Thursday, 14 April 2011

Tiny Tim "Over The Rainbow - A Retrospective" (1992)

  • Tiny Tim was born Herbert Khaury, and gave his birth date as April 12, 1932. The son of a Lebanese father and Jewish mother, he grew up in the Washington Heights section of Manhattan, and was a loner, eventually dropping out of high school. He took his name from Tiny Tim (real name "Tim Cratchit"), who was a fictional character in the classic story "A Christmas Carol" by Charles Dickens. He is the son of Bob Cratchit. The character is based on the invalid son of a friend of Dickens who owned a cotton mill in Ardwick, Manchester.
  • His interest in American popular music (chiefly from the 1890s to the 1930s) began at a young age, as did his desire to be a singer, and accordingly he learned guitar and ukulele. His first performances -- under the alias Larry Love -- took place in the early '50s, and according to legend, he debuted at a lesbian cabaret in Greenwich Village called the Page 3, where he became a regular. Khaury performed at small clubs, parties, and talent shows under a variety of names; his parents tried to discourage him at first, but relented when they saw that not every gig ended in ridicule.
  • By the early '60s, he had gained a cult following around the thriving Greenwich Village music scene, particularly after he began to incorporate bizarre renditions of contemporary songs into his repertoire. He finally settled on the name Tiny Tim after, as mentioned, the character in Dickens' A Christmas Carol (according to some accounts, it was suggested by a manager accustomed to working with midgets). Tim's appearance in the film "You Are What You Eat" led to a booking on the hugely popular comedy series Rowan and Martin's Laugh-In. He was an instant sensation; whether or not he was seen as an object of ridicule, no one had ever seen anything like him. He appeared several more times on Laugh-In, and became a frequent guest on Johnny Carson's Tonight Show, also performing on the Ed Sullivan and Jackie Gleason variety shows. His eccentric personality became as well-known as his music: he was obsessed with bodily cleanliness, and his distaste for sex seemed logical when paired with his gentle, asexual demeanor.
  • A hot commodity, Tim signed a record deal with Reprise and issued his debut album, God Bless Tiny Tim, in 1968. His signature rendition of "Tip-Toe Through the Tulips" became a hit, and the LP sold over 200,000 copies. Striking while the iron was hot, Tim recorded a follow-up, Tiny Tim's Second Album, which was released at the end of 1968. Its follow-up, an album of children's songs titled For All My Little Friends was released in August of 1969.
  • On December 17 of that year, Tim married his girlfriend, 17-year-old Victoria Budinger (known as Miss Vicki, in typically respectful Tim fashion), on the Johnny Carson show. The couple later had a daughter, Tulip, but mostly lived apart, and divorced after eight years. Following his wedding, Tim continued to perform around the country, including some lucrative gigs in Las Vegas; unfortunately, many of his business associates took advantage of his naïveté, leaving him with few savings from his run of success.
  • By the early '70s, perhaps due to simple familiarity, America's fascination with Tiny Tim had waned. Even after the TV appearances and high-profile gigs dried up, Tim kept plugging away, performing whenever and wherever he could. He recorded steadily for a series of mostly small labels throughout the 70's and 80's.
  • He remarried in 1984 to 23-year-old Miss Jan. They lived apart most of the time and the marriage lasted until 1994. Tim joined a circus for 36 weeks. In August of 1995 he married for a third time to Miss Sue, and he moved to Minneapolis.
  • During the mid-'90s, Tim raised his public profile with appearances on the Conan O'Brien and Howard Stern shows; however, in September of 1996, he suffered a heart attack while performing at a ukulele festival in Massachusetts. Upon his release from the hospital, he continued to play concerts despite the warnings that, due to the fragile state of his heart, he could die at any moment. While playing “Tiptoe Through The Tulips” at a Gala Benefit at The Woman's Club of Minneapolis on 30 November of that year, he suffered another heart attack on stage. He was led out by his third wife, Susan Marie Gardner (whom he had married on 18 August 1995), who asked him if he was okay. Tim responded, “No, I'm not!” Those were his final words. He collapsed shortly thereafter and was rushed to Hennepin County Medical Center where he died after doctors tried to resuscitate him for an hour and fifteen minutes. He is buried in the mausoleum of Lakewood Cemetery in Minneapolis.
  • Tiny Tim was an extraordinary person who was a good friend with The Beatles, Bob Dylan and other big stars from the sixties. He often been called a novelty act, but despite his lack of hits in the 70's and 80's, always had a big cult following him, and still is a household name to those who loves the music from the 60's.
Track-List in the Comments
Tiny Tim on YouTube:

