Tampa Calling

Around the world in one night.

Here’s a sip of my latest Bar Tab column, which is part of our home issue:

My ideal vacation would be spent imbibing internationally: guzzling wine, beer and spirits in different corners of the globe, traveling in a well-stocked private jet, staying at four-star hotels, sleeping with new, sexy, exotic women each night (while I’m dreaming might as well go big, right?).

But that’s not an option unless you’re Cristiano Ronaldo, Mick Jagger or, maybe, James Bond — and then you have to worry about catching bad guys in between swilling vodka martinis and romancing femme fatales.

A facsimile of the globe-tippling experience (minus the random sex with beautiful, anonymous strangers) can be enjoyed at EPCOT, but trust me, the Disney police will throw your ass out for being visibly shit-faced faster than you can say “Zhim-iny fuggin’ Cricket.”

So, in keeping with the theme of this week’s home issue, your humble bar correspondent has provided guidelines for a killer house party with global flair. It’s a simple concept and will cost considerably less than a trans-Atlantic flight or a visit to the Mouse House. Just equip each room with alcohol, decorations and music specific to the country of your choice. Here are some suggestions:

Read “Drink local, Act Global” in its entirety. 

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It’s Thursday, which means time to start the weekend or at least begin planning the debauchery. In addition to my Amos Lee smackdown, I write about Atlanta rock quartet The Hiss and Snider does briefs on George Michael and Return to Forever. In Music Week, I have advances running on Lush Progress, Rock the Bells, Kill Hannah and numerous other worthwhile shows (well, except the Alter Bridge one and a couple others) taking place during the next seven days.

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OK, I’m going to milk this Ann Powers/American Idol debate for all I can, and then maybe even some more. Quick recap: It started with my July 27 post “Debating Ann Powers, poptimism and American Idol.” The Toronto Globe and Mail’s music critic commented, prompting “Response to American Idol post.”

My pal at the St. Petersburg Times‘ couldn’t resist the bait and that led to “Sean Daly writing about me writing about him.” The latest reason for me to continue writing about myself comes courtesy of Idolator:

Powers’ talk about covering American Idol prompted Wade Tatangelo of Tampa’s Creative Loafing to point out the monetary aspects of such coverage:

Ann Powers wrote a fine essay . . . But she failed to mention that a potential reason daily music critics like the St. Petersburg Times’ Sean Daly are covering cheap reality TV like American Idol (Powers does, too, but more likely by choice, see below) is because they are no longer in a position to tell populist/desperate editors “no.” Arts critics are being laid off at even a faster clip than reporters. In fact, there’s not a single music critic job opening at a daily newspaper in the entire nation. I know critics rank right alongside lawyers in the receiving of sympathy department, but it’s grim folks.

Carl Wilson of the Toronto Globe and Mail and the blog Zoilus weighed in on both Powers’ piece and Tatangelo’s reply:

Idolator concludes its post with a comment with which I’m totally in agreement:

Still, the most salient point of all may be from Marc Hogan’s Tumblr, in which the freelancer (best known for his contributions to Pitchfork) spells it out even more plainly:

As anyone who knows anyone who has blogged about “American Idol” knows, you get more clicks blogging about “American Idol” than blogging about Steinski, Harvey Milk, or Fleet Foxes. So it’s not as if the turning tide toward “poptimism” among critics who want to be paid for our work is entirely un-self-interested.

Here’s the entire Idolator post.

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The male Norah Jones plays it close to the vest.

Neo-soul singer/songwriter Amos Lee records for Blue Note, one of the most venerable jazz labels in music history. He’s shared a stage with Bob Dylan and Elvis Costello. Don Was, who has produced such titans as the Rolling Stones, Bonnie Raitt, Brian Wilson and Willie Nelson, helmed Lee’s third record, Last Days at the Lodge, which came out in June and has reached a respectable No. 29 on the Billboard 200.

Despite the impressive resume, though, Lee divides critics in much the same manner as his label mate and benefactor Norah Jones.

During a recent phone interview, I decide to ask Lee about his lyrics, which have a tendency to read like greeting cards. It’s early in the conversation, and I choose my words carefully.

