one for a while, and today felt like the right day to finish it up. This is an indulgent (over four hours long) tour through at least four different genres, with a common thread of funk.
There’s no particular logic to the sequence except that they’re loosely grouped by genre so as to keep the groove flowing. And the first track might seem odd, but listen to Carleton Coon and Joe Sanders trading scat syllables (in a style that will seem familiar to fans of the Warner Brothers cartoon “Dough for the Do-Do”) and the connection to funk becomes clear.
Roodles – The Coon-Sanders Nighthawks (“Radio’s Aces”)
Calling On My Darling – Albert King (Chess Blues 1960-1967)
Grab This Thing (Part 1) – The Mar-Keys (The Stax Story)
Black Boy – Roebuck ‘Pops’ Staples (The Stax Story)
I Have Learned to Do Without You – Mavis Staples (The Stax Story)
Sissy Walk (Full) (Vocal) – Eddie Bo (The Hook and Sling)
Tighten Up Tighter (Feat. Roosevelt Matthews) – Billy Ball and the Upsetters (The Funky 16 Corners)
Dap Walk – Ernie and The Top Notes Inc (The Funky 16 Corners)
Check Your Bucket (Full) – Eddie Bo (The Hook and Sling)
Sock It To ‘Em Soul Brother – Bill Moss (Eccentric Soul: The Capsoul Label)
Hey Pocky A-Way (A Way) – The Wild Tchoupitoulas (The Wild Tchoupitoulas)
The Meters – Here Comes The Meter Man – DJ Jedi (Blowout Breaks)
The Headhunters – God Made Me Funky – DJ Jedi (Blowout Breaks)
Honky Tonk (Parts 1 & 2) – James Brown (Messing With The Blues)
Outer Spaceways Incorporated – Sun Ra (Space Is The Place (Original Soundtrack))
Umbrellas – Weather Report (Weather Report)
Red China Blues – Miles Davis (Get Up With It)
Harvey Mason – Hop Scotch (1975) – Herbie Hancock (Herbie Hancock – Man With a Suitcase)
Eddie Henderson – Ecstasy (1978) – Herbie Hancock (Herbie Hancock – Man With a Suitcase)
Whitey on the Moon – Gil Scott-Heron (Small Talk At 125th and Lennox)
The Last Poets – Black Is – Chant – DJ Jedi (Blowout Breaks)
Ku Mi Da Hankan – The Elcados (Nigeria Rock Special: Psychedelic Afro-rock & Fuzz Funk In 1)
Everybody Likes Something Good – Ify Jerry Crusade (Nigeria 70 – Lagos Jump)
Live in Another World – Itadi (Afro-Beat Airways)
The Things We Do In Soweto – Almon Memela (Next Stop Soweto 4: Zulu Rock, Afro-Disco & Mbaqanga 1975-19)
Do The Afro Shuffle – Godwin Omabuwa & His Casanova Dandies – Godwin Omabuwa & His Casanova Dandies (Nigeria Afrobeat Special: The New Explosive Sound In 1970�)
I struggled with this mix for quite a while, and probably have two other mixes of rejected tracks even though the final version clocks in at 2 CDs’ length. The hard bit is always mood. Summer is easy mixin’ weather; winter, especially this winter, was hard.
And a lot of this mix struggled with the challenge of a world turned upside down. So there are a few more instrumental tracks, a few more down tracks. But it starts in a place of fragile hope, with Lou Reed’s incredibly timely song of transsexual identity which is equal measures crisis and birth of the new, and ends in a place of defiance. And maybe that’s what we have left to ourselves right now.
Candy Says (Closet Mix) – The Velvet Underground (Peel Slowly and See)
Silver – Echo & The Bunnymen (Songs To Learn & Sing)
Boys Keep Swinging – David Bowie (Lodger)
Damaged Goods – Gang Of Four (Entertainment!)
