The Mangoes: “The Mangoes” (2014) CD Review

The Mangoes is the new project of Bret Bingham and Tim Morse, and the band’s self-titled debut album is a concept album with a narrative about a struggling musician who becomes obsessed with a woman (the story is outlined in the CD’s liner notes). This is an unusual pop album that takes us in interesting directions, like some nutty hipster film created by a team where each person gets to contribute a section, leading to several different sounds, different voices, and somehow adding up to something kind of wonderful. It’s pop, sure, but dips into rock, jazz, and other genres, so even if you don’t like every song here, you’re bound to enjoy at least a few, regardless of where your taste lies. The album has a sense of humor, which I appreciate, but that also doesn’t stop it from having moments of beauty, as in “Headed For A Fall.”

It opens with “I Told You So,” a very catchy, bright-sounding pop song, which is directed at the female character of the story, Candy, who has made it in the music business. Billy, the album’s protagonist, sings to her, “I never had a doubt that/One day they’d be blown away/By the talent that is you/And that’s all I’m gonna say.” But that’s the beginning of the song and of course that’s not all he’s going to say. The song has a certain sense of humor about it, as later he sings, “But I guess there’s one more/Thing I really ought to say/Yes, I got myself a lawyer/And if I get my way/I’ll have royalties/Along with my flat fee/And a fair percentage of your gross proceeds.” Ah, love and the music business.

It’s followed by “Mango Overture/Over.” The “Overture” has sound effects of a car radio finding a bit of “The Mangoes Theme,” and feels a bit pointless. It leads straight into “Over,” about struggling on the road and knowing it’s going nowhere (“The crowd’s a no-show”). There is a Beatles influence that can be heard at moments on this track, and on others. “Barista Girl” is a fun and kind of silly tune, a love song dedicated to the chick behind the counter at Starbucks. “Barista girl, pants so tight/But I’m only her amigo/Oh, I travel far/I wait so long in the Starbucks line/For barista girl.” It has a wonderful vibe about it, like a Latin country song, and some lines that had me laughing. Then “Samba Mambo” is a cool instrumental track, and we can imagine Billy and Candy sizing each other up, and the coffee shop disappearing around them as the world focuses on just these two as they begin their dance.

“The Future (Will Be Yours)” is one of my favorite tracks. It has this sly, slick hipster jazz vibe, with a sense of humor, and I totally dig it. How can the girl help but buy into the fantasy, as he sings to her, “Hey girl, there’s magic in the air/And there’s money everywhere.” And I love the bass. That’s Scott Southard on bass on this track.

With “Stupid Chorus,” the album suddenly goes in a techno pop direction. It’s unexpected and definitely not my favorite track. But in the story of the album, it’s the song that gives Candy and Billy a minor hit. And the song is sort of poking fun at its very genre, with lines like “Stupid chorus, stupid chorus/Like a ringtone in our brains” and “Feel the sterile bass drum beating.” Hope Rogers performs the lead vocals on this track. That tune is followed by “Brickwall,” which has shades of They Might Be Giants, and reminds me a bit of certain songs by Jim Infantino, at least during the chorus. “I like the music when it’s free/It sounds good to me/I like the music when it’s louder/I like the music when it’s free.”

“Headed For A Fall” actually has a pretty feel to it, helped by the cello, an instrument I’m always happy to hear. (That’s Rebecca Roudman on cello.) This is another track that has a Beatles influence. “And all I ever wanted was to make her a star/Just a little more time, I could take her real far.” And then “200 Yards” is a good pop tune about dealing with a restraining order. “Thanks my dear pumpkin/For the legal injunction/I’m not backing down/I’m still hanging around.”

“Epilogue” is a sort of progressive instrumental track. Oddly, there are two more tracks after “Epilogue.” The first, “Broken Soul,” is like a message from the grave. The second, “The Mangoes Theme,” doesn’t really seem to have anything to do with the narrative of the rest of the album, but it's fun and goofy and short, so just enjoy it.

CD Track List

1. I Told You So
2. Mango Overture/Over
3. Barista Girl
4. Samba Mambo
5. The Future (Will Be Yours)
6. Together – You And I
7. Stupid Chorus
8. Brickwall
9. Headed For A Fall
10. The Future (Will Be Ours)
11. Surveiller
12. 200 Yards
13. Dirty Love
14. Disguise
15. No Future
16. Tunnel
17. Epilogue
18. Broken Soul
19. The Mangoes Theme 

The Mangoes was released in the fall of 2014. 

