Album Review: Exmortus- Ride Forth

The cover art is ridiculous, the guitar solos are garish, the vocals are generic and the production is flat.  I adore Exmortus’ Ride Forth anyway.  The band's standard-issue metallic riffing scratches one of my recurring itches.  ”For the Horde” is exactly what I need to get me through this dark month.


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I reviewed G-Eazy's sold-out concert at the Midland theater.

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I featured Jay McShann in an episode of KCUR’s weekly Local Listen and reviewed a centennial birthday concert in his honor.

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I can’t keep up with the spate of notable deaths.  The careers of Phil Everly, Paul Bley, Long John Hunter, Pierre Boulez, Clarence “Blowfly” Reid, Red Simpson and Glenn Frey may or may not be examined in this space in the weeks to come.

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As the first genuine soul man to drip sweat on me while I was on a dance floor, Otis Clay had a more profound impact on me than any of the men listed in the item above.  I first saw him pour it all out at a blues club in Chicago in the 1980s.  I also recall the late George Myers, a co-owner of the Grand Emporium, playfully delivering a nickel and a nail to the stage of his bar during a Clay performance.  Clay died on January 8.  Here’s footage from Soul Train.

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I asked McClain Johnson an “uncomfortable question” after I heard 3,000 white kids yell a racial epithet during A$AP Ferg’s performance at the Midland.  Here’s his response.

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Blackstar is solid.  Had David Bowie released the album a month earlier, Blackstar would have ranked #15 on my Best Albums of 2015 list.

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Charles Lloyd & the Marvels’ I Long To See You is dreamy.  RIYL: Bill Frisell, folk-jazz, Greg Leisz.

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Halsey’s excruciating ”New Americana” makes me want to summarily dismiss her entire generation.

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Bill Stewart’s Space Squid is RIYL: Seamus Blake, modal jazz, Paul Motian.

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Charles Bradley’s cover of Black Sabbath’s ”Changes” is a revelation.

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I’ll gladly buy a ticket to see Hinds perform, but I’ve already heard all the sounds on Leave Me Alone too many times.  RIYL: The Blake Babies, enthusiasm, Burger Records.

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The Spirio Sessions, a virtual piano duet between Uri Caine and Jenny Lin, is RIYL third stream, Keith Jarrett, high concept.

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I may grow to love the album, but my initial reaction to Anderson Paak’s Malibu is that it’s precisely one-third as good as To Pimp a Butterfly.  Here’s ”Come Down”.

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Why didn’t any of you jerks tell me about Judith Hill’s Prince-produced 2015 album Back In Time?  I would have missed the fine R&B project entirely had the bots at Spotify not insisted that I hear it.  Here’s ”Cry Cry Cry”. RIYL: Etta James, Prince media blackout, Alicia Keys.

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Moments on Baaba Maal’s wildly inconsistent The Traveller are rapturously beautiful.  RIYL: Salif Keita, production tricks, Peter Gabriel.

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I’m not disappointed that Esperanza Spalding has turned to psychedelic funk-rock. Instead, I’m disappointed that she’s turned to pedestrian psychedelic funk-rock.

(Original image by There Stands the Glass.)

Watch That Man: David Bowie, 1947-2016

David Bowie died yesterday.  Here’s an incomplete timeline of his impact on my life:

1978-80: As a misfit kid in the pre-internet era, determining who and what I was became easier once I discovered David Bowie.  I studied his back catalog as if it was a musical hidden treasure map.  The aggressive glam-rock of The Rise and Fall of Ziggy Stardust and the Spiders From Mars blew my mind.  The application of jazz on Aladdin Sane made a profound impression on me.  Low remains my favorite Bowie album.

1980-81: Two or three of my high school friends insisted that Scary Monsters (And Super Creeps) be utilized as the soundtrack for several hazy high school experiences.  (Maybe that’s why I never acquired a taste for the album.)

1982: I talked my way into a Stevie Ray Vaughan rehearsal for Bowie’s Let’s Dance project at Billy Bob’s Texas.

1983-84 Bowie’s Let’s Dance became a mainstream pop sensation.  I was thrilled when “normal” girls would dance with me as Bowie songs played.

1990-93: I was a sales rep for Rykodisc as the record label rolled out reissues of Bowie’s catalog.  I was awarded the autographed poster pictured above at a sales conference.

2015: I was pleased but not surprised upon learning that Bowie was collaborating with the jazz musician Donny McCaslin for what would become his final album.

(Original image by There Stands the Glass.)

Lemmy Kilmister, 1945-2015

Motörhead knew only one song.  Thankfully, it was a great one.  The running time of my collection of physical copies of Motörhead albums and CDs is more than six hours.  Talk about overkill... 

I never had any use for Hawkwind, but Lemmy Kilmister’s Motörhead meant a lot to me.  I came upon the Ramones and Motörhead at about the same time.  Like a lot of self-conscious teenagers, I had been under the foolish impression that image had meaning.  Lemmy and his partners in crime helped me to understand that the barriers between punk and metal were artificial constructs.

My bones were rattled at several Motörhead performances.  The group’s 2006 concert at the minor league baseball stadium in Kansas City, Kansas, is ranked #19 on my 2009 list of The Best Shows of the Decade.

Kilmister died last week.


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I reviewed Tech N9ne’s Strangeulation for KCUR.

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Natalie Cole has died.  Her live version of ”Something Got a Hold On Me” is my favorite Cole performance.

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Craig Strickland has died.  The member of Backroad Anthem last performed in the Kansas City area at Kanza Hall on Jan. 15, 2015.

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Nicole Mitchell’s Artifacts is the first entry on what’s sure to be a long list of unintentional omissions from my Top 50 Albums of 2015 post.   Check out the skronky combination of flute, fiddle, bass and drums on ”The Clowns”.

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The soundtrack for The Revenant is RIYL: Tangerine Dream, isolation, Nico Muhly.

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Posted without commentary: footage of Osa Johnson, the native Kansan who traveled the world with her husband Martin, dancing to jazz with African pygmies.

(Original image by There Stands the Glass.)

Let’s All Get Up and Dance to a Song

One of the most most delightful aspects of my holiday season was watching the eldest member of my brood rediscover the Beatles catalog during her brief visit to her childhood home.  On the day the band’s music was made available to streaming services, I observed her reactions to relatively deep tracks like “Your Mother Should Know” and “Dig a Pony” and sang along with her to old favorites like “Blackbird” and “In My Life.”  All together now...


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I write weekly music previews for The Kansas City Star and Ink magazine.

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Tim Finn of The Kansas City Star compiled a few dozen year-end album and song lists.

