Andy Zipf’s recordings are cleverly experimental, adding vocal washes and swirling soundscapes to solid songcraft. But the live Zipf experience is full-on rock show. Backed by Kevin MacIntire’s fluid bass and Pete Lim ably switching between both drums and keyboards (surely a first?), Zipf presented an appealing overview of his catalog at Iota on Monday. While I was expecting some of Zipf’s trademark onstage performance art — using iPods and old radios to filter his music — this evening was mostly about bringing it, hard. Which was a pleasant surprise.

For instance, on record, “What We Do Not Know” features a rather haunting cello and multitracked vocals. Live, Zipf stripped down to acoustic guitar and his one voice, but the austerity found nothing lacking. Indeed, the set moved easily between the acoustic simplicity (”Nothing’s Wrong”) to flat-out rocking (”Last to Know,” “Lay It Down”).

Zipf’s high tenor can seem ethereal, angelic if you will, and there was a gospel flavor throughout the evening. The most dramatic, and unexpected, example of which was Zipf’s solo acoustic rendition of Marvin Gaye’s signature song, “What’s Going On.” While the crowd was supportive all evening, Zipf’s quiet intensity cast a reverent hush over the room, which served to reinforce the song’s power. One hopes Zipf’s version will appear on an upcoming release.

The insistent “Find You” was another standout. It’s perhaps an unfair, but I kept thinking how perfect this tune would be in the next Say Anything-type movie; it’s a perfect anthem to longing, desire, commitment.

The audience was sincere in demanding an encore, and Zipf obliged. Lim kicked it off with a Gene Krupa-esque floor tom beat for a rave-up version of “Your Fire,” sending everyone dancing into the streets.

Andy Zipf’s new release is the DVD The Long Tail, which features The Long Tail and Lay It Down EPs, and the video Pfriends on Pfilm.

The sad news comes that Mitch Mitchell is dead at the relatively young age of 61. When you factor in the years Mitch played drums with the Jimi Hendrix Experience, I suppose some kind of dog-years math comes into play. So in rock years, Mitch was 207.

What’s interesting about Mitchell’s drumming is how clearly jazz-influenced it was. Of course, rock was still fairly young in the mid-to-late ’60s, so that was not unusual. But Mitchell added a frenetic energy to traditional technique, which perfectly complimented Hendrix’s guitar. A good example is the 3/4-time “Manic Depression,” almost a straight jazz waltz that Mitchell psychedelicizes, if that’s a word. Here’s some guy demonstrating how the song is played. He does a good job, though the video fails to capture the magic of the original.

Mitchell’s passing closely follows that of Earl Palmer, who arguably invented rock drumming, with Fats Domino, Little Richard, and other Nawlins greats. Palmer became one of the most sought-after L.A. session men, giving “most-recorded drummer” Hal Blaine a run for the title. Here’s Palmer explaining and performing the classic Professor Longhair tune “Tipitina.”

Palmer also wrote a fascinating autobiogaphy, Backbeat: Earl Palmer’s Story. As this Amazon link suggests, I highly recommend it. I mean, check the photo—the man’s the king of cool!

I already miss the Grog and Tankard, even though I haven’t been there for a long time. Here’s the City Paper cover story I did, still the definitive piece on the place. Well, I haven’t seen much else written. (That quote in today’s Post from Vertical Horizon singer and guitarist Matt Scannell was pulled from my story.)

A sad week for music lovers, and though I realize I’m a bit late, I simply must post this wonderful bit of Hayesiana found floating on the aether. It is offered in honor of Mr. Hot Buttered Soul. He shall be missed.

Hayes’ signature tune (and one of the undisputed greatest recordings ever made) is performed by the South Australian Police Band, under the able direction of conductor Ernest H. Alderslade, pictured here.

Enjoy.

“Theme From Shaft“

Ray Wallace, the Troubled Troubadour, was displeased with the previous version of what many will surely call his signature song, “Isaiah 53 Revisited.” And so we returned to Sligo Creek Park and communed with nature and some passing bikers. Again, Ray channels Bob Dylan via Pete Seeger for this “Song of the Suffering Servant.”

Watch it at YouTube, as I haven’t uploaded it here yet.

Updated my review of “make-out” music with examples of said tunes. You may listen freely here. But a caution: These songs are from a collection called “Music for Love.” You may find your inhibitions under attack.

Ray Wallace, the Troubled Troubador, returns, this time taking inspiration from both Pete Seeger and Bob Dylan in putting one of the “Songs of the Suffering Servant” to music. He calls it “Isaiah 53 Revisited.” We call it “catchy.”

Watch it at YouTube, as I haven’t uploaded it here yet.

The Troubled Troubador, Ray Wallace, favors us with another of his trademark songs, “Death to SMERSH,” captured live in Sligo Creek Park in Silver Spring, Md., on a chilly afternoon. Once again, Mr. Wallace puts his fascination with ’60s pop culture, Cold War politics, and WWII iconography through the psychoanalytic blender for a fevered trip down recovered-memory lane.

Click on the image above to enjoy the song. (Must have Quicktime.) Or, head on over to the YouTube and watch in lo-fi.

If you’re unfamiliar with the song stylings of Ray Wallace, let this be a quick introduction. Mr. Wallace dropped by a while ago to favor us with a few tunes he’d been working on. We walked over to the park and recorded a couple for the enjoyment of various woodland creatures and some passing dog-walkers. And now you. I think you’ll enjoy this ode to I Dream of Jeannie, and other things. (More to follow; keep watching the skies.)

You may purchase Ray’s debut CD, Introducing Ray Wallace, after clicking on this link.

Click the image above to play the Quicktime video. (Or, venture to the YouTube and watch it here. And while you’re there, watch Jeff Krulik’s more insightful portrait of the man. Enjoy.