The Stills - Without Feathers

The Stills, "In The Beginning"

The Stills, "Oh Shoplifter"

Before I get to all the Miami bass and booty music, I'm going to binge and purge on faggy indie rock stuff. To start, this is the newest release from Montreal band The Stills, one of the lesser-known of the recent wave of post-punk influenced bands. While The Strokes and Bloc Party sell out big venues, The Stills haven't quite made the big leap yet. The only reason I mention this is because their new album, Without Feathers, has a distinctly nice, melodic sound, not what I imagine when I think of the wave of music that came out in the early to mid 80s., and definitely something that might appeal to a larger, more mainstream audience Those Interpol references hold no weight after this album, that's for sure.

This is not to say that a nice, catchy album is a bad thing. Without Feathers is up and down for me, which isn't surprising. Since they don't take many sonic chances, it all comes down to great songwriting, and only the greatest of songwriters can put together an album's worth of gems. The songs above are amazing, catchy and lovely sounding. One thing that stuck out at me was the prevalance of piano and organ on the entire album, an instrument that doesn't get much props from the indie world today. On "In The End", it's just a simple piano, guitar, bass and drums backing the melancholy lyrics, a sort of indie ballad. "She's Walking Out" goes in that direction too, complete with a hair band guitar. The problem is that on the other half of the album, the songs seem uninspired, tired guitar music with nothing to latch onto.

I'm way late on this album, so there's been lots of talk about the album already. The Music Slut, The Underrated Blog, Indoor Fireworks, people of paper, i guess i'm floating and Badminton Stamps. Mars Needs Guitars takes a look back at their previous album. I Rock Cleveland gives us some old and new songs. Buy the album here and show some love to our neighbors up north.

-Jonathan Turley looks at the similarities between the Bush administration and Tony Soprano's gang in light of the nomination of Gen. Michael Hayden to be the Director of the CIA. Hayden was the person in charge of the controversial eavesdropping program the NSA set up to spy on domestic calls. It's not suprising to see the number of criminals and wrongdoers who have thrived in this White House, considering the attitude of their boss to the law and oversight.

-You want law-breaking? Have we got law-breaking for you. First, the USA Today is reporting that the NSA has created a massive database collecting Americans' phone calls. For the record, I was attempting to call a charity and so that 1-800 sex number was a WRONG number. Why it took me 40 minutes to hang up is my business, and my business only. Shayana Kadidal has a nice look at the legal issues, as does Glenn Greenwald. georgia10 at dailykos and Christy at firedoglake have a list of actions you can take, especially if you have one of the phone companies that have been handing out your info.

-You know what? There's a ton more stories about the criminal enterprise/dictatorship in Washin gton D.C., but I don't have the stomach to delve into the Duke Cunningham/Hookergate story, Bob Ney, Abramoff, KY Gov. Fletcher, etc. All I want to do is watch this hilarious Stephen Colbert piece from an old Daily Show episode. Colbert profiles the inventor of an electronic gaydar device, which closeted gay men can use to communicate with other closeted gay men. Best part comes early, watching the stammering response to the "Are you gay?" question.

Philly Music: The Yah Mos Def - Plays Ugly For Suckers

The Yah Mos Def, "I'm Gonna Be Under Your Bed"

As fellow Philadelphians Young Gunz said, "Can't stop, won't stop." The next entry in our look at the Philadelphia music scene is The Yah Mos Def, a local rap duo who have been gaining momentum over the past year or so. The Yah Mos Def are best described as the Beastie Boys if they had sampled their early punk band sound and lived in Philly. This track, "I'm Gonna Be Under Your Bed", comes off their EP Plays Ugly For Suckers, which is out now. You can cop it at their website, or if you are in Philly, grab a copy at Tower Records on Broad or any of the smaller stores (a.k.a., spaceboy, you know.) It gives you a pretty good idea of what to expect, from the verse tradeoffs to the strained vocals to the hardcore sound to the different samples.

I first saw the guys at a show at the mezzanine space at AKA Records (Note to AKA: Please use that space more), playing a small show put on by the Philly City Paper. I had no idea what to expect, but I'm not sure I would've been able to prepare even if I'd been given a hint. Two white kids came out and started rhyming to loud, furious punk beats, jumping up and down, spinning around the small area used as a stage. It was like nothing I had ever heard, and yet it sounded perfect.

This seems like such a nice followup to Plastic Little post, beyond the fact that they share a producer. As Philly's mainstream hip hop representatives (Beanie, Freeway, take a break, these two groups are pushing hip hop into new territory, into corners that haven't been explored enough. The "underground" today is a joke, populated with people solely looking to return to some golden age, 1993 or 1991 or 1987, whenever the fuck backpackers think things went wrong. It's a regressive sound, one that offers nothing new. In fact, I would argue that these supposed "true hip hoppers" (Common, C Rayz Walz, etc.) are attempting to mummify the music, like Wynton Marsalis has done with jazz. Make it a museum piece, frozen in time. A real underground would be pushing at the edges, trying to see just how far the music can go. The Yah Mos Def do that, best of all with a sense of humor and I'm ecstatic that they are repping Philly.

As the duo say on the closing track, "Dryw Scully Owes Us Money", "We are the Yah Mos Def/You may not like it, but you will learn to love it/Why?/Because we are the best thing going today." That about sums it up. Check out their website and myspace page for more info and tour dates, and I promise to let y'all know when their album drops in the Fall.

Goldfrapp - Black Cherry

Goldfrapp, "Train"

Goldfrapp, "Twist"

Goldfrapp, "Strict Machine"

You may be wondering, "Pound for Pound, why are you posting about an album that came out in 2003 from an artist you discussed a few weeks ago?" Good question, dear reader. The answer is nowhere near as good as the question, but bear with me. It's really quite simple, as I've been listening to Goldfrapp consistently for the past few weeks and feel like they don't get a lot of love from the blogosphere.