(Original image by There Stands the Glass.)

He Was a Friend of Mine

You don’t want to be my friend.

Four of my closest high school pals are dead.  I haven't spoken to a few others in years.  Maybe that’s why I reacted so poorly when a former classmate I’ve loved since the day we met in 1979 dropped a disheartening bomb on me during a break at last week’s appearance by Adam Lambert at the Silverstein Eye Centers Arena.

While I discussed the merits of Pentatonix with his child, my friend casually mentioned that it was the first live music event he’d attended since he accompanied me to a 2001 show by Prince at Municipal Auditorium.

I responded by inviting the girl to move into my home to escape her unsound living conditions.  What’s worse- my failure to insist that my friend join me at any given show during the past 14 years or his inability to maintain a balanced life?

Then again, maybe the joke’s on me.  While I’ve spent much of my adult life listening to loud music in dark rooms, my friend has become a successful attorney and a prominent community leader.

What have I done?


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I reviewed a concert by Adam Lambert and Pentatonix.

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I played songs by Samantha Fish, Eddie Moore and the Outer Circle, Chris Hazelton’s Boogaloo 7, Kendrick Lamar, Rudresh Mahanthappa and Lila Downs during my appearance on KCUR’s Up To Date last week.  Here’s the podcast.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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I contribute weekly Local Listen segments to KCUR.

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I took notes at a performance by the Brian Scarborough Quintet at the Westport CoffeeHouse.

(Original image of Lemony Snicket at the Plaza Library by There Stands the Glass.)

Hi, How Are You?

The second season of the Amazon series Transparent traumatized me.  It’s not the show’s primary theme of malleable gender identity that rattled my nerves.  A straight male character named Josh Pfefferman induced unwelcome flashbacks to the years I spent as a music distribution sales rep.  Josh, a self-centered weasel who intends to launch a record label, closely resembles a subset of men I once dealt with every day.  Listening to entitled guys almost exactly like Josh demand that albums by developing acts like the fictional folk-pop band Fussy Puss be stocked on shelves of Wal-Mart was the bane of my existence. 


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I reviewed Tech N9ne’s sold-out concert at the Midland theater.

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I reviewed Todd Rundgren’s return to the VooDoo.

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In what may most be my most subversive act of the year, I played punk rock (Radkey), jazz (Matt Villinger), rap (Tech N9ne), hip-hop (Donnie Trumpet & the Social Experiment), R&B (Jill Scott) and pop (Rihanna) during my guest appearance on the AAA station 90.9 The Bridge last week.  You can stream or download a podcast version of my misbehavior here.  I suppose I owe the staff and the listeners of the non-commercial radio station an apology.

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Scott Weiland died last week.  I ranked the reunited Stone Temple Pilots’ headlining appearance at the 2008 edition of Rockfest as one of the best concerts of the decade.  I also reviewed the first concert of Weiland’s 2009 solo tour.  The buzz in advance of that show was extremely negative but Weiland was great that night.

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Four of the top five releases in No Depression’s year-end reader’s poll have black-and-white or sepia-toned album covers.

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Jon Benjamin Well, I Should Have…* is amusing for about five minutes.  The premise- a comedian plays piano with a legit jazz band- gets old in a hurry.  The trailer is funnier than the album.

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I’m not the least bit embarrassed to admit that I’m partial to Buckcherry’s sleaze-rock.  Rock 'n' Roll is RIYL: Kiss, STDs, Aerosmith circa ‘76.  Here’s ”Tight Pants”.

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The recent reissue of Gloria Ann Taylor material doesn’t live up to the hype.  RIYL: psych guitar noodling, Big Brother and the Holding Company, forced vocals.

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Much of Van Hunt’s murky The Fun Rises, The Fun Sets makes even the biggest disappointments of Sly Stone and Prince seem competent.

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Archy Marshall’s A New Place 2 Drown is RIYL: Young Fathers, gloom, King Krule.

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Cam’s Untamed is acceptable mainstream country.  RIYL: Miranda Lambert, Nashville, Sunny Sweeney.  Here’s ”Burning House.

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The use of an accordion in an experimental jazz context sounds entirely natural to me on Old Time Musketry’s Drifter.

(Original image of Daniel Johnston-inspired graffiti by There Stands the Glass.)

Woke Up an Optimist: The Best Albums, Songs and Shows of 2015

The 50 Top Albums of 2015 (Spotify playlist)

1. Kendrick Lamar- To Pimp a Butterfly
2. Jill Scott- Woman
3. Rudresh Mahanthappa- Bird Calls
4. Eddie Moore and the Outer Circle- Live in Kansas City
5. Vince Staples- Summertime ‘06
6. Valentina Lisitsa- Plays Philip Glass
7. Ghostface Killah and Badbadnotgood- Sour Soul
8. Torche- Restarter
9. Lalah Hathaway- Live
10. Tech N9ne- Special Effects

11. Bilal- In Another Life
12. Marc Cary- Rhodes Ahead, Vol. 2
13. Mark Ronson- Uptown Special
14. Young Fathers- White Men Are Black Men Too
15. Jodeci- The Past, The Present, The Future
16. Mbongwana Star- From Kinshasa
17. Matthew Shipp Trio- The Conduct of Jazz
18. Jazmine Sullivan- Reality Show
19. Action Bronson- Mr. Wonderful
20. Alabama Shakes- Sound & Vision

21. Bassekou Kouyate and Ngoni Ba- Ba Power
22. The Game- The Documentary 2 and The Documentary 2.5
23. J.D. McPherson- Let the Good Times Roll
24. Downtown Boys- Full Communism
25. Bob Dylan- Shadows In the Night
26. Viet Cong- Viet Cong
27. Charles Gayle Trio- Christ Everlasting
28. Donnie Trumpet & the Social Experiment- Surf
29. Donny McCaslin- Fast Future
30. Dead Sara- Pleasure to Meet You

31. Charlie Hunter- Let the Bells Ring On
32. Matt Kane & the Kansas City Generations Sextet- Acknowledgement
33. Carlos Vives- Más Corazón Profundo Tour: En Vivo Desde La Bahía De Santa Marta
34. Miguel- Wildheart
35. Dwight Yoakam- Second Hand Heart
36. Seattle Symphony- Dutilleux 2
37. Thunderbitch- Thunderbitch
38. Chris Stapleton- Traveller
39. Angie Stone- Dream
40. Dominique Sanders- A True Story Based On…

