Normally when you think of steel guitar, especially pedal steel guitar, the last thing in the world that’s going to come to mind is African American gospel music. A country gospel tune like “Will The Circle Be Unbroken” sure, but you don’t ever expect to hear one playing in one of those earth shaking, hip swinging gospel choirs that inspired today’s funk, soul, and blues musicians. Yet if you were a congregation member of The House Of God, Keith Dominion churches, steel guitar in shape or another is exactly what you’d have been hearing since the 1930′s. Sacred steel music was born out of the popularity of the Hawaiian Steel guitar in the early part of the twentieth century. Two brothers, Troman and Willie Eason were responsible for bringing the steel guitar to the House of God services in the 1930′s. While Troman had learned how to play in the Hawaiian style, Willie had not had any formal training and simply played the music he was familiar with on this guitar. From such humble beginnings a genre was born. The Lee Boys are a family group consisting of three brothers; Alvin (guitar), Derrick, and Keith (vocals) and three nephews; Roosevelt Collier (pedal steel guitar), Alvin Cordy Jr. (7 string bass), and Earl Walker (drums). They each grew up making music in a House of God congregation in Perrine Fl. where the brother’s father was pastor and steel player. Having been playing together, or individually, in the church since they were seven they’ve not only developed into proficient musicians but have also learned the key elements for staging a successful show. You don’t need to look any further than their new DVD release Live At Bonnaroo for evidence of just how impressive they are. Sunday mornings at folk festivals were reserved for gospel groups from all over, and I guess Bonnaroo is keeping up that tradition as this recording is of a Sunday morning performance The Lee Boys gave at last year’s festival. Now I can’t think of a tougher time, or a harder audience to play for, than the Sunday morning of a festival. Half the crowd is either recovering from the night before, if they’ve even gone to bed yet, and the other half are just wandering onto the site and getting their bearings. A band has to be pretty special and be able to deliver a red hot performance in order to first grab, and then hold, this type of audience’s attention for the length of the concert.

First off this week I want to apologize to you, my loyal readers. Things are patchy right now due to the fact that my father is at his end and things are a bit unpredictable round the place. (Not that unpredictable is abnormal for me, but at times it's minute to minute.) However that does not mean I haven’t had the chance to listen to the latest batch of releases of all types. In fact some of the output for the land of the Norse has been perfectly suited to the current mood. Ted Nugent: Nugent, Spirit of the Wild & If You Can’t Lick em’, Lick Em” The last of the current crop of Nugent re-issues like the first lot is a bit of a mixed bag. There is something for everyone here however and “mixed” for Ted is a pretty good standard. The man is always in the shadow of his 70s hits because they were so good and so huge. Probably realizing that with the album Nugent, Ted reunited with his ole’ sparing partner Derek St. Holmes who does most of the lead singing on the CD. He also has the drumming power-house of Carmine Appice along for the ride. This is a very strong album that could have been supported by the track “Bound & Gagged” alone. The track is another one of Ted’s observational rants about the state of the U.S. and its governance. Listening to the words, it's as poignant today as it was then. One thing you got to say about Uncle Ted is that he is consistent in his views and beliefs. “Good & Ready” is another strong track as is the final statement of “Tailgunner”. This is a good album that shows what he is capable of when firing on all cylinders. Spirit of the Wild sees Ted teaming up again with Derek with Denny Carmassi on drums another journeyman sticksman who played with Ted in Damn Yankees, probably Ted’s great post-70s collection of music. You gotta love tracks like “I shoot back” and “Tooth, fang & claw”. It's always amusing to note that Ted, who just got inducted into the bow hunters hall of fame, thanks his ammo suppliers on his albums. His 13th solo effort If you Can’t Like Em’…Lick Em is a testament to all that was naff about the 80s from the cover to the daft as a brush name of the album. He even teamed up with Bon Jovi and Sambora for the track “That’s the Story of Love.” This album summed everything good and bad about the 80s as Ted headed off into a new decade. It was his last CD before hooking up with Tommy Shaw and Jack Blades in the uber-successful hard rock supergroup Damn Yankees. page 1 | 2

