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Tag: novelty songs

A Sly Christmukah Ballad From Jazz Guitarist Peter Curtis

A couple of years back jazz guitarist Peter Curtis put out the album Christmas With Your Jewish Boyfriend, a competently played collection of Xmas songs written by Jews. And there’s historical context for that. More than a century ago, for example, it wasn’t uncommon for Jews in Russia and the Pale to celebrate the Christian holiday. What’s somebody else’s simcha, anyway, when it all used to be Saturnalia?

The album’s title track is the real piece de resistance, and Curtis’ only original on it. And it’s a hoot, Curtis crooning to his shiksa GF about all the ways they can have Christmukah fun. No spoilers!

Office Culture’s Cynical Frontman Gets Slightly More Organic

Winston Cook-Wilson a.k.a. Winston C.W. is the deadpan lounge lizard frontman and keyboardist of hilariously slick 80s pop parody band Office Culture – whose debut record you’ll see on the best albums of the year page here at the end of this month. He has a new album, Good Guess, out under his own name, streaming at Bandcamp. The music is a lot more stripped-down and less cynically plasticky than his main project, and maybe a little less insincere. Ward White at his most sardonic is a good point of comparison.

The album’s first track is Cakewalk, a slow, swaying, chiming, Debussy-esque piano pop ballad – with a characteristically cruel punchline. Guitarist Ryan Beckley does a good job emulating a horn with his volume knob as bassist Carmen Rothwell keeps a steady pulse.

Business is much the same, a stroll “past the trappings of defeat.”  As you might guess, the third track, Safety, is not about being safe at all, with its allusions to betrayal. The joke in Broken Drum is more musical rather than lyrical, the band gettting murky and rubato with some familiar “classic rock” riffs. “Maybe I look like someone who thrives for a minute in this brutal season, someone who forgets what it’s like to be that other guy,” Cook-Wilson muses innocently.

The sarcastically titled instrumental Swing Time is a slightly Lynchian stab at free jazz. The narrator of the increasingly creepy kiss-off ballad No Regrets is no less blithely callous than the characters in Cook-Wilson’s main band’s songs.

The album’s best story is Birds, an allusively grim narrative set to a cliched, saccharine 80s easy-listening pop backdrop. The abrasively trippy title track brings the record full circle, “a joyous day for a sad affair,” as Cook-Wilson puts it. For anyone who’s ever suffered through a retail dayjob where Lite FM plays on loop, this is sweet redemption.

Irresistibly Goofy Dark Americana From the Brent Amaker DeathSquad

Baritone crooner Brent Amaker is best known for playing a distinctively amusing, utterly original style of Americana with his band the Rodeo. But he also has another project, the Brent Amaker DeathSquad. As you would expect, he saves his darker, more Nashville gothic oriented material for that band. They’ve got a new album, Hello, just out and streaming at Bandcamp.

They open with the title track. There’s tons of reverb on everything here, even the drums (that’s either Nozomi Momo or Bryan Crawford behind the kit). It’s one of the more tongue-in-cheek, freak-folk tinged numbers here. You can hear a little Iggy Pop in Amaker’s vocals – later on here, he covers The Passenger, a little faster and more lo-fi than the original.

Bassist Darci Carlson talks her way through the lurid Man in Charge, Amaker’s ominous tremolo guitar lingering over a fast shuffle beat, a funeral train on the express track. You Won’t Find Me is a goofy honkytonk piano-fueled duet: it comes across as Porter Wagoner and Dolly Parton doing a Roger Miller song.

Burn, a fuzztoned garage rock song, sounds like the Gun Club with Lux Interior out front. Amaker really pushes to the foggy bottom of his register in Rain: just when you think it’s just a solo acoustic tune, Carlson floats in with a pillowy vocal over a plush string section.