41. Myra Melford- Snowy Egret
42. The Grisly Hand- Flesh & Gold
43. Omar Souleyman- Bahdeni Nami
44. The Cox Family- Gone Like the Cotton
45. Earl Sweatshirt- I Don’t Like Sh*t, I Don’t Go Outside
46. Deafheaven- New Bermuda
47. Tony Bennett and Bill Charlap- The Silver Lining: The Songs of Jerome Kern
48. Kamasi Washington- The Epic
49. Samantha Fish- Wild Heart
50. Wilco- Star Wars

The Five Top EPs of 2015
1. Thundercat- Beyond/Where the Giants Roam
2. Myra Melford- Live At the Stone
3. Bummer- Spank
4. Ces Cru- Recession Proof
5. Wondaland Presents: The Eephus

The Five Top Reissues and Compilations of 2015
1. The Supreme Jubilees- It’ll All Be Over
2. Miles Davis- At Newport: 1955-1975: The Bootleg Series Vol. 4
3. Next Stop Soweto: Zulu Rock, Afro-Disco and Mbaqanga 1975-1985
4. Bob Dylan- The Cutting Edge 1965-1966
5. Thomas Mapfumo- Lion Songs: Essential Tracks in the Making of Zimbabwe

The 50 Top Songs of 2015 (Spotify playlist)

1. Kendrick Lamar- “Alright”
2. Donnie Trumpet & the Social Experiment- “Sunday Candy”
3. Rihanna, Kanye West and Paul McCartney- “FourFiveSeconds”
4. Tyrese- “Shame”
5. Tyler, the Creator with Kanye West and Lil Wayne- “Smuckers”
6. Lila Downs- “Balas y Chocolate”
7. Butch Walker- “21+”
8. Mark Ronson with Mystikal- “Feel Right”
9. Future- “Commas”
10. The Popper- “I’m KC”

11. Kenny Lattimore and Lalah Hathaway- “Nothing Like You”
12. Action Bronson with Chance the Rapper- “Baby Blue”
13. Bomba Estéreo- “Fiesta”
14. John Moreland- “Cherokee”
15. Courtney Barnett- “Dead Fox”
16. Venom- “Long Haired Punks”
17. Kanye West- “All Day”
18. Charlie Wilson- “Touched By an Angel”
19. Joywave- “Nice House”
20. Chedda Da Connect- “Flicka Da Wrist”

21. Miguel- “Coffee”
22. The Weeknd- “Can’t Feel My Face”
23. Big Sean with Drake and Kanye West- “Blessings”
24. Kim Burrell- “Thank You Jesus (That’s What He’s Done)”
25. The Go! Team- “The Scene Between”
26. Madisen Ward and the Mama Bear- “Silent Movies”
27. Chris Stapleton- “Whiskey and You”
28. Yelawolf- “Whiskey in a Bottle”
29. Fetty Wap- “My Way”
30. Lyfe Jennings- “#Hashtag”

31. Missy Elliott- “WTF (Where They From)”
32. E-40- “Choices (Yup)”
33. Youth Lagoon- “Highway Patrol Stun Gun”
34. Emily King- “Distance”
35. Ryan Bingham- “Fear and Saturday Night”
36. La Maquinaria Norteña- "Para Qué Amarte"
37. Father John Misty- “The Ideal Husband”
38. Dr*ke and Future- “Diamonds Dancing”
39. David Banner- “My Uzi”
40. Justin Bieber, Skrillex and Diplo- "Where Are Ü Now" 

41. Rihanna- “B*tch Better Have My Money”
42. Wolf Alice- “You’re a Germ”
43. Radkey- “Le Song”
44. Sleater-Kinney- “Bury Our Friends”
45. Beach Slang- “Bad Art & Weirdo Ideas”
46. José James- “Lover Man”
47. Sarah Ross- “Shotgun”
48. Young Thug with Birdman- “Constantly Hating”
49. Alan Jackson- “Angels and Alcohol”
50. Pops Staples- “Better Home”

The 50 Top Shows of 2015

1. Miguel- Midland theater
2. Chance the Rapper- Midland theater
3. Mark Dresser, Myra Melford and Matt Wilson- Take Five Coffee + Bar
4. Charlie Wilson- Sprint Center
5. Lee Konitz with the Dave Douglas Quintet- Jazz Standard (NYC)
6. Juan Gabriel- Sprint Center
7. The Rolling Stones- Arrowhead Stadium
8. Sufjan Stevens- Midland theater
9. Bobby Watson Quartet- Folly Theater
10. Tech N9ne- Rockfest at Penn Valley Park

11. Joyce DiDonato with the Philadelphia Orchestra- Carnegie Hall (NYC)
12. Merle Haggard- Uptown Theater
13. Tropicalisimo Apache- Barney Allis Plaza
14. Teddy Riley- Starlight Theatre, opening for Keith Sweat
15. Chris Brown- Sprint Center
16. Wichita Grand Opera’s Turnadot- Yardley Hall
17. Helmet- RecordBar
18. Diana Krall- Midland
19. Lauren Krum with the Project H- Westport Coffee House
20. Sleater-Kinney- Uptown Theater

21. Four Fists- Riot Room
22. Julian Davis- Living Room
23. Avishai Cohen, Tal Mashiach and Nasheet Waits- Take Five Coffee + Bar
24. Max Raabe and Palast Orchester- Helzberg Hall
25. Crobots- Rockfest at Penn Valley Park
26. Luke Bell- Riot Room patio
27. Ben Miller Band- Uptown Theater, opening for Blackberry Smoke
28. Bill Frisell- White Theatre
29. Peter Schlamb’s Electric Tinks- RecordBar
30. Hellyeah- Midland theater

31. Maroon 5- Sprint Center
32. Counterparts- Aftershock
33. Ebony Tusks- Riot Room patio
34. Delbert McClinton- Paola Roots Fest
35. Failure- Liberty Hall
36. Doug E. Fresh- Municipal Auditorium, for opening for Guy
37. Chris Hazelton’s Boogaloo 7- Green Lady Lounge
38. Eddie Moore and the Outer Circle- Take Five Coffee + Bar
39. John Doe- Knuckleheads
40. Boots- Midland theater, opening for Run the Jewels

41. Noah Preminger Quartet- 55 Club (NYC)
42. Kansas City Symphony with Yafim Bronfman- Helzberg Hall
43. Duncan Burnett and the Ministry- Riot Room patio
44. Gregg Allman- Ameristar Casino
45. Radradriot- Records With Merritt
46. People’s Liberation Big Band- RecordBar
47. Smashing Pumpkins- Midland theater
48. Robert Randolph & the Family Band- Town Center Plaza
49. Todd Rundgren- VooDoo
50. Drop a Grand- The Brick

I compiled composed similar lists in 2014, 2013 (albums, songs and shows), 2012 (albums and songs and shows), 2011 (albums and songs and shows), 2010, 2009, 2008, 2007 (albums, songs and shows) and 2006.

