Morning Dew

Not a lot of comments here (age old issue that could have something to do with quality), just a few pals.  I do enjoy the occasional spam comment (you don’t see ’em cuz they get stopped by WordPress). Have I posted this one yet, “Don’t wear seat belts lest you drown in you own urine?” Maybe that’s not spam, it could be comment on that quality…hahahaha (a lyric I once wrote, “fuck you and fuck me, hope we drown in fucking pee”). Today I got this one, “Black on black in the Charger I’m creepin’ Rub me the right way, you might get a genie B.o.B, black Houdini.” Is it sexual or is it too a comment on quality?

My old virtual pal, one time epic blogger and all around good guy, Nazz, sent me on this musical journey tonight, so if you have problem with it take it up with him.  He knows I (secretly) respect the Grateful Dead and dig some of their music, so he sent this link to almost 4 hours of the Dead. For some reason, out of 41 songs, it did not include my favorite one, Morning Dew (there was a nice rendition of Me And Bobby McGee though). We had a brief interchange via fucking messenger, where he told me that the original Morning Dew was written and performed by Bonnie Dobson. This original version left me in awe, fucking 1962 baby, beatnik folk, by a Canadian, at it’s finest…fucking love it, maybe you will too…

Take me for a walk in the morning dew, my honey
Take me for a walk me in the morning dew, my love
You can’t go walking in the morning dew today
You can’t go walking in the morning dew today

But listen! I hear a man moaning, “Lord.”
I know I hear a man moaning, “Lord.”
You didn’t hear a man moan at all
You didn’t hear a man moan at all

But I know I hear my baby crying, “Mama!”
Yes, I know I hear my baby crying, Mama!”
You’ll never hear your baby cry again
You’ll never hear your baby cry again

Oh, where have all the people gone?
Won’t you tell me where have all the people gone?
Don’t you worry about the people anymore
Don’t you worry about the people anymore

Take me for a walk in the morning dew, my honey
Take me for a walk me in the morning dew, my love
You can’t go walking in the morning dew today
You can’t go walking in the morning dew today
You can’t go walking in the morning dew today

What I’ve done here is referenced a nice Wikipedia article about the tune and kinda went nuts with it (what’s new huh…redefining beating a dead horse. The Grateful Dead covered it on their self-titled debut album as (Walk Me Out in the) Morning Dew (1967)…this is the version (I put up on fucking youtube a while back), the first I’d ever heard, thanx to Jason Bakutis of New Haven, Connecticut that made me take notice of the Dead, with the help of a tab or two of LSD (the full story of that adventure is HERE). This was recorded directly from Jason’s cassette of that 1969 Avalon Ballroom show…

So according to that article, this Tim Rose guy came along in 1967 records it and gives himself half the writing credits (I don’t pretend to know copyright law)

Anyway here’s a slew of nice covers listed in that Wikipedia article…


The Goldbriars – Come Walk Me Out

The West Coast Pop Art Experimental Band – Will You Walk With Me

The Human Beans

Lee Hazlewood

Jeff Beck – Morning Dew

Beck, Bogert, & Appice – Morning dew – Santa Monica May ’73

Allison Durbin

The 31st of February

Sugar Shack – Morning Dew


Damnation of Adam Blessing




Long John Baldry


Einsturzende Neubauten


King Loser

Robert Plant

Skating Polly

The National

Bonnie Dobson & Robert Plant

JOCHEN Arbeit & PAOLO Spaccamonti – CLN

Got this wonderful email the other day, from an artist that I have tons of respect for, “Hello Justin, I am Paolo Spaccamonti, a Turin-based musician, do you remember me?  On the 9th of March I will be releasing the vinyl version of an album I co-wrote with Jochen Arbeit  (Einstürzende Neubaten’s guitarist) on Boring Machines and Escape From Today and I was wondering if you might be interested in reviewing it.”  Well hell yeah! He did me right last time with another collaboration…”This is an absolutely incredible find, so overjoyed sometimes that these things come to me, because how in the world would I even know that this unassuming record would be so massive.”
And so Paolo this time comes to me with another collaboration, this time with Jochen Arbeit of Einstürzende Neubaten.  Double hell yeah!  I know in the real world musicians can’t approach a reviewer that way, they have to send impersonal press releases by the dozens, but it sure is nice for the music lover to be connected personally for a moment with the musician.  So what do you get when extremely talented guitarists together with a shit ton of effects?  Brilliance, plain and simple.  Well, maybe not so plain and simple.  I’ve been listening to it for about a week and a half, off and on, probably the whole thing 6 or 7 times, and I trip on it every time.  With my headphones on it’s just me and the music, first thing that comes to mind is layered atmospheres, the songs don’t fly by, they float on.  It’s not hippie at all (although my inner hippie wants to eat a sack of mushrooms and give this a spin) , but it has this laid back Ravi Shankar-ish vibe, jamming to a drone, kinda thing.  I am reminded of something very old, but this is as modern as it gets.  Emotionally, it’s relaxing to listen to, although it’s almost sinister at times, without being evil.  This is not good or evil, it’s beyond that, it’s to guys creating on a primal level, the compositions are in the act of being sculpted. Maurizio Blatto wrote a very nice piece about the record…

