Friday, September 30, 2016


September 1, 2016
"School Days" performed by Chuck Berry
"Teacher" performed by Jethro Tull
"Be True To Your School" performed by The Beach Boys
"We Rule The School" performed by Belle and Sebastian
"The Headmaster's Ritual" performed by The Smiths
"Common At Noon" performed by Kevin Junor
"My Old School" performed by Steely Dan
"What Did You Learn In School Today" performed by Pete Seeger

September 2, 2016
"Data Bank" (unreleased)
"All My Dreams" (unreleased)
"Paisley Park"
"Around The World In A Day/Christopher Tracy's Parade/New Position/I Wonder U/Raspberry Beret" (lie in Paris 8-25-86)
"God (instrumental theme from "Purple Rain")"

September 3, 2016
"Weekend" performed by Dash Hounds-WSPC PREMIERE
"Mary" performed by Dolores
"Golden Days" performed by Whitney-WSPC PREMIERE
"The Breakup Suite" performed by Duster
"Over And Over" performed by Fleetwood Mac
"Blume" performed by Post Social-WSPC PREMIERE

September 4, 2016
"Sunday Afternoon" performed by Rachael Yamagata
"Sunday Afternoon In The Park/One Foot Out The Door" performed by Van Halen
"Look Like A Fool" performed by Neens
"Take It Slow" performed by Rogue Wave

September 5, 2016
"American Workers" performed by The Busboys
"Work To Do" performed by The Isley Brothers
"Keep On Working" performed by Pete Townshend
"Working Man" performed by Rush
"I Go To Work" performed by Kool Moe Dee

September 6, 2016
"Don't Stop Me Now" performed by Queen
"Animal Heart" performed by Nina Persson
"Go Your Own Way" (live) performed by Dolores O'Riordan
"Hello (I Love You)" performed by Roger Waters
"The Rhythm Of The Heat" performed by Peter Gabriel

September 8, 2016
"How Do You Know It Was Racism?" performed by W. Kamau Bell-WSPC PREMIERE
"Ghetto Soundwave" performed by Fishbone
"Nothingness" performed by Living Colour
"Brilliant Corners" performed by Vernon Reid & Masque
"Lord Intended" performed by De La Soul with Justin Hawkins-WSPC PREMIERE

"Digging For Windows" performed by Zach De La Rocha-WSPC PREMIERE

September 9, 2016
"The Wretched" performed by Nine Inch Nails
"Thinkin Bout You" performed by Robert Glasper Experiment-WSPC PREMIERE
"Who Shot Ya?" performed by Living Colour-WSPC PREMIERE
"The Veil" performed by Peter Gabriel-WSPC PREMIERE
"It's So Hard" performed by John Lennon

September 10, 2016
"Normal American Kids" performed by Wilco-WSPC PREMIERE
"Why" performed by Fleetwood Mac
"I. flight of the navigator" performed by Childish Gambino
"Prayer" performed by D'Angelo and the Vanguard
"Before Today performed by Everything But The Girl

"Alabaster" (live 1989)
"Hello Kitty Kat"
"Thru The Eyes Of Ruby"
September 11, 2016
"A Wall In NYC" performed by Todd Rundgren
"Sunday" (live) performed by David Bowie
"Illume" performed by Fleetwood Mac
"The Fuse" performed by Bruce Springsteen
"My Blue Manhattan" performed by Ryan Adams
"Flying" performed by Living Colour
"The Proud" performed by Talib Kweli
"An Open Letter To NYC" performed by Beastie Boys

"Revolution Radio" performed by Green Day-WSPC PREMIERE
"Nothing Compares 2 U" (live Tokyo 9/5/16) performed by FDeluxe

September 12, 2016
"(Last Night) I Didn't Get To Sleep At All" performed by The 5th Dimension

"Ghost Rider" performed by Rush
"Properties Of Propoganda (Fuk This Shit On Up)" performed by Fishbone
"Rockin' The Suburbs" performed by Ben Folds
"Stranger Things Tribute" performed by Tangerine Dream-WSPC PREMIERE

September 13, 2016
"Spy Of Love" performed by INXS
"Living In A Movie" performed by Gary Myrick
"Set In Motion" performed by Sloan
"They Put Her In The Movies" performed by Jason Falkner

"Wow" performed by Beck-WSPC PREMIERE

September 15, 2016
"Me And Sarah Jane" performed by Genesis
"Charm" performed by Tony Banks
"Halfway There" performed by Mike Rutherford
"I'm Not Moving" performed by Phil Collins

"Blume" performed by Post Social-WSPC PREMIERE

September 16, 2016
"Don't Worry About The Government" performed by Talking Heads
"After The Flood" performed by Talk Talk
"Keep Talking" performed by Pink Floyd
"Communication" performed by The Cardigans
"Drawn" performed by De La Soul with Little Dragon-WSPC PREMIERE

September 17, 2016
"All Kinds Of Time" performed by Fountains Of Wayne
"Backfield In Motion" performed by Mel & Tim
"Turn Back The Hands Of Time" performed by Tyrone Davis
"Go Robot" performed by Red Hot Chili Peppers-WSPC PREMIERE
"Annie Christian" performed by Prince

"A Man In A Purple Dress" performed by The Who

September 18, 2016
"Pass The Dutchie" performed by Musical Youth
"Absolute Beginners" performed by David Bowie
"Cloudbusting" performed by Kate Bush
"Love Kills" performed by Joe Strummer
"No Compute" performed by Funkadelic

"Spaceship" performed by Kanye West
"Those Shoes" performed by Eagles
"My Adidas" performed by Run-DMC

September 19, 2016
"Eggplant" performed by Prince and the Revolution (UNRELEASED)
"Athol-Brose" performed by Cocteau Twins
"Amazing Grace" performed by Daniel Lanois
"Passive" performed by A Perfect Circle
"The Hand That Feeds" performed by Nine Inch Nails