I am a vinyl collector and thus my Byrds collection is comprised of records and not CD's. I do not have the inclination nor the money to replace the vinyl even though the CD’s contain extra tracks and have a better sound (although, at times, that is debatable). I do, however, tend to purchase box sets as they fill in the blanks and provide a modern listening experience. The box set in my collection that is relevant for this retrospective is the four disc set, The Byrds, issued in 1990. There is now a second box set by The Byrds, There is a Season, issued in 2006, which in many ways has supplanted the one in my collection. The Byrds can now be found fairly cheaply and well is worth seeking out. The ninety tracks span the career of the group. It includes all of their well-known material and hit songs, a number of unappreciated gems, some unreleased tracks, a re-working of some classic songs, and four new recordings by Roger McGuinn, Chris Hillman, and David Crosby. The enclosed booklet is informative and contains a nice biography of the group. The sound has also been cleaned up and, in most cases, is superior to that of the original releases. Box sets present the music but many times the intent of the original albums are lost by the shuffling of songs and additional tracks. Therefore, this box set should be considered to be complimentary to their fine catalog of studio albums. The first disc sets the tone by presenting some of the finest music of not only The Byrds but in the history of Sixties rock ‘n’ roll. “Mr Tambourine Man,” “I’ll Feel A Whole Lot Better,” “Chimes Of Freedom,” “She Has A Way,” and “All I Really Want To Do” just blast out of the speakers and serve as a reminder of the quality material that The Byrds produced during their career. page 1 | 2

Clark Westfield aka The Aristocrat of Crime and Puppy Mills aka The Snitch comprise the magically delicious The Gay Blades. Anyone who’s anyone knows that duos are hot these days. From matinees at the strip club to funky fresh outfits like Eagles of Death Metal and The White Stripes, the fine art of the musical pair has come up with more than a few sweaty and sticky hot moments. The Gay Blades are no different. Probably inspired by Zorro and his homosexual brother, these guys leave it all out in the open with their brand of spastic, expressive pop rock. A flip through the sleeve of Ghosts, the band’s full-length debut, unveils a band with good humor and a strapping sense of storytelling. Song titles like “Bob Dylan’s 115th Nightmare,” “Robots Can Fuck Your Shit Up,” and “Why Can’t I Grow a Beard?” illuminate this duo as a plucky, smart-alecky invention. While the humor expressed in the album notes and on the band’s MySpace page discloses what appears to be a couple of jokers, the music of The Gay Blades uncorks a different set of possibilities. The raw emotion and agile soul of this duo is incontestable, even if the pop punk stylings are a little too formulaic at times. Shit starts with the “O Shot.” A funky little guitar-and-drum split given some extra flavor thanks to Jeff Plate’s bass, this ditty rocks with chunky chords and vibrant percussion. Mills slaps the snare hard, crashing through the rest of his kit with sweltering glee. The storming rock epic blast of “Bob Dylan’s 115th Nightmare” continues the trend, as Westfield lets loose a barrage of hard lines. “You never captivate, you just capitulate,” he says. “And you follow all the trends.” Elsewhere, The Gay Blades pry the emo box open and pinch out a startling amount of emotion. “Dog Day Afternoon” is a miserable, bloated bit of music-making. Punctuated by the Aristocrat’s bawling vocals and a wall of sniveling, depressing guitar, this is the theme for the prom of rejected kids everywhere. Westfield also channels teen-girl vulnerability on “Prologue for the Pure of Heart.” Here he tearfully rips his guts out to a narrative that is equally intriguing and annoying. In a classic case of overdoing it, Westfield unpacks his heart with lines like “It’s too fucking early for you to be in songs that I write.” It’s idyllic shit for the MySpace set. The most interesting thing about Ghosts is how Westfield and Mills walk the line between touchy teardrops and mucky cigarette stains. There is a sense of wakefulness with the music, which gives the songs lines of incongruity without deconstructing the band into a comedy act. ‘Course, the addition of a cheesy disco remix of “O Shot” to close things out almost solidifies the real soul of this band. And in the end, that’s all that matters. The untreated energy and real soul of Puppy Mills and Clark Westfield makes Ghosts a very interesting record to take in, with or without the wrist-cutting anthems.

