The Kirkus Review described the book thusly: 

"Can the 60's cure the 90's? That's what Texas stereo repairman Ray Shackleford struggles to prove in this strenuous fantasy of rock- and-roll hits that never were. Shortly after his unloving father drowns in Cozumel, Ray starts to imagine he's hearing impossible songtracks that he's able to record directly from his head. He takes his tape of the Beatles' never- recorded hit ``The Long and Winding Road'' to L.A. producer Graham Hudson, who's already remastered three volumes of Glimpses from rock's legendary past, and Graham persuades him to go after bigger game. So Ray travels back in time, changing history enough so that Jim Morrison can record Celebration of the Lizard and Brian Wilson can persist in his breakthrough album Smile. There's money to be made here, of course, but what Ray and Graham really want is to save the world by recalling the aging rock audience to its ardent roots. (Maybe a little too ardent, as when Ray wonders, ``Was it that way for everybody, music and sex and politics and love all inextricably part of each other, or is it just me?'') Trying to come to terms with his hated father's death, Ray takes time out to retrace his steps in Cozumel, attempting to re-create his own experience of the 60's more directly in 1989, but his romance with a diving instructor seems to open wide the rift in his ten-year marriage without giving him a satisfactory alternative, and he ends up repeating his father's experience instead of accepting it. So it's back to the past for one last try--with a Jimi Hendrix album that Ray hopes can keep the 60's from ending. As you'd expect from versatile fantasist Shiner (Slam, 1990, etc.), Ray's attempts to keep the faith by resurrecting Jimi and laying his own father to rest are powerfully affecting. Much more than yuppie reunions like The Big Chill, this captures a generation's sweet, desperate yearning for the 60's--though it ends up as authentically woolly as the period." 

When I first read this book 5 years ago (& I've read it again several times since then), I was impressed by Shiner's ability to capture a certain sensibility that existed in the pre-corporate rock & roll era.  Heh, heh... back then it seemed like it was all about the music & nothing but the music.  Yeah, I know rock (or pop) music was big business back then but it was also a simpler time.  (note that I did not say "a more innocent time", eh?)  As they used to say in the (old) Marvel comics... 'nuff said.

Follow The Words...

Lewis Shiner

Glimpses

Find The Words:

Glimpses

DJ,Producer,Artisan and always open to travel for gigs…I love all genres but Deep House is my first love.

Download (right click, save as) (217MB, 320kBit/s)

DJ_Steffen_Coonan-Deep_House_Mix_Part_1.mp3

DJ_Steffen_Coonan-Deep_House_Mix_Part_2.mp3

via
myspace

Common “I’ve Been Pimp’n”

Producer: J. Dilla & Karieem Riggins - FULL, CDQ, Track off the DJ Eves mixtape, Laced With Gems *Tibs Fav.™

Quick 1 track and 1 vid update for ya with Chi-Town legend Common headlining the post with a NEW track off of the Laced With Gems mixtape that’s produced by the late J. Dilla & Karieem Riggins! I’m not really feelin’ Common singing (yes, singing) in the track, but his verses and the beat are really on point. The lyrics are also really good, in the singing chorus especially, but it’s like Common forgot he had John Legend’s number on speed dial, haha. Jokes, jokes. Down below, peep the video premiere for the latest Keri Hilson joint, a club banger that men and women would both enjoy, altho honestly, I’m not really feelin’ it. It could definitely grow on me tho, we’ll see. Enjoy!

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Keri Hilson “Turnin’ Me On” f/ Lil’ Wayne

VIDEO PREMIERE!

~ Sgt. Tibs

When Kenny of Fresh Selects and I met up with The Mighty Underdogs—the new hip-hop supergroup backed by Def Jux’s label and comprised of Blackalicious’ Gift of Gab, Latryx’s Lateef the Truthspeaker and Crown City Rocker producer Headnodic—inside Satyricon’s sticky, all-ages space in Old Town last night to talk to the lyricists about their brand new album (Droppin’ Science Fiction), Lateef was popping Lemon Heads and fiddling with his iPhone. Gab eyed the little box of yellow candies longingly as he slid onto the booth bench next to Lateef, and when I asked him what his favorite candy was, he said he was diabetic. So I asked him what his favorite vegetable was. “Artichoke,” he said smiling, exposing a set of deeply indented dimples. Thus began our pre-show chat with two (Headnodic was not on the Portland bill) of the most versatile, talented and long-standing emcees in the industry.

WW: The Mighty Underdogs are being coined a “super group”. If you could each have one superpower, what would it be?