September 20, 2016
"Good Morning Judge" performed by 10cc

"New World Water" performed by Mos Def
"Show Business" performed by A Tribe Called Quest
"My People" performed by Erykah Badu
"Donuts" by J Dilla-IN ITS ENTIRETY
September 21, 2016
"Give Peace A Chance" performed by John Lennon
"Love's In Need Of Love Today" performed by Stevie Wonder
"Get Together" The Youngbloods
"Peaceful World" performed by John Mellencamp
"One World (Not Three)" performed by The Police
"One World" performed by Utopia
"Why Can't We Live Together?" performed by Timmy Thomas
"When The World's At Peace" performed by The O'Jays

September 22, 2016
"Crystal" (live on Later With Jools Holland) performed by New Order

"Black Man In A White World" performed by Michael Kiwanuka-WSPC PREMIERE
"Sleep" performed by The Roots
"American Dream" performed by Andre Cymone
"Black America Again" performed by Common-WSPC PREMIERE

September 24, 2016
"Daily Nightly" performed by The Monkees

"Bullets In The Streets And Blood" performed by Cody ChesnuTT-WSPC PREMIERE
"Drum + Fife" performed by The Smashing Pumpkins
"Nobody" performed by Rachael Yamagata-WSPC PREMIERE
"Prophets Of Rage" performed by Prophets Of Rage-WSPC PREMIERE
"American Skin (41 Shots)" performed by Bruce Springsteen

September 25, 2016
"Bonzo's Montreaux" performed by Led Zeppelin

"Nobody Girl" performed by Ryan Adams
"Secret Agent Man" performed by Johnny Rivers
"Vigilante" performed by Tony Carey
"Emotional Criminal" performed by Van Hunt
"Kiss The Dirt (Falling Down The Mountain)" performed by INXS

September 27, 2016
"A Geometric" performed by Sam Prekop
"Rubycon Part 1" performed by Tangerine Dream

"The Cinema Show/Aisle Of Plenty" performed by Genesis

September 28, 2016

"Joy Inside My Tears"
"Village Ghetto Land"
"If It's Magic"
"Another Star"

September 29, 2016
"Days Gone By" performed by Joe Walsh
"Sweet Jane" performed by Lou Reed
"Nobody Dies Anymore" performed by Tweedy
"Divide" performed by The Amazing-WSPC PREMIERE
"Jakten Genom Skogen" performed by Dungen-WSPC PREMIERE
"Ill Wind" performed by Radiohead-WSPC PREMIERE

September 30, 2016
"Holy Commotion" performed by Pretenders-WSPC PREMIERE
"The Pretender" performed by Foo Fighters
"Blak And Blu" performed by Gary Clark Jr.
"Gold Dust Woman" performed by Fleetwood Mac
"September" performed by Ryan Adams and the Cardinals

Thursday, September 29, 2016


1. "School" performed by Supertramp
2. "We're Going To Be Friends" performed by The White Stripes
3. "U-Mass" performed by Pixies
4. "Like China" performed by Phil Collins
5. "High School Dance" performed by The Sylvers
6. "Playground" performed by XTC
7. "Thirteen" performed by Big Star
8. "Headmaster" performed by The Kinks
9. "Starfish And Coffee" performed by Prince
10."Look Sharp!" performed by Joe Jackson
11."Don't Be A Dropout" performed by JAMES BROWN
12."Teacher, I Need You" performed by Elton John

1. "September Song" performed by Jeff Lynne
2. "Listen Like Thieves" performed by INXS
3. "New Star" performed by Tears For Fears
4. "Not Worlds Apart" performed by The Bears
5. "I Wanna Be Free (fast version)" performed by The Monkees
6. "Cars And Girls" performed by Prefab Sprout
7. "Dreamworld" performed by Rilo Kiley
8. "Beverly Terrace" performed by Sloan
9."Clockwork Creep" performed by 10cc
10."I'm Mandy Fly Me" performed by 10cc
11."Love My Way" performed by The Psychedelic Furs

1. "Crystal" performed by New Order
2. "Theme From Trophy Dad" performed by Trophy Dad
3. "In Bloom" performed by Nirvana
4. "Magnificent" performed by U2
5. "Paper Dreams" performed by Slow Pulp
6. "No Name" performed by gobbinjr
7. "Change Your Mind" performed by Post Social
8. "Through Hardship To The Stars" performed by Gloss Coats
9. "Be Mine" performed by Wilder Deitz Group
10."Blackout" performed by Garbage

Dash Hounds photo courtesy of SCOTIFY
SEPTEMBER 28, 2016
Interview with Alivia Kleinfeldt and Brendan Manley
1. "Papercuts" performed by Modern Mod
2. "Idee Fixe" performed by Dash Hounds
3. "Pudding" performed by Dash Hounds
4. "Yes I Front" performed by Dash Hounds
5. "Clover" performed by Dash Hounds


Released May 10, 2011
Released March 11, 2016
NEW 2016 MUSIC: This latest posthumous collection from the archives of the golden voiced Jeff Buckley is an intimate and subtlety revealing grouping of songs from the late artist. Now, we all know about Buckley's astonishing voice but this time around, I was really struck by the dexterity and versatile nature of Buckley' guitar playing as all of the selections upon "You And I" are solo recordings, just Jeff and his guitar.

In addition to two original compositions (including the first recording of "Grace"), Buckley covers material by Sly and the Family Stone, Led Zeppelin, The Smiths, Louis Jordan, Bob Dylan and others deftly showcasing not only his musical taste but his simultaneous musical shape-shifting skill that celebrates all of the artists covered while also making each selection his very own.
Released July 16, 2015
Released September 9, 2016
NEW 2016 MUSIC: While you cannot always judge an album by its title or by it jacket, I have to admit, I was just this close to maybe giving the album a pass for the time being, precisely due to its album cover artwork and title.

Wilco's 10th album, entitled "Schmilco," and arriving just a tad over one year from the album pictured directly above, possessed just the sort of approach that typically gives me a negative knee jerk reaction. To me, it just smacks of the very self-congratulatory irony and self consciously quirky hipster-ism that is a complete turn off. From the artist Joan Cornelia's bizarre "Nancy & Sluggo"-ish cover to the title itself, a nod towards Harry Nilsson's "Nilsson Schmilsson" (released November 1971) and finally, finding "Star Wars" to being somewhat underwhelming and slight, I wasn't terribly excited about the band's latest effort.