Welcome to the Daily Gossip: your daily stop-off to find out who in the world of music has been up to what. Today’s top gossip: Courtney Love is reportedly going out with Mickey Rourke. The two old friends are said to have “hooked up” shortly after Rourke won a Golden Globe for ‘The Wrestler’, and were due to share a hotel suite together after the Elle Style Awards. However, Rourke apparently felt Love’s wrath on the night, after flirting his way through the awards with a host of other women (Daily Mirror). From the papers: Rihanna has gone into hiding as press speculation about her recent altercation with Chris Brown reaches fever pitch (Various). Jon Fratelli said he would “bin” Oasis in a game of ‘call, text or bin’ featuring the Manchester band, Supergrass and Blur (Daily Record). Sophie Ellis-Bextor has given birth to her second child – nine weeks early (Daily Star). Alex Turner carried six bags of girlfriend Alexa Chung’s clothes around for her (Daily Mirror). From NME.COM users: “Kate Nash and Kate Jackson doubled the ‘Kate’ count at The Cribs’ Heaven show last night” (From Barney “The Drunk” in London). Check back tomorrow for the next Daily Gossip.

The Cribs protected a fan from a violent security guard last night (February 10) during a gig at the London Heaven venue, after he was pushed into the photo pit after trying to get on stage. During the show, at which the group played a series of new songs written with recently-added band member Johnny Marr, fan Tommy Powell crowd-surfed and attempted to get on stage. A security guard reacted by shoving Powell into the photo pit before he could get on stage with the foursome. Frontman Ryan Jarman stepped down to haul Powell onto the stage, then condemned the security guard for his behaviour. “I don’t see a reason to push a guy like this off the stage,” he said, putting his arm around the young fan. “So from now on he stays up here with us.” Powell remained on stage with the band for the remainder of the set, despite guards’ repeated attempts to remove him. “It was a dream come true, being on stage with The Cribs,” Powell told NME.COM after the show. “They’re legends.” He added that he wasn’t angry at the security guards, saying, “They’re just doing what they’re supposed to do”. Earlier in the show Ryan Jarman had joked that the band were “better than U2″. “Did you see us at the Grammy Awards?” he joked with the crowd. “We won four: Best British Band, Best Song, better than U2…” “…And Worst Stage Banter,” interjected his brother, bassist Gary Jarman. See the NME.COM report from The Cribs’ Manchester gig for the lowdown on the new songs and an interview with the band. The Cribs played: ‘We Were Aborted’ ‘I’m A Realist’ ‘Hey Scenesters!’ ‘Our Bovine Public’ ‘We Share The Same Skies’ ‘Don’t You Want To Be Relevant?’ ‘Hari Kari’ ‘Untitled New Song’ ‘I’ve Tried Everything’ ‘Cheat On Me’ ‘Girls Like Mystery’ ‘Women’s Needs’ ‘Moving Pictures’ ‘Another Number’ ‘Victims Of Mass Production’ ‘Mirror Kissers’ ‘Men’s Needs’ ‘Be Safe’ ‘Wrong Way To Be’

