Legends – Page 17 – 7th Level Music

Claude Fontaine’s debut reggae / world music single, “Cry for Another,” is a stunner.

Los Angeles-based songwriter and singer, Claude Fontaine, is thrilled to announce she’s signed with Innovative Leisure (LA-based label who has worked with the likes of BADBADNOTGOOD, Rhye, Allah-Las, Nosaj Thing, Hanni El Khatib, Nick Waterhouse, Classixx, etc). Today, she shares her debut single, “Cry For Another,” a heartfelt nod to the Studio One, Trojan, and Treasure Isle records that inspired it. “‘Cry For Another’ is about the feeling when someone is slipping through your fingers, and even though you know that person may not be right, you’re still pining for more,” says Fontaine. “Possibly to remind yourself of why they’re wrong for you, or perhaps to remember what you’re going to miss.”

Watch Video For “Cry For Another” – https://youtu.be/ztHTOL_EJWM

Fontaine wrote and demoed “Cry For Another”, a track which sounds like it came out of Jamaica in the 1970s, after a living in London and stumbling into Honest Jon’s, a long-lived spot for fringe records. Recorded at Chet Baker’s legendary old studio in Hollywood, Fontaine recorded the track with a murderer’s row of session players, including guitarist Tony Chin, (Althea and Donna, King Tubby, Dennis Brown), drummer Rock Deadrick (Ziggy Marley), bassist Ronnie McQueen (Steel Pulse), and piano/organ player Jaime Hinckson (Hollie Cook, Daniel ‘Bambaata’ Marley).

Set to be released later this year, Fontaine’s debut album is a love song to classic reggae and Brazilian music, and an album honoring that feeling of finding a home away from home. In addition to Chin, Deadrick, McQueen, and Hinckson, Fontaine is joined in the studio by Airto Moreira, the Brazilian drummer whose work both solo and in collaboration—with Miles Davis, Astrud Gilberto, Chick Corea, Annette Peacock—make him an actual living legend, Andre De Santanna (Sergio Mendes, Flora Purim), Gibi Dos Santos (Sergio Mendes), Nando Duarte (Gal Costa, Elza Soares), and Fabiano Do Nascimento (Mia Doi Todd).

“I hope this record will transport people,” she Fontaine. “I want it to feel like those lost records, like it got lost in the dusty bottom bin of some world music store in London because that’s how I felt when I walked in to that record store. I want it to be its own world.”

Keep your mind open.

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Four classic remastered X albums to be released starting February 22nd.

Fat Possum Records is set to release four classic (and remastered) X albums starting next month. First up is Los Angeles (release date February 22nd), then Wild Gift a month later, and Under the Big Black Sun and More Fun in the New World on April 12th.

All four albums will be released in vinyl, CD, and digital formats. Formed in 1977, X quickly established themselves as one of the best bands in the first wave of LA’s flourishing punk scene; becoming legendary leaders of a punk generation. Featuring vocalist Exene Cervenka, vocalist/bassist John Doe, guitarist Billy Zoom, and drummer DJ Bonebrake, their debut 45 was released on the seminal Dangerhouse label in 1978, followed by seven studio albums released from 1980-1993. X’s first two studio albums, Los Angeles and Wild Gift are ranked by Rolling Stone among the top 500 greatest albums of all time. Over the years, the band has released several critically acclaimed albums, topped the musical charts with regularity and performed their iconic hits on top television shows such as Letterman and American Bandstand. In 2017, the band celebrated their 40th anniversary in music with a Grammy Museum exhibit opening, a Proclamation from the City of Los Angeles and being honored at a Los Angeles Dodgers game, where Exene threw out the first pitch and John Doe sang the National Anthem. The band continues to tour with the original line-up.

Keep your mind open.

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Rewind Review: Naked Raygun – All Rise (1985)

I was 14 when Chicago punk legends Naked Raygun released their classic album All Rise. It would be another two years before I was able to drive a beat-up station wagon that formerly belonged to my Uncle Tony to a punk rock club about 45 minutes from my house and there become aware of Naked Raygun and their cult status.