Thankfully, I took the plunge as "Schmilco," feels, to my ears, to be a stronger, much more melodic work than its predecessor that not only stands firmly upon its own artistic feet but it is a work that seems to inform "Star Wars" in retrospect, As this new album was mostly recorded during the same period as "Star Wars," these two albums do indeed now play off of each echoed statements or as two halves of a mythical double album.

Regardless, Wilco's "Schmilco" was a most happy surprise for me this month with its more acoustic based presentation and a sonic texture that often recalls  The Beatles' eponymously titled double set a.k.a. "The White Album" (released November 22, 1968) and for that matter, Fleetwood Mac's "Tusk" (released October 12, 1979), both of which also felt like influences upon Wilco bandleader Jeff Tweedy's own double album side project, Tweedy's "Sukierae" (released September 23, 2014). This particular musical palate serves the new Wilco material handsomely as the songs feel nostalgic yet extremely present and urgent with subject matter that reflects upon adolescence from a clear eyed vantage point from middle age as depicted within tracks like "North American Kids," "If I Ever Was A Child," "Shrug And Destroy," and "We Aren't The World (Safety Girl)" among others.

So...lesson learned...again. And sorry I ever doubted you.
Released September 17, 1990
Released November 15, 2011
Released October 19, 1999
Released August 26, 2016
NEW 2016 MUSIC: If you are a regular visitor to either this blogsite or to its sister blogsite Savage Cinema, you are more than aware of my love and adoration for Writer/Director Cameron Crowe's "Roadies," his debut foray into series television, which was sadly critically maligned (and as far as I am concerned, more than unfairly) and even more sadly, cancelled due to middling ratings (although, the series possessed a definitive beginning, middle and conclusion).

Yet, for those who did not see the series, or ones who were underwhelmed, it cannot ever be denied that Crowe carries an impeccable musical taste, which was heroically on display throughout the 10 episodes and now, on this official soundtrack album which captures live performances from musical legends (Lindsey Buckingham, Jackson Browne, John Mellencamp), alternative favorites (My Morning Jacket, Best Coast) and new arrivals (Reignwolf, The Head and the Heart, Lucius), to brilliant effect and deeply felt emotions which echo the series' main themes which served as an elegy to rock and roll as well as an urgent call for its ever lasting flame.
Released May 10, 2011

Sunday, September 25, 2016



Kelvin Mercer a.k.a. Posdnous-Plug One
Dave Jude Jolicoeur a.k.a. Dave-Trugoy The Dove-Plug Two
Vincent Lamont Mason Jr. a.k.a. Maseo-Pasemaster Mase-Plug Three

Performed with The Rhythm Roots All Stars

Released August 26, 2016

"At the end of the day, those 11,000 people...they saved our lives."

It is really only this point in time that I am fully realizing that the incredible amount of goodwill the iconic hip-hop trio De La Soul has amassed over their nearly 30 year career has been exquisitely earned and more than well deserved. Through their sheer creativity, innovativeness, audacity, fearlessness and unquestionably their steadfast nature regarding their longevity regardless of any career obstacles, they have remained nearly peerless.

For me, my allegiance to the group began, as I am certain as it did for most, with their landmark debut album "3 Feet High And Rising" (released February 14, 1989), an album introduced to me by a friend who was convinced that this would be the very release to shatter any skepticism that I held towards rap and hip-hop. He was 100% correct as I fell in love with the release upon first listen.

And what a first listen that album was. De La Soul's "3 Feet High And Rising" was undoubtedly a game changer. Working in full collaboration with genius producer Prince Paul, De La Soul delivered a full and immersive audio experience that created a labyrinthine musical universe filled with skits, in-jokes within in-jokes which peppered, informed and supported a sublime musical and lyrical outpouring that functioned as the sneakiest yet sharpest brick thrown through the hip-hop window as the high level and inventiveness of the sampling, plus the exceedingly wide variety of source material of which the group played off of, was staggering to say the least and showcased precisely not only what hip hop could be but what hip-hop already existed as in the minds of these fiercely idiosyncratic artists.

The two follow-up albums, the extraordinary "De La Soul Is Dead" (released May 14, 1991) and "Buhloone Mindstate" (released September 21, 1993) respectively, only deepened and increased the musical power and vision of De La Soul masterfully but afterwards and their decision to part ways with Prince Paul as musical co-conspirator, it seemed that De La Soul became hip-hop's version of Icarus, the band who flew so highly and so closely to the sun but fell back towards Earth.

Now do not get me wrong. That sentiment is not meant to suggest that Prince Paul was the primary architect to the greatness of those first three De La Soul albums but somehow, I kind of think of him like being the group's George Martin, the one who believed and knew precisely how to best represent them sonically, delivering their distinctive musical universe as gloriously as possible. And for whatever reasons, the material released after these three golden albums just paled considerably to my ears, despite the musical risk taking and undeniable ambition.

Essentially, with "Stakes Is High" (released July 2, 1996), "The Grind Date" (released October 5, 2004) and both, "Art Official Intelligence: Mosaic Thump" (released August 8, 2000) and "AOI: Bionix" (released December 4, 2001), incidentally the first two installments of the aborted three part album series, De La Soul, who triumphantly paved their own way and became hip-hop front-runners seemed to fall behind their contemporaries and functioned as if they were playing catch up within a genre that was either advancing or stagnating (depending upon whom you would ask) around them. The time between album releases grew due to all manner of music industry and record label upheavals, which may have also played significant roles in the music they were writing and releasing as well. While all of those albums had their fine moments, they were also littered with moments that were more than regrettable, moments that felt to be almost desperate means to keep pace with the pack, wholly unnecessary when De La Soul only really needed to keep pace with themselves.

Yet, even through all of the valleys, I have remained faithful, hopeful and have been rooting for De La Soul's resurgence for a long extremely long time. I have felt that the group's return to glory would be inevitable and also, I just knew that they still possessed the goods to bring that glory to vivid life. And now, that glory has now grandly revealed itself as "...and the Anonymous Nobody," De La Soul's ninth release, their first album in 11 years and without question, their finest work in over 20 years and finally, easily it is one of the very best albums that I have heard in 2016.

