Doctor Mooney's 115th Dream: July 2010

Glorious Rays of Kinky Sleaze on The Growlers’ “Something Someone Jr.”

Patients, meet The Growlers, a barnstorming collective of sea-side tramps, hailing from the lowest registers of the Southern California coastline. Since 2006 they have self-released an eight EP collection called, Couples and opened for the likes of Devendra Barnhart and Dr. Dog.

Their debut album, Are You In Or Out?, is a treasure chest of lusty ditties. This is a brand of white-hot nuggets that shakes the rock ‘n roll family tree down to its foundation, rootlets and all. Next to “Acid Rain”, our favorite cut of their debut LP is album opener “Something Someone Jr.” Brooks Nielsen’s rattlesnake moan and his band of oddballs unleash a venomous saga of turbo-charged aftershocks – an adrenaline-infused brand of roadhouse blues that the doctors and nursemaids like to call: warped surf scuzz.

The Growlers are:
Brooks Nielson (vocals)
Scott Montoya (bass guitar, vocals,)
Matt Taylor (lead guitar, vocals)
Brian “don’t surf” Stewart (drums, vocals)

“Something Someone Jr.”
Written by: The Growlers

My spine just squinted and my eye is weak
I can’t find peace in a form of speech
My views change color red hot, ice cold
Black ain’t a color happiness ain’t gold
It’s hard for me to feel normal easy to feel free
It’s hard for you to understand if you can’t feel me
I ain’t in a western in a way I can grasp
I try to hold on to something that is fast
If something is a way of saying you don’t know
Then a name is just a way of being visible
My name is someone junior
Who is my dad
Mama is a Catherine Anne Hoover and she’s all that
And a bag of crypt
I’m a municipal and the mundane
I try to keep weird keep away from the same
I haven’t read an outline on how to pass youth
Rather than get passed I pass doobs
I’m out I’m in it’s hard to live in this given culture
All the hers and hims
All of the rats, snakes, and youth vultures around
My heart’s out of shape and my head’s in a cast
I try to hold on to something that is fast
If something is a way of saying you don’t know
Then a name is just a way of being visible....

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of The Growlers

MP3: The Growlers –“Something Someone Jr.”

MORE PRESCRIPTIONS
Shootin’ and Lootin’: The Slickers, “Johnny Too Bad”
Tame Impala’s Deep Space Trip: “Solitude Is Bliss”
Bob Dylan Plugs In; Folkies Howl in Disgust for “Maggie’s Farm” – 45th Anniversary Edition
Danger Mouse and Sparklehorse Present an Exercise in Swirling Melancholy Madness on "Everytime I'm with You"
Son House and the Blind Owl Double Team "Levee Camp Moan"

In the summer of 1972, Perry Henzell released upon the world the Jamaican gangster film, The Harder They Come - an underground classic that kick-started American audiences' devotion to reggae. With the release of the film came a knockout soundtrack that was filled to the gills with direct-from-the-island, quintessential rocksteady and future reggae icons: Jimmy Cliff, Desmond Dekker, Scotty and The Maytalls.

Nestled among a stockpile of classics is one of the most celebrated reggae hits, and a rock ‘n roll stethoscope approved track, by The Slickers, “Johnny Too Bad.” This Byron Lee produced cut is essentially the blueprint for the film, an urban bandit escapade, “Walking down the road / With your pistol in your waist,” robbing, stabbing, looting and shooting to the top. Filled with an alluring, golden voiced rudeboy and shanty town croons, this cut demonstrates that you don’t need to be laced with profanity and vivid violence to convey a menacing threat.

“Johnny Too Bad”
Written by: The Slicker

Walking down the road
With your pistol in your waist,
Johnny you're too bad.
Walking down the road
With your ratchet in your waist,
Johnny you're too bad.

You're just robbing and you're stabbing and you're looting and you're shooting
Now you're too bad.
You're just robbing and you're stabbing and you're looting and you're shooting
Now you're too bad.