These tracks come off the duo's second album, Black Cherry, a darker, dirtier work than their debut, Felt Mountain. The sound goes from the lighter, airier disco to a more electro one, and you know that your bol loves that. The tracks above best reflect that shift in sound, and you will notice a shift in lyrics too. Alison Goldfrapp gets into the spirit of the beats, dropping some sex-inspired lines like "Before you go and leave this town/I want to see you one more time/Put your daddy angel face/Between my legs and knicker lace." Yeah! Nothing is more likely to get you a mention on Pound for Pound than oral sex (well, besides boobs, Philadelphia, typography, but you get the point). Beyond that, there is still the amazing, sultry voice of Alison Goldfrapp, which always make me think of Portishead. It's like a poppier, less depressed version of that amazing band. Like Portishead playing for a sleazy disco. Buy it here, as I consider it the band's best.

This new sound leads to the real reason for looking at Goldfrapp again. It's a chance to adjust your ears to what lies ahead at Pound for Pound. We are going to be getting back to our roots in the near future, as Booty Week will resume in the next few weeks. That's right, your bol will be dropping so much Miami bass, ghettotech, electro, reggaeton, the dirtiest filthiest shit that you've ever heard. I'm totally excited, for really real, as it's gonna be so nice and I'm gonna drop so much heat and summer is here and my vinyl game has been stepped up and the Phillies are winning and Jezebel napped on my lap and MC and I watched another Godard movie and the B-noir fest is killing it in NYC and the World Cup is almost here and I'm still working on copping a pair of Kid Robots and on and on and on.

-Another amazing blog has come to my attention. Are you familiar? is an apt title for a blog that is putting its readers up on shit that most haven't heard yet. Mainly indie music, with an appreciation for the dancier, more electro side of things and the weirder, more psychedelic too. This might be my favorite post, featuring that Adam Sparkles remix we discussed yesterday and some choice cuts from Material and Liquid Liquid from the early 80s downtown NYC scene. Here's some good noise music, and here's some good psych-folk. Check it out, as we've added the site to the links on the right.

-Lower East Side, where ya at? Head to Cake Shop tonight, as the cafe/bar/concert venue celebrates its 1st Anniversary. They're doing it in style, having 4 bands play tonight, all friends of the venue. cause CO-motion, S-S-S-Spectres, The Woods, Bill Cosby and the White Pudding Pops (change your band name, that's weak), DJs, drink specials, movies and balloons. 152 Ludlow, see you there.

-The GOP's Bankruptcy of Ideas

Philly Music: Plastic Little - Thug Paradise

Plastic Little, "Foil"

Plastic Little, "Drizhollering"

Plastic Little, "Drizhollering" (screwed and chopped)

The next group from Philly that we are looking at has already been mentioned quite a few times here at Pound for Pound. I feel like I've seen Plastic Little live more than almost any band playing today, a sign of how much I enjoy their music and how much a part of the local scene they are.

The tracks above are off of their out of print first EP, Thug Paradise, that came out on A-Ron the Don's aNYthing label a few years ago. It was a great first recording, putting down most of their live staples like "Drizhollering" and "Foil". It's what I would consider the best of underground hip hop, bringing a more electro/experimental sound without copping that holier-than-thou attitude that afflicts most backpackers. One listen to the lyrics and you will hear that they are making fun of hip hop, themselves, anything that comes into their mind.

The only disappointing thing is that the bass doesn't quite come through, the recording seems to be missing a little something, especially on "Foil." It takes away the sheer bigness, the brilliance of the beats by Michael "Squid" Stern. Again, this is really a demo of sorts, so it's not incredibly shocking that it could sound better. "Drizhollering" sounds right and is my favorite Plastic Little song. I mean, how can you not love a line like "I like those indie girls that say they like electro/Clash, Crash that's cool/I like Fischerspooner too/But, nah bitch, I don't bitch/I like some Ice Cube/Today was a good day/the night's gonna get better/Cos I got her drunk off 5 dollar liquor"? Pure genius.

Unfortunately, that's been it. Nothing new since 2004, as far as I'm aware. Well, that's not quite true, as the group has done a full LP worth of material called Thug Paradise 2.1, which you can buy through their site (click on Samples at the bottom). I know that "Driz" was released as a 12" on the experimental hip hop label Sound-Ink, but I'm not sure if they are still connected with the group. Is it possible that there is no label willing to release this? Having seen them open for Spank Rock a few weeks ago, it's safe to assume that they are still a band and still making music. If anyone has an update on the situation, holler. I really feel like these guys should and could have a bigger audience, following in the wake of Diplo, Low Budget, Spank Rock and the whole scene that has exploded here. In short, let's get a new CD out on a label that can spread the word to the masses.

Mobb Deep - Blood Money

Mobb Deep, "Put Em In Their Place"

Mobb Deep feat. 50 Cent, "The Infamous"

Mobb Deep feat. 50 Cent, "Outta Control (remix)"

It saddens me to discuss this album, Blood Money, the newest Mobb Deep album. For those who don't know, I consider their first album, The Infamous, the greatest rap album of all-time. Hell, I think that the second one, Hell On Earth, cracks the Top 10. Yes, I know that this is a big statement, and that I am forgetting about Biggie and Pac and whatnot, but whatever. I love The Infamous, I love its coldness, its nihilism, its brutal lyrics and stories about Queensbridge. I love the sound, the brittle, painful snares, the deadening bass, the eerie horror movie piano. It still sounds perfect to me, all these years later, no different than when I was listening to it on headphones in my room as a kid, after running out to cop the CD because of a Rolling Stone review. There's not a bad track on the whole album, that rare LP where you don't have to worry about skipping a track.