By now, for many of you the road to the arrival of "and the Anonymous Nobody" is more than well known but for the uninitiated, the backstory is as follows...

For a group as restlessly ambitious as De La Soul, their next idea for constituting their new album was certainly their most audacious to date. The idea was to eschew with all samples of pre-existing material as their sonic backdrops and to essentially sample themselves instead via the recording and composing of music with their touring band The Rhythm Roots All Stars. Additionally, and desiring a greater independence than ever before, De La Soul rolled the dice and turned to the crowd-funding source of Kickstarter to raise funds for this new project not ever fully knowing if whatever fan base they possessed in the past would still remain in existence in the present. To their surprise, De La Soul fully met and exceeded their projected goal of $110,000 within the first 24 hours!! (Yes, I contributed.)

Certainly, I cannot even begin to know what transpired for Posdnous, Dave and Maseo as they received this instant confirmation of their fan base's collective loyalty, but I would like to think that it was at this point where they took the good will of all of these anonymous nobodies and became more determined than ever to dig to their absolute deepest and unearth the finest music they could possibly create. Working with The Rhythm Roots All Stars, De La Soul jammed with the musicians and ended up recording over 200 hours of material, which they then pressed onto vinyl, thus creating their own custom made vinyl stacks which cold then be further manipulated--i.e., De La Soul had effectively sampled themselves!

Now, ti was time to create the album in full, being inspired by the music they created out of thin air rather than re-contextualizing pre-existing material. While the band had originally proclaimed a release date of April 2016, the deep waters of the business side of the music business had to be effectively navigated--from negotiating any legalities to collaborating with guest artists, artwork, distribution, Kickstarter rewards etc...therefore, the original release was pushed to the end of August--but as a tidbit, De La Soul did toss us the fun 4 track teaser entitled "for your Pain And Suffering" (released April 29, 2016) which featured an upcoming album track plus the terrific, playful non-album tracks "Beautiful Night," with its elegant horn section as well as "Schoolyard Studios," which is a tad reminiscent of Paul Simon's "Me And Julio Down By The Schoolyard."

Yet, after everything and when all is said and done, the intensely extra effort has paid off beautifully as De La Soul, has finally, FINALLY, crafted an album is fully cut from the same cloth as the group's first three albums while, and this is indeed crucial, it is a work that sounds absolutely nothing like any of those albums, or really even any other album in the De La Soul discography.

"and the Anonymous Nobody" is as lyrically dexterous as anything we have ever heard from the group in the past, but this time, the songs are armed with a full knowledge and reflectiveness that arrives poignantly after 30 years on the music scene, a distinctive quality that informs and provides a greater gravity throughout the entire album even when the songs themselves are more humorous, or absurd as demonstrated on the six minute Country-Western Ennio Morricone styled fantasia/ode to a lifetime on a worldwide tour entitled "Unfold."

But first...Yes, you did read that correctly in the above paragraph. Country-Western. The over 200 hours of music generated for the nearly 70 minute album was exceedingly well worth the extensive recording and jamming process for De La Soul. Secondly, the group has found innovative ways to incorporate a slew of guest appearances throughout the album making "and the Anonymous Nobody" feel as if De La Soul has taken a few pages from the playbooks as utilized by groups like Handsome Boy Modeling School (the duo of Dan The Automator and Prince Paul) as well as Damon Albarn and Jamie Hewlett's Gorillaz, both groups with whom De La Soul has collaborated with (and frankly, both groups who have clearly been heavily influenced by De La Soul). But, be assured, De La Soul remain at the forefront, never creating a work that sounds as if they are guesting upon their own album. We are recipients of their vision from beginning to end and luxuriously so. Simply stated, the wide breadth of musical diversity on "and the Anonymous Nobody" is positively thrilling to listen to.

"and the Anonymous Nobody" opens in prayer with the track "Genesis" featuring an urgent invocation from Jill Scott fronting an orchestral backdrop that recalls Bill Lee's sweeping strings from Spike Lee's early "joints."

"When do you think it's time to love something the most, child?" asks Scott with passionate, Earth Motherly reverence. "When it's successful and done made everything easy for us, huh? Psh!/Un-uh, that ain't the time at all/It's when it's reached it's lowest point and yo don't believe in it anymore/And the world done kicked it and its tail that its lost itself!/Yes, that's when nobody cares/That's right/Nobody."

While delivered with rich elocution by Jill Scott, those opening words fully conveyed the artistic and even spiritual challenges faced by De La Soul, individually and collectively, effectively beginning "and the Anonymous Nobody" from a place of near defeat, a brilliant move as upwards is the only direction from here.

At this point, "and the Anonymous Nobody" is front loaded with a series of hip-hop and funk fueled jams including the horn blasted processional of "Royalty Capes,"  the dance floor groove of perseverance entitled "Pain" featuring a guest shot from none other than Snoop Dogg ("Pain will make you better," chants the chorus), and the minimalist shuffling drums space voyage of "Property Of Spitkicker.Com." 

The stunning, sweeping "Memory Of...(US)" with its gorgeous string sections pumped up by succulent hip-swaying bass and drums documents beautifully layered sections from Posdnous and Dave, filled with metaphors detailing remembrances of either a lost romance or a renewal of a love of hip-hop.

"How could I forget?
A ballad was born upon a demo of a fly love song
Didn't take long before the archer with the wings heard it
Shot us in the heart with a contract, he knew we were a hit
The right amount of soul with a parallel amount of grit
But the archer couldn't see the target of departure
Gave in your pink slip and called it quits
It's understood you would 
Label me a mate who wronged you
Cause I kept wanting to feature
With them other females on they songs too
Your words spoken in mono for monogamy
Telling me I had to go cause I chose 
Stereo for stereotypical male biology
And now I'm left setting traps
For you to fall in for me again
Who hates you to tell me
'Slow up the pace, maybe erase, don't...'"

