"When historians come to tell the story of America in our time, I'll wager they will not be able to ignore this remarkable and compelling portrayal of life in our cities." That's the way Bill Moyers introduces an interview with David Simon, creator of "The Wire" and the forthcoming HBO series, "Treme." Moyers' interview makes up the latest episode of his PBS series, Bill Moyers Journal.

"Remember, you heard it here — what Edward Gibbon was to the decline and fall of the Roman Empire, or Charles Dickens to the smoky mean streets of Victorian London, David Simon is to America today."

Wow, that's praise, and not unjustified. And over the course of a long interview (read the transcript here) you see the thinking that makes Simon a unique practitioner of big tales on the small-screen. It's a fascinating listen or read, and one that makes me miss "The Wire" and giddily anticipate "Treme."

Labels: The Wire, TV

This is why the Internet is so valuable. I'm not sure where I saw the link, but something this week led me to the web site of New York public television station WNET, or THIRTEEN and the program "Soul!"

"Soul!" aired from 1968 to 1973, and was produced at WNET studios: "It was the first program on WNET to be recorded with the then-new technology of videotape, and most of the shows were recorded in real-time—not live, but unedited."

According to the original 1968 announcement posted on the site, the show was "devoted entirely to and aimed at the metropolitan area’s black community. The format of Soul! resembles some of the popular late night programs – segmented, lively, informative and entertaining. Appearing on the show will be top stars and up-and-coming young talents from the black community. There will also be pertinent features dealing with all aspects of the social, cultural and artistic life of the black population."

The best part? Nine of the episodes are available for streaming on the site, and they're a goldmine for fans of jazz, funk and blues from that era. I was drawn to an episode from 1972 that dedicates most of an hour to performance by Rahsaan Roland Kirk and his band, the Vibration Society. And these aren't just any performances. Kirk, a blind multi-instrumentalist who often played as many as three horns at the same time, offers long versions of his own "BlackNuss" and "The Inflated Tear," and spend 16 incredible minutes on "The Old Rugged Cross," playing it straight (or as straight as Kirk could play) before tearing back into it double time in a frenetic performance that inspires Kirk to grab a folding chair and methodically tear it apart while the studio audience applauds wildly.

Other episodes feature performances by Taj Mahal, Earth, Wind and Fire, Black Heat featuring David "Fathead" Newman, Max Roach and more. A full list of episodes reveals even more great artists, though the note at the top that "this list does not reflect the existence of physical tapes of all these episodes. It is for reference only" tempers expectations a bit. Still, if only this fraction of episodes is unearthed, it's still a treasure trove for music fans.

Labels: music, TV

While on the surface there seems to be little new about "The Chris Isaak Hour" on Bio, it is actually a unique entry in the standard interview-format TV show. What's different? Isaak hosts one act each week, mixing a few performance shots with interviews. That means you get the equivalent of a set on the best live music shows like Austin City Limits, as well as about half an hour of in-depth interview conducted by a fellow touring and recording musician. The result is, even when the guest is of marginal interest, one of the most engaging hours of television for music fans.

When I heard the Isaak was slated to host another show, I was excited at the prospect. In addition to being a fine songwriter and singer, Isaak is a true wit, something that makes his late-night talk show appearances, as well as his Showtime dramedy series so entertaining. The format sounded great: long interviews spiced with live performances. Then I saw the guest list: Smashing Pumpkins, Michael Buble and Chicago? No thanks.

But Isaak is a savvy interviewer, teasing out stories that either haven't been told before, or haven't been told with this level of detail. When a typical interviewer asks a musician about life on the road, the response is usually boilerplate. When Isaak asks, he gleans answers that are offered peer to peer, and the result is refreshing. Another plus: Isaak is reverent without being too deferential. He isn't afraid to ask about tough subjects, from Stevie Nicks' drug use to Billy Corgan's relationship with That means that while his interview with personal favorite Glen Campbell was fascinating, his chats with Chicago and Smashing Pumpkins were interesting, too.

The Glen Campbell interview was the best so far, in part because Isaak is clearly a fan and knows enough about Campbell's career both as a countrypolitan superstar and earlier as an in-demand session player (and one-time touring Brian Wilson replacement in the Beach Boys) to ask intelligent questions. The Stevie Nicks interview also was outstanding, with Isaak teasing out details that were unfamiliar to this casual Fleetwood Mac fan.

The run of eight episodes, which began in late February with guest Trisha Yearwood (a nice tie-in to the release of Isaak's first album of new material in seven years, Mr. Lucky, which featured a Yearwood duet), continues tonight with Yusuf Islam (the former Cat Stevens), and ends next week with Jewel.

Here's hoping the show is renewed, because it's the best music-related show on television. It doesn't hurt Isaak's music career either, raising his profile and allowing him the chance to rub shoulders with some rock royalty.

Labels: music, TV

I came late to Bruce Springsteen, so my perspective on the artist is somewhat skewed. Fans who have been with him from the beginning have experienced him in two phases. The first was as ascendant rock star who was guarded and reserved. The second, which we're still in, is as superstar in stasis (or decline) who is effusive, lighthearted and funny.

It is the latter Springsteen who is on display on the Boss' web site now. He has penned (typed?) a Super Bowl Journal, chronicling his performance there during halftime with the E Street Band. It's an illuminating, entertaining and entrancing look behind the scenes of the biggest show of the year.