It’s easy to figure out how they rose so fast in the mid-1980’s punk scene. All Rise‘s opener, “Home of the Brave,” is an instant anthem for the Reagan era. Pierre Kezdy‘s bass on “Dog at Large” is heavy enough for a metal band. “Knock Me Down” begins with a subtle start, but soon roars to life with frantic drums by Eric Spicer and Jeff Pezzati‘s snotty lyrics about a girl he can’t shake after she’s dumped him for good. One can’t help but wonder if “Mr. Gridlock” refers to President Regan, Chicago mayor Harold Washington, or someone else. The song has a deadly swagger to it, as if it’s looking for a fight. John Haggerty‘s guitar sounds like a tuned chainsaw on it. “The Strip” moves back and forth between chugging punks riffs and Husker Du-like jams as Naked Raygun pay homage to a seedy hotel-bar. “I Remember” has some of Spicer’s wildest drumming on the album.

Pezzati’s vocals on “Those Who Move” (about speaking truth to power and freedom of information, among other things) are urgent and still relevant in 2018. Kezdy’s bass on “The Envelope” certainly pushes the envelope of the studio amps because it nearly knocks you to the floor right out of the gate. Not to be outdone, Haggerty shreds on “Backlash Jack.” As soon as “Peacemaker” starts, you get the feeling that it’s not going to be all that peaceful. It isn’t. It’s heavy, squealing, and even a bit terrifying. The album ends with “New Dreams,” a punk anthem that sounds as fresh, raw, and vital today as it did in 1985.

All Rise is classic working class punk rock by four lads who deserve to be in the same conversations that bring up Fugazi, Bad Religion, DRI, the Dead Kennedys, and other legendary punk groups.

Keep your mind open.

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Rewind Review: Claudio Simonetti’s Goblin – Profondo Rosso score (2015)

Funky and creepy at the same time, the score to Dario Argento‘s 1975 classic giallo movie Profondo Rosso (Deep Red) is a great one. Claudio Simonetti’s Goblin released this version a few years back with new performances of the classic material Simonetti made with the original members of Goblin and also with live versions and alternate cuts.

The main theme, “Profondo Rosso,” combines Simonetti’s clockwork synths with church organs, funk bass, and prog-rock drumming. “Death Dies” could fit into any 1970’s action film with its urgent piano chords, Titta Tani‘s car chase drums, and Bruno Previtali‘s groovy guitar squalls. Federico Amorosi‘s bass on “Mad Puppet” is like lava bubbling under a dormant volcano until about the three-minute mark when the tune becomes a chilling walk through what normally is a groovy neighborhood but now feels slightly…wrong.

“Deep Shadows” is bizarre with its quirky synths, Previtali’s shredding, and the rhythm section breaking the tune open into a prog-rock jam. A live version (from 2000) of “School at Night” follows, with its creepy child sing-song vocals and music box chimes, and it flows into live versions (from the same show) of “Mad Puppet” and “Profondo Rosso.”

Rounding out the album are alternate versions of “Death Dies” (from 1992) and “Profondo Rosso” (from 1990). Both are harder, faster versions. Simonetti’s piano work on “Death Dies” is especially frantic and jazzy. The version of the main theme (which is also another live cut) is even called the “rock version” and has bigger drums and guitars with a bit more distortion than usual. Plus, Simonetti goes nuts on his keyboards by the end of it.

It’s a great score, especially if you love giallo movies, Goblin’s work, or progressive rock.

Keep your mind open.

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Live: Claudio Simonetti’s Goblin – November 19, 2018 – Wealthy Theatre – Grand Rapids, MI

The moment I heard Italian composer and keyboardist Claudio Simonetti was touring with her latest version of Goblin and performing the live score to Dario Argento’s Suspiria while the film was shown, I knew I had to score a ticket to see the show. The closest venue for which I could secure one was the Wealthy Theatre in Grand Rapids, Michigan. This would be the third incarnation of Goblin I’ve seen in the last few years and the first time I’ve seen Suspiria on the big screen.