Sunday, 10 April 2011

MixTape Vol. 3 - "The Garage Years"


  • Garage rock is a raw form of rock and roll that was first popular in the United States and Canada from about 1963 to 1967. During the 1960s, it was not recognized as a separate music genre and had no specific name. In the early 1970s, some rock critics retroactively labelled it as punk rock. However, the music style was later referred to as garage rock or '60s Punk to avoid confusion with the music of late-1970s punk rock bands such as the Sex Pistols and The Clash.
  • The garage rock revival is a musical phenomenon largely influenced by the original garage rock of the 1960s. Its earliest roots can be traced to the early 1970s, following the release of Nuggets in 1972 and continues to this day through the Western World as modern youngsters continue to pay tribute to a vanished golden age of rock and roll that was 1960s garage rock. Proto punk bands of the early '70s such as The Stooges and The New York Dolls were arguably garage rock revivalists. Iggy Pop had been in a mid-sixties, Detroit garage band, The Iguanas, who released a version of Bo Diddley's "Mona" in 1966 and recorded many other songs that fit within the genre.
  • In the 1980s, another garage rock revival saw a number of bands earnestly trying to replicate the sound, style, and look of the '60s garage bands (see The Chesterfield Kings, The Fuzztones, The Milkshakes, and The Cynics as examples of this); this trend coincided with a similar surf rock revival, and both styles fed in into the alternative rock movement and future grunge music explosion, which some say was partially inspired by garage rock from Seattle like The Sonics and The Wailers, but was largely unknown by fans outside the immediate circles of the bands themselves.
  • Here are some of my garage-highlights, from Link Wray to The Mono Men. If I have to pick a top three, it has to be Cramps "Garbage Man", Tav Falcos "Bad Motorcycle" and The Sonics "Walkin' The Dog". And of course the all time favourite "Rumble" by Link Wray. After all he is the king of Garage!
Track-List:
  • 01. The Sonics - Walkin' The Dog 02. The Cramps - Garbage Man 03. Juliette & The Licks - Smash & Grab 04. Strap ons - Psycho ghost trucker 05. The Makers - Sharp leather walkin shoes 06. Cosmic Psychos - Lead Me Astray 07. Spacemen 3 - Mary Anne 08. The Funseekers - I'm dancing as fast as I can 09. Count Five - Psychotic Reaction 10. Lime Spiders - Beyond The Fringe 11. Bangtwister - Rave-Up 12. Dukes of Hamburg - Green eyed woman 13. Tav Falco's Panther Burns - She's a Bad Motorcycle 14. The Prime Movers - (Can't Stand) The Way You Move 15. The Fuzztones - Strychnine 16. The Hard-Ons - Bye Bye Girl 17. Frenzal Rhomb - I Love Fucking Up 18. The Mono Men - Slammer 19. The Scientists - Atom Bomb Baby 20. Pink Slip Daddy - Elvis Zombie 21. Link Wray - Rumble

Mix-Tape Vol. 2 "Diamonds and Rust: The Covers"