Cactus Flower: “Magic Hour” (2015) CD Review

Cactus Flower is the project of Jess Lewis, who wrote or co-wrote all of the tracks on the new release, Magic Hour (the debut CD under the Cactus Flower name). She also does the vocals and plays many of the instruments, including guitar, piano and percussion. She is joined on certain tracks by Levon Campbell on keyboard and piano, Dave Ewenson on drums, Evan Cardwell on bass, Asa Brosius on pedal steel, and Cailean Lewis on vocals. And, in case you were wondering, yes, this is another excellent disc out of Canada. Jess Lewis is based in Halifax. You might also know her from her work with Dark For Dark.

Jess Lewis opens this album with “China Blue,” a simple and delightful folk song. Her voice is somehow one of both innocence and experience. “Headed out into the world/That brave little girl/All she wanted was something to do/China Blue.” That’s followed by “Darkest Hour,” a truly fun rock tune with a catchy rhythm, and some interesting, unexpected changes. “Times are good, some times are tough/But you keep on doing your stuff/Not a thing can get in your way.” I love the mix of the fun groove with those stranger, darker passages. Then “Summertime” has a pretty folk feel. “Watching the trees/Sway in the breeze/Catching a sneeze/And God bless you/And bless me too.” It’s the line “And bless me too” that made me first love this song, just way she adds it.

“Jojo” a fun country rock song that feels like it should play at an old-time ice cream parlor or something, mainly because of the work on keys. In other words, I love it. There is something completely fucking adorable about Jess Lewis, the way she sings, her attitude, her vibe, everything. “Jojo” was written by Jess Lewis and Lacey Haynes. And that’s Levon Campbell on keys on this track. “Gonna find out what went wrong/Too late, but not before too long.” This is one of my personal favorite tracks. And then “Left The Lights On” is a wonderful piano instrumental. It’s kind of mellow, but with a sort of timeless quality that I admire and enjoy.

“Lose Your Head” is a quirky, fun song, featuring Cailean Lewis on vocals (I love the way he happily sings, “You’ve got to shut your mouth and lock it”). It’s insanely, delightfully catchy, and is another of my favorite tracks. There is a certain 1960s thing happening here that I totally dig. “Lose Your Head” was written by Jess Lewis and Lacey Haynes. Also written by Jess Lewis and Lacey Haynes is “Lady In Red,” which features Asa Brosius on pedal steel.

The album then concludes with “You Messed Up,” a song that begins as a kind of groovy country rock number with a prominent bass line, but becomes a psychedelic little gem that owes a bit to both The Beatles and Syd Barrett. It’s a very cool track, another highlight of this CD.

CD Track List

1. China Blue
2. Darkest Hour
3. Summertime
4. Jojo
5. Left The Lights On
6. Redbird
7. Cola
8. Lose Your Head
9. Lady In Red
10. You Messed Up

Magic Hour was released on July 24, 2015.

Van Morrison: Another Glorious Decade Under Review 1977 – 1987 DVD Review

Van Morrison: Another Glorious Decade Under Review 1977 – 1987 is a documentary and follow-up to 2008’s Van Morrison: Under Review 1964 – 1974. The film is narrated by Thomas Arnold, and obviously focuses on Van Morrison’s career in the late 1970s and 1980s, a time when his music went through quite a few changes. As Thomas Arnold says at the beginning, “he embarked on a journey in which he sought to find independence as an artist, and explore spirituality in his music.”

Van Morrison didn’t take part in this documentary, so there are no new interviews with him. There are, however, snippets of interviews he did in 1986 and 1987, in which he talks about songwriting, the music industry, touring, and the themes in his music. There are also interviews with several music journalists, including Nigel Williamson (Uncut Magazine), Anthony DeCurtis (Rolling Stone), Gavin Martin (NME) and Chris Welch (Melody Maker). Anthony DeCurtis talks about how Van Morrison “distinguished himself as a singer. The instant you heard Van Morrison, you knew exactly who it was.” There are also interviews with Keith Altham (Van Morrison’s former publicist) and Gary Ladinsky, who was the engineer on A Period Of Transition (and who uses the word ordeal in an odd way), as well as with musicians Pee Wee Ellis and Chris Hayes. Pee Wee Ellis was Van Morrison’s musical director from 1979 until 1985. Chris Hayes (whom you likely know from his work with Huey Lewis And The News) played guitar on Beautiful Vision.