More so than movies or books, music can sometimes be seasonal. That's not to suggest that a given album can't be enjoyed off-season, but rather that there's a certain added pleasure to listening to it when the time is right. As suggested by the pumpkin-orange artwork that adorns the cover of shoegaze alt-rockers Asobi Seksu's sophomore full-length, 2006's Citrus, this is an album for the fall. Both the lyrical content of the set (that which can be made out, and is in English), as well as the dense and layered arrangements, exude a palpable haziness and melancholia. Yet, there's a warmth too — found in the bouncy, chiming textures of these monolithic rockers — which keeps things from seeming too cold and distant. Citrus is an album that's perfect for the autumnal months, when hot summer days awkwardly (and often abruptly) transition into frigid winter nights. Blustery hurricanes of low-end and distortion dominate the atmosphere, but not without a fight from lead singer Yuki Chikudate's quivering and ethereal voice, which occasionally breaks through the din, only to be swallowed whole by a colossal wall of sound once more. Take lead single "New Years," for example, which finds Yuki's fragile whisper riding atop a mountain of titanic distortion and trebling bass, eventually dispelling the noise long enough to croon the track's gorgeous bridge, only to be drown out moments later by an even greater sonic assault; it's an auditory struggle akin to the push-and-pull of the seasonal weather. But that's as hectic as it gets, which is important to point out, lest I undersell the tunefulness of this album. Cuts like "Lions And Tigers," which skimps on none of the band's requisite amounts of low-end, but tempers the intensity with Yuki's lullaby-sung verses and playful jingling during the subdued (at least by this band's standards) chorus. Of course, even this song eventually builds to a symphonic, eardrum-shattering climax, but that's more a testament to the restless nature of these sprawling compositions.page 1 | 2

Valentine’s Day — you either love it or hate it. It makes sweethearts swoon and others want to stab fat cherubs with a bow and arrow. Between the chocolate hearts, the red roses and the teddy bears shoved in our faces, the holiday stirs up a cocktail of emotions: happiness, despair, jealousy, grief, sadness, desire … MTV News has all your mood swings covered. In honor of this beloved and dreaded holiday, we’re rolling out the Best Love Songs, Best Breakup Songs, Best Makeout Songs and Worst Love Songs in recent memory. It’s our Valentine’s Day gift to you, minus the dinner-and-a-movie part. So slip into something comfortable, and stay for a while. Love songs tend to get dusted off and put on display at weddings. And it’s hard to take any song seriously right after doing the chicken dance. Our favorite artists know what’s up: They express those deepest, darkest emotions without the help of cheesy lyrics or a soprano-saxophone player. Give it up to Justin, the Jonas Brothers and these other winged matchmakers for making us all a little weak in the knees. 10. Jonas Brothers – “Lovebug” This is about the only “lovebug” we ever want to catch. Let’s leave it at that … 9. Alicia Keys – “No One” In this soulful song, Alicia belts out her emotions so we don’t have to. 8. The Postal Service – “Such Great Heights” Despite never uttering those three magic words, this 2003 hit puts us on cloud nine. 7. Jason Mraz (featuring Colbie Caillat) – “Lucky” This duet is bound to make the wedding-day rounds. Still, the old-timey lyrics are cute. 6. Miley Cyrus – “7 Things” This isn’t a typo. This certainly isn’t a typical love song, considering that Miley sings about hating someone. But listen a little closer, and you’ll see the teen queen taps into the heart of a relationship — the bad that also comes with the good. 5. Beyoncé – “Crazy in Love” Ms. Sasha Fierce escorts us over the edge of love and back again in her 2003 smash single. Uh-oh! 4. Taylor Swift – “Love Story” With the sweet melody and fairy-tale references, this teen songstress gives us hope there will be a castle and a lover in a low-cut top in all our futures. Give in and “say yes” to Taylor’s catchy chorus. 3. Gym Class Heroes – “Cupid’s Chokehold” Travis McCoy joins forces with Fall Out Boy’s Patrick Stump to talk pancakes, secret handshakes and other shared moments with a string of girls. You gotta love a guy (and a song) with a sense of humor. 2. U2 – “With or Without You” After all these years, Bono still melts our hearts. This 1987 classic addresses the question: What the hell would I do without you? That never gets old. 1. Justin Timberlake – “My Love” With the help of Timbaland and T.I., Justin Timberlake nabs the top spot with his 2006 hit. JT redefines the concept of the love song, proving it can belong in both the club and next to a roaring fireplace.