  • Here are some great cover-versions for you. Some strange, some hilarious, some better than the original and a few plain stupid. Senor Coconut does one great longue-version of "Smoke on the Water" and Richard Cheese shows really bad taste on "Sunday Bloody Sunday". The SPace Lady does one really strange version of "Major Tom" and Meat Puppets "Everybody Hurts" is just plain weird.
  • But some of the songs are really killers as well. Listen to Judas Priests version of "Diamond & Rust" the Joan Baez classic, and my personal favourite at the moment have to be Nouvelle Vagues "Too Drunk to Fuck", a kind of late night Jazzversion of Dead Kennedys punkclassic.
Track-List: 1. Flaming Lips - Seven Nation Army (2:51) 2. Senor Coconut - Smoke on the Water (3:30) 3. Tad Morose - Knowing Me, Knowing You (3:26) 4. James Last - Fireball (1:46) 5. The String Quartet - Boys don't cry (3:55) 6. Richard Cheese - Sunday Bloody Sunday (2:37) 7. Gladys Knight & The Pips - Let It Be (3:33) 8. Björk Gudmundsdottir - Alfur Ut Ur Hol (3:15) 9. Pee Wee Herman - Surfin Bird (2:38) 10. Nouvelle Vague - Too Drunk To Fuck (2:12) 11. The Space Lady - Major Tom (5:05) 12. Miss Tammy Faye Starlite And The Angels Of Mercy - Surrender (4:23) 13. Groovie Ghoulies - Funny Funny (2:18) 14. Shonen Knife - Top Of The World (3:56)15. Robyn Hitchcock - Kung Fu Fighting (Studio) (3:25) 16. Meat Puppets - Everybody Hurts (4:23) 17. Brooke Brown - Proud Mary (4:29) 18. Teddy and Darrel - These Boots Are Made For Walking (2:25) 19. Mark Savage - Do You Think I'm Sexy (3:00) 20. Judas Priest - Diamonds and Rust (3:27)

MixTape Vol. 1 "The Singers and Their Songs"


  • Here are some really good stuff for everyone who likes singers/songwriters. A few well known name and a lot of unknown artists you really should get to know. My favourites at the moment got to be Mary Gauthier and Frank Carillo.
TRACK-LIST:
01. Townes Van Zandt - For The Sake Of The Song (4:45)
02. John Prine - Sam Stone (4:15)
03. Jackson Browne - Sing My Songs To Me (3:25)
04. Sam Baker - Orphan (3:21)
05. Bonnie 'Prince' Billy - Nomadic Revery (All Around) (3:58)
06. Ane Brun - The Fight Song (4:30)
07. Cat Power - Yesterday Is Here (3:34)
08. Kasey Chambers - Hard Road (3:59)
09. Lloyd Cole - Morning Is Broken (5:19)
10. Al Deloner - The Dead End Of Me (5:13)
11. Nick Drake - Northern Sky (3:45)
12. Steve Earle - Down The Road (2:46)
13. Mary Gauthier - Drag Queen In Limousines (5:42)
14. Frank Carillo - With Her Pajamas On (3:15)
15. Jackie Greene - Love Song; 200 am (5:05)
16. Jeffrey Foucault - Americans in Corduroys (4:49)

Sunday, 13 March 2011

Ray Wylie Hubbard "Snake Farm" (2006)

  • Ray Wylie Hubbard's "Snake Farm" is one evil, growling monster of a record, a finely focused muscular effort that effuses grit, malice, and funk. The sound ripples with thick, raw grooves that compliment the subject matter: the devil, women, redemption and damnation, hexes, and guitars. Clearly, this stuff is middle-of-the-night music, fuel for bonfires, dice, and showdowns.
  • Though Mr. Hubbard's considerable sense of humor and keen wit are not lost, his music has changed a great deal. To see how dramatically Mr. Hubbard's, listen to "Dangerous Spirits," a much more freewheeling, country-laced sound. More specifically, compare the earlier, lilting version of Resurrection with the darker vibe that runs through the same song on "Snake Farm."
  • Nearly all the tracks feature Hubbard along with a now familiar cast of characters: his producer and guitar player Gurf Morlix, stalwart Rick Richards on drums, and steady George Reiff on bass. A smattering of guests keep matters interesting without altering the focus.
  • Time to get yourself down to the "Snake Farm."

Friday, 11 March 2011

Fred Eaglesmith "Drive-In Movie" (1996)



  • If you don't know Fred Eaglesmith then this is the album to start. The emotion and images he emotes are priceless.

  • When I first saw Fred open for Robert Earl Keen in Houston several years ago, I was blown away. Had I not been told he was from Canada, I'd have sworn he was from West Texas. He has the same edgy, heartfelt yet humorous approach to songwriting that such Texas legends as Robert Earl Keen, Guy Clark, Townes Van Zandt, Joe Ely, and Steve Earle share.