Me: There’s a positive vibe that courses through your music. Is that a conscious choice? Do you ever write darker material but decide not to release it?

Lee: Well, I really don’t monitor that kind of stuff. I just record the songs I write. I don’t shy away from certain topics or make a conscious effort to write positive.

For my next question, I attempt to bring some much-needed levity to the conversation, which is dangling in the air like Beijing smog.

Me: There are also quite a few romantic numbers on the new album [”Won’t Let Me Go,” “Baby, I Want You”]. Would you describe yourself as a ladies man?

Lee: Oh, I couldn’t answer that.

Me: Well, would your bandmates describe you as a ladies man?

Lee: You’ll have to call my bandmates for that one.

(more…)

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Isn’t this the way the Internet works: Without even trying, you occasionally stumble upon something wonderful.

I’d never heard of or even heard Timi Yuro before today. But as I was perusing a Beatles set list from 1963 that had been posted online, I noticed a song titled “If You Gotta Make a Fool of Somebody” a version of which was recorded by James Ray, a soul singer who died shortly after finding some success in the early ’60s. While I sought out Ray’s version of the song, I happened upon a recording by Timi Yuro on YouTube.

I was duly impressed by Yuro’s brassy, soulful vocals, and so I ended up listening to her other recordings, many of which were standards of the day: “All Alone Am I,” “Cry,” “I’m Sorry,” to name just a few.

According to Yuro’s entry in Wikipedia, she was Morrissey’s favorite singer, and counted Elvis among her biggest fans.

Yuro released her last album in 1984, Timi Yuro Sings Willie Nelson, which was produced by Nelson. Take a listen to one of her lovely duets with Willie, “Did I Ever Love You.” Yuro died of throat cancer in 2004. If you don’t already know of her, take the time to discover a stunning talent.

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This might be the coolest duet of my lifetime. Or at least of recent memory. Jack White and Alicia Keys are teaming up for the theme song to the upcoming James Bond flick Quantum of Solace, reports Billboard.com. White wrote, produced and will play drums on the song (which kinda makes you wonder how much drumming Meg actually does in the studio, right?). The tune is titled “Another way to Die.” The film opens November 7. The soundtrack drops Oct. 28. In keeping with my optimistic belief that the the White/Keys joint will totally rock here’s a tally of my favorite duets.

Top 10: Duets

1. “Ain’t No Mountain High Enough,” Marvin Gaye and Tammi Terrell

2. “Summertime,” Ella Fitzgerald & Louis Armstrong

3. “Pancho and Lefty,” Willie Nelson & Merle Haggard

4. “Under Pressure,” Queen and David Bowie

5. “Fairytale of New York,” Shane Magowan (The Pogues) with Kirsty MaColl

6. “Hunger Strike,”  Eddie Vedder and Chris Cornell (Temple of the Dog)

7. “Jackson,” Johnny Cash and June Carter

8. “Love Hurts,” Gram Parsons and Emmylou Harris

9. “2 of Amerikaz Most Wanted,” 2Pac & Snoop Dogg

10. “Two Story House,” George Jones and Tammy Wynette

WHAT DID I MISS?

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St. Petersburg Times pop music critic Sean Daly is the only person in town who might have an ego the size of mine, which is saying something, because mine is bigger than a Buick. Since he revealed to everyone that we are friends, a fact I was hoping to keep secret, I guess I better acknowledge that I do like the dude, even though he bums way too many, um, sticks of gum from me (sorry, Sean). Anyway, here’s what Daly wrote about me writing about him:

 I probably shouldn’t like this. But I’m such a vainglorious headcase, I totally dig being talked about like a misunderstood beast roaming the Serengeti. My friend/bad-habit enabler Wade Tatangelo, music critic at Creative Loafing, the alt-weekly in town, debates why daily (and Daly) music critics bother writing about such pap as American Idol.

Click here to read Daly’s entire post.

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Rumors of Tell Tale Signs: Bootleg Series Volume 8 have been circulating for months on fan sites like Expecting Rain but now it’s official. And I, a huge Dyan fan, am stoked. To be honest, I already own almost everything on the track list but in far less superior sound quality than what Sony will provide. The set drops Oct. 7.

