50 Albums You May Not Know…But Need To Own: Part Two (Revisited)

drjohn-229x300

40. Aram Bajakian: There Were Flowers Also in Hell

Who is Aram Bajakian? He’s been on the road with both Lou Reed (RIP) and Diana Krall. Let me repeat that: he has played guitar with both Lou Reed and Diana Krall. Quick, how many musicians do you know who are versatile enough to pull that off? It speaks volumes to hear Sweet Lou introduce Bajakian as “guitarist extraordinaire” in of the many, highly recommended clips available on YouTube.

There Were Flowers Also In Hell is a testament of Bajakian’s love affair with his instrument. The inspirations he has absorbed infuse practically every second of this recording, but the sum total is anything but reductive. This album contains multitudes, and they are original as they are exhilarating. This is not jazz, nor is it necessarily rock or blues; it’s a reflection of the mind and soul of the man who made it, like all great art must be. As such, it is also a reflection of the frenzied times we live in: the turmoil, apathy and information overload, yet it prevails as an antidote for the very urgencies it addresses.

aram B

39. Secret Chiefs 3: Book M

A lot of people worried way too much about whether or not Mr. Bungle would ever make another album after California (I know, I was one of them). Little did we know that if they had, we may never have gotten Tomahawk, or the resurgence of Secret Chiefs 3. Who? Exactly.

To put it simply, Secret Chiefs 3 are the “other” guys from Mr. Bungle. But to say that Secret Chiefs 3 are Mr. Bungle without the vocals does not even come close to describing them, or doing their remarkable music the slightest justice. On the other hand, trying to get a handle on their sound is hopeless, and I mean that in a good way. They blend a sort of surf-thrash guitar (courtesy of mastermind Trey Spruance) but remain grounded in a narcotic jazz groove (thanks to bassist and composer Trevor Dunn), with a distinctly Eastern (think Indian meets Bollywood in a cloud of opium) influence, with a healthy dose of Morricone. And then throw in the sax and violin (the great Eyvind Kang) and quickly you realize that…we’re not in Kansas anymore. Of course, we never were. Obviously anyone who is familiar with Mr. Bungle or Fantomas should lap this up, but not to worry, if you’ve never heard of any of these acts, an album like Book M is capable of satisfying anyone with unlocked ears. It’s not eccentric for the sake of being eccentric; there is most definitely a very calculated (and complicated) method to this madness. And madness never felt so fresh and funky.

secret chiefs 3

38. Dread Zeppelin: 5,000,000*

An Elvis impersonator doing Led Zeppelin covers to a reggae beat? What’s not to love? Sure, it’s a joke, but it’s dread serious. And of course if there was no musical talent, it would implode on its own petard. Probably an act best appreciated live, Dread Zeppelin manage to do the near-impossible: pull off irreverent covers of sacred classic rock that are not only original, but hysterical and enjoyable (if you recoil at the idea of the opening lines of “The Song Remains the Same” delivered thusly: “A well, a well I had a dream”, stay clear; otherwise—if you have a sense of humor and tolerance for absurd—you might be hooked at first hear). And this is coming from a Led Zeppelin freak. 5,000,000* is, for me, their most consistently rewarding work, and is worth owning just for the cover of Marley’s “Stir It Up” which features “Elvis” making a fast food order fit for The King.

dread Zep

37. Dr. John: Gris Gris

Most people have at least heard of Dr. John, and anyone who listened to the radio back when people listened to the radio knows his hit “Right Place, Wrong Time”. But to understand why Malcolm John “Mac” Rebennack, Jr. is a legend, this is the place to start. More, it’s the place to stop, because it all begins and ends here: nothing he’s done has been as comprehensive and inimitable as his debut.