The punkabillyish Let Me Out is the funniest song on the album: “Lemme out,” insists Amaker, from behind bars. “No way,” Carlson intones. With its keening funeral-parlor organ and a theremin solo, I’m the Big Bang is another duet, which is also just about as funny. The album’s final and most psychedelic track is Death Squad, a ghoulabilly shuffle centered around a wry conversation about medicating with booze. It was impossible to resist saving this til now for the annual monthlong Halloween celebration here, even considering that this city has been living Halloween every day since about March 16.

A Gleefully Twisted Theatrical Update on a Classic Black Comedy

For those who missed it the first time around, the 1988 black comedy Heathers remains one of the alltime great midnight movies. It stars Winona Ryder, Shannen Doherty and Lisanne Falk as a trio of sadistic, popular high school girls, all named Heather, whose mission is to make life miserable for everyone below then on the status ladder. As a satire of high school conformity and cliquishness, it’s as bleakly funny today as it was then.

It also became a popular musical. The original West End cast recording, released last year, is streaming at Spotify. What’s almost shocking is that the creators, writer Kevin Murphy and composer Laurence O’Keefe, kept the narrative in its original late 80s milieu. Back then, the internet was just a dial-up connection for diehard computer nerds, only spies and hedge fund moguls had mobile phones, and the plague of social media was yet to come. So just as in the movie, all the hazing and hostility here happens in reality rather than its virtual counterpart.

The cast are perfectly adequate singers, but the songwriting is the musical’s strongest point. Obviously, none of the original three Heathers would have been listening to anything edgier than Mariah Carey. Interestingly, Murphy and O’Keefe bring the music further into the future. This is a pop musical: while most of the music has 80s production values, with real guitars, synthesizers, bass and drums and even occasional orchestration, there are interludes that either draw on or make fun of singsongey, post-emo corporate radio fodder. Hip-hop influences also pop up in places.

The dialogue is relentlessly sharp and a lot dirtier here, compared to the movie. There’s a big “holy shit” chorus early on that’s irresistibly funny. And the characters, especially the villians, have been updated except for the social media obsessions. Sex, booze and drugs are as ubiquitous here as they are among real-life seventeen-year-olds.

“This ain’t high school, this is the Thunderdome,” embattled protagonist Veronica Sawyer (Carrie Hope Fletcher) complains as the blustery opening anthem introduces a procession of bully and victim stereotypes. The quasi-relationship between Veronica and the outsider Christian Slater character (Jamie Muscato) makes its entry earlier than in the movie: this guy also turns out to be considerably kinder and gentler. The plot twist where a couple of the jock characters are outed as gay (no spoilers for those who haven’t seen the movie) reflects a 21st century conscience. Veronica also gets caught up in a genuinely chilling metoo moment.

Suicide is also an even bigger theme in this version. As the parade of power ballads, ersatz funk and frenetic dance numbers rise to an explosive peak, the musical proves to be every bit as dark as the film.

A Big Dose of Hilarious, Sharply Lyrical, Tuneful Black Dirt Country Rock From Joe Stamm

If you’re a musician trying to build an audience, you can’t do better than Americana rocker Joe Stamm, who has one of the most sophisticated and well thought-out marketing campaigns this blog has ever encountered. There’s a catch, though…his system won’t work for you unless you have the material to back it up.

What he wants you to do when you visit his webpage is to sign up for his “online album adventure,” with a lot of freebies. So maybe you do that…and half an hour later, it hits you that you’re still there, still listening. This guy is good!

He calls his music black dirt country rock. He can be outrageously funny one moment and dead serious the next. He’s a strong singer, a hell of a storyteller and has a good sense of the kind of incident where there’s a song just waiting to be written about it. Like pretty much everybody in his line of work did before the lockdown, he made his living on the road.

When you sign up, he sends you all the stuff in a series of emails. with a lot of mini-playlists, free downloads and videos. Day one is a good introduction. It begins with a free download of High Road Home, an ambiguous and troubled workingman’s anthem (Stamm has a LOT of those). There’s more than a hint of Sam Llanas soul in the vocals, in this live duo version with low-key, purposeful acoustic lead player David Glover.

