The making of “Come Clean.” Man, this record was unlike anything that came before it. I still bump it all the time.

[Photo Credit: _janekim via This Isn’t Happiness]

Head on over to Kottke and check out the two videos on the making of a Steinway grand piano.

Great documentary.

Here’s Lou Reed on the new Kayne West album:

Kanye West is a child of social networking and hip-hop. And he knows about all kinds of music and popular culture. The guy has a real wide palette to play with. That’s all over Yeezus. There are moments of supreme beauty and greatness on this record, and then some of it is the same old shit. But the guy really, really, really is talented. He’s really trying to raise the bar. No one’s near doing what he’s doing, it’s not even on the same planet.

People say this album is minimal. And yeah, it’s minimal. But the parts are maximal. Take Blood on the Leaves. There’s a lot going on there: horns, piano, bass, drums, electronic effects, all rhythmically matched – towards the end of the track, there’s now twice as much sonic material. But Kanye stays unmoved while this mountain of sound grows around him. Such an enormous amount of work went into making this album. Each track is like making a movie. Actually, the whole album is like a movie, or a novel – each track segues into the next. This is not individual tracks sitting on their own island, all alone. Very often, he’ll have this very monotonous section going and then, suddenly – “BAP! BAP! BAP! BAP!” – he disrupts the whole thing and we’re on to something new that’s absolutely incredible. That’s architecture, that’s structure – this guy is seriously smart. He keeps unbalancing you. He’ll pile on all this sound and then suddenly pull it away, all the way to complete silence. And then there’s a scream or a beautiful melody, right there in your face. That’s what I call a sucker punch.

This looks terrific.

Over at Newsweek, Andrew Romano interviews Rick Rubin:

Your taste—your ear—has been spot-on again and again, across genres. What’s the secret?

I never decide if an idea is good or bad until I try it. So much of what gets in the way of things being good is thinking that we know. And the more that we can remove any baggage we’re carrying with us, and just be in the moment, use our ears, and pay attention to what’s happening, and just listen to the inner voice that directs us, the better. But it’s not the voice in your head. It’s a different voice. It’s not intellect. It’s not a brain function. It’s a body function, like running from a tiger.

Instinct.

Yes. But being open to using your instincts instead of going, “Oh, that’s not going to work.” Or listening to the part of your brain that goes, “Oh, that’s out of tune.” Or the part of your brain that says, “That’s too loud.” You have to shut off all of those voices and look for these special moments—these moments that you accept you have no control over. So much of my job is to not think—to be open to what’s there, and then use my intuition to see where it takes me.

Louis:

Let’s Get Stoopit with my man, Ill Chemist.

Rest in Peace, Bobby Blue Bland.

Via NPR, Alan Lomax’s massive archive goes on line.

Here ya go.

Holy Cow, this is great news.

Also, rest in peace Chet Flippo. Man, yesterday was a tough day.

Here’s a piece that Flippo wrote on Waylon Jennings for Texas Monthly back in 1975:

Jack C—-, the federal agent stationed at Gate 56 of the Dallas airport, signaled to his partner when he saw the pair coming, The signal meant “search” and that signal was followed by an announcement to the 23 passengers waiting for Texas International Airlines flight 925 to Austin: “TI 925 will be delayed momentarily due to transient passengers.”

Those transient passengers, the suspicious pair, carried no luggage, had paid cash for their tickets, and were similarly attired: rumpled leather suits, scuffed boots, and hair a little longer than is allowed in the VIP lounge just down the corridor.

Cowboy singer Waylon Jennings and the writer with him slowed down their loping run for the plane as Agent Jack stepped in front of them: “Please step this way… gentlemen.” Jennings carried no identification and Agent Jack was summoning his superior when a light bulb went on above his head: “Aren’t you . . . you’re Waylon Jennings , ainchoo? I thought you was an entertainer. Hell, yes, I see you over at Panther Hall. I go over to Panther and get drunk and raise heil ever wunst in a wile. Go right on through, gentlemen.”

Jennings laughed about it all the way to Austin.

The Making of Pete Rock and C.L.Smooth’s enduring classic, “T.R.O.Y.”

[Featured Image Via: Indulgy]

Via Ego Trip, here’s a good, long interview with Q-Tip. Just when you thought Tip was an unbearable flake you watch something like this and understand what he’s about. Sure, there is some self-consciousness but he’s an artist, after all. Beyond that, he’s funny and smart and it’s a good interview. Oh, and skip ahead to the 50:30 mark to hear a snippet of Primo’s incredible demo version of Nas’ “Memory Lane.” Can’t get it out of my head, man.

Via Ego Trip, dig this oral history of the making of “The Crooklyn Dodgers” tune over at Red Bull Music Academy.

[Photo Credit: Chris Arnade]

“You know, when I’m walkin’ down Yonge Street, you won’t believe this, but you know some of them funny people have the nerve to point the finger at me and grin and smile and whisper. But you know, that don’t worry Jackie, because I know I look good. And every Monday morning I laugh and grin on my way to the bank, because I got mine. I look good, I got money and everything else that I need. You know what my slogan is? Baby, do what you want, just know what you’re doing. As long as you don’t force your will and your way on anybody else, live your life, because ain’t nobody sanctified and holy.”

Jackie Shane.

“I Bet Your Mama Was a Tent Show Queen.”

Good piece on a group of session musicians called “The Section” by David Browne in the new issue of Rolling Stone:

[Danny] Kortchmar’s terse guitar riffs, inspired by his hero Steve Cropper, nudged their way into the songs. He had his own rules: “The parts gotta be simple. You gotta help the song. Don’t step on the singer.” Kunkel became known not just for his firm, unobtrusive playing but as one of the few drummers who would read the words to a song before recording. “I’d get a feel for what the artist was trying to portray,” he says. “If it’s a love story and doesn’t require big drums, what can I do to complete the story?”

…They may also be the last of the great session crews, before home studios, Pro Tools and GarageBand made studio ensembles superfluous. With them, a style of pop – and of making records – came to an end. “I’m running around with a baton in front of me and there’s no one to hand it to,” says Sklar. Asked to name their successors, producer Rick Rubin – who occasionally uses a small, hand-picked combo when recording with acts like Adele and the Dixie Chicks – pauses. “I’m not sure,” he says. “You don’t really need bands anymore.”

Kortchmar, Kunkel, Wachtel and Sklar have been approached about participating in a rock & roll fantasy camp devoted to rhythm sections. “If one of your ambitions is to hang out with Sammy Hagar, you’ll be disappointed with us,” Kortchmar says. “But we want to demonstrate what it’s like to play in an ensemble. That isn’t taught much by anyone.”

[Photo Credit: Joe Martz]

Rest in Peace, George Jones. A true Legend.

Ah One Two, ah One Two.

[Featured Image Via: Third Eye Photography]

Our man in Tokyo has a jazz radio show.

Dig it.

[Photo Via: Take the Coltrane]