One of these days when you hear a voice say come
Where you gonna run to
One of these days when you hear a voice say come
Where you gonna run to

You're gonna run to the rock for rescue
There will be no rock
You're gonna run to the rock for rescue
There will be no rock

{organ solo}

Walking down the road
With your pistol in your waist,
Johnny you're too bad.
Walking down the road
With your ratchet in your waist,
Johnny you're too bad.

You're just robbing and you're stabbing and you're looting and you're shooting
Now you're too bad.
You're just robbing and you're stabbing and you're looting and you're shooting
Now you're too bad.

One of these days when you hear a voice say come
Where you gonna run to
One of these days when you hear a voice say come
Where you gonna run to

You're gonna run to the rock for rescue
There will be no rock
You're gonna run to the rock for rescue
There will be no rock...

Take Up Thy Rock 'N Roll Stethoscope and Walk,

From the liner notes:
“walking down the road with a pistol in your waist, Johnny you’re too bad…” was the Slickers, and they should know: when the lawyer was getting copyright clearance on that tune, one of the writers was underground. The other was in death row.

Enjoy this single cc of The Slickers

MP3: The Slickers – “Johnny Too Bad”

MORE PRESCRIPTIONS
Tame Impala’s Deep Space Trip: “Solitude Is Bliss”
Bob Dylan Plugs In; Folkies Howl in Disgust for “Maggie’s Farm” – 45th Anniversary Edition
Danger Mouse and Sparklehorse Present an Exercise in Swirling Melancholy Madness on "Everytime I'm with You"
Son House and the Blind Owl Double Team "Levee Camp Moan"
All Hail the Queen of Rockabilly, Wanda Jackson: “Shakin’ All Over”

Patients, not since the late ‘60s has a band sounded as cosmically in tune as Aussie Quartet, Tame Impala. Frontman Kevin Parker and drummer Jay Watson met close to a decade ago and during their first-ever US jaunt in June they played the role of openers for MGMT.

On their Modular Recordings debut long player InnerSpeaker, the Perth-based psych-rockers have managed to seize the disorienting brand of paisley-charged, madcapped dream pop with their well-executed penchant for psychedelia. First single, “Solitude Is Bliss” is a crisp REM-induced daydream that smokes with echo-laden hallucinatory acid-hued sonic booms.

Tame Impala are:
Kevin Parker – vocals, guitar
Jay "Gumby" Watson – drums, backing vocals
Dominic Simper – guitar & synth
Nick "Paisley Adams" Allbrook – bass

“Solitude Is Bliss”
Written by: Kevin Parker

Cracks in the pavement underneath my shoe
I care less and less about and less about you
No one else around to look at me
So I can look at my shadow as much as I please

All the kicks that I can't compare to
Making friends like they're all supposed to

You will never come close to how I feel (x2)

Space around me where my soul can breathe
I've got body that my mind can leave
Nothing else matters, I don't care what I miss
Company's okay
Solitude is bliss

There's a party in my head and no one is invited

And you will never come close to how I feel (x2)

Movement doesn't flow
Quite like it does when I'm alone
I'll be the one who's free
You and all your friends
Can watch me, today

Don't ask me how you're supposed to feel

You will never come close to how I feel (x4 fade out)

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Tame Impala

MP3: Tame Impala – “Solitude Is Bliss”

MORE PRESCRIPTIONS
Bob Dylan Plugs In; Folkies Howl in Disgust for “Maggie’s Farm” – 45th Anniversary Edition
Danger Mouse and Sparklehorse Present an Exercise in Swirling Melancholy Madness on "Everytime I'm with You"
Son House and the Blind Owl Double Team "Levee Camp Moan"
All Hail the Queen of Rockabilly, Wanda Jackson: “Shakin’ All Over”
Jackie Lomax’s Forgotten Gem, “Sour Milk Sea”

July 25, 2010 marks the 45th Anniversary of Bob Dylan double-crossing the folkies, ‘plugging in’ and going electric at the Newport Folk Festival in Rhode Island. It was Dylan's third year at the festival. Expecting to put together a traditional acoustic set, Dylan changed course the night before, swiftly putting together a band and rehearsing all night at a Newport manor; learning three songs: “Maggie’s Farm,” “Phantom Engineer” and “Like A Rolling Stone.”

