Monday, March 18, 2019

Bad Love / Camp Sunshine (TOTR 354)

Guadalcanal Diary - Litany (Life Goes On)
The Three O’Clock - I Go Wild
True West - Falling Away
The Long Ryders - The Light Gets In The Way
Green On Red - That’s What Dreams Were Made For
Camper Van Beethoven - We Saw Jerry’s Daughter
Meat Puppets - Bad Love
Screaming Trees - Flower Web
Eleventh Dream Day - Among The Pines
The Dream Syndicate - Forest For The Trees
Sonic Youth - Cotton Crown
Husker Du - I Apologize
Minutemen - No! No! No! To Draft And War / Joe McCarthy’s Ghost
fIREHOSE - The Candle And The Flame
Nirvana - Lithium
Nirvana - Plateau
Meat Puppets - On
Bob Mould - Camp Sunshine
Pearl Jam - Jeremy
Smashing Pumpkins - Luna
Mad Season - River of Deceit
Love And Rockets - Kundalini Express
The Cult - Memphis Hip Shake
King Missile - Metanoia
Bongwater - You Don’t Love Me Yet

You can listen to the low-fi audio archive of this show here:

Monday, March 11, 2019

Wild Women (TOTR 353)

Kacey Musgraves - Golden Hour
Margo Price - Wild Women
Lori McKenna - Wreck You
Brandi Carlile - Fulton County Jane Doe
Amanda Shires - Pale Fire
Joy Williams - The Trouble With Wanting
Hurray For The Riff Raff - The Body Electric
Patty Griffin - Where I Come From
Phoebe Hunt - Take Me Home
Tift Merritt - Traveling Alone
Ace of Cups - Grandma’s Hands
Barbara Dane et. al. - This Little Light Of Mine
Barbara Dane & The Chamber Brothers - Come by Here
Judy Henske - I Know You Rider
Jean Ritchie - The L&N Don’t Stop Here Anymore
Lilly Hiatt - All Kinds Of People
Dori Freeman - You Say
The Wailin’ Jennys - Wildflowers
Sarah Jarosz - House of Mercy
Amy Winehouse - Love Is  A Losing Game (Original Demo)
Big Brother & the Holding Company, featuring Janis Joplin - Magic of Love - Take 1
Maria McKee & Jim Akin - Letting It Hang Out Further Than Ever
Natalie Merchant - Wonder
Indigo Girls - Share The Moon
Lucinda Williams - Are You Alright?
Emmylou Harris - Boulder To Birmingham You can listen to the low-fi audio archive of this show here:

Monday, March 4, 2019

Magician In The Mountain (TOTR 352)

(aired on Monday, February 25, s019)

Ben Howard - Old Pine
The National Parks - A Tree In Tennessee
Talking Heads - (Nothing But) Flowers
Circulus - My Body Is Made Of Sunlight
Jackson C. Frank - My Name Is Carnival
Little Wings - Magic Wand
Shiva’s Headband - Take Me To The Mountain
Sunforest - Magician In The Mountain
Little Chief - Mountain Song
Of Monsters and Men - Mountain Sound
The Brevet - Moving Mountains
Israel Nash - Iron Of The Mountain
Oakley Hall - Take My Hands, We’re Free
Rick Ford - Ruby May
Lowlights - Snow Is Silver
Help Yourself - Running Down Deep
Wild Rivers - Wandering Child
Caravan - Magic Man
Kaleidoscope - Life Will Pass You By
Attic Fowler - Light Bulb Garden
Meat Puppets - Aurora Borealis
Karen Dalton - Are You Leaving For The Country
Birdtalker - Be Where You Are
The Native Sibling - Oh, Sing
Allah-Las - Better Than Mine
The Oh Hellos - Hello My Old Heart

You can listen to the low-fi audio archive of this show here:

Monday, February 18, 2019

Nothing To Do But Today (TOTR 351)

The Neville Brothers - Brother John/Iko Iko
The Wild Magnolias - Life Is A Carnival
James Carr - The Dark End of the Street
The Isley Brothers - Nothing To Do But Today
Sam & Dave - I Thank You
Johnny Guitar Watson - She Moves Me
The Chambers Brothers - Uptown
Soul Children - Hearsay
Isaac Hayes - Walk On By
Sly & The Family Stone - Africa Talks To You
Black Merda - Over and Over
Shuggie Otis - Gospel Groove
Miles Davis - Prelude, Pt. 2
McCoy Tyner - Valley of Life
Pharaoh Sanders - Astral Traveling
Brother Ah - Transcndental March (Celebration Song)
John Coltrane - Sun Star
Don Cherry - Brown Rice
Donald Byrd - The Dude
Bad Brains - The Meek Shall Inherit The Earth
TV On The Radio - Caffeinated Consciousness
Taj Mahal & Keb Mo - Waiting On The World To Change
You can listen to the low-fi audio archive of this show here:

Monday, February 11, 2019

Love (TOTR 350)

Bob Marley & the Wailers - One Love
Coleman Barks - Some Kiss
Deepak Chopra & Adam Plack - Valentine to Rumi
Coleman Barks - The Freshness
Tuatara & Coleman Barks - A Grainy Taste
Tuatara & Coleman Barks - Jars of Springwater

Music by Mariana Bernoski-Gonya
Lyrics adaptations of Rumi translated by Coleman Barks


Tuatara & Coleman Barks - Luke and the Duct Tape
Opium Moon - Gravity = Love
Deepak Chopra & Adam Plack - Intoxicated by Love
Atman - Path of Love
U2 - FEZ/Being Born
Dead & Company - Iko, Iko
Dawes - Crack the Case
Over the Rhine - Love & Revelation
Troy Bronsink - Love

Enter the Worship Circle - Can’t Thank You Enough

[You can listen to the low-fi audio archive of this show here:]

Monday, February 4, 2019

Nina Cried Power (TOTR 349)

Nina Simone - I Want A Little Sugar In My Bowl
Hozier & Mavis Staples - Nina Cried Power
Michael Franti & Spearhead - When The Sun Begins To Shine
Nina Simone & Francois K. - Here Comes The Sun (Francois K. Remix)
Nina Simone & Groovefinder - Ain’t Got No/I Got Life
Mavis Staples - If All I Was Was Black
Rhiannon Giddens - Black Is The Color
Nina Simone - To Be Young, Gifted and Black
Nina Simone - Backlash Blues
Nina Simone - I Wish I Knew How It Would Feel To Be Free
Nina Simone - Revolution (Pts. 1 and 2)
Nina Simone - Mr. Bojangles
Nina Simone - My Sweet Lord/Today Is A Killer
Jennah Bell - Can’t Be Too Careful
Valerie June - Workin’ Woman Blues
Rhiannon Giddens - Don’t Let It Trouble Your Mind
Sweet Honey In The Rock - Wade In The Water
Bernice Johnson Reagon - There’s A New World Coming
Nina Simone - New World Coming

[You can listen to the low-fi audio archive of this show here:]

Monday, January 28, 2019

Rumble (TOTR 348)

Rainbow Kitten Surprise - Seven
Howlin’ Wolf - Shake For Me
Link Wray - Mordicai Jones - On The Run
Link Wray - Rumble
Link Wray - Hobo Man
Link Wray - Water Boy
Link Wray - La De Da
Link Wray - Take Me Home Jesus
Link Wray - Fallin’ Rain
Link Wray - Fire And Brimstone
Link Wray - Ice People
Link Wray - God Out West
Link Wray - Black River Swamp
Link Wray - Tail Dragger
Love - Can’t Find It
John Trudell - Hanging From The Cross
Keith Secola - You Got Land
Buffy Sainte-Marie - My Country ‘Tis of Thy People You’re Dying
Joy Harjo - I Am A Dangerous Woman/Crossing The Border Into Canada
Annie Humphrey - Winter Mornings, Coffee & Cedar Smoke
Eagle & Hawk - Sundancer
Johnny Cash - Drums
Our Native Daughters - Quasheba, Quasheba
Ulali - Mother

[You can listen to the low-fi audio archive of this show here:]
[Mixed from my Lenovo Flex laptop to the WTTU board through an aux cord, ripped in Mono with Audacity on the studio Dell, exported as Mp3]

Sunday, January 27, 2019

Do You Mind? RKS Heats Up Winter at the Tennessee Theater

Bonnaroo is always a beautiful place to discover new favorites, and 2017 was no exception. But you are supposed to be standing, shoulder-to-sweaty-shoulder, under a tent or under the stars or in the beating afternoon sun. But this time, I was under the influence an overheated Tennessee summer fatigue and napping in one of the air-conditioned VIP lounges. My wife had to wake me up to catch the band being streamed on one of the TV monitors.

You cannot miss Sam Melo’s signature dance moves or ever forget his catchy lyrical hooks or be spiritually unmoved by his prophetic charisma. The addictive rock sounds were at once familiar and strange. Early comparisons ranged from Modest Mouse to Kings of Leon, but there are also world music and hip hop influences abounding. I cannot help but see the spirit of Freddie Mercury busting forth but these young people were born from an Appalachian college campus origin story that also makes me think of Michael Stipe.

