Lucky you… two posts from me in one day!  Everybody’s shufflin shufflin…

“Tonight Is Fine” – Danko Jones, Below The Belt

Mix up a little AC/DC, Motorhead, Thin Lizzy, and a bit of cock rock and you get Danko Jones.  Reminds me of that early 80s era before hair metal started to take over, and somewhat reminiscent of the NWOBHM days.  Single note bass holding down the bottom end with some heavy riffing o’er top with yer typical macho boy/girl lyric.  A hint of AC/DC gang vocal in the chorus too.  Good stuff.

“Stax” – Galactic, Coolin’ Off

The New Orleans cats are downright nasty, although this cut is a bit more spacier than some of their other tunes but it is groovy nonetheless.  Stanton Moore lays down a typically solid backbeat while the rest of the gang adds a seriously funky keyboard line with some sparse wah wah guitar and a spot on bassline.  This is gonna sound weird, but I’m getting an odd Pink Floyd vibe out of the keys (didn’t I say “spacier” before???).  All instrumental and booty shakin’ to boot.

“Wonderful World” – Spiritual Beggars, Ad Astra

An absolutely killer song, Spiritual Beggars was one of those finds that came along at the right time for me.  Grunge had pretty much gone by the wayside and I was looking for ANYTHING that leaned heavy.  Around this time I started to get into what was being tagged as “stoner rock” and these guys quickly grabbed my ear.  A lot of stoner rock was watered down Sabbath but these guys took a lot from the 70s element and really came into their own with “Ad Astra”, especially with this song.  Mix in a strong keyboard and guitar riff, a killer hook, and some seriously slammin’ drums and you’ve got “Wonderful World”.  HIGHLY recommended.

“Grapevine Fires” – Death Cab For Cutie, Narrow Stairs

A bit of a Purdie shuffle on the drums kicks off one of Ben Gibbard’s more picturesque lyrics and melodic songs from Death Cab.  Gibbard’s talk/sing style has a definite charm and the sparse keyboard/guitar accompaniment and gorgeous harmony background vocals make this one of the better cuts from the album.  A nice segue/bridge(?) after the second chorus is a great touch.

“Snake Oil” – Steve Earle, The Essential Steve Earle

There was a brief period in college where I flirted with the “new country” movement at the time and some of the more rock/country crossovers like Hank Jr, Kentucky Headhunters, and Steve Earle.  “Snake Oil” is certainly more in the rock vein, crossing boogie woogie piano, slide guitar, and a Presley playfulness to make a flat out rock/country song (and no, I ain’t talking “country rock” like the Eagles).  Think Mellencamp fronting the Georgia Satellites with Billy Powell guesting on keys and you’re in the ballpark.

“Land Of The Rising Slum” – Skyclad, Prince of the Poverty Line

Fronted by pun king and clever lyricist Martin Walkyier, Skyclad was certainly the leader of the pack in the folk metal movement, although in the band’s early days they were certainly more metal but mixed in some folky elements here and there.  On “Land Of The Rising Slum” the band throws in a bit of everything:  a catchy percussive loop followed by a brief piano pattern before Martin’s spitting, venomous vocal delivery and even heavier riff from the band.  Then… surprise!  we’re off in psychedelia land with a brief keyboard solo until the metal returns with an absolute ace of a solo from Steve Ramsey.  Martin-  we need you to reclaim your throne!

“Shakin’ All Over” – The Who, Can We Have Eternal Live boot

From ’68-’70 or so The ‘Oo may have been at the absolute peak of their live prowess.  Daltrey was really coming into his own as a singer/frontman, Townshend was relying more on soundscape and texture with effective use of power chords and feedback (and the ever present windmilling), Entwistle was laying down the heaviest bottom end in England, and Moon was an unstoppable dynamo/whirling dervish pushing the band ever onward.  Not my fave live version of this song (that would be from Leeds) but great nonetheless.  You can NEVER go wrong with live Who during this period.  Maximum R&B indeed.

“Medicine Train” – The Cult, Sonic Temple

Once Rick Rubin got his hooks into The Cult come Electric the band suddenly shifted gears into a more guitar-centric, ballsy band from the more textured, layered approach on Love.  Come Sonic Temple, the band took those balls and shifted into an even more heavier realm with songs like “Medicine Train”.  Mix in a heavy dose of bloozy Aerosmith swagger and Zep-esque stomp with the roaring vocal of Ian Astbury and you’ve got yourself a winner.  Brownie points for the double time punked out ending.

“Mean” – John Mellencamp, Life, Death, Love, and Freedom

A departure for Mellencamp, “Mean” is a bit of a darker cut that unfortunately lasts only 2:35.  The world weary, almost defeated tone of the vocal is most effective as he asks “would you please stop being so mean” over top a haunting piano and acoustic track.  T Bone Burnette’s production is most excellent on this one.  So stark but with much beauty.

“Truth Hits Everybody” – The Police, Outlandos d’Amour

Early Police had quite a bit of freneticism and punky joie de vivre that is flat out amazing when you compare a song like this with hits such as “King of Pain” or “Every Breath You Take”.  Those songs are OK (overplayed, unfortunately) but something like “Truth” is just unstoppable fun, driven by the percussive genius of Stewart Copeland and relentless riff of Andy Summers.  Nary a hint of reggae, just flat out punk rock.

That’s it for this week!  A nice eclectic mix this time, which is why I’m a shufflin’ fool.  Fave cut of the week goes out to “Wonderful World” from Spiritual Beggars.