(Original image of Juan Gabriel by There Stands the Glass.)

Freakin' Weekend

As I gave each of my favorite releases a final run-through before I submitted a top ten album list to The Kansas City Star last weekend, I was indignantly reminded that not everyone in my compound is eager to hear language that most people consider objectionable.  I’ve become so inured to lurid content that it takes a lot to shock me.  It’s noteworthy, consequently, that R. Kelly’s new song ”Marching Band” is way too much for me to handle.


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After impatiently watching the Family Stone riff for 15 minutes as it attempted to solve what I assumed was a stage monitor issue at last month’s 18th & Vine Jazz and Blues Festival, I gave up and went to the Blue Room to secure a good seat for an appearance by Kahil El'Zabar.  Cynthia Robinson was probably on the stage with the Family Stone, but because my notes at There Stands the Glass and Plastic Sax are seemingly the only reviews of the festival, I may never know for certain.  I encountered ”Dance to the Music” long before I was exposed to “Peter and the Wolf”.  The song taught me about the sonic components of pop.  And Cynthia Robinson’s cry of “all the squares, go home” was one of the most exciting things I’d ever heard.  Robinson died last week.


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A segment about the Roseline is among my recent contributions to KCUR’s weekly Local Listen feature.

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Should jazz be treated with kid gloves?  I don’t think so.

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Andy Johns has died.

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“Food” is my favorite song by Ces Cru since the duo has been signed to Strange Music.  Here’s the video.

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Joey Cool made a video for “All Hail.”

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Teddy Dibble issued a 36-minute jazz vinyl missive today.

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Romain Collin’s Press Enter strikes me as overly polite.  RIYL: Esbjörn Svensson, Euro jazz, the Bad Plus.

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The slick folk that infects Lizz Wright’s Freedom & Surrender doesn’t appeal to me.  RIYL: Natalie Merchant, Lilith Fair, k.d. lang.

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I caught Dave Douglas’ current group at the New York venue this year, but I’m not I’m prepared to buy all eight hours of Brazen Heart Live at Jazz Standard.

(Original image by There Stands the Glass.)

Blame It All On My Roots

Self awareness can be crippling.  It’s a little late in the game to be discovering myself.  Only now am I beginning to comprehend that there’s no hiding the ancestral dirt under my fingernails.

I eagerly cued up Benjamin Clementine’s At Least For Now after it won the Mercury Prize last week.  I found his art-rock so irksome that I was compelled to retreat to the latest albums from Toby Keith and George Strait. 

By most critical measures neither 35 MPH Town nor Cold Beer Conversation are superior to At Least For Now.  Yet the conventional country albums are part of my musical DNA.

I sometimes envy the rarefied people who were raised on Kurt Weill and the Brandenburg Concertos even though growing up on Waylon Jennings and Stevie Wonder probably better prepared me for the world.  While my passion for forms like free jazz is genuine, it’s self-taught.

Keith and Strait, consequently, sound like my home turf while Clementine strikes me as a pretentious twit.  It can’t be helped. 

Jason Isbell seems to be singing to me on the opening track of Something More Than Free:  “I got too far from my raisin’, I forgot where I come from.”


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I reviewed Jackson Browne’s concert at the Music Hall.

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I reviewed Diana Krall’s return to the Midland theater.

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I wrote an essay about Adele and Allen Stone for Ink magazine.

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P.F. Sloan has died.

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Bassekou Kouyate and Ngoni Ba's Ba Power is wondrous.  RIYL: Malian music, Ali Farke Touré, life.

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The bland pop of Julieta Venegas’ Algo Sucede saddens me.  Here’s the title track.

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The trailer for the new documentary “Sound of Redemption: The Frank Morgan Story” is promising.

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Julien Baker’s Sprained Ankle is RIYL: Michelle Shocked’s The Texas Campfire Tapes, tears, Joni Mitchell’s Blue.

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The Matthew Shipp Trio plays it straight on The Conduct of Jazz.  RIYL: Thelonious Monk, a semblance of structure, Cecil Taylor.

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Stop the presses- Con Funk Shun has released a new album!  The video for ”More Than Love” is… something.

(Original image by There Stands the Glass.)

Allen Toussaint, 1938-2015

Like most people, I was introduced to the brilliance of Allen Toussaint through hits by other artists.

Hearing his suggestive production on Labelle's lurid "Lady Marmalade" and Robert Palmer's downright nasty version of his song "Sneakin' Sally Through the Alley" exposed me to the concepts of prostitution and adultery when I was an impressionable kid. 

I would later binge on Toussaint's monstrously funky collaborations with New Orleans vocalists like Lee Dorsey and Ernie K-Doe and I heard a lot of colorful Toussaint stories from record clerks and buyers when I represented his NYNO record label in a territory that included New Orleans in the '90s. 

Toussaint's impeccably formal demeanor and elegant presentation during his concerts at the Folly Theater in 2010 and 2014 contrasted starkly with the vignettes of street life associated with his work in the 1960s and 1970s.  Discovering that the man responsible for a large swathe of the sultriest American music looked and acted like an investment banker was shocking.

I reviewed his concerts at the Folly Theater in 2010 and 2014.  Tim Finn quotes one of those critiques in a tribute to the great man.


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I write weekly music previews for The Kansas City Star.

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I wrote an extended concert preview about Murs.

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My enthusiastic notes about a concert of egghead jazz by Drew Williams and John Blevins is posted at Plastic Sax.

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Phil Taylor, the former drummer of Motorhead, has died.

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Gene Norman once yelled at me on a regular basis.  The entrepreneur died last week.  I’m saddened by his passing.

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The chorus of Tech N9ne’s ”PBSA” is unfortunate.

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Steddy P made a video for ”Perfect”.

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The video for Shades of Jade’s ”That One” looks as if it's sponsored by a PR firm representing Kansas City’s Crossroads district.

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Counterparts’ performance at Aftershock on Saturday looked and sounded almost exactly like this.  Acacia Strain and Fit for an Autopsy also spurred miniature riots.  In spite of the chaos, I witnessed only two injuries and a single ejection.  And since I established an unfortunate precedent in my notes about Arlo Guthrie’s concert last month, it’s only fair to note that vape smoke, passed gas, spilled beer and blood-streaked sweat made the show the smelliest concert I’ve attended in 2015.

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The wondrous tracks on The Cutting Edge 1965-1966 remind listeners that Bob Dylan has always been a tinkerer.

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Angie Stone’s enchanting Dream is RIYL: The Supremes, real life, the Honey Cone.