The warmth, sincerity, vulnerability and regret just feels like a warm bath to sink into for an extended session of self-healing and hopeful rejuvenation.

The album switches gears dramatically with the swift garage rock of "CBGB'S" before soaring into the incendiary, swaggering hard rock of the seven minute plus "Lord Intended" featuring Justin Hawkins of The Darkness crooning in his finest faux Freddie Mercury falsetto, "FUCK EVERYONE!!" before the band unloads a face melting guitar solo. The inimitable David Byrne arrives on the album's next curve ball "Snoopies," a terrific alt-rock/hip-hop hybrid that makes me wish for future collaborations from these two markedly different yet like minded idiosyncratic artists.

The mood turns pensive and somber during "Greyhounds," one of the album's strongest songs that feels like a conceptual link to Lou Reed's "Walk On The Wild Side" and Stevie Wonder's "Living For The City," and a gain showcases the depth of the group lyrical skills and concepts. Existing within the same stratosphere as more serious-minded classic De La Soul tracks like "My. Brother's A Basehead" and the grim child abuse turned violent retribution tale of "Millie Pulled A Pistol On Santa,"  Dave a.k.a. Plug Too weaves a series of dark vignettes featuring a female ingenue arriving in the big city only to become trapped in the world of prostitution and another starring a wayward drug dealer, whose ultimate fates arrive before and after travels upon the song's titular vehicle. "So watch where you're goin'/And this food you're chosin'" warns the song. "By the time you arrive, you'll forever be changed." 

Relationships, sex and the consequences of carnality arrive on the album's next three selections, the brief "Sexy Bitch," the deep bass driven erotic angst of "Trainwreck" and culminating with the album's most musically striking selection, the mournful tale of infidelity and the long shadow of regret of "Drawn" featuring the ethereal vocals of Little Dragon and an instrumental backdrop that sounds like orchestral chamber music.

Updated versions of old-school hip-hop and '70s era funk a la Parliament arrive on the 2Chainz assisted track "Whodeeni" and "Nosed Up," respectively. After the brief satirical infomercial of "You Go Dave" and the aforementioned Western travelogue dreamworld of "Unfold,"  the album arrives at its highly emotional and transcendent conclusion with the one-two punch of "Here In After," a anthemic alt-rock/atmospheric soul hybrid of impending mortality and passionate resolve featuring a reunion with Damon Albarn and the stirring benediction of "Exodus," on which, through a bed of orchestral strings, we end with the following words:

"We are the present, the past and still, the future. Bound by friendship, fueled and inspired by what's at stake. Saviors? Heroes? Nah. Just common contributors hopin' that what we created inspires you to selflessly challenge and contribute. 
Sincerely, anonymously,

De La Soul's "and the Anonymous Nobody" is a 100% triumph whose dense, dynamic lyrics, guest appearances and defiantly wide reaching musical palate all contain thematics that play off of each other and double end upon themselves, ultimately weaving a tightly wound tapestry. The live instrumentation propels the lyrics and vice versa and outside samples are utilized at the bare minimum, often as accents to the music and not as the bedrock.

All three members are in tip-top voice and commands of their gifts as if the 30 years within the industry had not damaged them in any conceivable way. But to the contrary, we all know that this group has weathered more music industry storms than others and have had more than enough reasons to pack it in but intrepid they remained. Ad in fact, it feels as if we are now seeing De La Soul at a place where they are truly hungry again--perhaps eve hungrier than when they first began as while existing at what may have been their lowest point, they realized that they had nothing more to lose thus fueling their artistry, inspiration and determination to swing for the fences.

As for the "nobodies" in question? Well, in a music industry where De La Soul has always existed within their own musical universe and one that has seemingly passed the by after 30 years, it is possible that all three members may have felt of themselves as "nobodies," as "anonymous" figures that "nobody" cared about anymore. The "nobodies" also  represent every single person who has ever believed in the group, who therefore contributed to the Kickstarter fund, every single soul that De La Soul has not ever known personally or has ever even met yet who collectively pushed for the group's continued good fortune and opportunity to create the very music that no one but De La Soul could create.

De La Soul's "and the Anonymous Nobody" is an outstanding work of synchronicity and solidarity. Like their classic material, they have created material that again showcases precisely what hip-hop and music itself can possibly be and what the three members of De La Soul already believe that it is!

Sunday, September 4, 2016



Alivia Kleinfeldt: Guitars, Bass Guitar, All Vocals
Brendan Manley: Guitars, Drums
Sam Galligan: Bass Guitar
Tom Teslik: Drums
Zach Guyette: Drum Machine Programming on "Dreamboy"

All Lyrics by Alivia Kleinfeldt
All Music Composed by Alivia Kleinfeldt and Brendan Manley except where indicated

Covert Art Photography by Dawn Kleinfeldt
Mixing and Engineering by Zach Guyette
Mastered by Justin Perkins

Arranged and Produced by Dash Hounds
Released August 27, 2016

In the final performances of Madison, WI's Modern Mod, which I was very fortunate to witness, the band performed two unrecorded selections at the end of each performances that were not only first rate, but ones that sounded worlds away from the glistening sunshine pop music of their one and only album "Tunnels" (released April 21, 2014). The songs, each armed with the respective tentative titles of "A Reminder" and "Capture," were forged with a considerably darker edge. These songs were brooding, even menacing as well as running a greater length and carrying significant time signature changes and a harder, more propulsive energy. My ears truly perked up with those songs (and truth be told, there is some part of me that still wishes they record those two songs just to have them firmly collected somewhere), because they suggested new musical directions the band could continue into should they move forwards.

But, Modern Mod did indeed disband with all of the members moving forwards into new musical territories just not entirely with each other as bandmates while they do remain supportive friends. Around that time period, Modern Mod co-founder/songwriter/bassist/singer Alivia Kleinfeldt had been ruminating over a possible solo concept for herself. While admittedly having difficulties stringing together or completing her arsenal of ideas, she turned to her former Modern Mod bandmate, drummer Brendan Manley (also of Madison, WI's Post Social) as a possible collaborator. He agreed and the twosome hatched Dash Hounds in earnest, a vehicle not only for Kleinfeldt to showcase her talents as a frontwoman, guitarist and lyricist but also for Manley as a songwriter, arranger and guitarist as well.