Now, we move ahead to 2006 and the boys have put out an album that is much anticpated. The duo were scooped up by 50 Cent and his G-Unit label after their previous label dropped them, which left me curious to see how much influence G-Unit would have on the finished result. I am sad to say that it seems like a lot, mainly evidenced by the constant guest appearances by the G-Unit stable. 50, Tony Yayo, Lloyd Banks, ugh. The sound reminds me of the stuff you hear from those guys, similar slow beats, song after song that sound the same lyrically and musically. Havoc, the producer of their albums, supposedly did about 70% of the beats, It's not the worst thing I have ever heard, as the tracks above are good ones, definitely worth repeated listening. But, there's 16 tracks on the album, and the bad ones are awful. There's no real storytelling, no sense that these guys are from Queens, nothing to distinguish them from the pack.

I always strive to avoid nostalgia, that pathetic state of being that doesn't think rap happened after 1993 or rock after 1979 or jazz after 1960. I'm not sure why I am succombing to it now, as it's so not a good look. Forgive me, as I really won't make this a habit. I am very happy that Prodigy and Havoc are making some money, cashing in finally. They deserve to share in the spoils, I just wish that this didn't mean putting out such watered-down music. This is just another below-average album, but I can't pretend it doesn't hurt a little. callmeMICKEY sees it differently and has another track from the album. Buy the album here and see what you think.

-You want a real gangster? Check out my bol Stephen Colbert previewing what he had in store for the President with this interview of Bill Kristol, editor of the right-wing, war-mongering The Weekly Standard. "How is the new American Century going?" Short, but devastating.

Oh, and how anyone could still listen to Kristol and his buddies is beyond me? How do they even sleep at night? I get drunk and say something stupid, and it keeps me up for a week.

-R.I.P. John Kenneth Galbraith. His friend and colleague Arthur Schlesinger Jr. eulogizes the economist wonderfully. John Nichols of The Nation explains why this man was so important and revered.

-George W. Bush: The Worst President Ever

-Happy birthday to MO, further proving that May births are a strong lot. They ain't no Leos, but ain't no shame in not making it to that level.

Philly Music: Man Man - Six Demon Bag

Man Man, "Banana Ghost"

Man Man, "Van Helsing Boombox"

No better band to kick off our look at the Philly music scene in all of its glory and diversity than with its weirdest and one of its best, Man Man. I imagine everyone has heard of them, but not sure that people have actually listened to the music. The comparisons have all been given, from Captain Beefheart to Tom Waits, and all basically get at the same premise. That this is a band willing to experiment with sound, willing to push at the edges of rock music tradition.

These tracks come off their 2006 release, Six Demon Bag, their second full-length on Ace Fu Records. It's a little less crazy than the previous effort, or maybe just a little more focused. The sound has a circus music feel at times, other times a jazz feel, other times an experimental band playing the opening set at Tonic, brief metal freakouts, I think you get the picture. The music is both rough and pretty, loud and quiet, inane and profound. Pay special attention to the percussion on the album, which doesn't seem to get much notice but should. Amid all the chaos and morphing, it holds the music together.

Lead singer Honus Honus' gravelly voice is probably the reason for the many Waits references, but I would say that Man Man's albums remind me most of Waits' late 80s, early 90s masterpieces. I'm thinking of Rain Dogs, Swordfishtrombones and Frank's Wild Years. These are the best signpost for what to expect, and a measure of how good I think Man Man can be, as those Waits album hold a special place for me. There is a similar kitchen-sink approach, a kind of junkyard approach to music that sits so far out of the mainstream (not just pop music, but indie as well). You hear it in the horns, the shouts and screams, the gamelan percussion, the many instruments listed in the liner notes.

Mocking Music has the essential post on all of this, including an interview with Honus Honus , links and some mp3s, including an Etta James cover not available on any album. Nick Sylvester raved about Six Demon Bag at Pitchfork. For real, bol knew what was up, paying respect to a lof the same bands that I love (Love Is All, Blood On The Tracks). I'm just sayin'. Are you familiar? hooks us up with an Adam Sparkles (another Philly connection) remix of Man Man's "Tunneling Through the Guy". Stereogum has a great review of their show at NYU a few weeks ago. Dichotomy of Epiphany has an older track, "White Rice Brown Heart", for download. Un vilon, un jambon has a few tracks from this new album, proving that Man Man, like Pound for Pound and Jerry Lewis, are big in France. After you check all of that out, go and grab their new album at Insound for a nice sale price.

As I'm sure you can guess, this is the start of what I hope will be an intense week or so of Philly-centric music. After that, I hope to make it a consistent feature of this site, as I would love nothing more than expose the country to the great music scene here and get the music. If you are a Philly band, DJ, artist, get in touch as I'm all ears.

Sunday Listening - Grateful Dead 5/10/72

Grateful Dead, May 10, 1972 Concertgebouw Amsterdam, The Netherlands (second link)

That's right, it's that time of week when we put up a little some extra, more than the regular few mp3s. I mentioned last week making a weekly or biweekly Grateful Dead selection, and I'm gonna stick to it. A little change of plans though, as I figured that I would choose a show from the month we are currently in. So...

Let's head back to late April and early May of 1972, and join the Grateful Dead on their legendary tour through Europe. This would be the Dead's first time outside of the United States, and the boys were more than ready. They would put on some of their greatest shows ever during this month-long excursion, including this one above. Honestly, I could make a post for nearly every show that year, one of the years that the Grateful Dead night in and night out explored their music to its farthest edges, combining their psychedelic greatness of 1969 with the rock band-tightness of 1970 and 1971. Until they took a break in 1975, the band would have a run of creativity rarely heard, establishing themselves as a must-see show and one of the greatest musical outfits ever.