"We want Dylan. We want Dylan."

It was bound to happen: Dylan dropping the Troubadour bit and arming himself with a sunburst Fender Stratocaster to begin his electric pilgrimage. After Cousin Emmy’s set, Dylan debuted a sound that would change the landscape of music. Peter Yarrow, sans Paul and Mary introduced the Dylan and his newly minted ensemble: "Ladies and gentlemen, the person that's going to come up now has a limited amount of time ... His name is Bob Dylan." An instant after the introduction the band roared into Bringing It All Back Home cut, “Maggie’s Farm” - unleashing a strict diet of booming electric reign while the congregation unchained a molotov cocktail of boos, jeers and caterwalls – along the lines of: “Play folk music! ... Sell out! ... This is a folk festival!” Mike Bloomfield, Sam Lay, Jerome Arnold, Al Kooper, and Barry Goldberg were the pushers of the rhythm as Dylan sneered: “No, I aint gonna work for Maggie's pa no more /
Well, he puts his cigar / Out in your face just for kicks / His bedroom window / It is made out of bricks / The National Guard stands around his door / Ah, I ain't gonna work for Maggie's pa no more.”

“Maggie’s Farm”
Written by: Bob Dylan

I ain't gonna work on Maggie's farm no more
No, I aint gonna work on Maggie's farm no more
Well, I wake up in the morning
Fold my hands and pray for rain
I got a head full of ideas
That are drivin' me insane
It's a shame the way she makes me scrub the floor
I ain't gonna work on Maggie's farm no more.

I ain't gonna work for Maggie's brother no more
No, I aint gonna work for Maggie's brother no more
Well, he hands you a nickel
He hands you a dime
He asks you with a grin
If you're havin' a good time
Then he fines you every time you slam the door
I ain't gonna work for Maggie's brother more.

I ain't gonna work for Maggie's pa no more
No, I aint gonna work for Maggie's pa no more
Well, he puts his cigar
Out in your face just for kicks
His bedroom window
It is made out of bricks
The National Guard stands around his door
Ah, I ain't gonna work for Maggie's pa no more.

I ain't gonna work for Maggie's ma no more
No, I ain't gonna work for Maggie's ma no more
Well, when she talks to all the servants
About man and God and law
Everybody says
She's the brains behind pa
She's sixty-eight, but she says she's fifty-four
I ain't gonna work for Maggie's ma no more.

I ain't gonna work on Maggie's farm no more
I aint gonna work on Maggie's farm no more
Well, I try my best
To be just like I am
But everybody wants you
To be just like them
They say sing while you slave and I just get bored
I ain't gonna work on Maggie's farm no more.

“Get that distortion out of his voice ... It's terrible. If I had an axe, I'd chop the microphone cable right now.”
- Pete Seeger

"That first note of 'Maggie's Farm' was the loudest thing anybody had ever heard."
- Joe Boyd

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Bob Dylan

MP3: Bob Dylan – “Maggie’s Farm” – Live at Newport 1965

MORE PRESCRIPTIONS
Danger Mouse and Sparklehorse Present an Exercise in Swirling Melancholy Madness on "Everytime I'm with You"
Son House and the Blind Owl Double Team "Levee Camp Moan"
All Hail the Queen of Rockabilly, Wanda Jackson: “Shakin’ All Over”
Jackie Lomax’s Forgotten Gem, “Sour Milk Sea”
Pearly Gate Music Casts Heavenly Spell on "Big Escape"

A little less than a year ago - due to red tape and stormy legal fisticuffs-- the Danger Mouse, Sparklehorse and David Lynch collabo, Dark Night of the Soul was collecting dust on the EMI shelves. In May 2009, a 48-page book of stunningly strange photographs from revered director David Lynch was released bundled with a blank CD-R branded, "For Legal Reasons, enclosed CD-R contains no music. Use it as you will." Now the long-delayed, beautiful, sonic soundscapes have officially been released.