Now, nearly one year later, Dash Hounds have fully arrived with their debut 5 track EP entitled "Eft," and it is a stunning, superior document and culmination of their combined efforts, intentions and artistry. As with those unrecorded selections from Modern Mod, the music of Dash Hounds is indeed worlds away from these musicians' former band. In fact, these songs feel as if they were created in an entirely different musical universe, so surprising and marveling that these are essentially the same musicians at work and play. Within "Eft," darkness is abound as well as a certain dreamworld aesthetic that is sometimes soothing, sometimes disturbing, and entirely enveloping.

1. "Dreamboy" (music composed by Kleinfeldt/Manley/Teslik/Galligan)
-"Eft" opens with a veritable epic, the seven and a half minute "Dreamboy," that at first sounds like a low-fi version of Fleetwood Mac's "Over And Over," before luxuriously unveiling itself into a widescreen effect through your speakers via Kleinfeldt and Manley's hypnotically shimmering guitar riffs and their equally swaying rhythm section.

Once the song settles into its slow, early morning dream-state groove, Kleinfeldt begins to sing the following:

"Consult the public for a surefire way to die  
Shortly before I recompose myself from losing my mind
Over the word of my best friend
He'd do it for me if he knew I'd tried again

You could say that I don't take news very well
Now I can hardly keep myself in control"

For a song that is musically languid to the point of serene calmness the intensity of the lyrical content is striking in its juxtaposition. Kleinfeldt's richly lush vocals carry an otherworldly demeanor that is dangerously inviting, a quality she utilizes throughout the entirety of the EP. And then, heading back to those lyrics for a moment, (of which I have not spoken with the members of Dash Hounds regarding the meanings behind the songs) the ambiguity and mystery contained certainly more than lends itself to any unsettling moods. Who is the "Dreamboy," for instance? Is he even real or is he just a figment of the narrator's fractured sanity? Even moreso, what is it that she tried before and again?

Musically, the song is an unhurried affair, a study in patience and dimension as the guitars twist, entangle and formulate new textures over and again (just as beautifully accomplished in Post Social), becoming hypnotic, and ultimately narcotic as my ears could listen to the song's concluding section repeatedly and endlessly.

2. "Clover" (music composed by Kleinfeldt/Manley/Galligan/Teslik)
-"What happened to forever?" asks Kleindfeldt in the EP's spellbinding second track, which takes the glorious guitar work to even further soundscapes as Dash Hounds fully displays their stormy qualities through a gradually accelerating tempo which builds to a whirlwind by the song's abruptly ferocious ending.

Kleinfeldt's vocals continue to exude a certain paranormal quality within this song as she repeats the phrases "I know that we'll be together" and especially, "I need you on my side" by the song's near climax. So spectral and gothic she sounds that I could not help but to wonder if her side was indeed the other side!

3. "Weekend" (music composed by Kleinfeldt/Manley with contributions from Galligan)
-This track began life as an unrecorded Modern Mod selection and I believe, aside from the lyrics, the song has been musically re-worked. That said, this song does sound perhaps closest to what was achieved in Kleinfeldt and Manley's former band as the traces of Pasty Cline and '50s girl group melodies and rhythms are subtly evident, even within the somnambulant pacing.

Possibly taking a page from John Lennon's lazy dream days as presented in The Beatles' "I'm Only Sleeping" and "I'm So Tired" as well as hi sown solo classic "Watching the Wheels," Dash Hounds' "Weekend" returns to more earthly trials as the song displays the relationship and envy one friend (the stagnant narrator) holds towards her ever in motion, and therefore, perpetually advancing friend. Again the juxtaposition is striking as the languid summertime slow beat perfectly augments the line "When the weekend is our only chance to sleep in/Better stay in bed," the music belies the song's intense level of full resentment and bitterness. When Kleinfeldt sings, "There is nothing left to do/ There's nothing here for you," this song which feels so calming is ultimately a harsh kiss off.

4. "Yes I Front" 
-What a difference a year makes. With the EP's fourth track, we have a selection that  heard at Dash Hounds' debut live performance last October and then, it sounded almost like the lost track by The Police. But over time and a drastic slowing of the tempo, the band has re-fashioned the song into something different and therefore, one that is more unique and fits ever so snuggly with the remainder of "Eft."

5. "Pudding" (music composed by Kleinfeldt/Manley/Galligan/Teslik)
-If "Eft" began in a daydream (albeit a troubling one), then with the EP's final track, Dash Hounds has conjured up a nightmare. Don't let the sweetness of the song's title fool you. This grinding multi-sectioned instrumental on which the vocals are nothing but Kleinfeldt's ghostly howls concludes "Eft" on a note that is grimly enveloping, submerging, dismaying and engulfing. The storminess is abound and we are caught in its eye provocatively.

Dash Hounds' "Eft" is a beautifully recorded and compulsively listenable release that has already sailed to being one of my favorite releases of 2016. As with Post Social's "Casablanca," Dash Hounds has utilized their meticulous attention to song composition and detail with the performance and recording process that not one sound feels to ever be out of place, as the experimentation and trial and error entirely fueled the writing, ensuring that each song was realized to its perfect and most complete point.

I have no idea whatsoever if Kleinfeldt and Manley have ever really listened to Fleetwood Mac but their collaboration often made me think of the peerless collaboration between Lindsey Buckingham and Stevie Nicks, especially upon Nicks' compositions where she would have the lyrics, melodies and some other skeletal ideas which Buckingham would them arrange and fully realize in the studio. On the whole, Dash Hounds weaved a spell that to my ears sounds very in line with Fleetwood Mac's "Tusk" (released October 12, 1979), an album that was deeply ahead of its time (perhaps still so) and one that has proven its long lasting influence within indie rock circles for decades.

