A regular Thursday feature of this channel.

Peter Baird


Something great happens when Susan Tedeschi and Derek Trucks sing Hold That Line together. Forgive them for taking 1:20 of foomfering around (think Robbie Krieger on The End) to get there, it’s worth it. “Hanging on while it’s slipping away/Like the twilight at the end of the day.” Yes, it’s haunted desert music.

If you miss Lovin’ Spoonful here’s one for you. I’m breaking a rule for Group of Death by British alt rockers Mush. I usually demand an understandable lyric in order to for a song to make it onto the list (unless you’re designated a Problem Child), but this tune is so well constructed instrumentally I’m willing to give it a pass. No earthly idea what it’s about. (Two peoples separated by a common language.) Really great bass work, all with a pick.

Laura Viers’ Found Light album is so strong it’s hard to find a standout. I gravitated to Lantern because of the reverb bed that she wallows in with such obvious pleasure. Song construction reminiscent of early Cat Stevens. “As night stitches night/With a thousand question marks.” Gorgeous sonically, but with some very curious vocal and bass saturation moments amid the crystal clear production.

I wasn’t going to include 100% Endurance by Yard Act & Elton John, but I felt happier after I listened to it. “Everything has already happened, time is an illusion/It’s hippy [sic] bullshit but it’s true.” Please spell hippie correctly. Once again, bass player is using a pick. The song has a desperately bleak outlook tempered with an ultimately lovely human optimism. Could have been a soundtrack song for Alfie (either version).

Best Cover of the Week, no contest, is the mashup of Neil Young’s Everybody Knows This Is Nowhere/Dance Dance Dance as envisioned by Elvis Costello and his old buddy Rusty. So funny I never noticed Nowhere has that trip-over-your-feet line construction common to much of My Aim is True, which is of course why it sounds completely natural in Elvis’ voice.