Because of the era in which it was released, and the drugs clearly accompanying its creation, this masterpiece gets described (and/or diminished) as a “psychedelic” recording. It is, but it’s more. A lot more. For starters, Dr. John deserves eternal props for managing to invoke the deepest, secret south in an L.A. recording studio (in 1967!), and he brings a vision clearly guided by personal experience and belief. But what is it? It’s a thick, boiling gumbo full of chants, incantations, whispers and cries, animal noises, exotic—or, at least, unexpected—instruments (mandolin, harpsichord) and a surreal tension that is equal parts menacing and convivial. It’s a living document of an opaque, unspoken history: Gris Grisis, by turns, unsettling, intoxicating, eerie, bizarre and triumphant.

dr john

36. Scenic: Incident at Cima

When you can describe any piece of music entirely in clichés it’s either very good or very bad. Incident at Cima is very good. Ready? It’s the soundtrack to the best movie never made. It invokes a fast and aimless drive through the desert. It is like a peyote trip in sound. It is haunting. It is unlike anything you’ve ever heard. It will remind you of so many things you like about (insert artist here, starting with Ry Cooder). It rocks. It inspires contemplation. This is music that can—and should—accompany (insert activity here). It will cause you to consider the great musicians who helped inspire it, and the great music it has helped inspire. It will broaden your horizons, especially the ones you never knew you had. Et cetera.

scenic incident

35. Lloyd Miller: Lloyd Miller & Heliocentrics

I believe anyone willing to listen could be quickly convinced that their world was too small without this album. Not unlike the way a great novel, movie or even a new type of cuisine will remind you that there are places and times you were unaware of, and that someone—or something—else can transport you without the use of machines or magic (or even drugs). If, understandably, that sounds a tad too precious, this is music you can put on while you meditate, do yoga, think or have sex. So there’s that. Unforced and never formulaic, this music manages to be adventurous without descending into pretense or abrasiveness: it is reminiscent of far-away times and places, but ultimately situated contentedly in the here-and-now.

Lloyd Miller

34. Egypt: Soul Hammer

One slight indulgence: I know this band because I often watched them live while attending George Mason University in the early ‘90s. But their inclusion is neither nostalgic nor sentimental; I still listen to their albums and this one remains a personal favorite. Indeed, I’ve long held a fantasy that in a parallel or at least proper universe, Egypt would have broken big and so many mediocrities from that era would remain minor acts. Put another way, Soul Hammer is exactly the album Lenny Kravitz has always wanted to make, only more so.

The guitar playing throughout is crushing yet nuanced, occasionally bordering on Alice in Chains level intensity and original, and the singing is superlative (comparisons to inexplicably wealthy acts are inevitable). Egypt may have been before their time, or utterly of their time—in a good way—and simply gotten lost in the grunge-laden hall of mirrors. This is the real deal: energy to spare, virtuosity in spades, stylistically versatile and more than a little menacing. Album centerpiece “Live Like That” (which features a lift-the-lighters guitar solo) could/should have been in heavy rotation on MTV, and still should find its way into an important scene in a great movie.

egypt sh

33. Miss Murgatroid & Petra Haden: Hearts & Daggers

A violin/accordion duo?Really?

Yes, really. This is likely the weirdest selection on this list, but it’s also one of the most wonderful. Petra Haden (daughter of jazz bassist Charlie Haden) already gets props for making one of the most adventurous and audacious albums of the new century, a totally a capella remake of The Who’s The Who Sell Out. (Seriously.) Suffice it to say, calling this type of music an acquired taste is more than a slight understatement.

So, Hearts and Daggers, Haden’s second collaboration with Miss Murgatroid (accordionist Alicia Rose) is at once totally out there, but also, refreshingly accessible. Think Beach Boys harmonizing (with female voices) set to slightly surreal classical chamber music. Naturally, there are a whole lot of people who won’t have the ears (or stomach) for this from the get-go, but for more adventurous (and, frankly, experienced) listeners, this is a treasure waiting to be dug up. The music invokes up a dreamlike state that is neither contemporary nor particularly western, yet it could only be made today: the result is highly stylized, utterly uncompromised magic.

Petra H MM

32. Bohren & der Club of Gore: Black Earth

The band actually calls what they do “horror jazz” which is just about right. It could almost be a Saturday Night Live (think Sprockets) skit: the band is German, there are no vocals, and the titles of the songs include “Midnight Black Earth”, “Constant Fear”, “Destroying Angels” and “The Art of Coffins”. It seems like the biggest joke except for two things: it is so obviously non-commercial (ever heard of this band? I didn’t think so), and it’s a totally original triumph.