May 10 brought the band to Amsterdam, [fill in drug joke here]. Whatever the boys had in their system, it did the trick. This one fits the bill for all of the '72 shows, each song played to its fullest potential, the spacier songs taken to the limit. Pay special attention to The Other One---->Me and Bobby McGee---->The Other One, which sort of encapsulates all of this in the span of 40 minutes, from the complete outer space to a classic rock song and back again. Other notable moments are that rarest of ballads, Merle Haggard's "Sing Me Back Home", the beautiful Ron "Pigpen" McKernan song "Two Souls In Communion" and the "He's Gone" that made it onto Europe '72, the 2CD chronicle of the entire tour.

This is the entire show, a massive file. Nearly 300 MB, but it is well-worth the space. I may even put up another classic May '72 show, if and only if I get some comments. You know how I love comments.

Islands - Return to the Sea

Islands, "Swans (Life After Death)"

Islands, "Volcanoes"

In honor of this beautiful Saturday afternoon, I figured that I would put up some tracks from the recent Islands album, Return to the Sea, a lighthearted, goofy album, perfect for a do-nothing day. For those that don't know, Islands was formed out of the wreckage of the Unicorns' breakup not very long ago. Frontman Nick Diamonds and drummer J'aime Tambeur picked up the pieces and formed Islands, looking to explore a different sound than what they had been doing.

Ironically, this album seems to go down the same path that they were already exploring with The Unicorns. I can't say that I am that knowledgeable about the Unicorns music, but this album features the same lightheard, poppy sound with bells and guitars and goofy lyrics. With that said, it's a decent album. I can't say that there is anything objectionable, but neither can I say that there is anything compelling me to listen to it again. The first track above, "Swans (Life After Death)", is the best thing on the album to me, a long, developed song that remains pretty intense throughout. I really love the juxtaposition in "Volcanoes" of the apocalytpic, dark lyrics with the breezy tune.

EAR FARM has a complete live Islands show from December 2005 in PHILLY (yeah!) at the First Unitarian Church. Mostly songs from this album, along with a Paul Simon cover. Mars Needs Guitars, The BM Rant, can you see the sunset from the southside?, Mocking Music and Big Static all have additional tracks and thoughts. Go and cop the album here, especially if you are a fan of The Unicorns.

-Next entry in my Stephen Colbert extravaganza is this classic Daily Show piece on the Ten Commandments in Alabama courthouse debate. Favorite part is either the Revelations bit or the adultery one. Watch and find it out what I'm referring to.

-If you are in Philly tonight, two cool events to check out. First, Espers is playing an album release party at the Lithuanian Music Hall in Port Richmond. Philebrity has the details and a map. Also, over at the RUBA, there is a fundraiser going on to raise awareness of Histio, a rare blood disease, and lots of DJ spinning indie tunes. Help out the cause and get wasted on cheap beer. Yeah!

-Happy birthday to LL and EO this weekend, glad I can celebrate in person.

Be Your Own Pet

Be Your Own Pet, "Bicycle, Bicycle You Are My Bicycle"

Be Your Own Pet, "Adventure"

I've been inexplicably sitting on these amazing tracks from the new Be Your Own Pet album, Be Your Own Pet (they spent too much time rocking to worry about a creative album title, okay?), which is due out in a few weeks. This group just came to my attention, although they have already garnered lots of attention and a large following because of their epic live shows and punk/indie mix. Think early Yeah Yeah Yeahs. I hate to make the comparison, as it tends to negate the quality of this music and shortchanges BYOP. But, from the female lead singer to the vicious guitar, it should give you a good idea of what to expect.

The big news for the band is that they have been chosen to open for Sonic fucking Youth on their tour this summer, which includes a stop in our fair city, Philadelphia. I told you about this show a month ago or so, and I hope that y'all grabbed your tickets then, cos it's sold out now. (That's right, another sell-out in Philly, this time in a few weeks, more than a month before the show.) NYC can catch BYOP headlining at the Knitting Factory, which I may try to catch. Check their myspace page for the rest of the tour dates. Go to Insound and cop the new CD at a nice, cheap price as a preorder. The album is out June 6, we'll try to remind you when it officially drops.

-Want more video of politicians feeling awkward and insulted? Go to Think Progress to check out this video of former CIA analyst and war opponent Ray McGovern heckling and questioning Donald Rumsfeld at a public forum yesterday. The Secretary of Defense gets served.

-A great blog to check out this weekend is aurgasm, which has just been added to the links list at the right. I'm lovin' the diversity, from Cuizinier to Hollertronix & Ghislain Poirier to French pop and Swedish glam. Most everything is new to me there and all of it worth a listen.

-I mentioned a search for my next focus musically here, beyond the usual new shit that I up everyday. Well, I think that I came up with a good, topical one. I am going to focus on Philadelphia musicians doing big things, as it's time to hype the scene that we have and just how amazing and diverse it is. So, if you are a band or DJ working in Philly, get in touch ASAP. Hell, get in touch with me at any time, as I'm always willing to devote a post to fellow Illadelphians. Or even just tell me that you want to move here and I'm willing to help. That's how we do, y'know. So, tune in next week for Plastic Little, Like Moving Insects, Yah Mos Def and whatever else I can think of. Yeah!

Stephen Colbert

It's funny, I'd been meaning to do a post about The Colbert Report, which has quickly become required viewing and quite possibly the funniest show on television with the cancellation of Arrested Development (I have not forgotten FOX). It started out hit or miss the first few weeks, and at times I wasn't sure that the concept would work over the long haul. It seemed like a funny bit for an episode or two, but I didn't think that it would get much mileage out of the right wing nutjob pundit schtick for very long. Damn was I wrong! The show now rivals The Daily Show for me.