Devotion – Mission of Burma (Signals, Calls and Marches (Remastered))
World Cup Drumming – Mclusky (My Pain and Sadness Is More Sad and Painful Than Yours)
Electioneering – Radiohead (OK Computer)
The Great Curve (live) – Talking Heads (Jaap Eden Hall, Amsterdam, The Netherlands, December 11, 1980)
Wish Fulfillment – Sonic Youth (Dirty)
As I Went Out One Morning – Bob Dylan (John Wesley Harding)
Time, As a Symptom – Joanna Newsom (Divers)
Morning Lake – Weather Report (Weather Report)
Sense Of Doubt – David Bowie (Heroes)
What Will You Say (feat. Alim Qasimov) – Jeff Buckley featuring Alim Qasimov (Live at L’Olympia)
This Room – The Notwist (Neon Golden)
Politician Man – Betty Davis (The Columbia Years 1968-1969)
For What It’s Worth – Talk Talk (The Very Best Of)
Above Chiangmai – Brian Eno (Ambient 2: The Plateaux of Mirror)
Magpie to the Morning – Neko Case (Middle Cyclone (Bonus Track Version))
State Trooper – Bruce Springsteen (Nebraska)
Daphnia – Yo La Tengo (I Am Not Afraid Of You And I Will Beat Your Ass)
The Sky Is Broken – Moby (Play)
Here Come the Warm Jets (2004 – Remaster) – Brian Eno (Here Come The Warm Jets)
Give Me Cornbread When I’m Hungry – John Fahey (The Dance Of Death & Other Plantation Favorites)
After Awhile – Swan Silvertones (Love Lifted Me / My Rock)
The Last Broken Heart (Prop 8) – Christian Scott (Yesterday You Said Tomorrow)
Mystic Brew – Vijay Iyer Trio (Historicity)
Why Was I Born? – Kenny Burrell And John Coltrane (Kenny Burrell With John Coltrane)
Meeting in the Aisle – Radiohead (Airbag/How Am I Driving?)
The Last Ray – This Mortal Coil (It’ll End in Tears)
Cedars of Lebanon – U2 (No Line On the Horizon (Deluxe Edition))
We Float – PJ Harvey (Stories From The City, Stories From The Sea)
No Headstone On My Grave – Esther Phillips (Oxford American 2003 Southern Music CD No. 6)
This has been germinating for a while, and I had to drive to North Carolina and back to finish it. This was the mix of no rules, as you can tell by the length.
Baby, I’m In the Mood for You – Bob Dylan (The Bootleg Series, Vol. 9: The Witmark Demos: 1962-1964) A demo of Dylan’s raunchiest, most rural love song? Sure, why not.
Bring it On Down to My House – Warner Williams with Jay Summerour (Classic African American Songsters from Smithsonian Folkways) A raunchy blues song? Sure, why not.
Jake Leg Rag – Narmour & Smith (Lead Kindly Light) A fiddle tune? Sure, why not.
Where Shall I Go? – Sister Marie Knight (When the Moon Goes Down in the Valley of Time: African-American Gospel, 1939-51) A gospel tune that lifts off into the stratosphere? Sure, why not.
Little Island Walking (Peel Session) – Jim O’Rourke (Peel Session) Jim O’Rourke doing a straight-on John Fahey pastiche? Sure, why not.
We Would Be Building – Daniel Bachman (Orange Co. Serenade) Primitive guitar cover of a Methodist hymn? Sure, why not.
On The Banks Of The Owichita – John Fahey (The Dance Of Death & Other Plantation Favorites) A primitive guitar evocation of the slow river? Sure, why not.
I Wish I Knew How It Would Feel to Be Free – Nina Simone (Nina Revisited… A Tribute to Nina Simone) A landmark Nina Simone tune? Sure, why not.
Peace And Love – Gary Bartz And NTU Troop (I’ve Known Rivers And Other Bodies). “We got a hand for the Bronx”? Sure, why not.