It is dark (real dark), it is slow (real slow) and it’s definitely not daytime music. In other words, it’s perfect! Seriously, this is an album to accompany late night ruminations, or the enjoyment of a solo scotch on the rocks, or an ideal soundtrack for drifting off to sleep. This is not an album that would necessarily be in heavy rotation (unless you are a guy who wears black eyeliner) but it is the ultimate go-to album for certain occasions that only you will know about.

Bohren dcog

31. Ennio Morricone: The Thing (Original Soundtrack)

Perfection is a word that should never be used lightly, but no other word will suffice for the wonders Ennio Morricone works, scoring this film. The name Morricone is—and should be—associated with brilliance, variety and superhuman productivity, just to pick a few obvious choices. While the list of only his very best efforts is not short, his work here must be considered amongst the top tier: The Thing would be unimaginable without it. Rather than overwhelming, or distracting the action on the screen—as film scores do with distressing regularity these days—Morricone’s music exists mostly on the periphery, in the corners and inside the shadows. Its effectiveness serves an almost opposite purpose to the handful of over-the-top alien transformations: the real horror of the story lies in the tension of not knowing, the dread of isolation and the fear of being assailed by an inexplicable enemy. Morricone subtly embellishes the otherwise silent scenes, where the only sounds are Antarctic winds, silence and darkness. As the paranoia increases, strings are plucked like raw nerves, while stark, almost soulless keyboard drones mirror the growing desperation: the music exists as a wind chill factor, making everything colder and more forlorn than it already is.

Morricone the thing

List originally published at The Weeklings, 5/1/14 (check it out and make sure to explore the Spotify playlist that follows the article).

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50 Albums You May Not Know…But Need To Own: Part Two

drjohn

40. Aram Bajakian: There Were Flowers Also in Hell

Who is Aram Bajakian? He’s been on the road with both Lou Reed (RIP) and Diana Krall. Let me repeat that: he has played guitar with both Lou Reed and Diana Krall. Quick, how many musicians do you know who are versatile enough to pull that off? It speaks volumes to hear Sweet Lou introduce Bajakian as “guitarist extraordinaire” in of the many, highly recommended clips available on YouTube.

There Were Flowers Also In Hell is a testament of Bajakian’s love affair with his instrument. The inspirations he has absorbed infuse practically every second of this recording, but the sum total is anything but reductive. This album contains multitudes, and they are original as they are exhilarating. This is not jazz, nor is it necessarily rock or blues; it’s a reflection of the mind and soul of the man who made it, like all great art must be. As such, it is also a reflection of the frenzied times we live in: the turmoil, apathy and information overload, yet it prevails as an antidote for the very urgencies it addresses.

aram B

39. Secret Chiefs 3: Book M

A lot of people worried way too much about whether or not Mr. Bungle would ever make another album after California (I know, I was one of them). Little did we know that if they had, we may never have gotten Tomahawk, or the resurgence of Secret Chiefs 3. Who? Exactly.

To put it simply, Secret Chiefs 3 are the “other” guys from Mr. Bungle. But to say that Secret Chiefs 3 are Mr. Bungle without the vocals does not even come close to describing them, or doing their remarkable music the slightest justice. On the other hand, trying to get a handle on their sound is hopeless, and I mean that in a good way. They blend a sort of surf-thrash guitar (courtesy of mastermind Trey Spruance) but remain grounded in a narcotic jazz groove (thanks to bassist and composer Trevor Dunn), with a distinctly Eastern (think Indian meets Bollywood in a cloud of opium) influence, with a healthy dose of Morricone. And then throw in the sax and violin (the great Eyvind Kang) and quickly you realize that…we’re not in Kansas anymore. Of course, we never were. Obviously anyone who is familiar with Mr. Bungle or Fantomas should lap this up, but not to worry, if you’ve never heard of any of these acts, an album like Book M is capable of satisfying anyone with unlocked ears. It’s not eccentric for the sake of being eccentric; there is most definitely a very calculated (and complicated) method to this madness. And madness never felt so fresh and funky.

