Simon & Garfunkel The sacred fairgrounds of the Monterey Pop and Monterey Jazz festivals will bear new children in June and July with an expanded reissue of the 1967 pop festival and a new label debuting unreleased jazz treasures. Hot off a new documentary that recently screened at SXSW, Starbucks and Razor & Tie Records are teaming up for the two-disc Monterey International Pop Festival, highlighted by previously unreleased songs by Buffalo Springfield and Simon & Garfunkel. And kicking off with its first five CDs in July, Monterey Jazz Festival Records taps into Louis Armstrong from 1958, Miles Davis from 1963, Thelonious Monk from 1964, and Shirley Horn and Grover Washington Jr., each from 1994.

 

The Marlboro Chorus, Returning with its most pop-friendly album to date, The Marlboro Chorus knocks out nine rock-and-roll numbers on American Dreamers. Drawing influence from Buddy Holly, Pink Floyd, and Bill Haley, American Dreamers sees The Marlboro Chorus putting aside art rock in favor of a straightforward album complete with guitar solos, magnificently simple lyrics, and a raw sound. From the black-and-white cover to the title of the record itself, American Dreamers feels so easy, but it was a long time coming.

With Spider-Man 3 swinging into theaters on May 4, next week the soundtrack comes calling in a variety of packages. Featuring exclusive songs from Snow Patrol, Wolfmother, The Walkmen, and The Killers, the soundtrack includes a track from the Flaming Lips that has my mind salivating with possibility at the title "The Supreme Being Teaches Spider-Man How to Be in Love." A limited-edition eight-inch box set is made to resemble Spidey's rubberized suit, with a 32-page hardcover book, collectible cards, and one more Flaming Lips song, as the band rips through the "Theme from Spider-Man." Turntable spinners aren't left out, either, as a two-LP gatefold set and a series of four different picture discs are due from Record Collection Records. Spider-Man fever is also burning up Broadway, as Tony Award winner Julie Taymor (of Lion King fame) is working with Bono and The Edge of U2 on an upcoming live-theatre production.

Issue 629 Cover I'm looking for the secret heart of blues singer John Németh's blindsiding vocal soulfulness.

It probably doesn't come from his surroundings, because he's a native of Idaho.

And it probably doesn't come from experience, because he's only 30 years old.

But the unaffected soulfulness of this singer, songwriter, and harmonica player comes through in his performances both live and in the studio.

Carrie Newcomer Singer-songwriter Carrie Newcomer tells about a friend who leads a group of people who knit for the local food bank. They'll set up somewhere and knit with a sign that reads, "Knitting for the Food Bank."

"People will come and talk to them," Newcomer said in a phone interview last week. "Folks who might not maybe go up to someone on the corner and talk to somebody who has a sign will sit down with a group of women knitting and talk about the issue. 'What's happening with the food bank?'"

Tenki, It's apparent both in its publicity materials and in its recordings that the Chicago-based band Tenki aspires to the epic.

Yet by that measure, the band's newest release - the second in its two-part CD series We're Not Talking About the Universe Are We (on the Quad Cities-based Future Appletree label) - comes up short. Aside from the intentional brevity of its running time - 33 minutes - the songs are too compact for the band to stretch its legs. Almost all the songs clock in at around three minutes, and they need to be longer.

Patti Smith and Lou Reed - two grandparents of punk - have seriously mellowed out and are releasing surprisingly mature new works next week.

Next Tuesday iTunes releases a new song for Earth Day: "Go Green," by Eurythmics co-founder Dave Stewart, with guests Annie Lennox, Bonnie Raitt, Sarah McLachlan, and Imogen Heap. The single benefits Greenpeace and is the debut release of the new planet-friendly Greenpeace Works collaborative.

Woodbox Gang Most people think of bluegrass as music for old people, and Alex Kirt of the Woodbox Gang doesn't disagree. He calls it "timeless," but as a performer that has one big advantage.

By the time you hit age 50 or so, you can't credibly play metal, punk, or hard-rock music. "You're probably going to look ridiculous," said Kirt, a singer and multi-instrumentalist with the southern-Illinois "trashcan Americana" band that will be performing at the Bent River Brewing Company on Saturday, April 7. And the age-imperviousness of bluegrass is important, because the 33-year-old wants to be playing this music "forever."

In the world of outsider audio and what's dubbed "incredibly strange music," one lone, haunted figure stands tall above the rest: Joe Meek, turning the traditional studio-recording environment of the 1960s upside down in England with flair, obsession, and wackiness that crossed elements of Ed Wood with Phil Spector. As a clever boy who dissected radios and other early electronics, Meek turned his creative energy into a career as an independent producer free of the stodgy, copycat, high-fidelity desires of in-house record-company studios.

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