Filled to the gills with an all-star gathering of contributions from the likes of the Flaming Lips, Gruff Rhys, Julian Casablancas, Suzanne Vega, Black Francis, Iggy Pop, James Mercer, the late Vic Chesnutt and Nina Persson, this long player is a masterstroke of epic proportions. Of the 14 cuts, the track that hits us right in the rock ‘n roll stethoscope is the lovesick triumph, "Everytime I'm with You" by former Grandaddy frontman, Jason Lytle. This spooky, cosmic lullaby chillingly unspools, lulling the listener into the belly of the beast – an off-kiltered hypnotic carnival with swirling shadows and lyrical longing.

"Everytime I'm with You"
Written by: Danger Mouse, Mark Linkous and Jason Lytle

Every time I'm with you
I am drunk
And you are too

Well what the hell
Else are we
Supposed to do

Yeah every time
You come by
We get so trashed
And stay up all night

Well it's so wrong
But it's so right
Yeah, it's alright

Every time, Every time
Every time, Every time
Every time, Every time
I'm with you
I guess it's true

Every time, Every time
Every time, Every time
Every time, Every time
I'm with you
I guess it's true

And every time
I'm with you
I'm fucked up
And you are too

Well what the hell
Else are we
Supposed to do

Every time, Every time
Every time, Every time
Every time, Every time
I'm with you
I guess it's true

Every time, Every time
Every time, Every time
Every time, Every time
I'm with you
I guess it's true

Lyrics by Jason Lytle, Synthesizers and Wurlitzer by Danger Mouse, Bass, Electric Guitars and Optigan by Mark Linkous, Lead and Background Vocals, Electric Guitar and Synthesizer by Jason Lytle, Drums by Steve Nistor, Additional Engineering by Jason Lytle.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Danger Mouse and Sparklehorse

MP3: Danger Mouse and Sparklehorse feat. Jason Lytle – “Everytime I’m With You”

MORE PRESCRIPTIONS
Son House and the Blind Owl Double Team "Levee Camp Moan"
All Hail the Queen of Rockabilly, Wanda Jackson: “Shakin’ All Over”
Jackie Lomax’s Forgotten Gem, “Sour Milk Sea”
Pearly Gate Music Casts Heavenly Spell on "Big Escape"
Magic Sam Blues Band’s Lovesick Warhorse, “All of Your Love”

Alan ‘Blind Owl’ Wilson was the primary pillar in the musical resurrection of the King of the Delta blues, Eddie J. “Son” House, Jr. In 1964—sixteen years after Son quit music and a few years before Wilson would form Canned Heat—he tracked House down in Rochester, New York and re-taught him the guitar parts from his 1930s Paramount sessions and Alan Lomax’s Library of Congress recordings – basically teaching Son House how to play Son House.

As far as Delta Blues go, the John Hammond produced, Columbia released Father of the Folk Blues is the high water mark for blues recordings in the 60s. 21 tracks were recorded during the sessions, and nine were released as CL 2417. The song that the doctors and nursemaids can’t get enough of comes at the end of the platter’s flip-side, "Levee Camp Moan.” This mesmerizing 9-minute cut features House’s overpowering, lethal roar, which sounds eerily like rolling thunder as he uncoils with industrial-strength force on his steel National guitar. Blind Owl’s harmonica accompaniment is masterful - perfectly blowing flawless hair-splitting notes, never trampling House’s volatile delivery and blazing bottleneck.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Son House

