IN THE MIX Tony Gilkyson Edition Vol. 1 - Lone Justice, X, Randy Weeks, & Chuck E. Weiss Guitarist!

IN  THE MIX Tony Gilkyson Edition Vol. 1

When I lived in San Francisco, I had a crazy girlfriend I turned onto my favorite hangout--a bar that had the same rockabilly band playing for free every Monday night.  The band was great, & the draft beer was cheap, & the bar itself was a hundred years old.  Because I was travelling for work, & she was there every Monday, when we split up, she got my watering hole in the separation.

So when I moved to Los Angeles, I set to work to find a similar set-up. Randy Weeks wrote Can’t Let Go, which Lucinda Williams included on her Grammy-Winning Car Wheels On A Gravel Road album, which afforded him his own night at The Cinema Bar, and a crack band.  Two other songwriters Mike Stinson, & Tony Gilkyson backed him on drums, & guitar, & they had lots of famous guests (like Lucinda Williams) drop in. 

Gilkyson is from a family of songwriters that includes his sister Eliza Gilkyson, and his father Terry Gilkyson who was nominated for an Academy Award for writing Bare Necessities for Walt Disney’s The Jungle Book.  He also wrote Dean Martin's #1 hit Memories Are Made Of This.

But while he's a great songwriter, what Tony was most known for was his guitar playing.  First with Chuck E. Weiss & The Goddamn Liars, then Lone Justice, and finally replacing Dave Alvin in X, who had replaced the legendary Billy Zoom.  Tony also produced albums for his sister, and Dances With Wolves author & poet Michael Blake.  He co-produced two of Chuck E. Weiss’ albums with Tom Waits, and also co-wrote some Goddamn Liar songs that are included in this compilation (if he can be believed).

Having seen him live at The Cinema Bar 11-12 times, easy, I can tell you that he's quiet, & unassuming, and nice, & one of the most tasteful rock guitarists there is.  And you can't go wrong with any of the albums he's put out as a solo artist.

IN THE MIX Tony Gilkyson Edition Vol. 1 contains a lot of X tracks from their Live At The Whiskey-A-Go-Go & Unclogged albums.  I feel that the admirable way Gilkyson filled Billy Zoom’s shoes live is one of the reasons the wayward guitarist returned to the fold.  Check out Tony's guitar solo on The Once Over Twice—it sounds like a creature born of atomic testing rising out of the water off the coast of Tokyo.  There are also cuts with Chuck E., Randy Weeks, & with Lone Justice on a night Bono joined the band onstage.  Volume 2 is already finished, but I’m pacing myself.

If anyone has this album by Tony & Michael Blake, it would help the cause:  https://www.discogs.com/release/3469721-Michael-Blake-6-Tony-Gilkyson-Im-Alive

 

Whistle While You Work - Music With A Lilt To Lighten Crime Fighting

In the comments of the previous Whistling selection, SSteve asked "What makes a man whistle?"  I put it in my own words here. It is a question that is short and the answer is wide. 

Unless you accept the obvious answer: Various Reasons. That is, that there are lots of ways to which an artist gets to include whistling in a song.  The ‘kunstfluiter’, an artist whose signature modus is whistling, shows his art.  Often we hear whistling in movie/tv themes where my guess would be: drawing attention. 

Also in movies there is great variety. The G B & U is for me a proud whistle. ‘Turks Fruit’ by Toots is a carefree live, being young, being in love, riding a bike and blissfully unaware.  Fritz Lang, in his 1931 movie M, uses the whistle as a wolf in sheep's clothing. The child does not know what horror awaits, but we, the viewers, recognize the whistle.

In lots of blues/folk music one would be happy to have strings to the guitar, and whistling adds something where the harmonica, cheap as it is, is unavailable or unpractical.  Often whistling lifts the mood, makes it feel that life is easy. 

There is a Dutch song in which the singer is annoyed by "that stupid song", that will not leave his head. And he sings: You whistle, hum or sing along willingly or not, you'll get mesjogge by that stupid song.

Everyone picks their own reason to whistle as part of a song. You can also ask, why not more often?  We have seen here the la-la-la, and sha-la-la.  We can ask why the word-less sounds like Great Gig In The Sky and The War Song (same singer Clare Torry) and seek more examples.  Sex sounds like Chakachas and Man.  The wordless vocal part in A Day In A Life, humming in Wand'rin Star.