secret chiefs 3

38. Dread Zeppelin: 5,000,000*

An Elvis impersonator doing Led Zeppelin covers to a reggae beat? What’s not to love? Sure, it’s a joke, but it’s dread serious. And of course if there was no musical talent, it would implode on its own petard. Probably an act best appreciated live, Dread Zeppelin manage to do the near-impossible: pull off irreverent covers of sacred classic rock that are not only original, but hysterical and enjoyable (if you recoil at the idea of the opening lines of “The Song Remains the Same” delivered thusly: “A well, a well I had a dream”, stay clear; otherwise—if you have a sense of humor and tolerance for absurd—you might be hooked at first hear). And this is coming from a Led Zeppelin freak. 5,000,000* is, for me, their most consistently rewarding work, and is worth owning just for the cover of Marley’s “Stir It Up” which features “Elvis” making a fast food order fit for The King.

dread Zep

37. Dr. John: Gris Gris

Most people have at least heard of Dr. John, and anyone who listened to the radio back when people listened to the radio knows his hit “Right Place, Wrong Time”. But to understand why Malcolm John “Mac” Rebennack, Jr. is a legend, this is the place to start. More, it’s the place to stop, because it all begins and ends here: nothing he’s done has been as comprehensive and inimitable as his debut.

Because of the era in which it was released, and the drugs clearly accompanying its creation, this masterpiece gets described (and/or diminished) as a “psychedelic” recording. It is, but it’s more. A lot more. For starters, Dr. John deserves eternal props for managing to invoke the deepest, secret south in an L.A. recording studio (in 1967!), and he brings a vision clearly guided by personal experience and belief. But what is it? It’s a thick, boiling gumbo full of chants, incantations, whispers and cries, animal noises, exotic—or, at least, unexpected—instruments (mandolin, harpsichord) and a surreal tension that is equal parts menacing and convivial. It’s a living document of an opaque, unspoken history: Gris Grisis, by turns, unsettling, intoxicating, eerie, bizarre and triumphant.

dr john

36. Scenic: Incident at Cima

When you can describe any piece of music entirely in clichés it’s either very good or very bad. Incident at Cima is very good. Ready? It’s the soundtrack to the best movie never made. It invokes a fast and aimless drive through the desert. It is like a peyote trip in sound. It is haunting. It is unlike anything you’ve ever heard. It will remind you of so many things you like about (insert artist here, starting with Ry Cooder). It rocks. It inspires contemplation. This is music that can—and should—accompany (insert activity here). It will cause you to consider the great musicians who helped inspire it, and the great music it has helped inspire. It will broaden your horizons, especially the ones you never knew you had. Et cetera.

scenic incident

35. Lloyd Miller: Lloyd Miller & Heliocentrics

I believe anyone willing to listen could be quickly convinced that their world was too small without this album. Not unlike the way a great novel, movie or even a new type of cuisine will remind you that there are places and times you were unaware of, and that someone—or something—else can transport you without the use of machines or magic (or even drugs). If, understandably, that sounds a tad too precious, this is music you can put on while you meditate, do yoga, think or have sex. So there’s that. Unforced and never formulaic, this music manages to be adventurous without descending into pretense or abrasiveness: it is reminiscent of far-away times and places, but ultimately situated contentedly in the here-and-now.

Lloyd Miller

34. Egypt: Soul Hammer

One slight indulgence: I know this band because I often watched them live while attending George Mason University in the early ‘90s. But their inclusion is neither nostalgic nor sentimental; I still listen to their albums and this one remains a personal favorite. Indeed, I’ve long held a fantasy that in a parallel or at least proper universe, Egypt would have broken big and so many mediocrities from that era would remain minor acts. Put another way, Soul Hammer is exactly the album Lenny Kravitz has always wanted to make, only more so.