“Only if you know symmetry you can break it. Only where the dark has reigned, you can escape. Places have sounds. CLN is the album by Jochen Arbeit and Paolo Spaccamonti. CLN place is the city of Turin exoteric center joint. With two fountains depicting Po and Dora Riparia rivers, in perspective symmetry, and two twin churches exactly behind them, in San Carlo place. Through the lines of the tracks, two guitars stare at each other, but instead of chasing each other, they take slight different directions. Like being close to a defined and straight rail path, but choosing rather to grow free close to it. In an apartment overlooking CLN place, the first homicide is committed in the horror movie Profondo Rosso by Dario Argento. A sentient woman is slaughtered by an axe. The dark force of the album is an elegy, reverberating on a rigorous architecture. In CLN place, tourists often point their finger, with an uncertain smile, seeking for the right window of that apartment. “Did it really happen there?”. The swollen blast of the guitars appears always consciously managed, like noise being taken by the hand and thrown elsewhere. Jochen and Paolo got to know each other in Turin, while the speakers in a bar were diffusing the notes from Rumors, an album by Spaccamonti. Arbeit liked it so much that, after a few months they gathered again in a studio, without any preordered plan or scheme. But defined perimeters materialize often freedom, and three hours of recordings distilled thirty minutes of sounds. Redefined, thinned and carved. In CLN Place, Gestapo held their quarters during the nazi occupation of the city in World War II. For this reason, the significance of the location was mended from its history and the place was renamed, dedicating its name to the National Liberation Front. Every sound needs to be reshaped, in order to build something new from it. The concrete beating of Einsturzende Neubauten (of which Jochen is a member) and the cinematography on electrical chords by Paolo. This is the theatrical exposition of psychedelia as iron and fleeing sounds as narrative. CLN: a place, this record”.

Pretty deep huh? In fact, this record is deep, probably a lot deeper than I am able to fathom, not being a musician myself. When this comes out on the 9th it will be available digitally of course, but also as 180gr white vinyl…hell yeah!

Obasquiat – As vezes vemos beleza na dor

Our virtual buddy Marco Antônio a Relic in his own right around here, we’ve posted his free jazz collaborations several times now, well he has a new thing out. This here’s a pretty cool write up (left in the original Portuguese as well)…

Album compilation of songs made in partnership, solo and tracks unfinished by frustration, anxiety or even pure idleness because this is how art manifests and propagates, sets fire and launches flames of creation always at the exact moment, inopportune and even sad if the sensation is channeled and synthesized.
The idea here is to make art of what I feel at this moment in my life, to purge those demons of the melancholy that devastate me, the joy that strikes me by surprise, and the excitement that I feel for the world and my life at this very moment this album is a manifestation of now, of chance, of fate, of expression of what had to be done!) and in this way so perhaps to find some relief from this breathing and piracy continues that is the art.
The trick is still not complete and everyone who has been chosen (to hand) would like to have an opinion (preferably sincere) regarding the material (not taking into account the quality of the recordings) but rather the intensity of each track or if there is any commercial appeal in this work because the idea is to do a less “hard to listen” work for something with melodies more “accessible” to the laymen and others.
thanks in advance
Álbum de compilação de canções elaboradas em parceria, solo e tracks inacabadas por frustração, ansiedade ou até mesmo por puro ócio pois é assim que a arte se manifesta e se propaga, incendeia e lança chamas de criação sempre no momento exato, inoportuno e até mesmo triste se for canalizado e sintetizado a sensação de forma correta.
A ideia aqui é fazer arte do que eu sinto nesse momento da minha vida, expurgar esses demônios da melancolia que me assolam, a alegria que me ataca de surpresa, e do tesão que sinto pelo mundo e pela minha vida neste exato instante (ou seja esse álbum é uma manifestação do agora, do acaso, do destino, da expressão do que tinha que ser feito!) e dessa forma assim talvez encontrar algum alivio dessa respiração e piração continua que é a arte.
O trampo ainda não esta completo e todos que foram escolhidos (a dedo) gostaria de ter uma opinião (de preferencia sincera) a respeito do material (não levando em consideração a qualidade das gravações) mas sim a intensidade de cada track ou se existe algum apelo comercial nesse trabalho pois a ideia é fazer um trabalho menos “hard to listen” para algo com melodias mais “acessível” aos ouvidos leigos e alheios.
Agradeço desde já! 😉