MP3: Son House – “Levee Camp Moan”

MORE PRESCRIPTIONS
All Hail the Queen of Rockabilly, Wanda Jackson: “Shakin’ All Over”
Jackie Lomax’s Forgotten Gem, “Sour Milk Sea”
Pearly Gate Music Casts Heavenly Spell on "Big Escape"
Magic Sam Blues Band’s Lovesick Warhorse, “All of Your Love”
Arcade Fire’s Indie Bravado Shines on their Serenade to Suburbia: “The Suburbs”

What we have here is 73 year-old Wanda Jackson - rockabilly’s leading lady-- joining forces with the aristocratic horseman of rock, Jack White to take on British buccaneers, Johnny Kidd and the Pirates' “Shakin' All Over” – the B-side to the Third Man Records single, “You Know I’m No Good.” The result: the Sooner songstress delivering her raunchy untamed drawl with riptide force; hard-edged blasts of brass, a chugging rhythm section and kinky lines of guitar fuzz – a downright enjoyable barnburner.

With a career spanning six decades, the First Lady of Rockabilly (who spent a brief stint dating Elvis Presley,) holds a stockpile of hits under her garter: “Let's Have a Party,” “Fujiyama Mama,” and “Riot in Cell block No. 9.” Bob Dylan pegged her as, “An atomic bomb in lipstick.” And if all goes as planned, her first LP since 2003 will be released on Nashville’s Third Man Records in September. White had this to say about the Rock and Roll Hall of Fame member’s upcoming untitled release, “It’s really powerful. We did a lot of songs that we had to abandon because they’re so outrageous. We just took it too far. And it’s all cover songs — we didn’t even have to go into originals. We just had so much energy to work with. I can’t wait for the record to come out; it’s just wild.”

“You Know I’m No Good” (Amy Winehouse) b/w “Shakin’ All Over” (Johnny Kidd & The Pirates) 7” is available at thirdmanrecords.com and digitally on iTunes - LP due in September.

“Shakin’ All Over”
Written by: Johnny Kidd

When you move in right up close to me
That's when I get the shakes all over me

Quivers down my backbone
I got the shakes down my knee bone
Yeah the tremors in my thigh bone
Shakin' all over

Just the way that you say goodnight to me
Brings that feelin' on inside of me

Quivers down the backbone
I got the shivers down the thigh bone
Yeah the tremors in my back bone
Shakin' all over

Quivers down my backbone
Yeah the shakes in my knee bone
I got the tremors in my thigh bone
Shakin' all over

Well, you make me shake and I like it, baby
You make me shake and I like it, baby
Well, shake, shake, shake
Shake, shake
Shake, shake, shake
Shake, shake, shake

Recorded at Third Man Studio, Nashville, TN
November 2009

Wanda Jackson – Vocals
Carl Broemel – Steel Guitar
Joe Gillis – Organ
Patrick Keeler – Drums
Justin Carpenter – Trombone
Leif Shires – Trumpet
Craig Swift – Saxophone
Jack Lawrence - Bass
Jack White III – Guitar

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Wanda Jackson

MP3: Wanda Jackson – “Shakin’ All Over”

MORE PRESCRIPTIONS
Jackie Lomax’s Forgotten Gem, “Sour Milk Sea”
Pearly Gate Music Casts Heavenly Spell on "Big Escape"
Magic Sam Blues Band’s Lovesick Warhorse, “All of Your Love”
Arcade Fire’s Indie Bravado Shines on their Serenade to Suburbia: “The Suburbs”
M. Ward Recasts The Wolf’s “Howlin’ For My Baby”

Jackie Lomax’s debut single on the Beatles boutique label, Apple Records is a genuine force of nature. If yer not familiar with the rock 'n roll Liverpudlian, Jackie Lomax (formerly of the Undertakers) was the first artist signed to the Apple label in the late-sixties and one of the first non-Beatles artists to have his name on the famed Granny Smith logo.