Though the film focuses on the albums A Period Of Transition (1977) to Poetic Champions Compose (1987), it does give a bit of Van Morrison’s earlier history at the beginning, including mention of Them, plus a bit of his early solo career. It also goes into 1974’s Veedon Fleece, and how its lower sales led to a three-year absence just before A Period Of Transition, and how an appearance in The Last Waltz led to a friendship with Dr. John, who worked with him on the 1977 record. The film then goes in chronological order from album to album, with those interviewed also discussing Van Morrison’s personality and the spirituality of his music.

When reaching 1983’s Inarticulate Speech Of The Heart, the camera focuses on a line on the back of the record sleeve: “Special thanks to L. Ron Hubbard.” But the film doesn’t delve too much into any association that Van Morrison might have had with that man or with the insane cult of Scientology. A little later one of the men interviewed does talk a bit about how Van Morrison was on a spiritual journey at the time, and so he looked into Scientology and other groups as a result of spiritual pain. I would have liked a little more information there (and in some other areas).

The film does include some concert footage, including bits of performances of songs like “Street Choir,” “Bulbs,” “You Gotta Make It Through The World,” “Wavelength,” “Checking It Out,” “Bright Side Of The Road,” You Know What They’re Writing About,” “Summertime In England,” “Spirit” and “In The Garden.”

Special Features

The DVD includes You Know What They’re Talking About: Van Morrison And The Music Press, which includes more from interviews with Nigel Williamson, Keith Altham, Chris Welch and Anthony DeCurtis, who talk about their personal experiences with Van Morrison. This feature is approximately seventeen minutes.

There are also brief biographies of those interviewed in the film.

Van Morrison: Another Glorious Decade Under Review 1977 – 1987 was directed and edited by Elliot Riddle, and is scheduled to be released on DVD on September 18, 2015.

Dave Stryker: “Messin’ With Mister T” (2015) CD Review

Jazz guitarist Dave Stryker's newest release, Messin’ With Mister T, is a tribute to saxophonist Stanley Turrentine, whose nickname was Mr. T (so no, this is not about messing with B.A. Baracus). Dave Stryker toured with Stanley Turrentine for more than a decade, and also recorded with him, appearing on T Time, which includes a Stryker composition, “Side Steppin’” (a tune that is also included on this release). Stryker is backed by an excellent group of musicians – Jared Gold on Hammond B3 organ, McClenty Hunter on drums, and Mayra Casales on percussion. And then he has special guests joining him on saxophone for each track. There is a tremendous amount of joy put into this project, and perhaps even more coming out of it.

The CD opens with “La Place Street,” one of my personal favorite tracks. This is a tune that was written by Stanley Turrentine, and this version features Houston Person on tenor saxophone. I love the fun mood of this piece, and the wonderful groove, and Stryker, Person and the rest really nail it, while certainly adding their own touches. I love the way the saxophone and guitar converse early on, before the saxophone asserts itself and takes a great lead. There is a whole lot of soul to this recording, as there should be. And of course Dave Stryker does some absolutely delightful stuff during his lead on guitar.

It’s followed by “Pieces Of Dreams,” which was written by Michel Legrand. This version features Mike Lee on saxophone, and at the end includes a little nod to “Up, Up And Away” on guitar (you know the tune, “Wouldn’t you like to ride in my beautiful balloon?”). “Don’t Mess With Mister T,” the album’s title track, was written by Marvin Gaye and included on his album Trouble Man. Stanley Turrentine recorded it and used it as the title track to an album a year later. The version here features Don Braden on saxophone, and he does a wonderful job with it. Jared Gold also adds some excellent work on organ. This track is one of the highlights.

This rendition of “In A Sentimental Mood” begins with some sweet work on guitar by Dave Stryker before Jimmy Heath comes in on saxophone. And then it becomes gorgeous and moving. I’ve always loved this composition, which was written by Duke Ellington, and this is a really good rendition, another highlight of this CD, mainly because of Jimmy Heath’s playing. And all the musicians really shine on John Coltrane’s “Impressions,” this version featuring Chris Potter on saxophone. I love McClenty Hunter’s work on drums here (even long before his solo), and some of what Dave Stryker does on this track is absolutely fantastic. There is also a cool lead part on organ by Jared Gold.

