“Don’t call it a comeback, he been here for years, rocking his peers, putting ’em in fear, making tears rain down like a monsoon, explosions overpowerin’, over the competition LL Cool J is towering. LL Cool J — stands for Ladies Love Cool J.” On the eve of the premiere of his new XM “Theme Time Radio Hour” (which premieres Wednesday,) Bob Dylan shares some of his early show playlists (organized around themes such as the weather, mothers, drinking, and cars) and his on-air comments about some favorite selections.
Tag: Music
See how they snide.
Man, you should have seen them kicking Scott McClellan. In related news, “I’m the Decider,” to the tune of I am the Walrus.” (Where did I find this? The walrus was Paul.)
A Well-Respected Man.
Big doings in our lively little village: Friday night, I caught one of rock’s greatest and most influential ironists, the inimitable Ray Davies of the Kinks, in town for a weekend stand at Irving Plaza. A spirited and well-preserved 61 (Having gone to so many Dylan shows, where Bob has settled into a late-period rasp behind the keyboards, I’m always surprised to remember that time has been kinder to many of Dylan’s contemporaries), Davies offered up two sets of rollicking good ditties ranging all the way back to 1964’s seminal breakthrough “You Really Got Me.” Here’s the setlist:
Set One: I’m Not Like Everyone Else | Where Have All The Good Times Gone | Till the End of the Day | After the Fall | 20th Century Man | Oklahoma U.S.A. | Village Green | Picture Book | Animal Farm | Johnny Thunder | Sunny Afternoon | Dead End Street | Apeman | Next Door Neighbor | Creatures of Little Faith | Over My Head | The Tourist | Low Budget
Set Two: Stand-Up Comic | Things Are Gonna Change (The Morning After) | A Long Way from Home | The Getaway (Lonesome Train) | Tired of Waiting for You | Set Me Free | All Day and All of the Night
Encore: You Really Got Me | Lola
All in all, a very fun evening. Looking quite a bit like Jonathan Pryce these days (particularly in his Miss Saigon period), Davies enlivened the older-leaning, fan-heavy crowd with mid-song banter and fraternally condescending anecdotes about his Kinks companion and younger brother Dave. (“He’s still a big kid, really.”) To be honest, I’d would’ve preferred to hear less of the early Brit-Pop standards and more of Davies’ grimly funny ballads of class and character. (For example, “Shangri-La“, “A Well-Respected Man“, “Dedicated Follower of Fashion“, “Celluloid Heroes“, or “Waterloo Sunset“) But, with a back catalog as long and rich as Davies’ (and a new album to promote), there are always going to be songs you don’t get to hear on a given night. (And besides, the one-two punch of “Sunny Afternoon” and “Dead End Street” was a nice, wry combo of essential Davies.)
The Lion (Finally) Sleeps Tonight.
Hush, my darling, don’t fear, my darling, the Lindas have been done right. By way of Ed Rants, Vidiot tells the story of Solomon Linda and his 1939 hit song, “Mbube” (a.k.a., “The Lion Sleeps Tonight,”) for which his family has — at last — been paid.
Bedstuy Parade.
True, a day as nice as today should really be spent outside. That being said, it’s hard to come up with a better “first-day-of-spring” movie than the wickedly funny, rousingly optimistic hip-hop concert flick Dave Chappelle’s Block Party, directed by Eternal Sunshine of the Spotless Mind‘s Michel Gondry. Chronicling a September 2004 shindig thrown in Bedstuy and featuring performances by Kanye West, Common, Mos Def & Talib Kweli, Dead Prez, Cody Chestnutt, Erykah Badu, Jill Scott, The Roots (w/ oldschoolers Big Daddy Kane and Kool G Rap), and the reunited Fugees, Block Party bounces with cool, infectious verve and power-to-the-people, DIY exhilaration. In short, this movie just brings a smile to your face. (Yeah, ok, it definitely helps to have an appreciation for hip-hop, but as this movie points out, you may have one and not even know it.)