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I’d better not hear any of the people who are extolling Grimes' Art Angels disparage the similar output of Justin Bieber.

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D-Stringz, the latest collaboration between Stanley Clarke, Bireli Lagrene and Jean-Luc Ponty, makes me drowsy.

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I’ve always had a weak spot for Pieces of a Dream.  All In is RIYL: candlelight, Najee, wine.

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Bobby Caldwell’s new Cool Uncle project makes me smile.  RIYL: Freddie Jackson, step dancing, Boz Scaggs.  Here’s ”Never Knew Love Before”.

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I recently came across footage of a 75-minute performance by Henry Threadgill’s Zooid.

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Boots was fantastic when he opened for Run the Jewels at the Midland theater last month, but his new album Aquaria doesn’t do much for me.

(Original image by There Stands the Glass.)

An Anniversary Toast

A few observations about the legacy of Ted Hawkins launched this site on November 14, 2005.  I’m still at it ten years later. 

No amount of unwarranted DMCA take-down notices, desperate link-sharing requests from short-lived sites, shameless swagger-jacking by professional music journalists and snarky comments from friends and strangers have dissuaded me from posting music commentary.  This is entry #1,387 at There Stands the Glass.

I realize that the layout is tired- it hasn’t changed in ten years.  In an era in which design is more highly valued than substance, I recognize that There Stands the Glass is hopelessly dingy.  I’m clearly not motivated by fashion or trends. I don’t even accept guest list invitations.

Initially a MP3 blog that showcased obscure gems from my collection of albums and CDs, There Stands the Glass now acts as a musical diary.  (I’ve also documented Kansas City’s jazz scene at Plastic Sax since 2007.)

The longevity of There Stands the Glass isn’t a mystery.  I don’t care if anyone is reading.  Unlike the sad sot in Webb Pierce's 1953 hit, I'm not "wondering where you are tonight."

I’m not going anywhere.


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A broad smile never left my face on Saturday night.  Here's my review of Juan Gabriel’s concert at the Sprint Center for The Kansas City Star.

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I reviewed Mike Metheny’s new album at Plastic Sax.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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I wrote at length about Lindi Ortega in a preview of her appearance at Knuckleheads.

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I contributed a Local Listen segment about guitarist Will Matthews to KCUR.

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I didn’t fall in love with Lalah Hathaway’s voice until it buckled my knees at a free concert last year.  (My review.)  Hathaway’s new live album is an homage to her father Donny- it opens with ”Little Ghetto Boy”- and acts as an exciting document of her immense talent.

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Lionel Loueke kicks out the jams on Gaia.  I like the abrasiveness but detest the indulgence.  RIYL: James “Blood” Ulmer, guitar pyrotechnics, Jimi Hendrix.

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The playing of saxophonist Tim Berne and tubist Dan Beck make Ingrid Laubrock’s Ubatuba a jazz joyride.  The album is superior to Laubrock’s fine show at the RecordBar last year.  (My notes.)  RIYL: Henry Threadgill, skronk, Julius Hemphill.

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”#Hashtag” is the standout track on Lyfe Jennings’s Tree of Lyfe.  RIYL: Charlie Wilson, the ghost of Marvin Gaye, Anthony Hamilton.

(Original image by There Stands the Glass.)

Album Review: The Cox Family- Gone Like the Cotton

I didn’t know the remarkable backstory of the Cox Family’s Gone Like the Cotton when I first played the new release.  Instead of marveling at the convoluted origin of the project, I wondered why I hadn’t heard anything from the excellent band in almost 20 years.  It’s a sad story.  Anyone who longs for the unassuming nature of Alison Krauss’ pre-stardom sound will be smitten by Gone Like the Cotton.


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I reviewed David Cook’s Digital Vein for KCUR.

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I wrote an extended preview about Emily King for Ink magazine.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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The Jorge Arana Trio created a video for “Crime of Passion Fruit.”

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Carlos Henriquez might be my favorite member of Wynton Marsalis’ Jazz at Lincoln Center big band.  The Bronx Pyramid, the bassist’s debut album, is terrific.  RIYL: Eddie Palmieri, bass solos, the Spanish Harlem Orchestra.

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John Ellis and Double-Wide’s Charm is a party.  RIYL: Los Hombres Calientes, New Orleans, Donald Harrison.

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John Blevins’ Matterhorn is RIYL: Snarky Puppy, band nerds, Dave Douglas.

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Danny Grissett’s The In-Between is RIYL: straight-ahead jazz, Kenny Barron, tasteful tedium.

(Original image by There Stands the Glass.)

Album Review: Roots Magic- Hoodoo Blues

I’ve spent the majority of my life under the impression that I’m the only person on the planet who considers Henry Threadgill’s ”I Can’t Wait Till I Get Home” to be one of the greatest artistic achievements of the 20th century.  I resigned myself to the lonely life of an isolated avant-garde jazz weirdo enthusiast years ago.  A trip to Italy might be in order.  Roots Magic is an Italian quartet that specializes in loving recreations of classic left-of-center American jazz compositions, including Threadgill’s “I Can’t Wait ‘Til I Get Home.”  How does that even happen?  Hoodoo Blues restores my zeal for life on Earth.


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I wrote an extended preview for Run the Jewels’ concert.  Alas, the show disappointed me.  Here’s my review.

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I write weekly concert previews for The Kansas City Star and Ink.

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A feature about Ron Carlson is among the recent Local Listen segments I’ve contributed to KCUR.

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Last week’s John Gross concert was not exactly what I had in mind.

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Duncan Burnett & the Ministry created a video for ”Junkies”.

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Strange Music released a video for Ces Cru’s ”Letterman”.

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The Xtraordinair$ made a video for ”Best Me”.

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Brian Berg has died.  I was a big fan of his roots-rock band 44 Long in the late 1990s.

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Mark Murphy has died.  I vaguely recall seeing the vocalist perform at a short-lived venue on Southwest Boulevard in the 1990s.

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Cory Wells of Three Dog Knight has died.

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The lineup of the 2016 edition of the Big EarsFestival is extremely impressive.

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Vivian Green’s Vivid is disappointingly dull.  RIYL: Marsha Ambrosius, adult R&B, Anthony Hamilton.  Here’s ”Gets Right Back to My Baby”.

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I saw Noah Preminger perform at the 55 Bar in New York seven months ago.  (My review.)  Not surprisingly, the saxophonist’s new album Pivot: Live at the 55 Bar sounds a lot like what I heard.  RIYL: late Coltrane, fury, Archie Shepp.