Besides being called Mr. T, Stanley Turrentine was also known as The Sugar Man, which was the title of a 1970s release. He also put out a record titled Sugar in the 1970s, and a version of that album’s title track, which was written by Turrentine, is included here. This version features Javon Jackson on saxophone (you probably know him from his work with The Jazz Messengers). It’s a few minutes shorter than the Turrentine original, but is a very cool rendition, featuring some excellent work on guitar.

As I mentioned, Dave Stryker’s “Side Steppin’” is included on this album. It might seem a bit odd, because it’s like Dave Stryker covering Stanley Turrentine covering Dave Stryker. But whatever, it's a groovy track, and it features Steve Slagle on saxophone. The album then concludes with another Turrentine composition, “Let It Go,” with Tivon Pennicott on saxophone.

CD Track List

1. La Place Street
2. Pieces Of Dreams
3. Don’t Mess With Mister T
4. In A Sentimental Mood
5. Impressions
6. Gibraltar
7. Salt Song
8. Sugar
9. Side Steppin’
10. Let It Go

Messin’ With Mister T was released on April 7, 2015 on Strikezone Records. By the way, Dave Stryker also plays on the recent release by Steve Johns, Family.

Steve Johns: “Family” (2015) CD Review

Jazz drummer Steve Johns has appeared on recordings by many artists over the years, including Leon Thomas, George Russell, and Sonny Fortune. His new CD, Family, is his first as bandleader. The aptly named Family features his wife Debbie Keefe Johns on saxophone and his son Daryl Johns on bass. Daryl Johns is already gaining recognition in the jazz world, but interestingly this CD is Debbie Keefe’s first recording. It was produced by Dave Stryker, who plays guitar on several tracks. The other tracks feature Bob DeVos on guitar. (Steve Johns has played on several discs by Bob DeVos, including 2006’s Shifting Sands, 2007’s Playing For Keeps and 2013’s Shadow Box.) This album is mostly original material, with Stryker and DeVos contributing material, in addition to the compositions by Steve Johns. The CD also includes extensive liner notes by Ed Berger, of Rutgers Institute of Jazz Studies.

The CD begins with “Sleepwalk,” the opening of which sounds like it owes something to Bruce Springsteen’s “Spirits In The Night.” There is a bit of a bluesy groove to this tune, which was written by Steve Johns, and features a nice bass solo. Dave Stryker plays guitar on this track. It’s followed by “So You Say,” which was written by Jeff Holmes, and features Bob DeVos on guitar.

“Shadowboxing” is one of my favorites. I love how it opens, almost like it’s already in progress. No easing in. The conversation has already started, and you drop right in, immediately into the expressive and urgent saxophone of Debbie Keefe Johns. This one too features a really nice bass solo, as well as a cool drum solo. It was written by Dave Stryker, who plays guitar on this track. His lead section is another reason why this track is a highlight for me, and I love Steve Johns’ fast-paced drumming beneath it. This is just an all-round great track.

The wild “Shadowboxing” is followed by a mellow, romantic tune titled “Bogie And Bacall,” written by Steve Johns. It begins with some thoughtful, sweet work on guitar by Dave Stryker. Then Debbie Keefe Johns’ saxophone comes in as a passionate voice deep in the night. Beautiful. And it is that voice, that heart that drives this song, though there is also a really wonderful bass lead.

“Mixing” has a kind of funky base, and a light, playful sense about it. It was written by percussionist Airto Moreira, whom I became familiar with years ago through his associations with Grateful Dead drummer Mickey Hart. This composition appeared on Airto’s debut record, 1970’s Natural Feelings. The version here is a bit smoother, a little less frantic than the original. But check out Debbie Keefe Johns’ work on sax.

“Shell Game” also features some really cool work on sax by Debbie Keefe Johns. It was written by Bob DeVos, who also plays guitar on this track. When he takes over on lead, the song has a delicious, kind of bluesy groove, and his playing gets me smiling. This track also features a good bass solo by Daryl Johns. The album then concludes with “Chunk,” which was written by Steve Johns and Jeff Holmes. This one has a great funky edge, with a very prominent bass, and is one of my favorite tracks. There is definitely a sly, playful vibe to this tune which you can't help but like, as well as some wonderful drumming and delightful touches on saxophone.

