Thursday, March 01, 2007

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday March 1st from 9PM to Closing

Hello Y'all,
February is past and we march into Spring from here. Of course this means I can be found standing behind the bar at D.C.'s spinning some tasty little slabs of wax while Bill recoups from his dirty set by dancing shirtless and balancing his beer. Sex and Rock-N-Roll at its best. C'mon it's a bar for god's sake; two out of three ain't bad. I certainly have some new stuff in me bag-o-tricks since me day of birth has recently passed and I can't wait to give 'em a test spin and see how they handle.

- pat.

Bill Dolan and Pat. Longo Spin-in' a New Month
Thursday March 1st
From 9PM to Closing
D.C.'s Tavern
505 8th Street
Hoboken, New Jersey

Here's a sampling:
Gate Wesley & Band (Vocals: Billy LaMont) - "(Zap! Pow!) Do The Batman" (Atlantic cat. 45-2319)
There doesn't seem any end to my obsession with Batman songs and it is really amazing to me the number of songs based on or from The Batman series that are nothing short of spectacular. This one is particular great and has a weird 50's meets 70's Funk feel to it. Squonky horns, twangy yet sharp guitar and jet sounds thump, bump and clang under LaMont's gravely voice. He sounds a bit like a drunk on a corner screaming at people as they go by but somehow it is perfect for the groove. I'll take 10 more just like this please.

Dyke & The Blazers - "Black Boy" b/w "Let a Woman Be a Woman Let A Man Be A Man"
Both versions here are unreleased. Of course the B-side is one of Dyke's greatest moments on wax but this is a more raw, slightly slower version with a longer break section than the classic original. If "Let A Woman..." wasn't already one of my favorite tracks of all time this can certainly push it to number one. From the first second I heard Dyke & The Blazers I was immediately hooked by their insanely tight tracks and Dyke's raspy, beautiful voice all recorded in what sounds as first takes. There is nothing more beautiful to me in music and art than when something is perfectly flawed.

The Spooks - "The Spook Walk" from "Vampires, Cowboys, Spacemen & Spooks - the very best of Joe Meek's instrumentals"
So you get a little obsessed with the occult and eventually it consumes you and you kill yourself and your undeserving land-lady. You would think this act alone would overshadow ANYthing you did when you were one a little less OUT OF YOUR FUCKING MIND, BUT Joe Meek leaves behind some of the greatest music I have ever heard. On this amazing ep There are three issued tracks and one unreleased one. "The Spook Walk" is a creepy, mid-tempo, guitar headed soundtrack with an eerie organ that sounds very Lurch. The guitar gets most of the spotlight and deservedly so as it has a round full sound with an almost vocal quality.

The Shadows of Knight - "Oh Yeah' b/w "Light Bulb Blues" (Dunwich cat. 45-122)
I can't decide which side to drop on this little gem. "Oh Yeah" is almost comical in its I can give a crap attitude and sparse arrangement. The more I think about it, it takes balls to do this and walk out of the studio saying, Yeah that is done, we nailed it. Pretty classic. But, "Light Bulb Blues" is pretty wild. Far more revved up and inspired. Fuzzed guitar, a pounding beat and desperate vocals make for quite a trip.

"Big" John Patton - "Ain't That Peculiar" b/w "Amanda" (Blue Note cat. 45-1926)
Hmmm. I can't decide on this one either. "Amanda" is the far more Jazzy side but is more close to a Soul Instrumental than Jazz with a steady beat, groovy guitar and Patton's screaming organ throughout. "Ain't That Peculiar" is more of a Mod dancer. It starts out with the guitar giving a pretty straight read of the tune but soon busts wide open to a pounding, party, floor stomp that I find myself air drumming to every time I listen. It closes out with the guitar giving another read of the theme and fades to give us a moment to catch our breath.

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