the early Ubu of "Thirty Seconds Over Tokyo" and "Modern Dance" is among my favorite music ever, but I like most of what they've done over the years. Goose, I will say that I at least regard "Modern Dance" as just plain punk, it was too early for "post-punk" in 1978, maybe...? I got the chance to interview David Thomas in 2006, when Rocket from the Tombs played here. I found him a guy you could really engage.
Also wanted to say I forgot to plug the record that's really been killing me lately, Johnny Mathis' unreleased Chic-produced-and-written disco album, "I Love My Lady," 1981, which is one of the best things Nile Rodgers and company ever put their names on. It's a masterpiece.
Burrito, like I said, it looks like there was a Japanese reissue of that "Panis" album last year. It's essential. I also wanted to tell Sean Maloney and anyone else interested that I found a reissue of Sonny Sharrock's "Black Woman" paired with another great avant-jazz album, Wayne Henderson's 1967 Atlantic album "People Get Ready," which has versions of Otis Redding and Curtis Mayfield tunes done in great fashion. It came out on Collectables in 2000 and I found it here in town for about 3 dollars. Maloney, I'll burn it or dropbox it for you sometime if you don't have it.
OK, Burrito, "Bread and Circuses" was reissued last year by Universal Japan in a paper sleeve, runs you 40-50 bucks for about 35 minutes of music. This is a record that needs a good domestic, affordable, release, with translations. It's really a crime that this, and the Tom Ze catalog, is not available in the United States in editions that come with translations, and are affordable. I could say this about a lot of Brazilian records from the late '60s and into the '70s.
Burrito, Polygram reissued "Bread and Circuses" in 2002, Philips again in 2010. Who reissued it recently? One of my favorites too. Speaking of such matters: Have you read Caetano Veloso's autobiography, "Tropical Truth"?
JStreet, what Robben Ford was playing that night was jazz. What Brad was trying to play was blues straight out of the first lesson of the B.B. King fake book for young people. There is a difference there too.
Yeah, OK, Michael, I don't think you're getting what I said about Paisley and his record, either. I like country music and listen to a lot of the modern stuff, along with tons of country before the age of Garth, Shania, Taylor and Kacey. You're talking here to someone who is about as far from a snob about music as it's possible to be, and a professional writer on music who fights every day against the snobby, the genteel, the fake-profound, the elitists. For what it's worth, it's kind of strange to put some sort of injunction against people like me or Adam Gold, and to tell us we have to be "positive" not "negative." Yeah, those poor folk toiling away on the Row making music--we should be grateful, right? Any criticism or analysis of what the thing actually is, apart from the boosterism that makes Nashville's music scene such a log-rolling fest, is verboten. Is that about right? Just because I may think certain music, or certain art forms, don't work the way their makers think they do, doesn't make me (or Adam Gold) an elitist. That makes us rational actors in a world full of choices, unless, again, Michael, you think we should all be spoon-fed our Art and not say anything about it as we gulp it down. And that just seems to take all the damned fun out of it, and let the Music Row hacks who helped make Paisley's album have all the fun, and that's just not fair.
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