CD Track List

1. Sleepwalk
2. So You Say
3. Shadowboxing
4. Bogie And Bacall
5. Came To Believe
6. Mixing
7. DKJ
8. Shell Game
9. Chunk 

Family was released on May 5, 2015 on Strikezone Records.

Grateful Dead: “Dave’s Picks Volume 15” (2015) CD Review

The newest Dave’s Picks set arrived on July 31st, just in time for me to listen to it on Jerry Garcia’s birthday (August 1st). It contains the complete show the Grateful Dead performed on April 22, 1978 at the Nashville Municipal Auditorium in Nashville, Tennessee. Like a lot of fans, I think 1973 was probably the best year for the band, followed closely by 1977. This show from early in 1978 has some of the feel of those great 1977 shows.

Disc 1

The first disc contains the first set, and begins with “Bertha,” always a great opener. It’s an interesting version. The “test me test me” line doesn’t have nearly as much power as in a lot of other versions, but the groove is still really good. And it leads directly into “Good Lovin’” (a pairing that was fairly common that year). That is a song the band had been doing even in the early days, but in the late 1970s it certainly had a different feel. This was the song that would lead off the band’s 1978 release, Shakedown Street, an album that wasn’t appreciated by all Dead fans, but one which I always enjoyed (it was one of the first four Grateful Dead records I purchased). The version here has a fast pace and a lot of energy. It’s fairly short, at only six minutes or so, but hey, the show has just begun.

The band then relaxes things a bit with a pretty rendition of “Candyman.” This is a really good version, with some wonderful moments both vocally and on guitar. Bob then leads the band into “Looks Like Rain,” sticking to the mellow vibes for the moment. Things then pick up again with a fun rendition of “Tennessee Jed” and a nice “Jack Straw.” There is a lot of energy to this “Jack Straw” toward the end. And one of the highlights of this first set for me is “Peggy-O,” which features a nice jam. The first set wraps up with a cool “New Minglewood Blues,” with Bob nearly howling at moments, and a good “Deal” (which is particularly fun at the end). And rather than the normal line about taking a short break, Bob says, “We quit, see you all later.”

Disc 2

The second disc contains the first part of the second set, beginning with “Lazy Lightning” into “Supplication,” the songs that kicked off the self-titled 1976 debut album from Kingfish. The jam here has a lot of fire, and “Supplication” totally cooks. This rendition of “It Must Have Been The Roses” has a distinctly country flavor, which at first caught me off guard, but I kind of like it.

For me, things really get going with “Estimated Prophet” into “Eyes Of The World,” one of my favorite pairings (they played those two at my very first show). There is a bit of stage banter before “Estimated Prophet.” “Estimated” includes a great jam, but a very sloppy transition into “Eyes.” This “Eyes” is a fast-paced romping good time, absolutely delicious. And the jam after the last verse is pretty good, leading into a nice, long “Drums” (in fact, this is the longest track on the three discs).

Disc 3

The third disc contains the rest of the second set and the encore, beginning with the very end of “Drums” just before they start to go into that “Not Fade Away” beat. And man, what a great rendition. You’re going to want to turn this one up and move any breakables out of the way. And then the transition into “Wharf Rat” is smooth and perfect. “Wharf Rat” has always been one of my favorite Grateful Dead songs, and this is an excellent version. The second set then concludes with an energetic “Sugar Magnolia.” The encore is “One More Saturday Night.”

CD Track List

Disc 1

1. Bertha >
2. Good Lovin’
3. Candyman
4. Looks Like Rain
5. Tennessee Jed
6. Jack Straw
7. Peggy-O
8. New Minglewood Blues
9. Deal

Disc 2

1. Lazy Lightning >
2. Supplication
3. It Must Have Been The Roses
4. Estimated Prophet >
5. Eyes Of The World >
6. Rhythm Devils

Disc 3

1. Not Fade Away >
2. Wharf Rat >
3. Sugar Magnolia
4. One More Saturday Night

Dave’s Picks Volume 15 is limited to 16,500 copies. 