LOS ANGELES — Amid all the parties surrounding the Grammy Awards last weekend, it’s hard to imagine someone who seemingly attended all of them — Ne-Yo — having enough energy to host a concert after the big show. (He’d even hosted a “midnight brunch” on Saturday night and performed two nights in a row.) But that’s exactly what the man did on late Sunday night at Club Nokia, finishing the seemingly endless weekend off in style with a stellar performance. He probably had quite an adrenaline rush after winning two Grammys, but as the lyrics from his hit “Closer” say, “He just can’t stop/ No, no he just can’t stop …” “I haven’t slept in four days!” Ne-Yo shouted to the crowd during the energetic set. Opening with “Because of You,” he smoothly took the audience through hit after hit, and even a few songs he wrote for other artists, like Beyoncé’s “Irreplaceable” and Rihanna’s “Take a Bow.” He also played up his ladies-man image, handing out roses and personally calling out girls in the crowd to wink, say hi and acknowledge that, “You look like you’re having a great time, thanks!” One fan even threw a thong onstage, which Ne-Yo picked up and put in his pocket. The show took place directly across from the Staples Center, where the Grammys were held, and a lot of stars walked over from the big event. Ne-Yo shouted out Omarion in the crowd, and we also spotted Britney’s former choreographer-turned-movie-star Columbus Short, also known for his lead roles in “Stomp the Yard” and “This Christmas” (not to mention “Cadillac Records”). Keri Hilson opened the show with major sex appeal and style, and the hit songwriter took a note from Ne-Yo by starting her set with Timbaland’s “The Way I Are,” on which she sings the chorus. She also did the single “Turnin’ Me On” and performed a few tracks from her long-delayed forthcoming album, In a Perfect World, which will finally hit stores on March 24. All in all, it was a fine way to finish off a long weekend …

It seems strangely appropriate that this album should be coming out this year — which also heralds the 50th birthday of Motown Records — because if anyone has taken on the mantle of soul singer extraordinaire for the 21st century, then it’s the phenomenal Ruthie Foster – something that was, not coincidentally, the title of her last album. Foster has been kicking up a storm in her home state of Texas for a fair wee while now, with her winning combination of soul, classic R’n'B, and folk and blues. It’s surely only a matter of when, rather than if, she breaks internationally. From the opening, classic soul blast of “Stone Love,” through the big ballad “When It Don’t Come Easy,” and into the dynamic blues of “Truth!” this album just keeps on delivering. Hailing from a family of gospel singers, Foster studied music at university before taking the unusual route of touring with the US Navy band, Pride. Then there was an abortive period with Atlantic Records, who tried to mould her into a hybrid of Anita Baker-meets-Tracy Chapman before she broke free and headed out on the road playing at just about every folk club in North America. She’s been making albums since 1997, when her debut Full Circle came out, releasing Crossover before signing for Houston’s Blue Corn Records, which has seen another three excellent releases – Runaway Soul and the live album Stages, prior to the aforementioned The Phenomenal Ruthie Foster. Of course, it’s no real surprise that the musical performances are straight out of the top drawer. When you have the likes of former Black Crowe’s guitarist Robben Ford popping in to lay down some steaming hot lines, you know you’re in for a treat. Add in a whole pile of Memphis magic, courtesy of keyboards man, Jim Dickinson, who’s worked with, well, everyone from Aretha Franklin to the Rolling Stones, and a funked-up dose of the Memphis Horns, and you’re set up for an inspirational time. The coup de grace, though, are the vocals of Foster herself. She has that rare skill of being able to go from a whisper to a scream without losing any of the warm, welcoming glow of her remarkable voice. Frame it in slow blues, like Nickel And A Nail, then sit back and prepare to be blown away. There’s also some room for some funky Southern soul, and Dues Paid In Full, which comes punctuated with brass blasts courtesy of Wayne Jackson and the Memphis Horns, is one of the album’s highlights. The album has a cocooning feel, beautifully produced by Chris Goldsmith, who has worked with the Blind Boys Of Alabama, and I can just imagine the acoustic blues of Joy On The Other Side being given the full gospel treatment. The album finishes up with a sweet up-tempo groove called Thanks For The Joy, but it’s me who should be thanking Foster for putting a little joy into my life.