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I’m charmed by the Suffers’ Make Some Room.  RIYL: Sharon Jones & the Dap-Kings, Houston, the Diplomats of Solid Sound.

(Original image by There Stands the Glass.)

Concert Review: Arlo Guthrie at Yardley Hall

I’ve always thought of the people who listen to “Alice’s Restaurant” every Thanksgiving as intemperate masochists.  Arlo Guthrie’s signature song really doesn’t need to be heard more than once in a lifetime. 

Then again, I’ve never been an Arlo fan.  I’d succeeded in avoiding his concerts until Sunday.  I cringed as I bought the ticket that would break my winning streak.

As is often the case, I had it all wrong. 

Once I became acclimated to the nursing home odor that emanated from a few dozen members of the audience of more than 1,000 at Yardley Hall, I thoroughly enjoyed the concert.

Before Arlo and a tasteful band played his biggest hits, Sarah Lee Guthrie performed a charming opening set.  Partly because Arlo implied that he was also sick of the song, I wasn’t even inclined to flee during “Alice’s Restaurant.”  I may or may not have teared up during “Highway In the Wind,” a tribute to Arlo’s late wife Jackie.

Arlo dismissively characterized folk sing-alongs as “all that 'Kumbaya' stuff” near the end of his appearance.  It was a trap.  The sing-alongs that followed swelled my heart. 

Even so, I won’t tolerate any suggestions that “Alice’s Restaurant” be cued up in my presence on Thanksgiving.


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I reviewed the Kansas City debut of Chance the Rapper.

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I reviewed Gregg Allman’s concert at a casino.

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I wrote an extended preview about Passion Pit for Ink.

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I write weekly music previews for The Kansas City Star.

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I reviewed Ron Carlson’s Kind Folk at Plastic Sax.

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The Popper made a Royals-centric remix of “I’m KC.”

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Here’s the video for Tech N9ne’s “Roadkill.”

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Here’s the video for Radkey’s “Glore.”

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Smokin’ Joe Kubek has died.

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I somehow missed the September release of John Scofield’s Past Present.  It’s so good that I’m mourning the weeks that I could have spent listening to the funky collaboration with Joe Lovano, Larry Grenadier and Bill Stewart.  RIYL: Grant Green, soul jazz, Charlie Hunter.

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I endured BET’s “Hip-Hop Awards” broadcast last week.  It was rough sledding.  As usual, the cyphers provided the highlights.  I loved seeing Casey Veggies and Vince Staples and was tickled by the efforts of Erick Sermon, Redman and Keith Murray, but the clear winner was the beat-boxing trio of Doug E. Fresh, Nicole Paris and Rahzel.

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Here’s the trailer for the B.B. King/UGK mashup that the world needs now.

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I’m just beginning to learn that the European jazz/prog releases I’ve written about in recent months aren’t anomalies.  As the kids say, it’s a thing.  My latest discovery is Samuel Hällkvist’s Variety of Live.  Men affiliated with Pink Floyd and King Crimson are among the project’s participants.  RIYL: Terje Rypdal, anti-swing, Soft Machine.

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Joe Ely has an uncommon ability to conjure colorful Tex-Mex atmospheres.  Too many of the songs on Panhandle Rambler, however, are clunky.  RIYL: Jimmie Dale Gilmore, songs about Bob Wills, Butch Hancock.  ”When the Nights Are Cold” is my favorite song on the album.

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I was so tempted by Rhymesayers’ 20th Anniversary Concert that I checked on airfare to Minneapolis.  It’s only $150....

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Alegria de Viver, a new recording featuring the duet of Brazilian vocalist Leny Andrade and New York guitarist Ari Ben-Hur, might be perfect.

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Marbin’s Aggressive Hippies is RIYL: Jacob Fred Jazz Odyssey, DIY jazz, Mahavishnu Orchestra.

(Original image by There Stands the Glass.)

Review: The 18th & Vine Jazz and Blues Festival

Jazz can seem like an afterthought at the American Jazz Museum’s 18th & Vine Jazz and Blues Festival.

After spending more than nine hours at the annual event on Saturday, I came away with only three jazz performances to document at my Kansas City jazz blog Plastic Sax.  Much of the remainder of my time was dedicated to listening to R&B and blues cover bands.  My notes on a few of the performances are listed in the order of my appreciation.

Jamii
Children playing R&B classics with enthusiasm?  Sold!  Rather than pointing out Jamii’s obvious limitations, I’ll note that I smile at the thought of the cherubs knocking out the Isley Brothers’ “Footsteps in the Dark.”  (Here’s representative footage of a previous performance.)

John Paul and the Hellhounds
The longstanding blues quartet doesn’t do anything that hasn’t done countless times before; they just do it better.

Charlotte Fletcher & Soigné
I’d try to book this band for my wedding reception if I was getting married.  The group’s covers of hits by Labelle, the Crusaders and a Taste of Honey were celebratory.

Langston and Prototype
I appreciated hearing a faithful rendition of Tyrese’s “Shame”, one of my favorite songs of 2015, and samples of Jazmine Sullivan’s undervalued catalog.

Dwele
Prior to Saturday, I thought of Dwele as the vocalist who delivered the hooks on Kanye West classics like ”Flashing Lights”.  I’ll now remember him as loquacious guy who performed only three or four songs during the 30 minutes I spent watching his set. 

Popa Chubby
A lot of people adore burly boogie.  I’m not one of them.


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I reviewed Seether’s concert at the Midland theater last week.

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I’ve never written about music to curry favor with stars, but it’s nice nonetheless that Chance the Rapper has embraced my extended preview of his concert at the Midland theater.

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Here’s the latest batch of the weekly music previews I write for The Kansas City Star and Ink magazine.

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Billy Joe Royal has died.

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I feel like a rich man when I listen to Janet Jackson’s Unbreakable.  The airy production sounds like a billion dollars.  RIYL: Michael Jackson, money, Celine Dion.

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I need to find a way to get to a performance by the Malian band Songhoy Blues.

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Youth Lagoon’s Savage Hills Ballroom sends me back to the era in which I reverently listened to albums by the likes of Mercury Rev and Sparklehorse.  RIYL: drugs, St. Vincent, weeping.  Here’s ”Highway Patrol Stun Gun”.

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Does liking Yo-Yo Ma and Kathryn Stott’s Songs From the Arc of Life and Lang Lang’s Live In Paris make me a middlebrow ninny?

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Rolando Villazón’s Treasures of Bel Canto failed to rouse me.

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St. Germain reduces Malian music to smooth jazz.  And I like it.

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Sullivan Fortner’s Aria is about three notches too polite for me.  RIYL: Branford Marsalis, bespoke suits, Jon Batiste.