Regardless of whatever influences may or may not have inspired what Dash Hounds has become, what is unquestionably certain is that Alivia Kleinfeldt, Brendan Manley and their collaborators are serious musicians armed with endless creativity and the tastefulness to just know when to push, to hold back, to raise and release the tension and to also allow us to experience the spaces between the notes and the rhythms, understanding that every sound is inherent to the full success of the song itself. Remember, I have heard the bulk of these songs since their first live performance and even through some demos both Alivia and Brendan have been gracious enough to allow me to hear and even still, the final results upon "Eft" were elegantly surprising, often leaving my mouth agape in amazement with what they have achieved.

And beyond that, the highest compliment that I can give to Dash Hounds' "Eft" is that every time that I have listened to it in full, I wish to hear it all over again and it also leaves me more than anxious for the future, to hear whatever these extremely talented individuals will arrive with next.

Their skill and commitment is pure and palpable and I do urge you to just give them an honest chance by heading to their Bandcamp page where you can hear the EP in full and also purchase a copy for a most affordable price (or if you live in Madison, please head on down to B-Side Records on State Street should you desire a physical copy).




AUGUST 27, 2016

I know, I know. By this time, I would not be surprised if many of you were wondering if I have been hired on to be the publicist for the new crop of young Madison, WI bands, from Post Social, Modern Mod, Trophy Dad, Slow Pulp (formerly known as Barbara Hans) and now Dash Hounds, due to the frequency of my posting concerning their exploits in addition to the heaps of praise that I have exuded about all of them.

To that, I am simply and truthfully able to inform you that no, I have not been co-opted or hired by any means. All I can hope that you will understand and believe is that my enthusiasm is all 100% honest and meant with every single breath that I have to place into the words I write to you and what I have also been able to share personally with all of the musicians that make up these bands. These musicians and the sheer guileless purity with which they have all approached their art has felt to be so very meaningful to me as all of their accomplishments have touched my musical spirit so sumptuously and completely--and in a strange, odd way, my pride for all of them is enormous and still ever growing.

I may have expressed the following sentiment in the past but if I have not, I will do so now: If I possessed a magic wand and were able to wave it, I would create a specialized forum for all of these young people to create to their heart's content within an atmosphere where their only concerns would be the pursuit of their respective muses and the security that their complete autonomy and independence would be firmly protected. But for the here and now, these young people, so down to Earth and supported and cheered on by their families and friends all seem to be doing just fine. In fact, more than fine as they are creating music that, to my ears, rivals much of what I am hearing from long established musical veterans.

On this humid Saturday evening near the end of August and just one month after attending the celebratory release party for Post Social's third album "Casablanca" (released June 30, 2016), I returned to the High Noon Saloon to offer my support and congratulations for Madison's very own Dash Hounds upon the release of their debut 5 song EP entitled "Eft."

What a wonderful event it was on this night, especially as I have been able to witness the journey of Dash Hounds from the ground floor as I attended their debut live performance last October, and I also kept in consistent contact with band founders Alivia Kleinfeldt (formerly of Modern Mod) and Brendan Manley (formerly of Modern Mod plus original/current member of Post Social) who so very graciously kept me within the loop by occasionally sending me demo versions of songs they were laboriously crafting and taking the time to answer my many questions along the way. Even as I write, I have been speaking with Kleinfeldt about having herself and Manley as special in-studio guests on my Savage Radio program for WVMO. But before I get ahead of myself, let me please get back to this great night
While I will delve into "Eft" in full for a future posting, this night at the High Noon was one of beaming celebration. Upon entering the Saloon, I immediately made my way to the merchandise table as manned by Brendan Manley's parents, Anita Sattel and B-Side Records' owner/proprietor Steve Manley, to find new, fresh copies of the EP ready for sale plus an arsenal of T-shirts and buttons, all adorned with the official Dash Hounds logo as designed by Alivia Kleinfeldt with additional touches by her Mother, Dawn Kleinfeldt plus Sattel. There was even a lithograph station set up where one could create their own custom made Dash Hounds T-shirt if they so desired.
Before the music began this evening, I once again was more than happy to have few moments to speak with Brendan Manley, Alivia Kleinfeldt, Post Social/Dash Hounds bassist Sam Galligan as well as Emily Massey, former lead vocalist/guitarist for the now defunct Modern Mod and new official member of Slow Pulp plus a second band called Melkweed, who would be making their second live performance on this night.

And then, it really hit me. I was standing in the very room where Modern Mod delivered their triumphant farewell performance this past January and now, three fourths of that band were together again, all performing in new projects while simultaneously cheering each other onwards, proving that life after Modern Mod could potentially be even more rewarding.
Paul Arbaje: Bass Guitar
Emily Massey: Vocals, Keyboards
Teddy Matthews: Drums
James Strelow: Guitar

OK...this was the band's second performance ever. Let me say this again to you...their second performance ever!!

Having missed the debut performance of Melkweed, Emily Massey's new post-Modern Mod band (and it should be noted that she has also fully joined the band Slow Pulp as well), word had made its way to me about how terrifically solid their first time on stage actually was. Even some covertly shot video of the band (courtesy of Steve Manley) made its way to me of Melkweed performing, of all things Fleetwood Mac's iconic "Dreams," an audacious move and one executed strikingly well. Now that I had the opportunity to see Melkweed in action, I was more than excitedly curious (especially as Brendan Manley and Alivia Kleinfeldt raved to me about them beforehand).

Well, dear readers and listeners, to my ears, Melkweed sounded as if they were longtime music veterans as they were all firmly within the pocket, performing five songs that sounded ready made for the recording studio, to which I urged them to get themselves into as soon as possible, for these songs were indeed that strong and all I wished for as a fan was just to listen to them all over again in my car on the way home after the show that night.
Remember that song "More, More, More" by The Andrea True Connection? In some ways, the music of Melkweed reminded me of that very song as this band's music evoked a certain 1970's spirit, that hazy, seductive dancing under the mirrorball discotheque feeling yet somehow fully updated. While Massey was nursing a cold and drinking some tea to help her throat, she took to the stage and sang captivatingly, utilizing the husky rasp of her illness stricken voice to full effect, nailing the simultaneously woozy, nostalgic and subtly narcotic atmosphere of all of the bands' selections.