The Wealthy Theatre is a small venue that hosts retro film screenings and live music performances. I almost literally bumped into two men outside the venue who obtained free tickets after one of them had sold a computer to the drummer, Titta Tani, through Craigslist. Neither of them had seen Goblin or Suspiria. I told them they were in for a treat.

The film was a big hit with the crowd. It had been a while since I’d seen it and I’d forgotten how much of a master’s course it is on lighting. I noticed a couple people having to turn away from the screen during a couple murder scenes, so it’s still an effective horror piece. Goblin did a great job with the live score, building tension and rocking out without overpowering the dialogue during critical scenes.

They played a full set afterwards of music from other film scores. A big hit was their music from Dawn of the Dead.

They were really cooking by this point, and their pieces from Demons, Phenomena, and Tenebrae (which made the guy next to me stop in his tracks as he started to leave for the restroom) were also big highlights. They ended with the main theme from Deep Red – a personal favorite.

The crowd was buzzing afterwards, and Mr. Simonetti and crew were kind enough to hang around in the lobby afterwards and sign autographs. I saw many horror fans with DVDs, special collector’s edition vinyl, posters, and more, and everyone was patient and happy to be there.

It was a nice post-Halloween / pre-Thanksgiving treat. Don’t miss this tour if you’re a fan of horror films, progressive rock, or film scores. It’s selling out at a lot of dates and it’s well worth it.

Keep your mind open.

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Rewind Review: Ennio Morricone – Psichedelico Jazzistico (2004)

This 2004 collection from Cherry Red Records covers music made by living legend composer Ennio Morricone for films in the late 1960’s and early 1970’s. It’s a wild, trippy mix of music for thrillers, erotic comedies, and crime films.

It starts with three tracks from one of the best giallo films ever made, Dario Argento’s The Bird with the Crystal Plumage. The theme, “Plume di Cristallo,” begins the journey into a dark, shadowy world with creepy, child-like vocals, tinkling crystal bells, and acoustic guitar that’s both warm and chilling at the same time. The lovely, almost waltz-like “Non Rimane Piu Nessano” and the jazz freak-out “Corsa Sui Tetti” (which sounds like a fight inside a dark club) follow.

After that we get two from another Argento film that Morricone scored – Four Flies on Grey Velvet – “Come Un Madrigale” (which reminds one of a winter stroll through a bleak yet beautiful city park) and the film’s main theme – which incorporates both gospel and circus music elements…because Morricone is a bad ass.

Up next are tracks from the film One Night at Dinner – “Sauna” (which is luxurious as you’d hope with sparkling xylophones), “Alla Luce Del Giorno” (with plenty of psychedelic keyboard work, meaningless vocal sounds, and psych-pop guitar), and “Uno Che Grida Amore” (in which you can hear touches of his spaghetti western soundtracks – the piano – and lush strings mixing with jazz drums).

We’re off to the film Forza G with the smooth and lush (Those strings!) “Sospeci Fra Le Nuvole” and the film’s main theme with its sweet jazz drumming. “L’assoluto Naturale” (from She and He) follows with haunting French horn backed with simple acoustic guitar chords to produce a haunting effect. The short, action sequence-ready “Studio Di Colore” (also from She and He) could fit into nearly any bank heist scene.

The main theme to “Indagine Su Un Cittadino Al Di Sopra Di Ogni Sospetto” (Investigation of a Citizen Above Suspicion) is track on this record most like one from Morricone’s spaghetti westerns with its mouth harp, quirky piano chords, and clockwork percussion. “Terazza” (from the 1977 comedy Il Gatto / The Cat) has poppy lounge organ mixed with sexy, slithering beats and slightly Latin horns. The closer is another track from Il Gatto – “Mariangela e la Seduzione” – which belongs on your next make-out mix tape because it’s practically the sounds of a woman having a long orgasm while lounge jazz plays behind her.