While George Harrison penned the White Album-era demo, “Sour Milk Sea” in Rishikesh India, in the majestic foothills of the Himalayas, he never recorded the song. As Harrison maintains, “It was done by Jackie Lomax on his album Is This What You Want? Anyway, it's based on Vishvasara Tantra, from Tantric art. 'What is here is elsewhere, what is not here is nowhere'. It's a picture, and the picture is called Sour Milk Sea - Kalladadi Samudra in Sanskrit. I used Sour Milk Sea as the idea of - if you're in the shit, don't go around moaning about it: do something about it”

Released on September 6, 1968, as Apple 3, the Harrison produced, "Sour Milk Sea” is an explosive knockabout – a restless rock and roll banger in its truest sense that featured a who’s who of rock royalty: Paul McCartney, Eric Clapton, Ringo Starr, Nicky Hopkins and George Harrison. The journeyman rocker, Lomax recalls, “I must admit that when I heard the backing track with Eric and Ringo, it sounded better, and I started to think, I'm not sure if I can sing this damn thing because it sounds so good as an instrumental! When I sang it, there were three people in the booth looking at me - George, Paul and Ringo.” The highlight is Harrison and Clapton’s dynamic double lead guitar riffing and the irritable, wrecking ball solo “Slowhand” fires off towards the end of the first minute.

Jackie Lomax’s remastered Apple debut, Is This What You Want? will be released on CD and via digital download on October 26, 2010.

“Sour Milk Sea”
Words and Music: George Harrison

If your life’s not right, doesn’t satisfy you
You don’t get the breaks like some of us do
Better work it out, find where you’ve gone wrong
Better do it soon as you don’t have long

Get out of Sour Milk Sea
You don’t belong there
Get back to where you should be
Find out what’s going on there

If you want the most from everything you do
In the shortest time your dreams come true
In no time at all makes you more aware
A very simple process takes you there
Get out of Sour Milk Sea you don’t belong there
Get back to where you should be
Find out what’s going on there

Looking for release from limitation?
There’s nothing much without illumination
Can fool around with every different cult
There’s only one way really brings results
Get out of Sour Milk Sea you don’t belong there
Get back to where you should be
Find out what’s going on there

Get back to where you should be
Find out what’s going on there

Get back, get back, get back
Why don’t you get back now
You don’t belong here
Get out of here, babe

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Jackie Lomax

MP3: Jackie Lomax – “Sour Milk Sea”

MORE PRESCRIPTIONS
Pearly Gate Music Casts Heavenly Spell on "Big Escape"
Magic Sam Blues Band’s Lovesick Warhorse, “All of Your Love”
Arcade Fire’s Indie Bravado Shines on their Serenade to Suburbia: “The Suburbs”
M. Ward Recasts The Wolf’s “Howlin’ For My Baby”
Magnificent Noise: The Modern Lovers’ “Roadrunner”

“After nearly a decade of trying to be a decent, hard-working proletariat,” exclaims the Emerald City storyteller, Zach Tillman, “I’ve taken up permanent residency on Deadbeat Street. And what better way to spend time there than home recording?” The fact that Zach Tillman’s older brother is Fleet Foxes’ drummer and solo artist Josh Tillman doesn’t mean a hoot in our book. Under the holy moniker, Pearly Gate Music, Zach Tillman has created a mysterious piece of bewitching airy daydreams on his 10-track lo-fi Barsuk Records debut.

Recorded mostly in his Seattle living room, the most important cut and centerpiece of the self-titled album comes in the form of the alluring, “Big Escape.” This is enchanting indie electric church music at its finest, patients. Doused in a folk-pop glow, the lively, bouncing rhythm smolders and fizzes as Tillman croons about a summer escapade: “All the way down the West Coast / It's about time for a big escape.”