Trying to stand out, or as I call it, re-inventing a wheel. Like "Hey, I know something original, add a whistle."  There are also ways of destroying a song. Introducing a band during a song, or public participation (Hey-ey  Hey-ey, Ho-oh, Ho-oh, Hey Hey Ho Ho aaaaaaaaaaah).

This selection now. It starts with one of my favorites Triggerfinger, a heavy duty band who made an unexpected cover with a lovely whistle. When you love power rock trios, listen to this band's other work.

The unification of this diverse selection through whistling works a treat here.  Recent recordings of oldies such as Georgie Fame together with the Einstürzende Neubauten and The Ex. The Humor of Frank Pahl with the serious Elvis Costello.  Björk and The Pixies or the joyous rendition of Peggy Sue.

There are Vic Chesnutt, Billy Bragg, Edwyn Collins, and (for me till now unknown) Steven Page, who namechecks Linda Ronstadt.  Another great song is The Heads with Andy Partidge, I don't know how I got to get it, I'm glad I did.  And the set is finished by the French Zaz and I like to hear more French whistling.  Enjoy this set of 90s/00s and some 10s. 

Comeback Special 2013

As we get into the 2010’s, the number of comeback albums increases significantly.  The 2012 Comeback Special was a two disc set, and today's 2013 compilation is as well. The increase is both mathematically and historically inevitable: in the 2010’s, there were simply more musical artists who could reunite than there were in earlier decades, and more music fans who might want to attend a comeback tour and buy a reunion album.  

In the 2010's, we had not yet reached the point of music consumers abandoning physical media. You could still buy a new car with an in-dash CD player.  Spotify came to the US in 2011, and it didn’t immediately dominate listening habits to the extent that it does in 2026.  

Another factor in the rise of the comeback album might be the decreased barriers to entry.  In the 21st century, artists can record and release their own music without a record label contract, and make something that sounds professional without going into a recording studio.  For example, Luscious Jackson’s 2013 comeback album was crowdfunded by PledgeMusic.  Jill Cunniff taught herself ProTools and produced the record. There were also new distribution channels.  CD Baby was founded in 1998, and partnered with iTunes in 2004.  The first Record Store Day was in 2007, and Bandcamp opened for business in 2008.  

The Drake meme accompanying today’s post can be applied to Geese, Bad Bunny, Drake, Kendrick, and my own musical prejudices.  For last year's 2025 Comeback Special, I disdained Counting Crows, Spin Doctors, and a few others.  For 2013, I have excluded the comeback albums from Starship, Johnny Hates Jazz, the Standells, and Osage Tribe (an Italian progressive rock band).  I listened to the Standells' album Bump several times, and I can only say that I wish it was a better record. The band Boston barely made the cut.

The biggest comebacks of 2013 were probably David Bowie’s surprise release of The Next Day, the long-awaited return of My Bloody Valentine, and Black Sabbath’s 13 (with Ozzy, Tommy, and Geezer, but without Bill Ward).  13 turned out to be the final Black Sabbath studio album, but we wouldn’t know that until 2025.  Greg Ginn and Ron Reyes hoisted the banner of Black Flag, but their 2013 return was not well-received.  If you’re a Britpop fan, the Suede reunion album Bloodsports was a big deal.  And if you live in New Zealand, the return of the Exponents (with a new album and a documentary film) was a major multimedia event. Damn, that Exponents song is good!

The longest gaps between albums among the 2013 comeback artists were the Standells (46 years), the British psychedelic band July (45 years), the aforementioned Osage Tribe (41 years) and the duo Delbert & Glen (40 years).  We have a wealth of Delbert McClinton's music here on the blog, and many more Comeback Special compilations.

P.S. There’s a great article about the Reivers in last year’s Austin Music Issue of the Oxford American magazine.  Read it here!

Take That! Songwriters Taking Swipes At Others Vol. 2 MISFITS Ogden Edsel THE KINKS

Volume 1 was a big hit, so naturally Volume 2 isn’t far behind.

Take That! Songwriters Taking Swipes At Others Vol. 2 (from the liner notes!)

Ray and Dave Davies admit how they really feel about one another in Hatred (A Duet) - The Kinks. As influential as they were, The Ramones never got much airplav: We Want The Airwaves - The Ramones. Their label left this cut off their U.S. release, but on this live boot, they're free to flip off the fuzz: NYC Cops (Live) - The Strokes. 