If you’ve read about his collaborations before, or perhaps even bothered to expand your mind by listening to a composition or two, then you know what to expect (I just put the headphones on and let the music do it’s thing)…

Paolo Spaccamonti & Paul Beauchamp – Torturatori

This is an absolutely incredible find, so overjoyed sometimes that these things come to me, because how in the world would I even know that this unassuming record would be so massive. My initial response was, “Seemingly way out there, but really just tucked neatly inside a persons head.” Davide of Subsound Records sent me this (lengthy) bio…

“One is from the United States, more precisely from North Carolina; the other has origins and ancestors in the south of Italy, in Basilicata. The former is an electro-acoustic musician which uses bows and sounds, electronics and drones; the latter is a guitarist with a visionary and cinemographic aspect but with the weight of his first love, metal. A city unites them having embraced them in different times and ways: Turin, the decayed Italian motor city reborn as a small jewel of transversal culture, ethnic intersections, fruitful interchanges and mutating geniuses. It is therefore no surprise that the former, Paul Beauchamp, and the latter, Paolo Spaccamonti, met each other; or better to say, found each other in the Sabauda capital through a series of chance meetings indissolubly linked to that calamity among similar people which is music. As well it was not by chance that they wound up making an album together, even if they seem to be quite musically diverse and far from each other, at least at first sight. Or maybe it was by chance considering how this collaboration came to be, having been hypothesized many times, often planned but then postponed and subsequently never taking place: as obvious as it is from the thousands of chats during the long hours on the road on tour that the two were on last year and coming forth from a last minute improv session which occurred in another “magical” location, Argo Laboratorium, the recording studio of Fratto9UnderTheSky owned by Gianmaria Aprile of Luminance Ratio. A single session done by using only the instruments on hand in the studio – the only rule that the two musicians imposed after accepting Aprile’s invitation – in order to have, and at the same time to offer, an instantaneous event able to condense both the experience of the moment (the tour in question) as well as that stated above: the collision of the two seemingly distant worlds that in spite of everything flow into each other and through each other, each one affecting the other and each in turn building a new world equal to and different from the originals and much more than the proverbial sum of the total. The reason being that in the two long tracks, the white side is a negative twin of the black side, the sensibilities of the two artists live and collide together, the suspended guitars of Spaccamonti and the dissonant interventions of Beauchamp, the imagery vision of the former and the detached otherness of the latter, the ability of the first to create cinemagraphic foundations and that of the second to fill in the minute details. Is it psychedelic, is it acid rock, is it post rock? It is music of a certain level and that is enough.” Stefano Pifferi

What else is there to say, ya know? A couple of high caliber musicians getting together and doing what they do best.
I can enjoy this on one level as someone who has been actively listening to music since the 70s, but I imagine other musicians might dig this for the technicality of it all. I put it on the iPod! and it has suited me well for those quiet alone time moments when you just want to groove and enjoy someone’s art. Dig the art on the cover even, it suits the music just fine. Here’s the teaser I found on good old fucking YT, posted by paolo spaccamonti

…and some person was kind enough to post a live set of these guys..

Available right fucking now at Bandcamp on vinyl and digital (I have sat on this one so long that the folks at Subsound could probably give two fucks what I have to say, after such a long delay)…

Immorallounge – Ntrl Kllr

Grandpa still sends me emails and ran across this pic of Bonnie and Clyde in one, classic, just like my Gramps.  Reminds me I gotta give him a call. Pretty much every time I talk to him he tells me that he never knows if he will wake up the next morning, to which I say, that’s the way it is with everyone. I seriously doubt I’ll make it to 88…

I have a new song stuck in my head, just so happens to be the one I will be releasing on Mustard Relics, in the form of a flexi in the near future. Don’t want to say too much more as it will curse me. And, as if that wasn’t enough, planning another little release, that will just be for friends of the Relics…

In other Mustard news, going to Kansas City tomorrow (I dread driving in the cities now) to take the Wife and our two exchange students to the Post Malone concert. I don’t mind his music, kind of an R&B Rap thing, but to sit through a concert wasn’t in my bag of tricks. So I drive there, hopefully see an Uncle, hang out in the motel room, and drive back…the bonus being that it makes a short (but busy) week for me at work.

My pal Marco Antônio of Obasquait, outta São Paulo, a while back, sent me this project he is a part of. “Tripottaness” (trip out on this)!  Everything the man is a part of is golden, the musicianship is once again outstanding.  The Bandcamp page has these tags…
adult content
sex tales
São Paulo
If that doesn’t give you a clear picture, I don’t what to say. Quite a variety in the compositions, so just start from the beginning…