Illinois Entertainer October 2020 | Page 28

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BD : I mean , a little . We had something that we were actively working on when we were approached , so it was kind of a nice little moment in time when that ’ s what we were doing , we were writing . So we had some stuff . And they wanted something specific — they had a scene that they sent us , so we did tailor it to that . But it wasn ’ t a fully-formed idea — it was a couple of riffs strung together , so we had to work on it and complete it after they told us what they wanted to hear . So we whipped it into shape . I haven ’ t seen it yet , but I hear it ’ s a very fun movie . When the first one came out , I was a kid , and I only knew Keanu from River ’ s Edge , which was like my favorite movie . So it was exciting to be approached . And I think anytime we can do something cool like that , that ’ s not our normal writing-recording-touring cycle , we absolutely welcome it , because it ’ s like , “ Oh , cool ! Yeah ! We get to be a part of this thing !” Like we did the Jonah Hex thing , we were on Game of Thrones . So over the years , we ’ ve gotten to do a lot of cool side stuff .
IE : So obviously , “ White Walker ” had to be on this new collection . How — and where — did you find the rest of the tracks ? BD : Well , basically , it all centered around Fallen Torches . Because a few years ago , a couple of major rehearsal studios — these big complexes that have 20 or 30 rooms , and bands practice in there — closed , so there were a a lot of homeless bands , basically , and we were one of ‘ em . We didn ’ t have a place to jam anymore . And luckily , we were on tour at the time — we didn ’ t NEED a place to go at the moment . But we were going to eventually , so we were like , “ Okay , after two years of touring , we ’ re going to go into writing mode . And where in the hell are we gonna do that ?” So we ended up buying a building , as a band — we went in on it . And we tricked it out into 20 rehearsal spaces , and in the basement , we put a recording studio , a full-on recording studio . So when it was finished and everything was plugged in , and I put my drum kit up , we wanted to see what we had — we wanted to see what we were working with as far as our drum sounds in the room and everything . So we did that , and then said , “ Well , let ’ s record something .” But we didn ’ t really have a song . So I went over to Bill ’ s basement one day and said , “ I ’ ve got these two riffs ,” and we started going through stuff and jamming , and we put “ Fallen Torches ” together . And we went in and recorded it at our studio to
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see what we were working with , and we liked it . Then Scott Kelly came to rehearse with us for a European tour , and he sang on the song , and we thought , “ This is done — let ’ s have it mixed and mastered . Then we can put it out with this tour and it ’ ll be like this special thing .” Because we ’ ve never done that before — we ’ ve never released a loose-leaf song without it being tied to an album . But two weeks into the tour , we were told we can ’ t do that . And I didn ’ t know what was going on , and I can ’ t remember — I was given some reason why . It was some kind of bureaucracy or red tape , but it didn ’ t come out . But we ’ d talked about it in the press , so everybody was like , “ Where ’ s this song ?” And I was like , “ What song ? I don ’ t know what you ’ re talking about !” I had to shove it under the rug because we had no idea what we were going to do with it . There were a few different options , but one of ‘ em made much sense . It had made so much sense to just put it out with the tour . So our manger said , “ Listen — you guys
have all this stuff that ’ s only been released on Record Store Day vinyl , special editions . For the last 20 years you ’ ve been doing this , so you have a little collection of things that have been out there like shrapnel , basically . So why don ’ t we collect it all , put it with Fallen Torches , and have a release ?” So we decided that this was the best way to release Fallen Torches , and it ’ s a cool compilation of songs that I honestly forgot about a little bit , like , “ Oh , yeah ! We did that cover ! And that one !” So it was a nice little trip down memory lane for us , and when I sat and listened to everything together , I thought it was actually a very cool little compilation . It was a fun thing to listen to , to be honest , because I don ’ t ever hear those songs , and we don ’ t play ‘ em live . So it ’ s a collection of oddities , so it ’ s something cool to come out while we ’ re recording this next album .