Gab: I would be able to travel at the speed of light so I could just be out – ohh, I’m about to go to France, I’ll be right back (makes spacey sound effects), boom boom!

Lateef: I’d be able to regenerate anything instantly, including dead cells. Or be like Banshee and have sonic powers, to just blow the crowd away.

Do you feel like you’re industry underdogs?

Gab: No. We say Mighty Underdogs because an underdog is always hungry. The underdog always has something to prove. I feel like when you get to the point where don’t feel like you have anything to prove, that’s when you start falling off a little bit. Back against the wall, everything to prove, everything to lose, that’s the Mighty Underdog, that’s what makes the Mighty Underdog strong. The Mighty Underdog feeds off of adversity. (Pauses thoughtfully) I don’t think I’ve ever explained it to that much of a detail.

Kenny: What is your guys’ relationship, either work or otherwise, with the city of Portland because you’ve got the Quaanum and Lifesavas connection here? [Editor’s note: Lateef is owner of the Quaanum music label]

Lateef: We’ve been coming to Portland for a long time. And we always come all the way up, not just Portland but Oregon in general, Eugene. Gab did his solo record with Jake One and Vitamin D so we have a good relationship with the whole Northwest.

Kenny: How do you feel about the music scene in the Bay area, specifically the hipster and hyphy movements? And where do older school, industry veterans like yourselves, fit in?

Gab: I’m feeling the hipster stuff. To me, it’s just music changing and it should always change. That’s what we try to do as the Mighty Underdogs – Droppin’ Science Fiction isn’t anything like a Blackalicious or a Latryx record. I’d like to see more people get back to the culture of emcees battling and focusing on making great albums. Do it because you love it, because you get a rush from doing it. That’s when the best music is made.

Kenny: With your group name being what it is, who are some industry underdogs that you’re rooting for?

Gab: I like the Cool Kids, the Kids in the Hall.

Lateef: I think even though people are giving him dap, Wale is a little bit of an underdog right now. I feel like Blu and Exile are a little bit in that category.

WW: With hipster hip-hop taking over the airwaves, did you feel any pressure to conform to that sound or does this album reflect the sound you truly wanted to make?

Lateef: I don’t think there’s any pressure on us to do anything. This album, in and of itself is almost a concept album. At this point, when I sit down to make a record, I can creatively make the record I want to make. Hip hop has gotten a little bit stale lately and getting some new blood in there, I don’t have any problem with that, however you want to go with it—reggae, electro, shit, go all the way back to Planet Rock. Planet Rock still rocks.

WW: Are you hoping that the younger generation will just take the Mighty Underdogs at new group face value or that kids will look up your individual past groups and re-discover that sound for themselves?

Lateef: I think both are true. I think that this is it’s own chemistry and has it’s own identity but yeah, hopefully people will go back and check out history. The more they know their history, the better they’re going to be [as artists]. When you’re able to synthesize all of those influences and make something new with all of that, it’s going to be the best it can be.

WW: We’re in political times right now. What is a music industry policy change that you would make?

Gab: People wouldn’t be able to download. Sorry listeners, because I understand what it is to like music but at the same time, this is how we make our living as artists. It sucks that you do work and you bleed and you sweat for this music and then people can just take it for free.

Lateef: I’d say the same or at least there’d be a regular, institutional things across the board in terms of financial kick-back for the artist. If we were making a car instead of an album, you wouldn’t be able to steal it legally. You’d have to go buy the car, otherwise, they’d come arrest you. One of the things that I don’t think people realize is that there’s a whole trickle-down effect that happens as a result of piracy [in which] you cheat yourself out of an experience that the artist might attempt for you.

WW: How fair is it to make a Lucy Pearl comparison? [Lucy Pearl was a group popular in the late 1990s that, like the Mighty Underdogs, was comprised of three break-away solo artists that had each come from other, established groups and joined up to create a new group]

Gab: I think it’s like apples and oranges. I think that they’re two different groups going for two different sounds.

BONUS ROUND: Word Association

To Lateef, whose father used to do security detail for the Black Panthers: The Black Panthers

Lateef: Righteous. Revolutionary ideas of change and thinking outside of the box.

To Gab: Corporate buy-outs

Gab: Shit, I would like to see us buy out corporations one day.

What’s next for the Mighty Underdogs?

Gab: More touring, campaigning this album, getting on the road. We’ve both got solo records coming out next year, so continuing to make and put out good music.