The Misfits shit on almost everyone with this cut, but mostly on the late, great Jackie 0... Bullet - Misfits. Bree Sharp is best known for her lighter fare, like her ode to David Duchovny, but the girl shows her fangs with America. Graham Parker's no happier about his 

adopted country, and makes it known that he's ready for super-stardom when America's ready to dish it out. Sharpening Axes - Graham Parker.  One of his THREE songs expressing disdain for Fools In Love - Joe Jackson.

When you’ve been a rock star as long as she has, you’ve had your share of Fake Friends - Joan Jett. Canada's Bruce Cockburn is saving up for a world-class assault weapon: If I Had A Rocket Launcher.  It seems Paul Weller isn’t happy with anyone but God in: That's Entertainment - The Jam. Dr. Demento favorite Ogden Edsel take a swing at rich kids that start bands. Take THAT! Dino, Desi & Billy! Daddy's Money - Ogden Edsel.  

Dunno WHO Billy wrote this "intervention put to music" about, but it sure sounds like it was born of real frustration: Big Shot - Billy Joel. Also against "That spoon up your nose" is Herman Brood, who weighs in with Dope Sucks. Neil Young designated drives that point home with this song about the loss of his friend (& former Crazy Horse bandmate) Danny Whitten.  Neil fired Danny whose response was to promptly die of an overdose. The Needle & The Damage Done. 

Lynyrd Skynyrd protests against cheap handguns: Saturday Night Special. Trucker Up's Red Sovine Is A God (Damn Liar) seems hash to me, but I don't know him like they do... Country rocker Steve Earle vents his spleen with F-The-CC - Steve Earle.  “The Killer" never minces words. In this number he confirms Elvis ain't dead, & makes it clear that: "YOU rockabilly, son, I'M Rock 'n' Roll!" Rockin" My Life Away - Jerry Lee Lewis. 

Barbara Mandrell's self-congratulatory I Was Country When Country Wasn't Cool is almost given credence by the prescence of George Jones. Almost. Dave Dudley keeps Babs honest with a brush-back pitch reminding her that singing along to Roy Rogers & putting peanuts in her Coke don't give her bragging rights, while reminding us: I Was Country Before Barbara Mandrell.  Dylan lashed out at the people who turned on him when he achieved success in Postively 4th Street - Bob Dylan.

Syncopated Musings From The Nineties

Our regular visitors might have noticed my interest in instrumentals, as I posted about it 3 times (& Jonder once!) in the past. 

However, the focus of these collections was mostly on tracks from the seventies and eighties...

What triggered this post was me looking for any kind of artwork I could (ab)use for my ongoing Art For Art's Sake cartoon series. 

I noticed Chris Ware's artwork and liked it a lot. 

To my surprise, he had done a 1995 cover for a band's vinyl 45 I had never heard of before: 5style or Five Style. 

A quick check via YouTube revealed it was a quirky rocking instrumental that made me sit up...

This in turn, made me think of other rock bands from the nineties which primarily focused on instrumentals: Pell Mell, Friends of Dean Martinez, and Tortoise. 

A band I'd never heard of before, but working along similar lines, was Cul de Sac. 

Another band whose output is mainly vocal, Calexico, occasionally released some cool instrumentals as well...

This shouldn't be a surprise; band members Burns and Convertino used to be in Friends of Dean Martinez!

They eventually released a full instrumental album, "Toolbox", in 2007!

Just to be sure, I looked around the web to see if there was anything similar released, either officially or on any blog, but I found zilch.

Therefore, I'm happy to present you with this 'syncopated' collection from the nineties for your listening pleasure!

With 3 instrumentals each by these 6 American bands, you might develop a taste for more.

Again with The Punks and The Soul

As I compile more volumes of “Punks Got Soul”, I continue to ponder the value of assembling what are (in many cases) inferior versions of classic original songs.  There are some worthwhile reinterpretations of soul music here: from the odd (Talking Heads’ take on “Take Me To The River”, or “Money” by the Flying Lizards) to the pulse-quickening punk covers (I still get a thrill from “Slow Down” by the Cannibals and “Heat Wave” by the Jam) and the genuine love, enthusiasm, and musical quality of some of the more faithful covers by folks like Graham Parker, Chris Bailey, and Elvis Costello.  There are plenty of “classic soul” compilations out there if you want to hear the brilliance and passion of the originals.