Our path to hardcore RKS fandom began in the sticky Bonnaroo dust, but we had to wait before it could continue outside of inhaling their back catalog. We left Bonnaroo and missed them immediately. My sweetie kept asking me to find us another show. The tour supporting their second eponymous disc RKS had long come and gone. But we were ready to go all in!

Then in the spring of 2018, they dropped their major label debut: How To: Friend, Love, Freefall. It was easily one of my top records of last year, not the least for its courage in addressing its singer and bassist coming out. Without hesitation, we grabbed our tickets to Sloss Festival for their Sunday set, only to have that stormed out and canceled. A free set at Nashville’s Live On The Green was a needed hit of their magic, but they were only openers sandwiched in a multi-band bill, and now, we were really hooked. The winter tour that we are now in could not have got here soon enough, and they are bringing some much needed heat to this January, soon February, cold.  

Sam Melo was raised by missionaries in the Dominican Republic. In college, his pedigree ranged from dance to religious studies. From his mysteriously gorgeous lyrics to the intensity of his stage presence, it’s all religion sex and alcohol rolled up in so much pentecostal spit. Only a handful of their songs are radio-appropriate for all the well-chosen cuss words that clutter Melo’s literary word bombs. Hurt and hunger, chaos and confusion, these and so many demons and doubts all mingle with energy and ecstasy, with joy and jubilee.

Their Saturday set at Knoxville’s eminent Tennessee Theater (how many great shows have we seen here over the years) starts with a slow burn of deep cuts, accentuated by a sizzling light show that would last all night. But the ceiling starts to come off by the time they get to “Cocaine Jesus,” followed by “Devil Like Me” and “Seven.” By the time we get to “Holy War,” it’s due time to remind ourselves what a truly eclectic and progressive ensemble this is, undoing fundamentalism and hate, without hitting anyone over the head, one song at a time.

One thing about about a seated show, even in a room as gorgeous and good-sounding as this one, it’s hard to get your dance on, even when standing at your seat. Toward the end of the set, Melo asked everyone to leave their seats, which prompted a couple hundred to head down the aisles toward the stage, increasing the palpable energy in the room which has been building all night. Peaceful enough, the ushers let it all go down, as the people started to really get down. The energy kept building, and the night’s rendering of “That’s My Shit” reminds you how hard this band can hit it with a range of hip-hop swagger and even Rage Against The Machine moves.

As RKS were winding up their main set, Sam Melo, who had not talked much all night, started sending shoutouts to the crew. Then he introduced the band, using feminine pronouns for the glamorous and gregarious bass player Charlie Holt; she kind of reminds me of Flea, if Flea were a gender-fluid gal from a North Carolina college town.

The section of shoutouts slipped into some speechifying that mingled the insanity of a street preacher, with a call to celebrate reminiscent of the MC5’s “kick out the jams” and “time to decide” speeches, more than a generation ago.  In call-and-response fashion, Sam Melo kept asking Knoxville, “do you mind?” One time after another, until the already loud crowd was even more deafening than the crunch of Ethan Goodpaster’s lead guitar, that also at this point reached its dirtiest heights of the night.

Once we were all worked into a frenzy, the band belted out the main set’s closer, which was the early track “Run,” rocking the rafters and kicking with the kids, lyrical licks of “money money money” mostly out-of-sync with the rest of the RKS canon, not that anyone cared, but it reminded me of that time late in the Jacket set when “Run Thru” would just shatter everything that came before it with epic badassery.

It’s impossible to understate the unbelievable jolt that comes from a band that clearly loves to perform live. Sam Melo is that singular yogi-shaman sparkplug whose glorious gift just covers everyone in the crowd as he twirls, gyrates, and caterwauls around a stage. The rest of the group are as into it as he is, but they allow the frontman to steal the show in that perfect frontman fashion.  

An encore of two songs -- “Fever Pitch” and “Hide” -- was far too short before the house lights came up after a stupendous 90-minutes of immersion into rock wonder. But that “Hide” has become their anthem says so much good, even as the American landscape experiences daily backlashes against the beauty of human diversity. From their unforgettable band name, to everything about their shameless authenticity, this is all a great and needed dose of musical medicine. Don’t hide, don’t hide love, and yes, we are grateful that RKS are not hiding one sonic thing.