(Original images of Jamii, above, and festival grounds, below, by There Stands the Glass.)

Song For Sisyphus: A Remembrance of Phil Woods

Phil Woods was the first angry jazz musician I encountered.  He certainly wasn’t the last.

I recall being titillated by the rage Woods unleashed on impolite people on blankets and in lawn chairs at a free concert sponsored by Kansas City, Missouri, in the mid-’70s. 

I’d never seen a performer act like that. 

As a kid who managed to talk a parent who didn’t have any interest in jazz into driving him to the show (I recall that it was near our home north of the river), I didn’t have much context for what I was witnessing.  But I could tell that it was good.

I was riveted. 

In hindsight, it’s clear to me that Woods’ fiery outing and a free concert by the elegant Roland Hanna at Crown Center in the same time period ignited my tempestuous obsession with jazz.

An appearance at the Folly Theater in 2012 was the last of several times I saw Woods.  I admit to crying in my review of his bittersweet performance.  Woods died on September 29.


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I reviewed the Grisly Hand’s new Flesh & Blood album for KCUR.

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I reviewed a Zappa Plays Zappa concert.

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I wrote an extended preview about KC Psych Fest for Ink magazine.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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My review of Eddie Moore and the Outer Circle’s Live in Kansas City album is on page 27 of the October issue of JAM magazine.

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I contributed a Local Listen segment about Mark Lowrey to KCUR.

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I reviewed Matt Villinger’s All Night at Plastic Sax.

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Kansas City’s music nerds have been posting fond recollections about the RecordBar in response to the venue’s tenth anniversary and pending relocation.  One friend claims to have taken in more than 700 performances at the RecordBar.  I don’t keep meticulous records; my number is probably around 225.  I haven’t appreciated everything I’ve seen in the room.  For instance, I detested Mumford & Sons when I caught the soon-to-be-massive band in the club in 2010.  Here are my ten favorite performances at the RecordBar:  Nikka Costa (2006), The National (2005), The People’s Liberation Big Band (2012), V.V. Brown (2010), Marijuana Deathsquads (2014), Mission of Burma (2012), Peter Schlamb’s Electric Tinks (2015), American Music Club (2008), Blind Pilot (2009) and Helmet (2015).

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The Buhs created a representative promotional video.

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Wilton Felder of the Crusaders has died.

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Pop quiz: which two artists have had two #1 albums on Billboard’s Top 200 chart in 2015?  Why, it’s D---e and Future, of course.  As I detailed in my notes about his 2013 concert at the Sprint Center, I loathe He-Who-Must-Not-Be-Named.  Even so, I have to admit that I enjoy much of his latest chart-topper What a Time To Be Alive. 

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I admire Ron Carter’s big band album My Personal Songbook.  Note that I didn’t say I liked it.  RIYL: Oliver Nelson, swangin’, the Jazz at Lincoln Center Orchestra.

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I recently discovered The Milken Archive, "the largest collection of American Jewish music ever assembled."  I’ve heard almost none it, an oversight I intend to rectify.

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Children of the Light features Wayne Shorter’s band without their leader.  The trio of Danilo Pérez, John Patitucci and Brian Blade is in top form.

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A recent appearance in Olathe reminded me that Shemekia Copeland is really smart.  That’s partly why I can’t help but think that she’s patronizing the blues audience on Outskirts of Love.  I like it anyway.

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Evan Parker performed in St. Louis last week.  There’s not an audience for the British free jazz artist in Kansas City.  Ninth Square, Parker’s new album with Joe Morris and Nate Wooley, is RIYL: skronking, Sonny Sharrock, screeching.

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I’d been looking forward to the release of the New Mastersounds’ Made For Pleasure, but now that it’s here I’m just not feeling it.  RIYL: St. Paul & the Broken Bones, nice tries, the Budos Band.

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I can’t resist the cheap nostalgia of Graveyard’s Innocence & Decadence.  RIYL: Thin Lizzy, 1975, UFO.

(Original image by There Stands the Glass.)

Talkin’ Out the Side of My Neck

I was denied entrance to the Power & Light District last night. 

The inner sanctum of the entertainment area had reached its capacity of 3,500 for a free concert by Cameo.  I stood among more than 1,000 disappointed people who were also shut out.  After listening to the brilliant band for about twenty minutes as I verified that all external doors were locked and that every security guard took his job seriously, I dropped into the RecordBar. 

Johnny Hamil led a “gawdy cartoonnoirjazz” (his words and stylization) band for a handful of fans, friends and family members.  After marveling at the blood moon from the venue’s smoking patio, I moved a few blocks west on Westport Road.

An adorably sincere little punk show at Records With Merritt provided me with the thrill I’d been seeking.  Rather than feeling self-conscious about being the oldest member of the audience by at least twenty years, I took pleasure in knowing that I was the only listener who had attended performances by Sonic Youth and Cameo thirty years ago. 


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I'm featured in Sylvia Maria Gross' otherwise outstanding examination of The Popper’s "I'm KC."

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I previewed Vince Staples’ concert at the Granada for Ink magazine.

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I write weekly music previews for The Kansas City Star.

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I previewed Ernest James Zydeco’s album release party for KCUR.

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I reviewed Many a New Day: Karrin Allyson Sings Rodgers and Hammerstein at Plastic Sax.

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Tech N9ne has a new video for ”No K”.

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I’ve long adored K.T. Oslin.  Even so, I can’t tell if Simply, a brief album of remakes, is a last gasp or a welcome comeback.

(Original image by There Stands the Glass.)

Album Review: Christian Scott- Stretch Music

I’m no longer crestfallen that Christian Scott isn’t performing in Kansas City on his current tour.  I expected his new release to expand on the exciting advances he made on Christian aTunde Adjuah, my #2 album of 2012.  Instead, it’s a tedious retrenchment.

Stretch Music is billed as "a genre-blind musical form that stretches the rhythmic, melodic and harmonic conventions of jazz to encompass as many musical forms, languages, thought processes and cultures as possible."

The project reeks of unflattering me-too-ism.  Scott seems to be trying to unnecessarily prove that hip-hop, rock and jazz can coexist.  He’s merely rehashing the work of Flying Lotus, Nicholas Payton, Miles Davis and Gil Evans. 

I expect Scott to be a leader.  He’s opted to be a follower.  Unless Frank Ocean or Kanye West stumbles, Stretch Music will be the most disappointing album of 2015.


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I reviewed Citizen Cope’s concert at Crossroads KC.

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Here are the weekly music previews I write for The Kansas City Star.

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I spotlighted Making Movies’ Carnaval for Ink magazine.