“Big Escape”
Written by: Zach Tillman

It's been years
since the big escape
the summer days
were gorgeous as your face
i mean it

the birds sang
we fell in love
we got fired
we got fired up

i needed it
ooo ooo
ooo ooo
ooo ooo oooo

and we come
to a harder part
the casualties of a war
we didn't start
and never ever wanted

i've got the time
if you've got the notion
i've got the patience
if you've got the gusto
all of our strengths
will fit just like a puzzle
all the way down the West Coast

it's about time for a big escape
it's about time for a big escape
it's about time for a big escape
it's about time for a big escape

ooo ooo (repeat)

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Pearly Gate Music

MP3: Pearly Gate Music – “Big Escape”

MORE PRESCRIPTIONS
Magic Sam Blues Band’s Lovesick Warhorse, “All of Your Love”
Arcade Fire’s Indie Bravado Shines on their Serenade to Suburbia: “The Suburbs”
M. Ward Recasts The Wolf’s “Howlin’ For My Baby”
Magnificent Noise: The Modern Lovers’ “Roadrunner”
Blues Majesty: John Lee Hooker’s “Walkin’ The Boogie“

Put simply, blues sorcerer, Magic Sam – the nickname given to him by Shakey Jake—was the crown prince of Chicago’s West Side sound. Before his untimely death in 1969, he had recorded sides on Cobra, Chief and Crash along with two immaculate albums, West Side Soul and Black Magic for the Chicago-based Delmark label. After his Delmark contract expired, there were rumblings he would sign with Stax, Soulsville USA.

The definitive blues album of the late 60s, West Side Soul, captures an unrivaled Sam at his peak. One of the finest cuts and favorites of the doctors and nursemaids here at the asylum is the re-working of his first Cobra single, “All of Your Love.” Recorded by Delmark founder and owner Bob Koester in 1967, “All of Your Love” is a razor sharp nitty gritty knockout steeped in gut-wrenching emotion. Throughout the track, Magic Sam’s slow burning lake effect eruption rolls like thunder and rattles lovelorn sonic lightning. "Magic Sam had a different guitar sound," remarks record producer, Willie Dixon. "Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune "All Your Love," he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music."

“All of Your Love”
Written by: Sam Maghett

All your love, baby can it be mine
All your love, baby can it be mine
I hate to be the one
The one love you left behind

All your love, baby don't put around
All your love, baby don't put around
Love is one thing baby
You won't find on the ground

All your love, I've got to have one day
All your love, I've got to have one day
Don't you leave me baby
Please come back this way

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Magic Sam

Magic Sam – vocals, guitar
Mighty Joe Young – guitar
Stockholm Slim – piano
Earnest Johnson – bass
Odie Payne – drums

MP3: Magic Sam Blues Band – “All of Your Love”

MORE PRESCRIPTIONS
Arcade Fire’s Indie Bravado Shines on their Serenade to Suburbia: “The Suburbs”
M. Ward Recasts The Wolf’s “Howlin’ For My Baby”
Magnificent Noise: The Modern Lovers’ “Roadrunner”
Blues Majesty: John Lee Hooker’s “Walkin’ The Boogie“
The White Stripes Have too Much to Think on “Party of Special Things To Do” Sub Pop Single

In six weeks, the Montreal collective will be unveiling the hotly anticipated follow-up to 2007's Neon Bible, The Suburbs. Frontman Win Butler revealed to NPR, "We moved to the suburbs of Houston when we were young," Further explaining. "As a young child it's kind of like [going] to Mars." Butler wanted to revisit those experiences. "A lot of my heroes, from Bob Dylan to Joe Strummer, were suburban kids who had to pretend they were train-hoppers for their whole lives."