Anyway, he seemed like a cult figure until this past Saturday night, when the shit hit the fan. Colbert put on the funniest, most ballsy thing I have ever seen. Bol made fun of the President relentlessly for 20 minutes and Bush was sitting like 1o feet from him giving him the stink eye! Even better, he ripped into the mainstream journalists in the room without mercy, these humorless toadies for the White House who were there for the martinis and afterparties. Now, it is the talk of the nation, and Colbert has ascended to the top of the comedy heap.

You need to watch this performance in its entirety. Democratic Underground has the entire video in two parts. Perez Hilton has your guide to watch the entire massacre as well(Thanks to MC for this link). Crooks and Liars has excerpts, and was the first site to get footage up from the event. Dailykos' Frederick has the entire transcript available. Eschaton has the links too and his list of favorite parts of the speech. My favorite line is the part about the reporters going home to write that novel they have in them. "You know, the one about the intrepid Washington reporter with the courage to stand up to the administration. You know - fiction!" What's your favorite line?

I'm going to up a Colbert clip every day for the next week in honor of this performance, which made me wet my pants with glee. I'm gonna start with this one from an old Daily Show, where Colbert looks at the dodge ball controversy. Enjoy.

I am a member of the Colbert Nation. Are you?

Massive Attack - Collected

Massive Attack, "Teardrop"

Massive Attack, "Protection"

Massive Attack, "Five Man Army"

Massive Attack feat. Terry Callier, "Live With Me"

Massive Attack feat. Mos Def, "I Against I"

Following up on the recent electronic vibe around these parts, it seemed the perfect time to look at the new Massive Attack retrospective, which is simply called Collected. It's hard to believe that it has been 15 years since Massive Attack brought the trip-hop sound to world. I must confess to not being a big fan the first few times I heard their music; unfortunately, my ears were more in tune to harsher, dissonant stuff. MA's music eventually came through when I really started to listen to how dark the music was, giving it a chance in spite of the fact that there was no skronking horns or screeching guitars. This music sounds so amazing today, so urban in its claustrophobia, its existential angst lyrics and the simmering sexuality.

Listen to the songs above, as they give a pretty good sense of Collected. Disc 1 is dedicated to the greatest hits off of their four albums, with a few tracks from each album. Disc 2 is dedicated to B-sides and rarities, the hook to get people to buy this collection despite owning all of the LPs. I must confess that I'm not sure I would recommend buying this compilation, as the second disc is not really worth more than a listen or two. This track above, "I Against I", comes off of the Blade II Soundtrack and is amazing. It's got a much darker, claustrophobic electro beat than any of their hits, and you just know I love that. Plus, Mos Def adds some decent rhymes, proving that he isn't completely meaningless. "Live With Me" is the newest track from the band, and proves that they aren't dead yet. It's a real slow-burning, classic MA song, with Chicago folk legend Terry Callier adding the weary, beautiful vocals.

Everyone should recognize the other songs, the greatest of their greatest hits. "Protection" has been on a loop for me today, so deliberate, heartbroken, great vocals, swirling organs. It sounds as good as anything coming out today, which either says great things about the group's music or terrible things about today's performers. I'm going to go with the former.

Buy the Special Edition here, and get the extra bonus of a few music videos. Make sure to check out their first four albums, which are essential listening and might be a better buy than Collected. Tom Breihan has a review up at Pitchfork. Funtime OK, Awesome Until Proven Guilty, Motel de Moka, New Music for Middle Aged Men and Comfort Music have additional music for you to enjoy.

-I had to give this post at Palms Sound Out its own category, as it's that good. Grab a ton of Massive Attack remixes, and get a chance to hear how the band reworks the music of others. Great stuff, props to the people at PSO.

-In more UK music news, have a listen to the new Skepta track called "Guppy" at his myspace page [Via Catchdubs]. It is sick and only makes me more frustrated that I haven't stayed on the grind with grime in the last year. Oh, and you might as well grab the track by the Connoisseurs that Sneakmove have upped. I hadn't heard of it, but it gets the Catchdubs stamp of approval, which is good enough for me.

-Back in the good ol' US of A, Big Brother is all around man. Newsday reports that domestic spying has increased by a fifth in just one year. Oh, and the President has chosen to ignore more laws passed by Congress than any President ever, and he isn't done with his term yet. How expensive is it to live in Paris? Get at me, my Parisian fans. Once I buy my tan trenchcoat, I'm ready to go.

-In Philly news, Dr. Dog, The Teeth and The National Eye are playing a show at the First Unitarian Church tonight. Tickets for Radiohead go on sale Saturday for two shows at the Tower Theater, June 1 and 2.

-Paradise at Key West returns tonight, and has morphed into a weekly that has a great look. Ron Morelli and Mike Twobley spin classic house/disco/Italo/acid, a return to the old times. Upcoming special guests include Dave P of Making Time, Tim Sweeney of DFA/Beats in Space and Ghostly International's Jeffrey "Menergy" Sfire. All of this goes down in the upstairs of Key West, fitted with disco ball and mirrored walls.

Spank Rock at the Mercury Lounge

(Photo taken by Oxy Cottontail)

Spank Rock, Live on Breezeblock BBC Radio February 26, 2006

Holy fucking shit! Spank Rock played the Mercury Lounge Saturday night, and New York City will never be the same. I've seen these guys many times now, rivaling my Kudu groupie status. This show was as good as I have ever seen Naeem, XXXchange and the Baltimore Bass Connection, it's just amazing to see how confident they've become, what a show they now put on. Ya hear that, sad-faced, quiet indie bands? A show, entertainment, a party.

But, I'm getting ahead of myself. MC and I walked the few blocks to the venue on Houston at 9:30, figuring that we would get there just in time for the opener and claim our will-call tickets without a mad rush. To our surprise, there was almost no one there. Literally. The bar had a few people, the concert space looked empty. Oh, New Yorkers, why must you always be fashionably late?