The guitar playing throughout is crushing yet nuanced, occasionally bordering on Alice in Chains level intensity and original, and the singing is superlative (comparisons to inexplicably wealthy acts are inevitable). Egypt may have been before their time, or utterly of their time—in a good way—and simply gotten lost in the grunge-laden hall of mirrors. This is the real deal: energy to spare, virtuosity in spades, stylistically versatile and more than a little menacing. Album centerpiece “Live Like That” (which features a lift-the-lighters guitar solo) could/should have been in heavy rotation on MTV, and still should find its way into an important scene in a great movie.

egypt sh

33. Miss Murgatroid & Petra Haden: Hearts & Daggers

A violin/accordion duo?Really?

Yes, really. This is likely the weirdest selection on this list, but it’s also one of the most wonderful. Petra Haden (daughter of jazz bassist Charlie Haden) already gets props for making one of the most adventurous and audacious albums of the new century, a totally a capella remake of The Who’s The Who Sell Out. (Seriously.) Suffice it to say, calling this type of music an acquired taste is more than a slight understatement.

So, Hearts and Daggers, Haden’s second collaboration with Miss Murgatroid (accordionist Alicia Rose) is at once totally out there, but also, refreshingly accessible. Think Beach Boys harmonizing (with female voices) set to slightly surreal classical chamber music. Naturally, there are a whole lot of people who won’t have the ears (or stomach) for this from the get-go, but for more adventurous (and, frankly, experienced) listeners, this is a treasure waiting to be dug up. The music invokes up a dreamlike state that is neither contemporary nor particularly western, yet it could only be made today: the result is highly stylized, utterly uncompromised magic.

Petra H MM

32. Bohren & der Club of Gore: Black Earth

The band actually calls what they do “horror jazz” which is just about right. It could almost be a Saturday Night Live (think Sprockets) skit: the band is German, there are no vocals, and the titles of the songs include “Midnight Black Earth”, “Constant Fear”, “Destroying Angels” and “The Art of Coffins”. It seems like the biggest joke except for two things: it is so obviously non-commercial (ever heard of this band? I didn’t think so), and it’s a totally original triumph.

It is dark (real dark), it is slow (real slow) and it’s definitely not daytime music. In other words, it’s perfect! Seriously, this is an album to accompany late night ruminations, or the enjoyment of a solo scotch on the rocks, or an ideal soundtrack for drifting off to sleep. This is not an album that would necessarily be in heavy rotation (unless you are a guy who wears black eyeliner) but it is the ultimate go-to album for certain occasions that only you will know about.

Bohren dcog

31. Ennio Morricone: The Thing (Original Soundtrack)

Perfection is a word that should never be used lightly, but no other word will suffice for the wonders Ennio Morricone works, scoring this film. The name Morricone is—and should be—associated with brilliance, variety and superhuman productivity, just to pick a few obvious choices. While the list of only his very best efforts is not short, his work here must be considered amongst the top tier: The Thing would be unimaginable without it. Rather than overwhelming, or distracting the action on the screen—as film scores do with distressing regularity these days—Morricone’s music exists mostly on the periphery, in the corners and inside the shadows. Its effectiveness serves an almost opposite purpose to the handful of over-the-top alien transformations: the real horror of the story lies in the tension of not knowing, the dread of isolation and the fear of being assailed by an inexplicable enemy. Morricone subtly embellishes the otherwise silent scenes, where the only sounds are Antarctic winds, silence and darkness. As the paranoia increases, strings are plucked like raw nerves, while stark, almost soulless keyboard drones mirror the growing desperation: the music exists as a wind chill factor, making everything colder and more forlorn than it already is.

Morricone the thing

List originally published at The Weeklings, 5/1/14 (check it out and make sure to explore the Spotify playlist that follows the article).

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Elvis Is (Still) Dead: Long Live The King (Revisited)

Poor Elvis.

The one-time king is now more often the (big) butt of jokes (see?).

But his musical and cultural imprint remains huge and will forever be impossible to escape from. This is, for the most part, a good thing. Just consider the number of musicians who have covered, copied and imitated the Great White Hype. In part because hype and purloined material aside, the man was, well, kind of a big deal.