To date, our rock ‘n roll stethoscopes have tuned into four of the sixteen cuts from the Canadian septet’s soon-to-be-released double album: “We Used to Wait,” Ready to Start,” “Month of May,” and the standout track that comes from the limited edition 12” released at the end of May, “The Suburbs.” This alluring shakeout doesn’t follow the same anthemic blueprint of past tracks – instead, they employ a rolling parlor piano line as the foundation for the epic Suburban ode. With Win Butler’s swaying, laidback, gloomy lyrical authority leading the march: “But in my dreams, we’re still screamin' and runnin' through the yard/And all of the walls that they built in the seventies finally fall/And all of the houses they build in the seventies finally fall/Meant nothin' at all.”

The Suburbs is available via Merge on August 13

The Arcade Fire are: Win Butler, Régine Chassagne, Richard Reed Parry, William Butler, Tim Kingsbury, Sarah Neufeld and Jeremy Gara.

“The Suburbs”
Written by: Winn Butler

In the suburbs I
I learned to drive
And you told me we'd never survive
Grab your mother's keys we're leavin'

You always seemed so sure
That one day we'd fight in
In a suburban world
your part of town gets minor
So you're standin' on the opposite shore
But by the time the first bombs fell
We were already bored
We were already, already bored

Sometimes I can't believe it
I'm movin' past the feeling
Sometimes I can't believe it
I'm movin' past the feeling again

Kids wanna be so hard
But in my dreams we're still screamin' and runnin' through the yard
And all of the walls that they built in the seventies finally fall
And all of the houses they build in the seventies finally fall
Meant nothin' at all
Meant nothin' at all
It meant nothin'

Sometimes I can't believe it
I'm movin' past the feeling
Sometimes I can't believe it
I'm movin' past the feeling and into the night

So can you understand?
Why I want a daughter while I'm still young
I wanna hold her hand
And show her some beauty
Before this damage is done

But if it's too much to ask, if it's too much to ask
Then send me a son

Under the overpass
In the parking lot we're still waiting
It's already passed
So move your feet from hot pavement and into the grass
Cause it's already passed
It's already, already passed!

Sometimes I can't believe it
I'm movin' past the feeling
Sometimes I can't believe it
I'm movin' past the feeling again

I'm movin' past the feeling
I'm movin' past the feeling

And in my dreams we're still screamin'
We're still screamin'
We're still screamin'

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of Arcade Fire

MP3: Arcade Fire – “The Suburbs”

MORE PRESCRIPTIONS
M. Ward Recasts The Wolf’s “Howlin’ For My Baby”
Magnificent Noise: The Modern Lovers’ “Roadrunner”
Blues Majesty: John Lee Hooker’s “Walkin’ The Boogie“
The White Stripes Have too Much to Think on “Party of Special Things To Do” Sub Pop Single
The Morning Benders Radiate Cosmic Sunshine on “Excuses”

True Blood: Music From the HBO Original Series Volume II is littered with droves of notable contributions, but the one alluring, bayou-cooked cut in the 14-song collection comes from one of the most haunting whispers in recorded music, indie-music darling, M. Ward.

On this eerily charged rendition of “Howlin’ For My Baby,” M. Ward, Jordan Hudson and Mike Coykendall manage to raise the classic Howlin’ Wolf track from the ashes and retain the song's antique glow. Ward’s devilishly-drenched, laid back, murky yowl packs a bite and fizzes with after-midnight cold blooded goodness - highlighted by periodic blasts of muscular slashes of agitated fuzz.

Take Up Thy Rock 'N Roll Stethoscope and Walk,

Enjoy this single cc of M. Ward

MP3: M. Ward – “Howlin’ For My Baby”

MORE PRESCRIPTIONS
Magnificent Noise: The Modern Lovers’ “Roadrunner”
Blues Majesty: John Lee Hooker’s “Walkin’ The Boogie“
The White Stripes Have too Much to Think on “Party of Special Things To Do” Sub Pop Single
The Morning Benders Radiate Cosmic Sunshine on “Excuses”
Dawes Delivers Stone Cold Classic with “When My Time Comes”

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