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  • Old Souls & Wolf Tickets
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Old Souls & Wolf Tickets Enhanced

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Audio CD, Enhanced, January 22, 2002
$22.69 $2.98

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Product Details

  • Audio CD (January 22, 2002)
  • Number of Discs: 1
  • Format: Enhanced
  • Label: Slow River Records
  • ASIN: B00005UDPI
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #76,460 in Music (See Top 100 in Music)

1. Congo Square At Midnight
2. Tony Did The Boogie Woogie
3. It Don't Happen Overnight
4. Sweetie-O
5. Piggly Wiggly
6. Two-Tone Car (An Auto-body Experience)
7. Anthem For Old Souls
8. Sneaky Jesus
9. Down The Road A Piece
10. No Hep Cats
11. Jolie's Nightmare (Mr. House Dick)
12. Blood Alley
13. G-d Damn Liars
14. Dixieland Funeral

Editorial Reviews

With a career work ethic that would shame the slackest slacker--or even Randy Newman--this 2002 release marks just the second album by inveterate L.A. music fixture Chuck E. Weiss (and subject of Rickie Lee Jones's 1979 hit, "Chuck E.'s in Love") in 18 years. And unlikely as it seems, this follow up to his 1999 rough-cut jewel, Extremely Cool, finds Weiss on a creative, if typically slapdash, roll. This gleefully haphazard cocktail of blues, swing, be-bop, and Dixieland still can't escape comparisons with old pal Tom Waits, except that Weiss's self-dubbed "alternative jungle music" is typically more accessible--and infinitely more hilarious--than his better-publicized peer. Typically (and gratifyingly), Weiss approaches this music with all the dignity of a lush at an open bar: slave chants rub shoulders with middle-aged Jew hoodoo ("Congo Square at Midnight"); the tale of "Sweetie-O" swings to a spare hipster groove laid down by guitarist Tony Gilkyson; the patent falsetto-weirdness of "Piggly Wiggly" segues like old grease into the '50s trash-can-rhythm shuffle of "Two Tone Car." The toy piano of "Anthem for Old Souls" and loopy rhymes of "Sneaky Jesus" may also recall the Waits connection, but the goofily heartfelt lament of "No Hep Cats" and smoky jazz of "Blood Alley" argue that Weiss holds his distinctly American bohemian traditions, musical and otherwise, in high regard. As if to underscore the point, Weiss has included "Down the Road Apiece," his 1970 duet with blues legend Willie Dixon, a track that's perhaps the album's most jarringly normal. Also included is a video enhanced bonus track of "Cub Scout Suit (With the Butt Cut Out)" recorded live at L.A.'s Viper Room. A compelling argument that strong roots can nonetheless yield a spectacularly twisted tree. --Jerry McCulley