The Raven Speaks – Gary Burton & Keith Jarrett (Gary Burton & Keith Jarrett) A funk number with Keith Jarrett on the Fender and Burton on vibes? Sure, why not.
Brown-Baggin’ – 24-Carat Black (Ghetto: Misfortune’s Wealth) Straight ahead funk from a very strange concept album? Sure, why not.
Disrobe – Medeski, Martin & Wood (The End of Violence) A groove I’ve been sitting on for a very long time? Sure, why not.
Doing It to Death, Pt. 1 (Single) – The J.B.’s & Fred Wesley (Pass the Peas: The Best of the J.B.’s). “In order to get down, I got to get in D”? Sure, why not.
You Can’t Blame Me – Johnson, Hawkins, Tatum, & Durr (Eccentric Soul: The Capsoul Label) The world’s weirdest soul hook? Sure, why not.
Everybody Loves the Sunshine – Roy Ayers Ubiquity (The Best of Roy Ayers (The Best of Roy Ayers: Love Fantasy)) A blissed out fusion number? Sure, why not.
Blue Lines – Massive Attack (Blue Lines) A genre-creating Tricky rap? Sure, why not.
The Sad Punk – Pixies (Trompe Le Monde) Changing gears abruptly? Sure, why not.
Marrow (Live) – David Byrne & St. Vincent (Brass Tactics EP) St. Vincent backed by a freaking great horn section? Sure, why not.
What We Loved Was Not Enough – Thee Silver Mt. Zion Memorial Orchestra (F*ck Off Get Free We Pour Light On Everything) Heartrending Canadians? Sure, why not.
Roked – Shye Ben Tzur, Jonny Greenwood & The Rajasthan Express (Junun) Israeli composer, Indian musicians, Radiohead guitarist? Sure, why not.
%%%%%%%%%% $$$$$$$$$ >>>>>>>> >> >> >> @@@@@@@ – The User (Symphony #2 For Dot Matrix Printers) Dot matrix printer music? Sure, why not.
Do the Dog – The Specials (The Specials) Do the dog, not the donkey? Sure, why not.
You Satellite – Wilco (Star Wars) Wilco does late period Sonic Youth? Sure, why not.
Nothing Clings Like Ivy – Elvis Costello & The Imposters (The Delivery Man) Plaintive country rock from a London kid? Sure, why not.
Just One Thing – My Morning Jacket (It Still Moves) Unabashed Southern rock? Sure, why not.
Are You Okay? – Dum Dum Girls (Too True) Can’t be flip about this track. The bridge kills me: “I’m reckless at night/I’m sorry for days.”
Shake It Off – Ryan Adams (1989) A dark rewrite of an infectious Taylor Swift original? Sure, why not.
One Sunday Morning (Song For Jane Smiley’s Boyfriend) – Wilco (The Whole Love) Eleven minutes of a murder mystery wrapped up in an NPR-friendly arrangement? Sure, why not.
Moonshine Blues [live 1962 10 at Gaslight Café, New York City] – Bob Dylan (The Gaslight Tapes [live 1962 10 at Gaslight Café, New York City]) A stark folk original and probably the most harrowing version ever recorded? Sure, why not.
Bladesteel – Daniel Lanois (Here Is What Is) Four minutes of slide guitar with New Orleans drums by Lanois? Sure why not.
Amy – Ryan Adams (Heartbreaker) A track that opens with Adams’ most annoying verse melody, but transitions into his most heartbreaking chorus melody? Sure why not.
Stanwell Perpetual – David Grubbs (The Spectrum Between) Three minutes of unresolved tension building with the horn section from Camoufleur? Sure, why not.
The Things I Say – Joanna Newsom (Divers) A straight folk track that resolves to an ascending backtracked vocal cliffhanger conclusion? Sure, why not.
Untitled – R.E.M. (Green) Michael Stipe’s paean to his parents? Sure, why not.
Sun Is Shining – The Fireman (Electric Arguments) Electronica by Paul McCartney and Youth? Sure, why not.