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I contributed a Local Listen segment about Making Movies to KCUR.

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Bobby Watson and his touring band thrilled me at the Folly Theater on Friday.  Here’s my review.

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A man seated near me softly snored through much of the Kansas City Symphony’s concert on Sunday afternoon.  The tiresome program didn’t excite me either.  I’m more of a Berg: Lyric Suite; Wellesz: Sonnets By Elizabeth Barrett-Browning guy.  Here’s the intriguing EPK for the new collaboration between the Emerson String Quartet and Renée Fleming.

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I assume that Shannon and the Clams and the critics who extol the band are trolling.  Gone By the Dawn is dismal.  RIYL: The Shaggs, the first rehearsal of an unpromising garage-rock band, Jonathan Richman at his most insufferable.

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The subtleties of The Evolution of Oneself initially eluded me.  Repeated listens have revealed that the trio of Orrin Evans, Christian McBride and Karriem Riggins have created one of the year’s best jazz albums.  Recommended to people who appreciate both Ray Brown and the Wu-Tang Clan.

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I love everything about Windhand’s Grief’s Infernal Flower.  RIYL: Slayer, cemeteries, Pallbearer.

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Mary Halvorson’s Meltframe does nothing for me.  RIYL: Robert Fripp, dissertations about music theory, Bill Frisell.

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I don’t have anything bad to say about Keith Richards’ Crosseyed Heart.  RIYL: Ian McLagan, lions in the winter, Chuck Berry.

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Steve Van Zandt’s maximalist production of Introducing Darlene Love is too much for me.  Here’s the overblown ”Forbidden Nights”.

(Original image by There Stands the Glass.)

Una Copita de Ron

I’m beginning to suspect that I’m on the wrong continent.  The joy I felt on a recent trip to Chile and at a concert by a cumbia band on Friday has me rethinking my place on the planet.

My Spanish may be atrocious, but most everything else feels right about a potential move to the south. 

I didn’t understand what a member of the dynamic show band Tropicalísimo Apache said when he pointed me out during Friday’s free concert at Barney Allis Plaza.  If he was encouraging a brave woman to dance with me, his request went unheeded.

No matter.  I was so enthralled with the expertise with which the Mexican band played the music of Columbia that I’m ”Una Copita de Ron” away from buying a one-way ticket to Bogotá or Santiago. 


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Here are my most recent weekly music picks for The Kansas City Star and Ink.

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I previewed the Crossroads Music Fest for Ink and contributed to a review of the event for The Kansas City Star.

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An item about Second Hand King is among my recent contributions to KCUR.

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I caught a portion of the Prairie Village Jazz Festival at Plastic Sax.  Here are my notes.

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A vibrant mix of Afrobeat, soukous, rock and electronica, Mbongwana Star’s From Kinshasa is stunning.  Here’s ”Malukayi” (Tip via Big Steve.)

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I’m unable to resist the Go! Team’s charms.  Listening to The Scene Between gives me the same feeling I had when I was seven years old and watching a new episode of my favorite Saturday morning cartoon.  RIYL: the Magnetic Fields, Sid and Marty Krofft, the Crystals.  Here’s the title track.

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I didn’t catch last year’s Chick Corea/Bela Fleck tour.  The concert document Two indicates that you had to be there.

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Live in Cuba, the Jazz at Lincoln Center Orchestra’s new 137-minute album, alternately thrilled and bored me.  RIYL: certain Grammy winners, Wynton, big bands.

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Anne-Sophie Mutter gets it.  The Club Album is everything it’s meant to be.  RIYL: populism (of a sort), Vivaldi, marketing genius.

(Original image by There Stands the Glass.)

Funky Céilí

I planned on spending all day at the KC Irish Fest when I forked over $18 to gain admission to the popular event on Saturday.  Succumbing to crankiness rooted in heat and sobriety, I left after just a few hours.

A solo set by Larry Kirwan of Black 47 was the highlight of my experience.  His strident political songs were balanced by old favorites like “40 Shades of Blue” and the minor 1991 hit "Funky Céilí (Bridie's Song)".

Only one of the five additional performances I witnessed is worth mentioning.   Kiana Weber, the fiddler of Gaelic Storm, led a session titled Transatlantic Unplugged with Kiana.  The largely acoustic jam included guests from the festival’s top acts such as Socks in the Frying Pan, We Banjos 3, the Elders and Flashpoint. 

The lively collaborations provided a nice survey of everything I wasn’t willing to stick around to hear.


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I write weekly music previews for The Kansas City Star.

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I previewed Lee “Scratch” Perry’s show at the Riot Room for Ink.

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I reviewed Michael Pagán’s The Ottawa Sesions album at Plastic Sax.

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Rico Rodriguez has died.

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Ruby Amanfu’s Standing Still is the best Chris Isaak album I’ve heard in years.  I’m down with anyone who covers both Bob Dylan and Kanye West.  Her interpretation of the Wilco/Bragg/Guthrie gem “One By One” is magnificent.  Here’s a nice interview/performance video.

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I purchased a batch of Bryan Ferry solo albums as cutouts in the early ‘80s.  The posh atmosphere of those elegant recordings was foreign to me.  I still can’t relate more than 30 years later.  Although Dan Bejar doesn’t have much of a voice, Destroyer’s Poison Season reminds me of those Ferry albums.  RIYL: Belle and Sebastian, ennui, Gerry Rafferty.

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Skullduggery, a 2014 collaboration between Joe McPhee and Universal Indian, is a treat.  RIYL: Albert Ayler, skronk, Archie Shepp.

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Myrkur’s M has a lot of great moments.  RIYL: Trio Mediaeval, angels and demons, Celtic Frost.

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Much of Ghost B.C.’s Meloria sounds more like the Moody Blues than Black Sabbath.  Not my thing.

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Fidlar’s Too is just as engaging as the skeezy punk band’s first album.  RIYL: Blink-182, intoxicants, Dead Milkmen.  Here’s ”West Coast”.

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I have only one thing to say about Motörhead’s Bad Magic album.

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Jacob Fred Jazz Odyssey’s The Battle For Earth is RIYL: Augustus Pablo, freaky jamz, Galactic.  Here’s ”Appropriation Song”.

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George Clinton and affiliates like Bootsy Collins sounded cool when they rambled about the cosmic virtues of funk in the 1970s.  When Dâm-Funk and his cohorts do the same on his new album Invite the Light, they comes across as dorks.  Invite the Light is really good when no one’s talking or singing. RIYL: 1975, Junie Morrison, funkateers.

(Original image of the Dublin band Tupelo at the KC Irish Fest by There Stands the Glass.)