After a few drinks, Cuizinier came on stage to a good-sized crowd. For those that don't know, he is a member of TTC, the Parisian rap group that has a decent following here in the States. Cuizi is the most talented member of the group, more talented with his flow and lyrics, a sorta laid-back, Twista-fast rap style. He put on a good show, and I was a little surprised to realize how many people are into his music. On the real, I cannot get enough of the French language, love hearing it, have become a total Francophile and DJ Orgazmic is excellent, dropping slow jams, snap rap, grime into his DJ set early and as instrumentals for Cuizinier.

After that, Philly's Plastic Little played. This might have been their most sober, accomplished performance I've seen them do. I'm a huge fan, although I know that their schtick doesn't go over well with everyone. The best thing about the music, beyond the hilarious lyrics and Beastie Boy line trading, are the beats by Squid. These are disgusting, dirty, heavy beats that sound so perfect to me, the kinda shit that seems more grime than hip hop. It was another great performance, although I was disappointed that they didn't play "Brooklyn", and a great chance for the group to play a bigger stage and get some much-warranted attention.

After another brief break, the Baltimore Bass Connection guys began to spin some tunes, dropping the Bmore club bangers and old 50s songs to get the crowd hyped. Suddenly, Naeem stepped on stage and the madness began. I'm going to do a post on the album, YoYoYoYoYoYo, so I won't delve too much into the music. Most of the songs were off of the album, but we were also blessed with a new song, "Make My Dick Turn Racist" (I think that's the title, it sounded like the refrain). Oh, and the jawn off of Low Budget and Aaron LaCrate's Gutter Music, "Blow", featuring a guest appearance by Amanda Blank. So good.

What I mainly wanted to discuss was how much fun this show was, how unlike a typical NYC show it was. People were actually dancing, at least up front where we were. At the end of the night, lots of people got up onstage and had an impromptu dance party. For like 20 minutes. It was so nice to be somewhere and not feel like everyone was worried about seeming uncool or being cynical or whatever. It was nice to go to a show to have fun, not show how cool and detached I can be. In essence, it was nice to have Philly in the house and showing why it is the best place in the world.

From there, everyone headed to the afterparty on Essex at a new club, after a stop at the excellent hot dog place Dash on Rivington. It was a good end to the night, as things were starting to get blurrier and blurrier. Shout out to R and her crew for doing it up big and bringing strength in numbers.

disco-not-disco was there. So was Absquatulation (5 out of 10, wuh?). I believe that we were standing next to Caps and Jones (in a beanie with propellor?). Oxy Cottontail was there and has amazing flicks from the entire evening. Drink Moloko also has a visual recap of the night. Who else was there? Holler.

[To Cuizinier: You are lucky that you made it out of that club, grabbing my girl's ass when I was getting drinks. Remember: if your jaws wired shut, you can't talk. You can't talk, you can't rap. Yamean?]

(One last photo taken by Roxy. Can you spot me in the audience?)

Shantel - Bucovina Club Volume 2

Sandy Lopicic Orchestra, "Da Zna Zora (Shantel remix)"

Mahala Rai Banda vs. Shantel, "Mahalageasca (Bucovina dub)"

Shantel, "Borino Oro"

As I mentioned yesterday, I had one more jawn to go in the Gogol/gypsy vein, and here it is. Shantel's Bucovina Club Volume 2 is a great followup to the music of the past 24 hours, fitting perfectly into the JUF and Brian Eno and David Byrne stuff. Again, you've got musicians taking the sounds of the past, particularly the gypsy sounds of the Balkans, and adding 21st Century digital instruments and techniques.

On paper, it sounds kinda cheesy, but again, I really like this CD. I've never been into the whole Thievery Corporation sound, which always comes off so sterile and forced, made for shitty compilations designed for shitty lounges. This music does not just throw some ethnic sounding instruments over weak beats, but takes the traditional music and gives it a more driving, ecstatic feel. These dance music beats fit so perfectly with the klezmer and gypsy music from a century ago. Much of that music had its basis at weddings or religious celebrations, a time for dancing and joyousness and celebration. It oftentimes came in the form of repetitive, energetic music that kept people dancing and moving, getting faster and faster. Sound familiar, club kids?

I actually recommended this one more than the JUF one from yesterday on the basis of the amazing brass instrumentations that is so integral to the traditional music. It's amazing stuff, hopefully I'll have Volume 1 soon. In the meantime, go here and buy Volume 2, as it is highly recommended by yours truly.

Brian Eno + David Byrne - My Life In The Bush of Ghosts

Brian Eno and David Byrne, "The Jezebel Spirit"

Brian Eno and David Byrne, "The Carrier"

I am so excited to finally get to this one, the recently reissued and remastered Brian Eno and David Byrne collaboration from 1979-80, My Life In The Bush of Ghosts. I can't say that I had heard or knew much about this album, which is embarassing. I have come to Brian Eno's music over the last 5 years or so, and have been amazed at how much beautiful, experimental music the man has had a hand in. He's probably better known as a producer today, but his solo albums from the 70s are essential, his work with David Bowie gave us Bowie's best shit, and he was a founding member of Roxy Music. All of that in just one decade! Byrne, on the other hand, has never gotten my ear the way he probably should. Talking Heads are a recent obsession, and his Luaka Bop label has done everyone a favor and released lots of Brazilian music that would never have gotten out otherwise, but yet I still can't say I know a lot about the man or his music.