IE : After you finished your daily painting , would you turn on the TV news and gasp in horror ? BD : Unfortunately , the news was on almost the whole time . The news was on with that fucking death ticker up in the right corner , and I was just reminiscing with someone today , “ Remember when it was at 5,000 deaths , and they were freaking out , saying it was more people than had died in 9 / 11 . And now it ’ s heading for 200,000 people , and we ’ re used to this now . But we still
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favorites including The Lassie Foundation , Starflyer 59 , Richard Swift , Pedro the Lion , and more . Listeners in the know have also followed Lenz on a hot streak of his own that began with 2001 ’ s The Hot Stuff LP , continuing with soundtracks including 2009 ’ s Strictly Background and EPs like the synth-and-drum instrumental set Pyramid released earlier this year . While Lenz has produced challenging and satisfying experiments for adventurous ears , Hot Painless City is a straightforward gift that anyone of his generation can immediately grasp . Generation X-ers and their offspring will recognize the deliberately maudlin “ Suicide is Painless ” as the theme song for beloved film and TV sitcom M . A . S . H . Lenz ’ tremulous tenor is awash in cavernous echo , accompanied by acoustic guitar , melancholy strings and twinkling percussion . Nick Gilder ’ s streetwise “ Hot Child in the City ” was an omnipresent single on FM radio during the summer of 1978 . Lenz ’ version is propelled by a fat synthesizer bass and brash drumming , and spiced with flourishes of electropop . Joni Mitchell ’ s bittersweet reflection on maturity and perspective in the autumnal “ Both Sides , Now ” was a hit for Judy Collins in 1968 . Of the three songs , Lenz gives this one the most reverent treatment with an openly emotive and vulnerable vocal . ( velvetbluemusic . com )
– Jeff Elbel
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NICK MASON ' S SAUCERFUL OF SECRETS Live at the Roundhouse
( Legacy )
This beautifully shot 21-song concert film is a dream for fans of early Pink Floyd and psychedelic rock . The five-piece Saucerful of Secrets ensemble was honed through months of performance prior to Mason ’ s May 2019 return to London ’ s historic Roundhouse , which hosted Pink Floyd during its first public concert held in 1966 . With a show focused exclusively upon material released prior to 1973 ’ s Dark Side of the Moon , the affable Mason celebrates Syd Barrett rarities like the whimsical “ Vegetable Man ” while delving deeper into Floyd ’ s formative years than David Gilmour or Roger Waters have dared during their recent tours . The “ heartbeat of Pink Floyd ” is embellished by musicians including Spandau Ballet guitarist Gary Kemp and Gilmour sideman Guy Pratt on bass . The show begins with “ Interstellar Overdrive ,” bathed in red light with swirling oil lamp images . Otherworldly , space-age sounds offer a psychedelic trip without need for chemical assistance until the fading farewell of “ Point Me at the Sky .” Audio versions of Live at the Roundhouse are available on digital , vinyl and CD . Bonus features on Bluray and DVD formats include rehearsal and interview footage . ( thesaucerfulofsecrets . com )
– Jeff Elbel
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NICK LOWE Lay it On Me
( Yep Roc )
Lowe ’ s three songs on this EP ring and chime like roots-pop classics . The starryeyed “ Lay it On Me ” is a melodic and amorous throwback to skillful confections like “ Cruel to Be Kind ,” with a guitar riff echoing Peter Buck from R . E . M .’ s “ Second Guessing .” Loverboy ’ s luck turns bad during “ Don ’ t Be Nice to Me ,” though . “ When I find a rock big enough for me to crawl under , I ’ m going to hang a sign outside to the world : ‘ stay away ,’” sings a heartbroken Lowe to an ex-flame . Lowe ’ s third offering is a snappy cover of Brenda Lee ’ s 1962 single “ Here Comes that Feeling .” The singer ’ s partners in crime Los Straitjackets provide surf-rock twang and rockabilly rhythm as the backing band throughout the EP . On the flip side is Los Straitjackets ’ groovy instrumental cover of Shocking Blue ’ s “ Venus .” Eddie Angel and Greg Townson ’ s stinging guitars licks are punctuated by Pete Curry ’ s guttural bass fills . ( yeproc . com )
– Jeff Elbel
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THE ROLLING STONES Goats Head Soup Super Deluxe Edition
( Polydor / Interscope / UMe )
Goats Head Soup is often dogged by a second-class characterization among the Rolling Stones catalog that dates to its initial reception in 1973 . The classic 1972 double album Exile on Main Street may simply have been too tough an act to follow so quickly – not to mention the preceding winning streak including Beggars Banquet , Let it Bleed , and Sticky Fingers . Judged on its own merits , however , Goats Head Soup is worthy work with a clutch of classic Stones singles . This Super Deluxe Edition gives stalwart fans plenty to celebrate , and provides any skeptics with a deep dive for reassessment . The album ’ s crown jewel is Keith Richards ’ “ Angie ,” an outstanding ballad and international chart-topping single . Richards ’ acoustic guitar and Mick Jagger ’ s vocal drip with emotion and regret for the end of a romance , heightened by collaborator Nicky Hopkins ’ sparkling piano . “ Doo Doo Doo Doo Doo ( Heartbreaker )” is the band at its most streetwise and tough , describing the innercity blues of police brutality and drug casualties with sad echoes in contemporary headlines nearly 50 years later . The urbane themes are underscored by bristling brass lines from saxophonists Bobby Keys and Jim Horn alongside trumpeter Chuck Findley , and the song is propelled by the muscular funk of Billy Preston ’ s clavinet ( Preston was riding high on his own chart-topper “ Will It Go around in Circles ” in early 1973 ). Mick Taylor ’ s wahwah guitar is played through a rotating Leslie speaker , providing another sonic signature . The sinister graveyard blues of “ Dancing with Mr . D ” returned to Stones set lists during the band ’ s 2017 tour . Although the Stones made quick work of recording Goats Head Soup in Jamaica during tax exile from England , the band recorded far more material than they could use on a single LP . Some leftovers like “ Waiting on a Friend ” would become singles on other albums . A major draw for this reissue ’ s 2xLP format is the second platter of rarities including the previously unreleased tracks “ Criss Cross ,” “ Scarlet ,” and “ All the Rage .” The chugging “ All the Rage ” launches with prominent cowbell reminiscent of “ Honky Tonk Women ,” sporting saloon piano from founding member Ian Stewart and boasting extended and expressive soloing from Taylor . The “ Scarlet ” session featured Led Zeppelin guitarist Jimmy Page ’ s recognizable phrasing . Richards spars with Page as a
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