Droppin’ Science Fiction, the new full-length album from the trio, is available now

Links:
The Mighty Underdogs’ space

Photo credit: Arian Stevens

From punk provocateur to pop crooner, Elvis Costello has played many parts over three decades, but TV host? Well, yeah, even that. He sat behind the desk at the Late Show one night in 2003, filling in for an ailing David Letterman. Veteran music writer/producer Stephen Warden took notice, and a few years later — with Elton John joining the gig as a co-producer (and a guest star) — Costello is free to let his inner musicologist rock out. The music and chat show Spectacle: Elvis Costello With … premieres on the Sundance Channel December 3rd, and Rock Daily has a full report from behind the scenes and a few advance clips: Click above to watch Elton John explain why he had to change his name to something a bit more rock & roll, and follow the jump for two tunes (the pair jamming on “Border Song” and “Down River”).

• On the Set of Spectacle with the Police, Jenny Lewis and More

Watch: Costello and John play “Border Song”"

Watch: Costello and John team up for “Down River”

GemStones “Free Chilly” [Trailer]

Startin’ off this hip hop update with a lil’ message from GemStones that summarizes the change that has enveloped the artist in the past couple years. I definitely admire his admission to his past and his willingness to move forward and spread positive messages. He says ‘09 is his year so I’d expect some major mixtapes and Troubles Of The World very soon! Down below, some solid hip hop featuring Lil’ Wayne, Twista’s sick verse on the lil’ Swagga Like Us remake, and from Chicago’s Mikkey Halsted & GLC! Definitely some MUST-see videos including the latest episode of ConsTV and the “Crash Dummie” video premiere, that could be unofficial, yet is a great look for up and coming FNFers He Say, She Say! (Shouts 2 Sean). Enjoy!

Lil’ Wayne “Best Thing”

FULL, Limited DJ, Track off upcoming mixtape, The Drought Is Over 6

Jim Jones “Jackin’ Swagga From Us” f/ Lil’ Wayne, Twista, & NOE

FULL, CDQ

DJ Drama “Day Dreaming” f/ Akon & Snoop Dogg

FULL, CDQ, Track off upcoming album, Gangsta Grillz 2

Mikkey Halsted “Who Am I”

Producer: Kanye West - FULL, CDQ *Tibs Fav.™

GLC “I’m The Shit”

FULL, CDQ, Track off upcoming mixtape, Similar To The Letters

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ConsTV: The Roots Join GITD Tour

Ludacris - Theater Of The Mind Trailer

Talib Kweli On Sound Session

Stat Quo Speaks On Split w/ Shady/Aftermath

He Say, She Say “Crash Dummie”

UNOFFICIAL VIDEO PREMIERE!

~ Sgt. Tibs

Propellerhead today announces the latest installment in the Creator Series: Pascal Gabriel’s Melophobia Machine ReFill. The Melophobia Machine ReFill for Reason version 4 opens the lid of legendary hit maker Pascal Gabriel’s sonic treasure chest—a mass of highly useful, production-ready loops, samples and instruments for songwriters and producers looking to add those unexpected elements that can turn a bland track into a masterpiece.

Pascal Gabriel’s Melophobia Machine ReFill lets Reason users tap straight into the working methods of free thinking producer Pascal Gabriel, providing instant access to his particular kind of magic. The ReFill library gives users a chance to add unique material from actual Pascal productions. Drum kits, guitar loops, effect patches, sampled keyboards, bass patches, FX loops; it’s all there. With a sonic palette ranging from unpolished to outrageous, the Melophobia Machine ReFill is perfect for adding color to any production.

Pricing and Availability

Pascal Gabriel’s Melophobia Machine is available immediately exclusively as a download from the Propellerhead online shop for $49.00 USD and €49.00 EUR.

http://www.propellerheads.se/go/A517EEAE

About Pascal Gabriel

Over the years, Pascal Gabriel has lent his skills to an impressive amount of top artists including Dido, New Order, Bomb the Bass, Miss Kittin, Ladyhawke, Kylie Minogue and more. A longtime collector of odd gear and instruments, with a knack for using them in odd new ways, Pascal Gabriel is a true studio experimentalist—with a sound that is very much his own.

Further information and sound samples can be found at:

http://www.propellerheads.se/pascalgabriel

About Propellerhead Software

Propellerhead Software is a privately owned company based in Stockholm, Sweden. Formed in 1994, Propellerhead has created some of the most innovative new music software (ReBirth, ReCycle and Reason) and technology standards, including ReWire and the REX file format, which are used extensively in all kinds of music production. Propellerhead ReBirth program was the first virtual emulation of vintage analog gear—a trend that now dominates music software. www.propellerheads.se