There’s also a duo version of the grimly aphoristic Crow Creek in the original A major key – which actually turns out better than the minor-key version Stamm recorded in the studio. But the centerpiece is Blame It on the Dog. It’s insanely funny and it has a trick ending. Without giving too much away, the dog is not always to blame for what’s going on here.

Later on during the “adventure” he celebrates “Busch Lights and a purple haze” – yikes – over a slow soul sway in a full band version of Bottle You Up, a salute to daydrinking. It’s also Stamm’s opportunity to pitch his line of suggestive beer-related t-shirts and such.

A little further into the “adventure” he completely flips the script with Ring of Roses, a folksy, John Prine-ish number inspired by a guy who was in hospice care, but that didn’t stop him from planning his next construction project. For freedom-loving people in Sioux Falls, South Dakota, Stamm’s next gig is on Oct 10 at 10 PM at Bigs Bar at 3110 W. 12th St.

You may be wondering why on earth a New York music blog would be paying so much attention to shows in such a faraway place as South Dakota. There are actually many reasons why, which you should think about, and one of them is that there are there’s more going on musically in South Dakota than there is in New York City right now – at least as far as publicly advertised shows are concerned. And if that’s not cause for concern, somebody’s asleep at the wheel. 

A Darkly Playful, Timely Jazz Reinvention of a Brooding Schubert Suite

One of the most surrealistically enjoyable releases of recent months is a highly improvised instrumental version of Schubert’s Winterreise, an allusively political protest suite disguised as a collection of lovelorn ballads. Artists as diverse as Frank Sinatra and Phil Kline have drawn inspiration from the composer’s brooding early Romanticism, but it’s hard to remember if there’s ever been a jazz interpretation of the whole thing. The collective Madre Vaca are responsible for this crazy stunt, streaming at Bandcamp. The group’s drummer, Benjamin Shorstein gets credit for this fearless, inspired, latin-tinged arrangement.

The opening number, Goodnight, is a marching blend of Cab Calloway hi-de-ho, the Beatles’ For the Benefit of Mr. Kite, and a little of the original courtesy of Jonah Pierre’s piano.

Likewise, the group play up the phantasmagoria in a strutting, waltzing take of The Weathervane, then they loosen, with the horns – Juan Rollan’s sax, Steve Strawley’s trumpet and Lance Reed’s trombone – getting nebulous until the rest of the band pull them back on track.

Shorstein and bassist Mike Perez rise from a klezmer-tinged shuffle as Frozen grows from an ambered gravitas to a postbop jazz crush with high-voltage solos from sax and piano. They reinvent Loneliness as a moodily energetic bossa, guitarist Jarrett Carter’s sage, spacious solo at the center.

Pierre and Carter converse broodingly in The Grey Head, with a chromatically-charged bristle and a more muted tropical tinge. Percussionist Milan Algood fuels the qawwali-ish groove of The Crow: once again, there are hints of klezmer, hard-charging sax and McCoy Tyner-inspired piano, and bubbly guitar solos.

The group make Monk-ish clave jazz out of Last Hope; even with the new syncopation, the underlying angst cuts through, especially when the carnivalesque atmosphere grows insistent. The version of The Stormy Morning here is a cha-cha, Reed’s chuffing trombone setting up a big coda from Strawley. Pierre’s Schubertian salsa piano is one of the funniest moments on the album.

Pierre and an uncredited vocalist do a serviceable, straight-up classical take of The Sun Dogs and close with a deviously Balkan-inflected take of The Hurdy Gurdy Man, Schubert’s disconsolate portrait of the suite’s protagonist all alone on the ice with only a homeless drunk for company.

The Winterreise has special relevance for our time as well. It wasn’t written under a lockdown, but during a serious crackdown on civil liberties under another repressive regime. Schubert changed the order of the Wilhelm Muller poems he used as text in order to fool the censors.