In honor of the day he absconded his throne (while on the throne…see? One can’t help oneself), here are ten artistic invocations of Elvis, ranging from the good to the bad to the very ugly.

1. In one of the great scenes from one of the all-time great comedies, here is Spinal Tap saluting The King. It really puts perspective on things though, doesn’t it? (Bonus points for Harry Shearer busting out laughing at the improvised line at the end. Bliss.)

2. The immortal Bill Hicks keeping it (un)real:

3. A more reverential tribute from the guitar god Danny Gatton:

4. Speaking of “Mystery Train”, here’s some love for (and from) Jim Jarmusch:

5. You think that’s weird? Ever seen Wild at Heart? (Nic Cage when he was only pretending to be crazy…mostly):

6. No list would be complete without Public Enemy’s eviscerating ‘dis. “Motherfuck him and John Wayne” is one of the great slams in rap history. I’ve never heard a song that could hurt and heal all at once quite like this one:

7. Okay. Some comic relief, STAT. Enter personal hero, Tortelvis. If you are not down with Dread Zeppelin, you should be. If you have never heard them, listen to what your life has been lacking all these years (from the enthusiastically recommended –no, really– album 5,000,000):

8. From Dread to Led. Recently discussed (HERE) from the all-time album that supposedly sucks (but does not), “Hot Dog” is the hilarious and genuinely reverential and rocking Elvis tribute from Led Zeppelin’s In Through The Out Door:

(Here’s my take:

And then there’s “Hot Dog”. More than a few people would likely agree that this is the single-worst song Zeppelin recorded. Those people need to be reminded that Zeppelin did not make any bad songs and that, in any event, “Hot Dog” is a better song on every level than well-loved tunes like “Ramble On” and “The Immigrant Song”. On their early work Zep did not exhibit much, if any, sense of humor; certainly nothing self-deprecating. “Hot Dog” reveals the band (or more specifically, Robert Plant) at its most unguarded, and it is at once a hilarious and deeply respectful send up of older school rock. To understand—and appreciate—“Hot Dog” one needs to understand, and appreciate, Plant’s worship of Elvis. Importantly, Elvis had passed away only two years before, making this less a tongue-in-cheek tribute and than a genuine moment of worship. Also worth noting is that Page turns in one of his most truncated, but delectable solos: the mood is light, but the music is serious, and sensational.)

9. And another Elvis-inspired number, this one from the magnificent Freddie Mercury. Rockabilly plus Elvis plus Brian May = epic:

10. Last and far from least, a song that sort of ties it all together, courtesy of Living Colour: guest vocalist Little Richard (!) gets the definitive last word, as well he should. Great vid (attention to detail always making the nice little differences: note the peanut butter and bananas in the shopping cart: RESPECT!):

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Elvis Is (Still) Dead: Long Live The King (Revisited)

Poor Elvis.

The one-time king is now more often the (big) butt of jokes (see?).

But his musical and cultural imprint remains huge and will forever be impossible to escape from. This is, for the most part, a good thing. Just consider the number of musicians who have covered, copied and imitated the Great White Hype. In part because hype and purloined material aside, the man was, well, kind of a big deal.

In honor of the day he absconded his throne (while on the throne…see? One can’t help oneself), here are ten artistic invocations of Elvis, ranging from the good to the bad to the very ugly.

1. In one of the great scenes from one of the all-time great comedies, here is Spinal Tap saluting The King (argh: the full scene is not possible to embed, damn it. Go to YouTube and look at up “Spinal Tap Elvis grave” for a bit too much perspective):

2. The immortal Bill Hicks keeping it (un)real:

3. A more reverential tribute from the guitar god Danny Gatton:

4. Speaking of “Mystery Train”, here’s some love for (and from) Jim Jarmusch:

5. You think that’s weird? Ever seen Wild at Heart? (Nic Cage when he was only pretending to be crazy…mostly):

6. No list would be complete without Public Enemy’s eviscerating ‘dis. “Motherfuck him and John Wayne” is one of the great slams in rap history. I’ve never heard a song that could hurt and heal all at once quite like this one:

7. Okay. Some comic relief, STAT. Enter personal hero, Tortelvis. If you are not down with Dread Zeppelin, you should be. If you have never heard them, listen to what your life has been lacking all these years (from the enthusiastically recommended –no, really– album 5,000,000):

8. From Dread to Led. Recently discussed from the all-time album that supposedly sucks (but does not), “Hot Dog” is the hilarious and genuinely reverential and rocking Elvis tribute from Led Zeppelin’s In Through The Out Door:

9. And another Elvis-inspired number, this one from the magnificent Freddie Mercury. Rockabilly plus Elvis plus Brian May = epic:

10. Last and far from least, a song that sort of ties it all together, courtesy of Living Colour: guest vocalist Little Richard (!) gets the definitive last word, as well he should. Great vid (attention to detail always making the nice little differences: note the peanut butter and bananas in the shopping cart: RESPECT!):

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Elvis Is (Still) Dead, Long Live The King!

Poor Elvis.

The one-time king is now more often the (big) butt of jokes (see?).

But his musical and cultural imprint remains huge and will forever be impossible to escape from. This is, for the most part, a good thing. Just consider the number of musicians who have covered, copied and imitated the Great White Hype. In part because hype and purloined material aside, the man was, well, kind of a big deal.

In honor of the day he absconded his throne (while on the throne…see? One can’t help oneself), here are ten artistic invocations of Elvis, ranging from the good to the bad to the very ugly.

1. In one of the great scenes from one of the all-time great comedies, here is Spinal Tap saluting The King (argh: the full scene is not possible to embed, damn it. Go to YouTube and look at up “Spinal Tap Elvis grave” for a bit too much perspective):

2. The immortal Bill Hicks keeping it (un)real:

3. A more reverential tribute from the guitar god Danny Gatton:

4. Speaking of “Mystery Train”, here’s some love for (and from) Jim Jarmusch:

5. You think that’s weird? Ever seen Wild at Heart? (Nic Cage when he was only pretending to be crazy…mostly):

6. No list would be complete without Public Enemy’s eviscerating ‘dis. “Motherfuck him and John Wayne” is one of the great slams in rap history. I’ve never heard a song that could hurt and heal all at once quite like this one:

7. Okay. Some comic relief, STAT. Enter personal hero, Tortelvis. If you are not down with Dread Zeppelin, you should be. If you have never heard them, listen to what your life has been lacking all these years (from the enthusiastically recommended –no, really– album 5,000,000):

8. From Dread to Led. Recently discussed from the all-time album that supposedly sucks (but does not), “Hot Dog” is the hilarious and genuinely reverential and rocking Elvis tribute from Led Zeppelin’s In Through The Out Door:

9. And another Elvis-inspired number, this one from the magnificent Freddie Mercury. Rockabilly plus Elvis plus Brian May = epic:

10. Last and far from least, a song that sort of ties it all together, courtesy of Living Colour: guest vocalist Little Richard (!) gets the definitive last word, as well he should. Great vid (attention to detail always making the nice little differences: note the peanut butter and bananas in the shopping cart: RESPECT!):

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Sound and Vision at GigPosters.com

At least once per year, SPIN magazine justifies the $9.95 I pay to renew it each year. A few years back it was the review of the reissue African Roots from the Black Ark (although in fairness that may have been Rolling Stone but more importantly, pick up this deep-underground masterpiece! TRUST me; also, the amazon.com link above is selling it for a hell of a lot cheaper than I paid for it earlier this decade); this year it’s the review of the intriguing new release Gig Posters, Volume One. This book is the brainchild of the amazing site gigposters.com and it looks like a must-have. If you don’t want to buy the book, at least check out the site (be prepared to do two things: devote a lot of time and bookmark that baby).

Check out what just a quick sample tour yielded. This is a treasure trove and proves that the semi-lost art of the concert poster is alive and well.

black keys

molly

dread

lez

Did you order African Roots from the Black Ark yet? Check out the sample, below. If you don’t dig it, don’t worry: you aren’t worthy of this music.

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