RKS Setlist 1-26-2019
Tennessee Theater, Knoxville, TN

When It Lands
Counting Cards
All's Well That Ends
Cold Love
American Shoes
Shameful Company
Cocaine Jesus
Devil Like Me
First Class
All That and More (Sailboat)
Holy War
No Vacancy
It's Called: Freefall
That's My Shit

Fever Pitch

Tuesday, January 8, 2019

Faith, art, and another book about U2

REVIEW of Timothy Neufeld. U2: Rock 'n' Roll to Change the World. 2017. Tempo: A Rowman & Littlefield Music Series on Rock, Pop, and Culture

When I was in 11th grade, I spent the entire school year reading, researching, and writing a major paper about black American author James Baldwin. From his novels and nonfiction, I discovered that the best literature lived at the intersection of spirituality, sexuality, and social justice. Turns out that an Irish rock band I fell in love with around that time also addressed the theological, sociological, and psychological with a similar inspiring intensity. Over the years, all the best poetry, music, and art that would captivate me seemed to always explore similar convergences.

When I am choosing textbooks for an Introduction to U2 Studies class at the University of Rock And Roll, Timothy Neufeld’s tremendous primer that was released in 2017 would definitely be on the list. Since the school where I teach undergrads is a little more old school, the best I can do is integrate U2 into my World Literature curriculum, which I do. Tim’s perspectives on U2 are some of the ones I most value and would most likely consult at this juncture in my academic fandom.

Granted, there are lots of U2 great books out there, both from a popular and from an academic perspective. It would be dishonest to deny that I would not mind owning them all, each and every one. But Tim’s text is one that I have read twice and keep going back to for regular consultations. He begins with a more-or-less chronological journey through the band’s canon and career. Even in doing this basic review, his take is prescient and profound. Even though it’s a story I have long loved and even lived since my days of teenage obsession, I learned lots while inhaling Tim’s version of the tale.

But it’s the back side of the book that truly catches an unforgettable fire for me, with the chapters “Faith and Art” followed by “Social Engagement.” Here, Tim interprets U2 with a lens similar to one I tried to apply to Baldwin back when. In fact, Tim does all this with near perfection, as great teachers and authors do when they compose an introductory text like this one. It’s also excellent modeling for his students, for all of our students, trying to figure out what academic prose about popular music is supposed to look like. Since Tim is also a seasoned online journalist for one of the great U2 fanzines, he knows not to get bogged down with idiosyncratic jargon or personal pet tangents. He keeps the main thing the main thing.

While those last two chapters are incredible as is, I want to point out something that I greatly appreciate about how he has written them. You see, when it comes to faith, art, and social engagement, U2 has its partisan choir loft and its chorus of haters. Somehow, Tim manages to deal with many of the criticisms and contradictions that turn people against Bono and the boys with bitter passion. Problems are in Christianity that U2 are too evangelical for liberals and too liberal for evangelicals. In politics and economics, they are too capitalist for leftists and too progressive for arch-capitalists. Tim does not water down or walk past some of the good points from either side, and he mostly just tells the true story as best he can, where these kind of issues inevitably come up.

He does all this without overly cheering one side, getting defensive, or even allowing too many fanboy biases to take over. See, we know Tim on Twitter, at the U2 conferences, at the shows, and on his online interactive show the Crystal Ballroom, and Tim is the true fan epitomized. But his writing is scholarly and sympathetic and open-minded in ways that we other fan authors ought to find enviable.
If I ever get around to writing my U2 book, the story will be much more personal, but until then, this will be my favorite U2 book, with some near rivals by Steve Stockman or edited volumes by Scott Calhoun or Beth Maynard. There are already some great U2 fan memoirs, and this is not one of them. But do not let the academic aspect scare you away. This book is just so well-written and accessible, it is a book you could give your non-U2-fan family members and colleagues to help them understand why we in the U2 fan community are the way we are.  

When this book was first released in hardcover, it was priced for libraries, specialists, and completists. Now out in paperback and Kindle, this book is yours for a fee that the regular people can afford.

If I were to summarize one takeaway that makes this text so great overall, it would be this: Tim fills in lots of gaps and aptly describes nuances that have been around all along, but they have never been found in one place, expressed so succinctly and so elegantly. Rock to change the world? Maybe, probably, perhaps. But to paraphrase a lyric, this music changed the world in me. U2 certainly changed Timothy Neufeld’s world, and now, this book also changed mine.  

Follow @timneufeld on Twitter. A playlist based on the chapter "Faith and Art." Photo -- Teacher on the Radio with Tim's book.