The DriverX Soundtrack: A Crazily Diverse College Radio Style Playlist

, Lili Haydn and Marvin Etzioni‘s soundtrack to the 2018 film DriverX – streaming at youtube – is a long one, with a grand total of twenty tracks. Even for a film score, it’s especially eclectic, everything from soul to powerpop to uneasy set pieces. Etzioni plays mostly the good-cop role here, showing off his multistylistic erudition, while Haydn gets to be bad cop with her stark, troubled instrumentals.

Her brief main title theme is a surreal mashup of Central Asian folk and sinister oldtimey swing. Etzioni pulls a first-class oldschool soul band together for Oh Glory Be, sung with gospel passion by Helen Rose. The Model rip through a brief powerpop sprint; a little later, Etzioni plays a grimly amusing Dylan spoof on ukulele.

Talon Majors sings a turbulent, Amy Winehouse-ish neosoul tune. The Satellite Four prance through a long series of variations on a famous Shadows surf theme. Danny Peck takes over the mic on Haydn’s breathy, Orbisonesque Nashville noir ballad I’m Here, which she reprises at the end, Julee Cruise style.

Etzioni’s tense soul-blues epic Trouble Holding Back slowly rises to a jaggedly haphazard guitar solo; then he goes into low-key, flinty olschool C&W with Hard to Build a Home. He sticks with gloomy Americana in Miss This World.

Haydn’s other contributions include a brooding violin and acoustic guitar interlude; a hazy trip-hop tune; a bit of psychedelic baroque pop; a dubby, twinkling nocturne; some haunting instrumental folk-rock and a ridiculous descent into EDM.

Karmic Payback Via Video

Catherine Russell‘s new video You Reap Just What You Sow reinvents the Alberta Hunter gospel/blues classic as oldtimey string band music, with Larry Campbell on acoustic guitar and Howard Johnson on tuba. But as impassioned as Russell’s vocals are – karma is a real bitch –  this is even more noteworthy since it’s her first-ever recording on mandolin. Little-known fact: the famous jazz chanteuse is also a first-class bluegrass musician.

Elizabeth Cook’s Perfect Girls of Pop is a ballsy satire of corporate radio cheesiness. The big joke is when the chorus kicks in – and she’s got the autotune dialed up all the way to hideous. Yeah, it’s like shooting fish in a barrel – but it’s still fun to hear the carnage.

Hilarious Video Makes Fun of Lockdown-Era Paranoia

One of the funniest videos to come over the transom here in recent weeks is Media Bear’s I Wear My Face Mask in the Car. Lately youtube has been taking down pro-freedom videos, but this one’s still up there.

This LMFAO parody of masker behavior has new lyrics set to the tune of the cheesy 80s pop hit I Wear My Sunglasses At Night. The funniest part of the video starts with the shaving scene at about 3:05, and it gets even better from there. No spoilers!

Three New Singles For Tough Times

Every Friday night at 8, Charming Disaster’s web series airs at their youtube channel. Kotorino‘s Jeff Morris and Sweet Soubrette‘s Ellia Bisker started the project as a murder ballad duo and branched out to include both Kotorino’s latin noir and Sweet Soubrette’s dark folk and soul, among an increasing number of styles. Their latest single, I Am a Librarian is an elegantly waltzing throwback to their creepy early days. Are you awaiting the moment you make your escape? Charming Disaster feel your pain.

Smoota – the boudoir soul crooner alter ago of trombonist Dave Smith – also has a new single, Catch It! (The Coronavirus Boogie). It’s a great oldschool funk tune, but if you’re 65 or older, or immunocompromised, you, um, might want to think twice about this particular path to herd immunity.

Once and future HUMANWINE frontwoman Holly Brewer continues to release singles at a breakneck pace. The latest one is Good Ole Fashioned Protest Song, up at Bandcamp as a name-your-price download. Brewer has been a big-picture person for a long time: follow the money and you’ll find the perp, whether you’re talking about petty crime, or the nonsense coming out of the Oval Office.