  • Eaglesmith's voice is rough as rocks, and fragile as men's hearts. The 'backing' by W.P.Bennett (Juno this year) and R.Schipper is great as always, and D.Pendrith's bassplay and P. Vonalthen's drumming is solid work. Still, and again, it's the feeling of the record that gets to you. The feeling only an Fred Eaglesmith album can bring to life. His lyrics is down to earth, white-thrash kinda beautiful statements on trains and cars and relationships and, well; life.

  • Four songs in particular are suberb. "Crashin' & Burnin'" is what I call a heartbreaker in real terms. No hope, no salvation, just a big black hole. "White Rose" is about an old gas station just outside of town that they are shutting down and the lyrics tell its story "And that neon sign was the heart and soul of this ol' one horse town; And it's like it lost its will to live, the day they shut it down."

  • The other songs that I find exemplary are "Soda Machine" (now, come on, how many people can write songs about a soda machine and almost bring you to tears!) and of course, the title song "Drive-in Movie" with lyrics like "The phone broke the silence like the screaming of the siren and I just sat beside it took another drag on my cigarette swore I'd never smoke again and I watched the rain."

  • Be dumped by your woman through seven years, get drunk, and stay drunk - for about three weeks, wake up and play 'Drive-in Movie'. It gets the feeling just right. Makes me wanna go way up in the mountains and just listen, just feel.

Thursday, 10 March 2011

Corb Lund "Horse Soldier! Horse Soldier!" (2007)

  • Corb Lund is Canada's best kept secret: a refreshing voice who has been making music for a while. His songs are full of emotion, both delight and sorrow, which is perfectly illustrated by the first and last song on this album.
  • "I Wanna Be in the Cavalry" the first cut, is a celebration of glory and honor from the naive point of view of a new recruit. "I Wannna Be in the Cavalry; reprise" -- the last cut -- is a serious reflection on the horrors of war. But between the first and last cuts are some hilarious songs: "Family Reunion" and "Hard on Equipment", some introspective songs: "Student Visas", "What the Song Means Now" and "Especially a Paint."
  • Of course, Corb is nothing if not irreverent as in "Brother Brigham, Brother Young." Might not want to have your Great-Aunt Grace listen to that one.
  • The Hurtin' Albertans, the backing band, are much improved as a band all around, but especially the guitar player Grant Siemens who has really honed his chops and is allowed to cut loose on a number of tracks. Corb's lyrics continue to be very engaging and occasionally eyebrow raising as he delves into interesting and sensitive subjects. Corb is the first to admit his singing is adequate, it gets the job done. I think he should get some support with other vocalists backing him or others taking on the singing duties on occasion.
  • I certainly have a soft spot for using a Stan Rogers melody for "I want to be in the Cavalry", which I admit I couldn't place until reading the credit in the liner notes. "Hard on Equipment" is humorous but very much like a previous Lund composition "Roughest Neck Around".
  • What REALLY makes the album, however, is that it is recorded PERFECTLY. I've rarely heard anything sound so good. The drums and as crisp and natural as possible and the lead guitar work and sound simply runs away with your attention.

Wednesday, 9 March 2011

Curtis Eller’s American Circus "Wirewalkers and Assassins" (2008)

