Ben Wendel

The Kneebody saxophonist has proven his chops in myriad local gigs during the past few years. And while hearing him play in a trio setting is a joy, the midsize ensemble from the new Frame really gives you insight into his artistic innards. Architecture is key; the keyboard-centric tunes have an arranger’s touch, and buoyancy is everywhere. This music bubbles over.

Village Voice 

Andrew WK Loves Don Fleming’s Voice (Who Doesn’t?)

You’ve produced Scratch Perry and Don Fleming now. Any parallels?

They’re both masters.

Great to hear Don’s singing voice again. 

Totally agree. “The time to be arrrrrounndd/going down, babbbby.” He’s got one of the great rock voices. Watching him is fun, too. Can’t believe the sound is coming out of his mouth. Anytime you have an unconventional voice, that’s great. So many people try to sing well, they try to have a beautiful tone.  What about just singing? Don just sings.

And Scratch?

He’s the most accomplished artist I’ve ever been with. He’s been making art for so long that he’s really removed all barriers between his spirit and reality. It’s not like, “Okay, now he’s going to come up with something.” It already CAME up. it’s already there! 

LOTS MORE AWK

Amy On Amy: 2008

My personal Amy fixation had kicked off two years earlier with Frank, originally an import-only debut (released domestically this past fall) with a smiling, curvy, weave-less Amy on the cover. Much like Back to Black sans the throwback sonics, the record articulated a wise-beyond-her-years wisdom with smoky jazz phrasings and hip-hop/r&b shadings. (Think Lauryn Hill without the preachiness.) My love only increased withGhostface Killah‘s 2006 remix of her salty “You Know I’m No Good.” But of course it was Back to Black—a chart-topper in the U.K. and very nearly a poll-topper here—that sealed the deal for everyone with its odes to getting fucked over and up.

Now Amy’s a star: six Grammy nods, multi-platinum status for Black, and Pazz & Jop accolades at both album and especially single, where “Rehab”—bolstered by votes from last year (the record hit the U.K. in October ‘06)—pushed her ahead of the seemingly unstoppable Rihanna. Yet these days Amy’s looking less like a soul savior and more like a lost soul, tsked-tsked by the View ladies, mocked on late-night talk shows, and lumped in with Britney Spears, another troubled (if lower-on-the-totem-pole) pop star whose music has been eclipsed by the train wreck.

You could see it coming. Even when…

http://www.villagevoice.com/2008-01-15/unknown/the-slow-blackout-of-amy-winehouse/

1-2-3-4…

Everyone talking Dylan’s 70th. But Joey woulda been 60 on this Thursday. The Voice made a nifty little list of tunes that celebrate the band and our boy. But they forgot this jewel, my fave of all the Ramones valentines.

Go ahead and spin all the songs that Amy & Joey danced to that night, and sure, why not blast “Sheena” one more time?

The Temptations, “Papa Was a Rolling Stone”

The Brooklyn Bridge, “The Worst That Could Happen”

Blondie, “Hanging On the Telephone”

The Searchers, “Needles and Pins”

The Chiffons, “He So Fine”

The Crystals, “It Felt Like a Kiss”

The Ronettes, “Be My Baby”

Shadows of Knight, “Gloria”

Jimmy James & the Vagabonds, “I Feel Alright”

The Dave Clark 5, “Glad All Over”

The Coasters, “Charlie Brown”

The Dovells, “Can’t Sit Down”

Zach Baron Weighs In On Hot Sauce Committee

The record “is the opposite of essential, really, but there’s a relief in the group’s refusal to modernize much. Middle age in rap is still an unsolved dilemma — awkward exertions await those who try to hang on to relevance as they grow older.”

The Daily