This is a must for film score buffs, fans of Morricone’s work, or psychedelic jazz. Morricone is a true maestro and his influence on music and pop culture is phenomenal.

Keep your mind open.

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Live: Public Image Ltd. – October 22, 2018 – Thalia Hall – Chicago, IL

I last tried to see Public Image Ltd. thirty years ago when a friend of mine in high school won tickets to see them play in Indianapolis. She couldn’t make the show, or just didn’t want to go, and told me she’d give me the tickets once she picked them up from the radio station that held the conotest. She kept avoiding me as the day of the show drew closer. I tracked her down the day of the show and asked about the tickets. She blushed and admitted that she didn’t make it to the station to get them. I was out of luck.

PiL went through many lineup changes and hiatuses and went on many tours that never came close to my neck of the woods since then. I finally got tickets to see them at Chicago’s Thalia Hall…and learned a couple weeks before the show that I was going to have to cancel the trip because a co-worker would still be recovering from surgery. I was, as you can guess, bummed about that.

As fate would have it, however, my co-worker recovered faster than anyone imagined he would and I ended up with the night off…although I still had to work at 6am the next day. I wouldn’t let that stop me, however.

PiL started their set with the low-key “Deeper Water,” and then slowly ramped up the energy from there forward. John Lydon stood like a professor at a podium in front of his microphone and sheet music stand, delivering a lesson on how to own a stage and spit venom (all the while alternating sips of water and straight bourbon from the bottle between songs). He even shimmed and shook a bit on “Bodies.” The crowd was firmly in his hand when they followed it with “Disappointed.”

They were in a great groove when they reached “Death Disco,” “Cruel,” and “I’m Not Satisfied.” The crowd went nuts for “This Is Not a Love Song,” and “Rise” gave me chills after finally getting to hear it live after three decades. Album is one of my favorite records of all time, and getting to hear John Lydon sing even one cut from it was worth the wait.

“Does this look like a fucking cruise ship?” Lydon asked a drunk man in front of the stage as they came back out for the encore. “We don’t do requests.” That guy and his drunk girlfriend were soon removed by security while Lydon waved goodbye to them and he and PiL tore through “Public Image” and “Open Up.”

This was the first show in a long time at which I bought a tour shirt that cost more than twenty dollars. I have a hard time paying more than that for any T-shirt. The official tour shirt was $30.00. I hesitated. My wife said, “Thirty years, man.” She was right. A dollar for every year I waited was a fair price, and completely worth it.

Keep your mind open.

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Live: Simple Minds – Fillmore Theater, Detroit, MI – October 14, 2018

When one of my best pals from high school said he had a free extra ticket to see Simple Minds in Detroit, I jumped at the chance to (1) hang out with him and (2) finally see a band that was a big part of our high school years. I mean, come on. 1985’s Once Upon a Time is one of the best albums of that decade. Plus, the tracks they played from their new record, Walk Between Worlds, aren’t too shabby either.

They started with “The Signal and the Noise” off that new record and then unloaded two sets’ worth of classic hits and new material including “Up on the Catwalk” (which I hadn’t heard in years), the lively “Promised You a Miracle,” “Midnight Walking,” before ending the first set with a cover of “Dirty Old Town.”

“Theme for Great Cities” opened the second set, and they were cruising by then. The title track off the new record was well-received, as were “Someone Somewhere in the Summertime,” “All the Things She Said,” and “Don’t You (Forget about Me)”.

The encore included “Stand by Love,” “Alive and Kicking,” and “Sanctify Yourself.” It was a fun show, with a happy crowd of Gen X’ers and even younger folks. One woman was in happy tears as we were walking out. “So many feels!” she yelled.

Keep your mind open.