Bassist Paul Arbaje and drummer Teddy Matthews (who I am just now discovering is also the drummer of the celebrated Madison band Dolores), were superbly in the pocket yet the band's MVP to me was guitarist James Strelow who nimble finger work sparkled brilliantly from song-to-song and especially on one selection where his wah-wah chicken scratch rhythm playing would have made even Isaac Hayes smile broadly!!
With now only two live performances under their collective belts, Melkweed is rapidly proving themselves to be a Madison band to watch extremely closely and here's hoping that all of the praise already flowing their direction will fuel them with the energy to create more first rate songwriting, performances and hopefully future recordings.
Andrew Balazs: Bass
Michaela Boman: Vocals
Hernan Diaz: Guitar, Vocals
Braden Huffman: Drums

The final band I witnessed that night masterfully opened the doors to the Madison music community even wider, again making me an instant fan plus further displaying to me the rich sea of musicians and songwriters that populate my city but until now, had known nothing about.

The Madison Gloss Coats, which I am of the understanding is the musical brainchild of Guitarist/Vocalist/Songwriter Hernan Diaz (a figure whom Steve Manley informed me is originally from Chile and once worked at a coffeehouse a few doors down from B-Side Records), was in a celebratory mood this evening as they too were proudly using the night as a release party for their latest full length album entitled "Vibrant."

With a musical bedrock that suggested the shimmering guitars and ethereal vocals of Cocteau Twins, the dark, brooding romance of The Cure or The Doors plus the alt-rock roar of A Perfect Circle, Gloss Coat's set was thunderously cavernous, powerfully creating an enveloping wall of sound and space that nearly made me forget that I was standing inside of the High Noon Saloon.
Where the rhythm section of bassist Andrew Balazs and drummer Braden Huffman provided that Jones/Bonham Zeppelin styled propulsiveness, it felt that it was the guitar work of Diaz that provided the musical bedrock as he concocted a web of intricately designed six string textures that were as smoldering and seductive as they were shape shifting and even sinister.
Vocalist Michaela Boman, while all smiles and often within constant motion, definitely had the vocal presence of a siren, the glorious voice calling through the darkness beckoning to all who might hear, drawing them ever closer and closer, regardless of whatever fate may await.
I wish I could tell you more about individual songs that were performed but unfortunately I am not as all of them were wholly unfamiliar to me. What was so remarkable about the performance of Gloss Coats was that I had never even heard of them or even one song before this night and upon witnessing the band, every song connected instantly and inspired me to head straight to the merchandise table to pick up a copy of their album, as I not only desired to hear more but I also just knew that their music would fit perfectly upon my Savage Radio show on WVMO.  

So, at this time, I deeply invite you to head to the Gloss Coats' Bandcamp page where their album "Vibrant" is available on either on a cassette version or through a digital download (Michaela Boman most graciously gave me a download code for the low-low price of $2 after I refused her offer to hand it to me for free).
Alivia Kleindfeldt: Vocals, Guitar
Brendman Manley: Drums
Sam Galligan: Bass Guitar
James Strelow: Guitar

While positioned in the second performing slot of the night, as far as I was concerned Dash Hounds were the headliners! As I ventured out this evening to fully show my support of the release of their debut EP, the band delivered what I felt was their strongest performance which I have seen to date from the band, and truth be told, audience members who have seen more of their live performances than I have all agreed with me that there was truly something in the air on this night for Dash Hounds pulled out all of the stops!

Performing their entire catalog (so far), from their initial single "Idee Fixe" to an untitled brand new song with the entirety of the "Eft" EP sandwiched in the middle, Dash Hounds unleashed their material with sophistication, nuance and an even greater force than I had heard from the band before. The continuously amazing bassist Sam Galligan has proved himself to be the perfect addition to the band (and it has also been terrific to regard him and his Post Social bandmate Manley within this different musical context). And James Strelow, again (!), simply dazzled, showcasing his most impressive guitar agility and expansiveness in an entirely different musical context as he had just performed with the musically different Melkweed a bit before jumping back on stage for the second time with Dash Hounds.
But this night was a testament to what Alivia Kleinfeldt and Brendan Manley created nearly one year ago as we were all witness to the full culmination of their efforts. While I have now seen this band perform only four times, their live shows have been frequent and I must remind you that these songs have been the only ones they've executed so far. So, what we have all witnessed has been the band's growth and development, the honing and crafting of their own material. Watching these musicians shape and cultivate their music has been equally fascinating and entertaining and for me, it has been truly special to regard their seriousness and overall patience with getting these songs just right. And on this night, these songs were all JUST RIGHT!
And still, I am always surprised when I see and hear Alivia Kleinfeldt perform in the Dash Hounds context rather than Modern Mod. If you were to ever meet her, you would find a friendly yet perhaps a tad shy, petite, often bespectacled young woman with a quieter, modest demeanor but when thrust upon the stage, she not only has the confidence of a bonafide rock star, her deep, rich vocals contain a mighty power and reverberate through the complex musical tapestry she, Manley and their bandmates have created together.

Now that the release party has occurred and "Eft" has been released into the world, Dash Hounds is currently ready to take a short tour which will lead them out of Wisconsin to points in Chicago and Minneapolis, and I not only wish them safe travels and the very best of good fortunes along the way, I am hoping that whatever audiences that happen to see them become as interested and soon enraptured as I have been with what they have made.

If so, then we have all been handsomely rewarded.




Friday, September 2, 2016



I'll make this intro short and sweet because there is some unfinished business to get to before moving ever more forwards.

Now that we are in the month of September and mere hints of the autumnal equinox are in the air, I am truly looking forward to any and all musical surprises that may flow our way this month and for the remainder of the year. But, the unfinished business that I was referring to happen to be the details from the Dash Hounds EP release party as well as the full posting about the EP itself.

From the local, I intend to head outwards by focusing, I just don't even wish to tell you just yet. But, it is indeed about an extremely long awaited album that I am thrilled was more than worth the extended wait and I am happily anxious to tell you all about it.

So, until then, don't touch that dial and keep listening to all of the music that speaks to you...

...and as always...PLAY LOUD!!!!!!!!!!!!!