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

11 of 12 people found the following review helpful By almosthappy VINE VOICE on January 23, 2002
Format: Audio CD
I was very delighted-no, overjoyed!-when I spotted Chuck E Weiss's low-key, no-publicity new album in a local music store. It wasn't displayed, it wasn't on the new-releases shelf, a single copy was simply and humbly filed next to his 1999 aptly titled LP "Extremely Cool". Chuck E is like one of your weird uncles who smokes and drinks too much, and nobody in your family likes him. But you don't mind chewing the fat with him, sipping a spiked lemonade on the porch while listening to his wild stories from the good old Bohemian days, or even occasionally taking some avuncular advices from the old man on women, cigarettes and various other un-kosher activities. The songs on this new collection call to mind many influences. Comparisons to his old pal, Tom Wais, are inevitable. Other people will probably talk to you about all the similarities, so I won't go into them. Instead, I'll tell ya how this new album is dissimilar to Tom Waits in many ways. First of all, it's not produced, co-wrote, or guest-stared by Tom. The songs are written almost exclusively by Chuck himself. Makes one wonder what the sources of his new-found inspirations are (after all, we are talking about a man with a disproportional 40-year career and a 3-LP catalog). Second departure from Tom is indicated by the ecstatic joy that can be found in the new songs. Bluesy and earthy, quite different from some of Tom's recent works which are thick, dark, theatrical, and Kurt Weill-esque (Don't get me wrong, I LOVE Tom's recent stuff and hope he never stops making them. I'm just saying that Chuck's new songs have a different vibe.) The new set of Chuck E songs are raw, rowdy, playful, soulful, and definitely more accessible. A rich tapestry of different schools of Americana, reminiscent of the swampy Dr.Read more ›
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5 of 5 people found the following review helpful By deepbluereview on March 28, 2002
Format: Audio CD
Chuck E. Weiss is the epitome of cool. As a teenager, Chuck E. toured various venues with the late Lightnin' Hopkins and Willie Dixon and in the late 70's he was the subject of Rickie Lee Jones top ten tune "Chuck E.'s In Love". His friends include Tom Waits and Johnny Depp. In fact, Weiss together with Depp founded the Viper Room in Los Angeles which is featured in the video enhanced track contained on the disc "Dixieland Funeral". Musically, Weiss recorded a solo album in the 70's which, for unknown reasons, received only limited distribution. So dismal were the results, Weiss opted to perform in clubs of his choosing and did not record another solo CD until coaxed back to the studio in 1999 by friend, Tom Waits who co-produced the exceptional "Extremely Cool". While, Waits does not play a role in the production of this disc, his influence is heard throughout, especially in tunes like "Congo Square At Midnight", "No Hep Cats" and "Sneaky Jesus". Overall, the CD is not blues in the more traditional sense. It is, however, heavily jazz/ blues influenced and some songs, like "Down The Road A Piece" and "Dixieland Funeral" would be at home in any Dixie bar. This is a musical experience not to be missed. Pick this up and then seek out "Extremely Cool".
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10 of 12 people found the following review helpful By D. Sean Brickell on February 1, 2002
Format: Audio CD
To my ears, this is an amazing new release by Chuck E. Weiss, and one that actually has me starting my "Best Of" list only 31 days into '02. It fulfills the promise made last year on Weiss's first effort in almost two decades. How? By standing apart from (possibly, above!) his primary musical and lyrical influences.
What makes this CD especially memorable is the appearance of Mr. Willie Dixon. While most often Weiss is compared to his old running mate Tom Waits -- for prettydamngoodreason -- this time it's also impossible not to hear other strong influences reminiscent of Dr. John and Professor Longhair at their Cajun-gumbo-best.
Anyone who needs a shot of rhythm & blues can get a distillery-load off this disc.
The songs are sometimes simultaneously humorous and serious, but none are done simply to be clever. This is a display of the real crafts of songwriting and tunesmithing.
Maybe it's simply wishful thinking on my part, but in my mind, I can hear Van Morrison doing these songs. The relaxed and confident freeform style is so comparable. I wish-to-god Morrison would listen to this disc and re-ignite his dedication to original blues/jazz/rock roots.
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Format: Audio CD
No hace falta tener un posgrado en "Crítica de música pop" para darse cuenta de que Chuck E. Weiss tiene una voz y unas canciones muy parecidas a las de Tom Waits. Pero allí acaba toda coincidencia: lo que en uno es oscuro, asfixiante y tortuoso, en el otro es divertido, carnal y accesible. Y a pesar de compartir su buen gusto por el jazz decadente, Weiss está más empapado del rhythm & blues al estilo de New Orleans.

De acuerdo: en "Old Souls & Wolf Tickets", su segundo álbum tras "Extremely Cool" (99), el cantante de Los Angeles, junto a su excelente banda The G-d Damn Good Liars, desgrana algunas canciones que pasarían por el Tom Waits más clásico: la tremenda torch song "It Don't Happen Overnight"; o los elegantes y jazzys "Sweetie-O" y "Blood Alley".

Sin embargo, en la "alternative jungle music" de Weiss (como él define su estilo) el influjo de New Orleans es más que evidente, por lo que con frecuencia resulta un curioso y excitante cruce entre Waits y Dr.John: en "Congo Square At Midnight" (con cantos tribales onomatopéyicos característicos de los indios del Mardi Gras); en "Sneaky Jesus" (con ritmos exuberantes y coloristas); en "No Hep Cats" (rhythm & blues a lo Professor Longhair); en "Anthem For Old Souls" (con el ritmo cansino marcado por la tuba y un piano de juguete); y en ese "Dixieland Funeral" (una brutalidad dixie con brass band desmesurada).
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