  • Curtis Eller, self-described “yodeling banjo player” has been a fixture of the New York oldtimey scene for awhile. Wirewalkers and Assassins is his album from 2008, and it’s brilliant, one of the best in recent years, with a frequently eerie, carnivalesque feel. Eller sings in a strong, unaffected voice, really knows his history and has a knack for an offhandedly lyrical knockout punch. His tunes span the oldtime Americana spectrum, with elements of country, vaudeville and a lot of blues. The album's production is smartly rustic and minimalist, mostly just Eller’s voice and banjo backed by a rhythm section with occasional excellent lapsteel guitar by Gary Langol. It kicks off on a particularly auspicious note with Eller’s best song, the haunting, apocalyptic "After The Soil Fails".
  • Sung from the point of view of a Sarah Palin type, "John Wilkes Booth (Don’t Make Us Beg)" effectively shines a light on the kind of psychology that would drive someone to murder a Lincoln or a Kennedy. Amy Kohn’s accordion and a choir of women singing backup sweetens the sarcasm. The slow, lapsteel-driven 3/4 ballad Hartford Circus Fire, 1944 commemorates one of Connecticut’s blacker days. “The maestro kept a short leash on the band,” Eller sings nonchalantly early on, “Except for the nightmares and the coughing, it’s like the circus never passed through.” Sugar For The Horses is a fast, cynical minor key shuffle that wouldn’t be out of place in the Jack Grace songbook. "Sweatshop Fire" is another scorching, cynical, minor-key barn-burner with a murderous lapsteel solo from Langol.
  • The circus fire motif returns in "Plea Of The Aerialist’s Wife", a blackly humorous, straight-up country number told from the perspective of a woman who wants her man off the wire before he gets killed. "Firing Squad" is another dark, lickety-split, brilliantly lyrical number that evokes LJ Murphy at his most sardonic. “It’s just another blackout for New York City, this town can’t get no sleep,” Eller rails, chronicling one impending disaster after another. The album ends with the wrenchingly beautiful "Save Me Joe Louis". If you haven’t heard this album, you have been deprived.

Tuesday, 8 March 2011

Steve Goodman "Steve Goodman" (1971)

  • A very solid debut for one of the better acoustic performers of the last century. Steve Goodman, like his buddies John Prine and Jimmy Buffett, had a penchant for writing clever and comical songs. His trademark song, "City of New Orleans" is here as well. I would recommend Steve Goodman's debut to anyone who enjoys John Prine's debut album. Goodman and Prine were not only close friends, but they also shared a witty, fresh approach to folk music.
  • The music ranges from warm and touching (Would You Like to learn to Dance, Yellow Coat, Would You Like to Learn to Dance, Jazzman) to witty (Eight-Ball Blues, The I Don't Know Where I'm Goin', But I'm Goin' Nowhere In A Hurry Blues, Election year rag, Turnpike Tom). Steve Goodman's charm and humor are evident in every song (even the most serious ones, and there are several somber and even melancholy songs here). The covers of other people's songs are just as revolutionary: doo-wop ("So Fine") and trad country ("Mind Your Own Business") were never so catchy before.
  • Bob Dylan, who is not known for his humility, loved Goodman's work and even volunteered to play on several of his songs (one, "Election Year Rag," is included as a bonus track).
  • Not every song is a Goodman original, but the arrangements show a broad range of Goodman's musical and interpretive ability.

The Sadies "Tremendous Efforts" (2001)

  • The Sadies' 2001 release Tremendous Efforts begins unassumingly enough with a '60s-style, country rock instrumental. In fact, there are five instrumental tracks scattered throughout the disc. However, that's not to say this is anywhere close to a throwaway album meant to bide time between inspirational bursts. Instead, it's quite the opposite. With the aptly titled Tremendous Efforts, The Sadies has put together the type of release its members have been trying to achieve since the group's debut in 1998.
  • During Wearin' That Loved on Look, The Sadies reaches its stride, evoking a positively searing Beatles For Sale-era John Lennon pose. And Tremendous Efforts only gets better from there. The Creepy Butler sounds like a lost track from Brian Wilson's sessions for Pet Sounds; Ridge Runner Rag and Ridge Runner Rell wouldn't sound out of place amidst Bob Dylan's country musings on Nashville Skyline, while Flash merges early Rolling Stones with Dylan's blues-oriented Highway 61 Revisited period; and on the Carole King-Gerry Goffin-penned Wasn't Born to Follow, The Sadies successfully manages to outdo the supreme rulers of psychedelic country — The Byrds.
  • On and on, The Sadies goes, traveling back in time and reconnecting with a bygone era — so much so that it's hard to believe the disc was recorded and released in 2001. No matter. The future of rock has always come from mining the past. Many recent efforts — such as Steve Earle's Transcendental Blues and Wilco's Summerteeth — as well as many older classics — such as Dylan's The Freewheelin' Bob Dylan and the Grateful Dead's Workingman's Dead — have successfully done just that, while still sounding fresh and vital. Though The Sadies is still not in the same league as these legends, Tremendous Efforts is an extremely rewarding release