Anyway, this album is necessary listening for anyone into electronic based music, whether hip-hop, techno, disco, electro, DFA shit, you get the idea. It's a foundational album, one which laid the groundwork for what was possible with sound and sampling, unafraid to put different types of music together. Dig the preacher's voices that predates Moby by 20 years. But before you think this is the type of album that guys like me listen to, nerds who need to know everything and namecheck all of the sources, it's a lot more than that. It is an amazing listening experience, downright spooky at times with the sampled voices babbling and droning. It's got that bass and drum groove that the Talking Heads defined. It sounds amazing, a lot better than previous versions from what people are saying.

Go here and buy this one, as it is a really nice document with great liner notes and cover. I think that we will take a look at some Brian Eno down the road, or maybe even this week. Let me know how that sounds, as I'm still trying to figure out what the next focus is going to be at Pound for Pound.

Two of the best music blogs going, Kwaya Na Nisser and silence is a rhythm too, have additional tracks and thoughts on this album. Their opinions are about as good as it gets, so trust them.

-Speaking of life in the Bush, yesterday marked the 3-year anniversary of Bush's Mission Accomplished speech. Via dailykos, I see that Think Progress has 'Mission Accomplished' by the numbers.

-Labor historian Nelson Lichtenstein has a great essay in Slate on the history of May Day and the connection yesterday's immigration protestors share with previous generations.

-This post was dedicated to Jezebel, my little princess, and presumably, the inspiration for the song above.

May Day

Billy Bragg, "The Internationale"

Billy Bragg, "Never Cross A Picket Line"

Billy Bragg, "Joe Hill"

Billy Bragg, "There Is Power In A Union"

Billy Bragg and Wilco, "All You Fascists Bound To Lose"

Today is May 1st, once better known as May Day, International Worker's Day, a celebration of the working people, labor, unions and radical politics. Sadly, very few people acknowledge it in this country, probably because of its ties to Communism. It seems kinda fitting, though, that a day dedicated to workers would be ignored in a country so hostile to labor and featuring such compliant and shortsighted unions.

I don't have a lot to say, no great point to make with this post. I've been reading about the early days of the labor movement again, the life of a woman or man in the garment industry at the turn of the century in the Lower East Side. It's hard sometimes to realize what kind of world existed back then, how much we owe to our great-grandparents and grandparents for the fight they put up to recognize workers and create the conditions that we take for granted today. It's hard to remember the names of people like Joe Hill, Samuel Gompers, Emma Goldman, let alone the names of the anonymous woman who worked at a sewing 18 hours a day and had the courage to say enough is enough and strike.

I could think of no better way to remember this day and honor those people, then with the music of Billy Bragg. Bragg is one of the great musicians, so underrated that it's sad. He might be the only performer who wears his politics on his sleeve, doing it way before Springsteen. Getting up there with just his guitar singing old union songs, Woody Guthrie covers and his own amazing originals. What makes it all so powerful is that you never feel like you are being preached to, but rather you are hearing the songs of the downtrodden, the poor, the working, heartbreaking tales, joyous ones, loving ones. Listen for yourself, then go and cop his entire catalogue, which has just gotten the remastering + extras treatment.



This is a drawing by Eric Drooker, the amazing cartoonist and radical. More to come on him, but couldn't let this day go by without putting this one up.

JUF - Gogol Bordello Vs. Tamir Muskat

JUF, "Gypsy Part of Town"

JUF, "Roumania"

JUF, "Muskat (Slishal, No Ne Zapisal)"

I couldn't discuss Gogol Bordello without mentioning a side project of Eugene Hutz's called JUF, a.k.a. Jewish Ukranian Friendship. [I'm assume they mean, "Jewish Ukranian Friendship, starting NOW. Let's forget about Babi Yar and those pogroms." Whatever. This side project features Hutz, Tamir Muskat and Oren and Ori Kaplan, creating a music sui generis. The album, Gogol Bordello Vs. Tamir Muskat, is a sort of dubby version of klezmer and gypsy music, a digital look at these traditional musics, Gogol with DJs and laptop musicians. The quartet and occasional guests really take the multi-cultural aspect that is hinted at with Gogol and run with it, throwing everything into the mix, taking advantage of the digitalness of this group. You hear lots of beats, all kinds of music thrown into the mix like Latin, reggae and jazz, and lyrics in a few different languages.

I actually really like this album, but can only recommended it to people with open ears and a penchant for weirdness. This is much more in the territory of DJ Cheb I Sabbah, dj/rupture or the Radical Jewish Series on Tzadik Records, not something for the weak of heart. Do not buy this if you are looking for the next Gogol Bordello album or a replication of the live show. It is nothing like that, and that is one of the best parts about the music. The punk act is traded in for something more experimental, a curveball that I think gives one a better view into the musical genius that Hutz is. His influences are enormous and varied, but that doesn't come out as well in the context of Gogol. Here, the songs are more open, less constrained by the Gogol sound and all the better for it. Go here and buy a copy, and let us know what you think. We'll have one more post of a similar vein, and then we'll see what comes next.

Sunday Listening - Grateful Dead

The Grateful Dead, November 11, 1973 Winterland Arena San Francisco, CA Set 1

Okay, okay, just a quick little Sunday post. I've spent the day with MC, recovering from the epic Spank Rock show last night at the Mercury Lounge, spending the day in Bushwick looking for apartments, running into TA the Younger and discussing the L vs. the JMZ more than I ever imagined possible. To cap it all off, True Life: I Have A Summer Share is on MTV right now. Greatest episode of True Life ever (and therefore TV in general)? Yeah, I'm gonna say that.

It's been a beautiful day all around, summer is slowly creeping up, and I can think of no music that better suits a nice, lazy Sunday afternoon as the weather heats up than the good ol' Grateful Dead. Listen to those great Bob Weir cowboy songs, Jerry's solos, the long drama of a Dead show in 1973. If people give some good feedback, I think that I will post up Set 2, and make this a weekly event. I'll have more to say on the music down the road; for now, just enjoy.