But it’s troubling when you consider the history of the music industry (segregating Black artists, cheating them of songwriting royalties, and literally stealing songs).  Most of the musical innovations of the 20th century (blues, jazz, gospel, R&B, rock, reggae, hip hop and electronic music) are Black creations that have been co-opted by white performers who achieved more success and acclaim than the originators who inspired them. And it’s not because the white performers "improved" upon the originals. The music was just made more palatable to white listeners.  Consider the whole Super Bowl halftime show fiasco. The acceptable alternative to a massively popular Puerto Rican performer was a washed up white rapper?   

Here’s a thoughtful article by Sir Shambling on “blue-eyed soul” and its relationship to Black artistry, in the context of the political and social upheavals of the Civil Rights movement in the US.  The author’s admission that he had become prejudiced against white artists is kind of amusing.  As a know-it-all college kid, I once challenged a friend to name a single white blues, gospel, soul or jazz vocalist who is the equal of any of the greatest Black singers.  Being older now and not quite so sure of myself (about anything these days, to be honest), I do know at least two things I can say with a degree of certainty:  there's some great music here, and there's at least one more volume of Punks Got Soul waiting in the wings.

Take That! Songwriters Taking Swipes At Others Vol. 1 Lennon/McCartney RICK NELSON The Kinks

 

TAKE THAT VOL. 1 got its start when I read an article in PARADE MAGAZINE about songwriters lashing out at other songwriters in their work.  That was about 50 years ago!

There are only a few songs here from that article—which I still have somewhere: Carly Simon’s You’re So Vain, John Lennon’s swipe at Paul; How Do You Sleep, & Paul McCartney’s response Dear Friend.

I made the first two volumes around 20 years ago, & I’ve revamped them for JOKONKY.  They even have liner notes (included) which I’ve cut-and-pasted below:

TAKE THAT VOL. 1

George Harrison's riff-heavy swipe at The Taxman - The Beatles.  The Plimsouls’ Peter Case was previously in a band with Jack Lee, & apparently: “Since The Nerves broke up all he does is brood,” & Pete will “never go back to" Playing With Jack - The Plimsouls.  Tyler wrote this about Joe Perry’s future wife Sweet Emotion - Aerosmith. Reportedly written about either Mick Jagger (who provides back-up vocals) or Warren Beatty.  She’s never publicly confirmed which, but she auctioned the (top secret) answer off for charity! You’re So Vain - Carly Simon.  Speak of the devil!  This is Keith Richards solo album stab at Mick Jagger; “It’s no longer funny, it’s bigger than money…” You Don’t Move Me - Keith Richards.  

Lola is reportedly Ray Davies mocking one of brother Dave’s homosexual encounters.  “I’m glad I’m a man, & so is"  Lola - The Kinks.  Whoever this is about, Kyle Minogue gets dragged into It! Popstar - The Pretenders.  John’s vehement attack on Paul: “Those freaks were right when they said you were dead… Ya cunt!” How Do You Sleep (Demo) - John Lennon.  Paul’s gentle & dignited response to John: Dear Friend - Wings.  

Graham Parker's almost always miffed about something. Here, it's the press: Don't Let It Get You Down - Graham Parker.  Nick Lowe kicks Rick Astley right in the bollocks!  Way to go, Lowe!  All Men Are Liars (Live) - Nick Lowe.  Jerry Lee Lewis takes the piss out of his cousin, Mickey Gilley, & the state of Texas.  Mickey Gilley Spoof & Texas Blues - Jerry Lee Lewis.  

This duo isn’t happy with the state of country music.  2 Country 4 Nashville - Joel & Leanne.  LA landmark, Jumbo's Clown Room & their manly dancers get whut fer!  Politically incorrect when it was written 20 years ago, & even more-so now.  But they so accurately describe the place, that it gets a pass: Born That Way - The Groovy Rednecks.  Rick’s response to folks who came for an oldies show and got his (visionary) country rock.  Yoko & her Walrus were there!  Garden Party - Rick Nelson. 

LA legends X take a pot-shot at society as a whole.  HEY! That includes US!  See How We Are - X.  Alanis Morissette exposes Dave Coulier as the lowly cocksucker he (allegedly) is!  You Oughta Know - Alanis Morissette.  Joe’s got 3 songs that rail at Happy Loving Couples - Joe Jackson.  The Pistols give The Queen the night off & bite the hand that inspires (New York Dolls) New York - The Sex Pistols.  My Generation - The Who. ‘Nuff said!  Lee Ving didn't get that pony he asked for, so Fuck Christmas - Fear