He discusses his choice of footwear, his pre-concert jitters (described at "Lord Don't Let Me Screw the Pooch in Front of 100 Million People") and the performance itself. He talks about things ridiculous -- the now infamous (though completely overblown) "crotch shot" caused by overshooting the end of the stage on a knee slide ("Too much adrenalin, a late drop, too much speed, here I come Mike…BOOM") -- and sublime -- "Since the inception of our band it was our ambition to play for everyone. We've achieved a lot but we haven't achieved that. Our audience remains tribal…that is predominantly white. On occasion, the Inaugural Concert, during a political campaign, touring through Africa in '88, particularly in Cleveland with President Obama, I looked out and sang "Promised Land" to the audience I intended it for, young people, old people, black, white, brown, cutting across religious and class lines. That's who I'm singing to today."

And at the end of one of the biggest nights of his career, he's just another working guy blowing off steam once he gets home: "By 3 am, I am back home, everyone in the house fast asleep and tucked in bed. I am sitting in the yard over an open fire, staring up again into that black night sky, my ears still ringing…'Oh yeah, it's alright.'"

Labels: Bruce Springsteen, music, TV

I was looking for a way to summarize my thoughts about Bruce Springsteen's halftime Super Bowl performance, when I came across this bit of ridiculousness (can you take anything from someone who looks like this seriously?) and found my answer: A point-by-point refutation. For those who don't want to waste time reading what Rob O'Connor has to say, just recast all of my comments below in the negative, add a heavy dose of misguided snark, and you're there.

1. Bruce begins with a direct address to the home audience: Sure, it was cheesy, but it was also funny. "Walk away from the guacamole, put those chicken fingers down!" he exhorted. Springsteen is often seen as a humorless champion of the common man, but this performance was proof otherwise. He's a talented snake-oil salesman/song and dance man, and he made it clear we were in for a show.

2. He opens with "Tenth Avenue Freezeout": If there is any song that could be considered the epic of the E Street Band, this is it. It's a rollicking, fun track that gives Clarence Clemons a chance to shine.
3. He brought everyone with him, including a horn section: The Super Bowl show is as big as they come, and Springsteen is one of few performers (U2 among them) who can put on a show of a scale to do it justice.

4. He played a track from his new album: No, it wasn't the more obvious "My Lucky Day," but at least it was "Working on a Dream" and not "Queen of the Supermarket," right?

5. He brought a gospel choir with him: Sure, you could see this as overkill, worked in this context. Again, it's a big show (with an obviously big budget), so why not pull out all the stops?

6. He played a football-specific version of "Glory Days": Few expected this track to be among the Boss's four-song, 12-minute set, so it was a pleasant surprise. Wonders about the incongruity of a baseball song during the biggest football game were quickly dispelled as Springsteen changed baseball to football and speedball to hail Mary. From there, it was all fun.

7. Bruce got a referee into the mix: A show this big is as much theater as it is a music performance, and Bruce delivered. Yes, it was strange and unnecessary, but it was fun, too. And who can keep from laughing to see Little Steven declaring it "Boss Time?"

8. Springsteen continued his years-long shtick of trying to create a revival at his shows: Critics obviously haven't seen the E Street Band in the last decade. Springsteen has long been about climbing on top of the piano, declaring the crowd righteous and doing his best to emulate James Brown. The man puts on a show. 'Nuff said.

9. He got everyone involved: With that many people on stage, it would be easy to let a few seem superfluous. Not everyone was busy every moment, and you certainly couldn't hear everyone every second, but the E Street Band is a well-oiled machine and everyone contributes. That means that, yes, Clarence even breaks out a cowbell on "Glory Days," much as he has for the past 25 years.

10. Bruce needed no wardrobe malfunction to entertain us: Remember when a musician could just perform and that was enough? No wardrobe changes, no laser light shows, no choreography? Of course, Bruce was abetted by fireworks, but he didn't need them. He showed that you can be family friendly and still rock.

Labels: Bruce Springsteen, music, TV

Fans of Matthew Ryan can hear a new track from the acclaimed singer-songwriter Sept. 15 on the new episode of the show "One Tree Hill." Or, for those of us for whom television is a luxury (a luxury we wouldn't squander on the CW when there is "Mad Men" to be watched), the tune can be had on iTunes. "

Some Streets Lead Nowhere" is a return to the dark, quietly atmospheric music Ryan has made as a solo artist over the past several years. His most recent release, Matthew Ryan Vs. the Silver State, found him playing with a rock band again, and the results were bracing. As good as that disc is (it's assured a spot in the top 10 of the TIRBD best CDs of the year list coming in December), it's nice to hear him continue to find plenty of inspiration in his old haunts, literally and figuratively.

The song, with acoustic guitar and strings dominating the soundtrack, plays for a minute and a half before Ryan begins to sing. Lyrically, it's as damaged and despondent as ever:

I can't tell where I've been now,
darling There are hawks inside my head
And every smile in every good thing
Are picked at until they are dead.

He does pull off a fairly randy couplet, for him anyway, singing about "That old street to the new house, those beautiful hills inside your blouse." But there is little comic relief here, which is fitting. Ryan delivers what one imagines to be a perfect soundtrack for a teen drama.

Those who tune in will hear more than that song. The show's creator has asked a handful of performers to actually score episodes in this sixth season of the series. Ryan's work scores the third episode. He's a favorite of the show, which has featured six of Ryan's songs over it's run.

Grace Potter is slated to score a future episode, and creator Mark Schwahn says he is in talks with Ryan Adams to do so as well.

See Ryan and Schwahn talk about creating the soundtrack here. Ryan writes about the experience here.

Labels: music, TV