Click here for a free Dylan MP3.

BobDylan.com Exclusive Deluxe Edition Disc One

• 1. Mississippi 6:04 (Unreleased, Time Out of Mind)
• 2. Most of the Time 3:46 (Alternate version, Oh Mercy)
• 3. Dignity 2:09 (Piano demo, Oh Mercy)
• 4. Someday Baby 5:56 (Alternate version, Modern Times)
• 5. Red River Shore 7:36 (Unreleased, Time Out of Mind)
• 6. Tell Ol’ Bill 5:31 (Alternate version, North Country soundtrack)
• 7. Born in Time 4:10 (Unreleased, Oh Mercy)
• 8. Can’t Wait 5:45 (Alternate version, Time Out of Mind)
• 9. Everything is Broken 3:27 (Alternate version, Oh Mercy)
• 10. Dreamin’ of You 6:23 (Unreleased, Time Out Of Mind)
• 11. Huck’s Tune 4:09 (From Lucky You soundtrack)
• 12. Marchin’ to the City 6:36 (Unreleased, Time Out of Mind)
• 13. High Water (For Charley Patton) 6:40
  (Live, August 23, 2003,Niagara Falls, Ontario, Canada)

Disc Two

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To my ears, Billy Joel’s artistic hot streak lasted two years, 1977 and 1978, when he released far and away his best LPs: The Stranger and 52nd Street. (For the record, I think 52nd Street wins by a nose as the top Joel album). The rest of his discs are marked by a few good songs and a handful of great ones, surrounded by average material (and early on, at least, substandard production).

Sony has seen fit to issue this 30th Anniversary Edition 31 years after the fact in a three-disc box set that includes a remaster of the original album; a previously unreleased 1977 concert from Carnegie Hall; and a DVD that includes a making-of doc and a 1978 live show culled from the BBC program The Old Grey Whistle Test.

(more…)

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Back in 2000, Uncle John’s Band co-frontman Rich Whiteley released this beautiful batch of Deadhead-friendly originals that rank with the songs he regularly covers every Thursday at Skipper’s Smokehouse. The record ranges from laidback funk and fun “Raise the Roof” to space jams “Stargazer” to moving confessionals “As I Lay Dying.” Whiteley’s lyrics are mature and memorable and he’s in fine voice throughout the album. Co-producer Steve Connelly is all over the disc, sweetening the tracks with electric guitar, pedal steel, mandolin and bass. 4 stars

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It’s been more than a half-century since Little Richard Wayne Penniman and Specialty Records producer Bumps Blackwell went to New Orleans and made rock ’n’ roll history. Blackwell had clean lyrics fitted to Little Richards’ bawdy stage number “Tutti Frutti, Good Bootie” and the singer recorded it with Crescent City session stars like drummer Earl Drummer and saxophonist Lee Allen at famed Cosimo Studio (Fats Domino, Professor Longhair) in 1955. The resulting “Tutti Frutti” reached No. 2 on Billboard’s Black Singles chart the following year (No. 17 on the Pop singles survey) — and influenced virtually every young musician who heard it, especially The Beatles.

Little Richard cut several dozen more juiced jump blues numbers for Specialty that played an integral role in defining rock ‘n’ toll. Less than two years later, after nearly dying in airplane crash, Little Richard refused to continuing making “the devil’s music.” He would return to secular music but never with much success although he remains a popular concert draw (and ad pitch man) to this day.  Listening to spruced-up versions of fireballs like “Long Tall Sally,” “Jenny Jenny” and “Good Golly, Miss Molly” is by no means a history lesson. It’s moving, joyous, sexy music that still resonates — especially below the hips. Since 1991, the essential Little Richard CD was the 25-track Georgia Peach.  The 25-track Very Best of Little Richard bests it thanks to superior fidelity and more informative liner notes. 5 stars

Release date: July 29; Click here to read my interview with Little Richard.

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Here’s what Carl Wilson, an editor and critic at The Globe and Mail in Toronto, Canada, and the author of Let’s Talk About Love: A Journey to the End of Taste<