For those of you anxiously awaiting Season 3 of Chappelle’s Show, be heartened: This is Chappelle’s show. Be he ambling through his Ohio hometown doling out “Golden Tickets” to unsuspecting passers-by, tooling around Brooklyn hyping the event (“Attention, Huxtables!“), or MC’ing the Bedstuy proceedings with a deft, light-hearted touch (and a James Brown rimshot), Chappelle’s wry irreverence and broad, encompassing good humor are contagious. Often, it seems, he can’t believe his luck at becoming the jester-king of Brooklyn for a day, and he grounds and permeates the film with his antic enthusiasm and sardonic, puckish charm.
And then there are the performances. From Kanye West amping up “Jesus Walks” with the aid of the Central State University band, to Def & Kweli jamming over “Umi Says”, to Dead Prez getting PE/KRS-1-righteous with “Turn Off Your Radio,” to sirens Erykah Badu and Jill Scott dueling over The Roots’ “You Got Me,” to Lauryn Hill’s sultry, heartfelt “Killing Me Softly,” Block Party definitely delivers the goods in terms of the hip-hop. All the performances are infused with enough energy and momentum to get the whole theater audience jumping. (Slightly off-topic, when I was ten years old, I was pretty sure the coolest guy in the world was Han Solo. Now that I’m an older and wiser 31, I have to concede that, that GMC Denali ad notwithstanding, it may just be Mos Def. And, speaking of Def, his “straight-man” (a la Ed McMahon) sounds a lot like Ford Prefect.)
In the end, after all the jokes, beats, and rhymes, two hip-hop truths emerge from Dave Chappelle’s Block Party: “Life is a funny, unpredictable thing,” as Chappelle puts it at one point. And, as many others — both rap superstars and ordinary people like you and me — come to point out throughout the film, this world is what you make it, so do something good and have some fun out there, y’all.
I Want Simbody to Share…
Capitalizing on the computer world they live in (and life in general), Depeche Mode recut their latest single, “Suffer Well,” in Simslish for The Sims 2: Open For Business.
Lay Down Your Weary Tunes.
Also in music news, the freewheelin’ Bob Dylan is in the studio working on his 31st studio album (and the follow-up to 2001’s Love and Theft.) “Work…began early this month with four days of rehearsals with his touring band at the Bardavon 1869 Opera House in Poughkeepsie, New York. The crew have now moved to Manhattan to record the songs.” And, for the Springsteen fans out there, the story also reports that the Boss is currently cutting an album of Pete Seeger covers, The Seeger Sessions.
Oohs and Ows.
“This‘ll be the last time (I think I said that last time.)” As DYFL, Lots of Co, and Quiddity have all pointed out, this week’s free download at iTunes is the quintessentially catchy “Ooh La La” by Goldfrapp. Get it while you can. And, while the Depeche Mode setlists have been relatively static this tour, as per the norm, Martin Gore unearthed an old chestnut from 1982’s A Broken Frame (right-click to save) last night for their third night in Paris. Booyah! Hopefully, this’ll be part of the main set when they swing back stateside this spring.
Agent Smith?
“America, your head’s too big, because, America, your belly’s too big, and I love you, I just wish you’d stay where you is.” Oops…watch yourself, Morrissey. On the eve of a new album, the former Smiths frontman says the FBI and British Intelligence have come ’round his door.
Where the livin’ is hardest.
“The problem with Bob Marley in white America is one of perspective. Many of Marley’s songs are about resistance and violent revolution. The threat implicit in the lines ‘Them belly full but we hungry/ A hungry mob is an angry mob’ or the song ‘Burnin’ and Lootin’‘ isn’t too far from the surface. But lyrics about armed resistance make America’s secular-progressive middle classes — those most responsible for the cult of Marley as a cuddly ‘One Love‘ Rastafarian — uneasy.” Contending that “[l]istening to Legend to understand Marley is like reading Bridget Jones’s Diary to get Jane Austen.,” Slate‘s Field Mahoney argues the merits of Bob Marley’s back catalog, and suggests that US fans tend to overemphasize the stoner and underemphasize the revolutionary.