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Review: Underworld and Iggy Pop – Teatime Dub Encounters

Recorded over a couple weeks in a clandestine hotel room in London, Underworld and Iggy Pop (who has been living in London for a while now while spinning records for BBC 6 Music) joined forces to put out a four-song EP – Teatime Dub Encounters. The EP mixes Underworld’s electro wizardry with Pop’s gravelly vocals (man of which seem to be improvised) and memories of the past while embracing an unknown future.

Beginning with the instantly danceable “Bells & Circles,” Underworld puts down some of the sharpest beats of the year and Pop sings / raves about the “golden days of air travel” when you could smoke on airplanes, flirt with stewardesses, and do cocaine in the airplane’s bathroom. By the end, he warns, “There will be no revolution, and that’s why it won’t be televised.”

“Trapped” starts off sounding like music from a 16-bit video game but quickly builds into a track that has you moving before you realize it. Pop unleashes some vicious lyrics about being stuck in a rut. “I’m trapped and I never get out no more. I really wanted to be special, I really wanted to live in heaven. I really thought that I could be free, but all of this is coming back on me,” he laments. “Let’s hear it for Johnny. He’s got a mortgage. He’s got a house. Oh no!” He sings / rants later, pleading for Joe Average to break out of his self-built prison.

“I’ll See Big” is a mellow affair with Pop telling part of the story of how the Stooges got together. He talks about how great it was to have friends that weren’t demanding, but he later had to meet people who were demanding in order to move forward in life.

Pop gets demanding on “Get Your Shirt,” in which he expresses anger over things he’s lost now and then by signing on the dotted line. The Underworld lads, meanwhile, blast you with bright synths and early rave culture beats.

It’s a sharp EP, and it’s great to see and hear legendary performers like this teaming up to make dream projects and spin new material.

Keep your mind open.

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Rewind Review: Thin Lizzy – Jailbreak (1976)

It’s easy to forget that Jailbreak was Thin Lizzy‘s sixth album because Jailbreak was their commercial breakthrough and is so good that it often overshadows some of their earlier work.

The title track kicks off the album, and it’s essentially a line in the sand for every rock album that came after it. If you’re a rock band currently practicing in a garage or basement, you need to hear “Jailbreak” and realize that you had better come up with an opener with as much fire as this or your band is already doomed. Good luck with that, by the way, because matching the crunchy groove of it is nearly impossible. The groove on “Angel of the Coast” is almost as jaw-dropping. Drummer Brian Downey doesn’t screw around on this or any other track. The slight bluesy sound of “Running Back” (with nice keyboard additions by Tim Hinkley) is a nice switch-up by the band.

The way Scott Gorham and Brian Robertson‘s guitars play off each other on “Romeo and the Lonely Girl” is impressive in its subtlety and talent. “Warriors,” a song about drug addicts, has vocalist / bassist Phil Lynott singing and playing with swagger. I can’t figure out how he keeps up his killer bass line while singing like Iggy Pop, and the guitar solo on it is a thing of beauty.

“The Boys Are Back in Town” is, of course, their biggest hit in the United States (and pretty much everywhere else). It shouldn’t surprise anyone, really. The beat is straight-up rock, Lynott sings about guys everyone knows, and Gorham and Robertson’s guitars play for the cheap seats. “Fight or Fall” could almost be a Steely Dan track with it’s jazz guitar and drum touches. “Cowboy Song” is a rocking ode to rodeo riders, cattle wranglers, and heartbreak. The closer, “Emerald,” has enough guitar shredding for two albums, let alone one song. Remember how I suggested you should try to match “Jailbreak” when opening your album? It wouldn’t hurt to close with something as excellent as “Emerald” either.

Jailbreak is a classic that actually wasn’t heralded much in its time until “The Boys Are Back in Town” won the NME Award for Best Single in 1976. It has since grown to influence hundreds, if not thousands, of other bands, and to blast out speakers around the world.

Keep your mind open.

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