Gogol Bordello - Multi Kontra Culti Vs. Irony

Gogol Bordello, "When The Trickster Starts A-Poking (Bordello Kind of Guy)"

Gogol Bordello, "Huliganjetta"

I told you that we would get back to where it all began, Gogol Bordello. These tunes come off one of the earlier Gogol Bordello release, Multi Kontra Culti Vs. Irony, which is better than that awful title. Not by much, sadly. I think it is best to let lead singer Eugene Hutz better explain where the title comes from: "The title of the new album sums of the spirit of the band and the people around it. Gogol Bordello is about creating new musical possibilities. We all come from a very distinct tradition of music that is largely driven by Eastern European sounds, visions and colors as well as punk rock and street culture. We’re a multicultural unit with an underdog energy and a sense of humor, although a pretty twisted one". Good stuff, right? Not hard to see why this band means a lot to me, oh great defender of cities and diversity and anarchy, right?

Well, unfortunately, that quote might be the best thing about the album. This album just never gets it done, not recommended for beginners or those familiar with Gogol, especially if you have seen them live. First off, the sound is completely blah, neither gypsy nor punk and definitely not a combo of both. It just sort of hints at those sounds, never quite committing to anything. The lyrics are just as bad, as the stories are uninteresting, which only makes the awkward English annoying. I wish that this album was better, but would have to recommend starting with their most recent release, Gypsy Punks: Underground World Strike, and hoping that they can finally bottle that live show energy in the studio.

Thrilladelphia Music Festival

I have been embarrassingly silent on Thrilladelphia, the weeklong indie music festival here in Philadelphia, which is concluding this weekend. I don't have a great excuse, really just burnt out on shows and didn't have it in me to get out during the week. My lameness should not effect you, so please make it out for the remainding concerts over the next two days.

I really cannot recommend more highly the afternoon Block Party on Hancock Street in Northern Liberties that will be opening the final day of the festival Saturday. Philebrity is putting it on, Rock Mess Orchestra, Blood Feathers and Hi Soft are playing, WXPN is broadcasting live and there will be vitamin water. Sounds like a plan. Later that night, I see Phil Moore Brown is playing at Tritone, Bardo Pond at the Khyber and The Yah Mos Def at the M Room. Phew.

But, for the Friday night kids, don't be worried. There are tons of amazing shows all over, The Lilys and Bitter Bitter Weeks at the Church, The Capitol Years at the North Star and the Golden Ball at the M Room. Head to Philebrity, as they have it covered. Check the home site for Thrilladelphia for even more info. Let's do it Philly! This is a real big deal, and I will have more to say about next week.

LIl Wayne - The Carter 2.0: Like Father Like Son

Lil Wayne, "Don't Give A Fuck"

Lil Wayne feat. Curren$y and Remy Martin, "Whrr Tha Cash"

Lil Wayne, "Problem Solver"

DJ Khaled feat. Lil Wayne, Paul Wall, Pitbull, Rick Ross & Fat Joe, "Holla At Me Baby"

After the sadness of yesterday's post (although if you read it the way I intended it, it's actually a hopeful post at heart), I figured that I would try hard to make a happy post. Nothing makes me happier than having more Lil Wayne to listen to, so after much delay, here are some tracks from The Carter 2.0: Like Father Like Son mixtape, with songs that didn't make it onto the past two versions of The Carter, plus lots of exclusives and shit.

Mang, this is a great mixtape, another high point for Lil Wayne. It's funny, because the mixtape world is so immediate that you never really give each CD a chance, you never really sit and listen to the tape over a period of time and appreciate how good one is. This is a good example, a CD that I listened to immediately and put aside, really just waiting to post up the songs. However, over the past few days, in anticipation of this post, I started listening to it again and was struck how amazing it is. It's hard to believe that these guys put out a few of these a year, that they can come up with so much material without sounding uninspired.

This mixtape is a must, continuing to solidify Lil Wayne's place at the elite level of the game. I really could listen to him with that slow, sinister cadence rap the phone boook. I never thought that he would be able to stand on his own, always assuming that he would fade away if the Cash Money Millionaires drifted apart. I was wrong. Go here and buy more proof of this fact.

-More good news. lemon-red is back! Bol has been taking a break, getting ready to bring the heat as the Spring comes in. This week Chris simply kills it, dropping some video exclusives from The Streets, as Mike Skinner's new album drops. He also puts us up on the UK rap/grime video scene, which seems to be flourishing. There is also the continuing mix series, and the CD releases of prior mixes in the series for sale. The takeover has begun, lemon-red is an empire, be a part of it!

-disco-not-disco is back too! S/he had some server troubles, but is now back to posting the hotness, and the world is back in order. Gnarls Barkley, songs for a beautiful day and the Scissors Sisters should catch everyone up. Now, if he will just let me know what server he moved to, Pound for Pound could go to the next level for good.

-Rick Mariano resigned his position in City Council, meaning that he will no longer be getting a paycheck from the city of Philadelphia. He has found G-d and is asking for forgiveness. Even better, he is looking to talk to the feds, willing to rat out his friends. So appropriate that this bully, who insulted and screamed down opponents (cf the debate over funding new stadiums), who revelled in the thuggery of the electricians' union, who did nothing for this city is proven in the end to be a coward, a fucking snitch. Good riddance, another step forward for this city.

-The Flyers also won last night, drawing closer in their series with the Buffalo Sabres in the first round of the NHL playoffs. I will say no more, so as to avoid jinxing my boys.

-Finally, Cindy Margolis has agreed to pose in Playboy. Oh, I know what you're thinking. You just wanna see her boobs, you pervert. No, I support this move because she is a 40 year old woman with three kids and I hope that all women see that they are beautiful at any age. This is empowering, ladies, you go. Plus, I'm tired of seeing shiksas in Playboy.