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I got a chance to watch the new Netflix documentary, What Happened, Miss Simone? the other day, and was transfixed by this live performance of “I Wish I Knew How It Would Feel To Be Free.” The 1969 performance at New York’s Village Gate, first released in a TV documentary on her by Joel Gold, Nina, is a more downtempo and gospel-inspired that her 1967 recording of the song that was released on Silk & Soul.
Even in this age of streaming, Tumblr blogs, and immediate worldwide access over the web; music is still regional. And this becomes frustrating for someone like me living on the west coast with a strong affinity for the works of Tommy Sanders. His previous outfits, Tap Tap and Pete & the Pirates, never toured the U.S. and rarely get any U.S. press. So how am I to keep up with the going ons of a spectacular, but essentially regional act when he is constantly changing band names and I don’t live in or near said region?
Unbelievably, I’ve only included one song from Mitski in any of the mixes. I guess that speaks to the hiatus from this blog, because the reality is that she’s been in regular rotation in my headphones and on my speakers. It’s so varied! I love that a beautiful acoustic close of “last words of a shooting star” that brings Mirah, or even Angel Olsen to mind, yet sit well alongside the Weezer-like garage rock of “drunk walk home.”
The return of Detroit’s Finale in ODDS & ENDS has landed and it is spectacular to hear. After so many years of getting on with life outside — if not away from — making hip-hop, he still is as sharp as ever and his words are as cutting as they are relevant.
I think that I stumbled upon this beautiful track by Erin Rioux, aka Rioux, from radio play on KCRW by a fill-in DJ. It’s really magical in the amazing interplay between staccato production and distant singing.
I suppose by the time that WU LYF rose to international attention in 2011, I had already taken a hiatus on this site from celebrating individual releases in favor of the more manageable monthly mixes. I managed to see them live once, which was fun, but I had sort of mixed feelings about because the hardcore aesthetic to the show (or maybe — more appropriately — the crowd) felt put-on, and a bit unnatural. I wondered whether the act would have staying power. I did love the way the songs were sing-alongs without real lyrics – that the crowd felt empowered to shout along to the songs, even if it was completely unclear what were actually singing.
OMT there’s another new Deerhunter track. And even though the lyrics sound like some weak surfing metaphor, I am an absolute sucker for Bradford Cox & Lockett Pundt’s harmonies. So good.