Revenge Of The Mekons DVD Review

If you are not familiar with the music of The Mekons, watch the new documentary Revenge Of The Mekons and become an instant fan. The Mekons started as a punk band in Leeds in 1977, and have grown and changed and become better and better over the last thirty years. This film tells the story of the band basically in chronological order, with lots of delightful tangents. It opens with some quotes about the group, including Lester Bangs’ “The Mekons are the most revolutionary group in the history of rock ‘n’ roll,” played over that great riff to begin “Where Were You.” Then we see them performing that very cool punk tune, and, if you don’t know the band, you might be surprised to see an accordion and fiddle.

This is a band that has gone through a lot of changes, which are documented here, but remained true to themselves. And maybe it’s because of that that they are simultaneously loved and largely unknown. There is a funny and sad moment when someone from the audience alerts the band onstage that their next gig in Sheffield has been canceled. (It feels like something from Spinal Tap.) It’s only like six minutes into the film and you already love these guys and care about them. The scene continues, and the audience member says that tickets are no longer available, and suggests that perhaps the show is sold out. The band immediately dismisses that conclusion. Singer Sally Timms says, “Sold out is not a phrase that ever comes into our lives.” And then in an interview she says, “Success is the thing that usually kills bands in the end, so we haven’t had any success.”

That depends on how you define success, I suppose. Just their longevity, whether it is from pure stubbornness or what, seems to indicate they’re successful. Plus, the band clearly has a joy about what they’re doing. After all, hey, they can’t possibly be in it for the money.

The film includes plenty of interviews with band members, past and present, including Mark “Chalkie” White, Kevin Lycett, Tom Greenhalgh, Andy Corrigan, Jon Langford, Ros Allen, Sally Timms, Sarah Corina, Robert Worby, Steve Goulding, Dick Taylor, Susie Honeyman, Lu Edmonds, and Eric Bellis (Rico Bell). They talk about having real jobs, and about the gig where U2 opened for them in Dublin. They also talk about writing songs, and the film treats us to a glimpse of the process of a song coming together and later being recorded and then being performed. And of course they talk about the evolving sound of the band, how they got interested in folk music, and how The English Dancing Master resulted from that, and how the Mekons tried to do country, and came up with something new and different. Band members are quite candid, and they certainly have a sense of humor about themselves. Mark “Chalkie” White talks about leaving the band: “I couldn’t sing. I couldn’t play anything. And as the others got better at it, I didn’t.”

There are also interviews with music critics, fans and other musicians. Bob Last, of Fast Product Records, says about the band in the early days: “I think really the critical thing was that they just clearly could not play, but they’d listened to some pop, and I loved the fact that there would be these moments that were like a photocopy of the bit of pop, even though they hadn’t a fucking clue how they should actually construct it.” There is early concert footage of them performing “Never Been In A Riot,” which they say was inspired by, and is a response to, “White Riot” (and yes, there is a bit of footage of The Clash performing that song). Kevin Lycett says: “I’ve not been in a riot. In fact, I’m frightened of being in a riot. In fact, the police scare the living shit out of me.”

The film includes footage of the band rehearsing for a tour. Plus there are lots of wonderful old photos, including an early press photo, which is mostly of friends of the band. And there is footage of Kathy Acker performing with The Mekons (that crazy pirate nonsense), as well as footage of that Vito Acconci Mekons exhibition (and an interview with Acconci about it). The movie also explores some of the other interests and pursuits of band members.

This is one of the best music documentaries I’ve seen. I knew nothing about this band coming into it, and now have not only an appreciation for their music, but a real love of this band, and a desire to purchase everything they’ve ever recorded (with the possible exception of that pirate album). And be sure to watch all the credits, for there’s an extra little bit at the end.

Special Features

This DVD contains approximately an hour and a half of bonus material, including a concert performance filmed at the Bell House. At the beginning, Sally mentions that it’s the full band playing that night, and says, “It will be as rubbish as it always is, but there are more of us, so the blame is spread.” The set features some more joking around and teasing among band members. The show includes “Thee Olde Trip To Jerusalem,” “Diamonds,” “Afar And Forlorn,” “Geeshie,” “Heaven And Back,” “Orpheus,” “Fletcher Christian,” “The Curse” and “Memphis, Egypt.” It’s approximately thirty-eight minutes.

There is also Mekons Symposium (also approximately thirty-eight minutes), which was held at Columbia University on October 30, 2014. The panel includes Vito Acconci, Jonathan Franzen, Mary Harron, Jon Langford, Greil Marcus and Luc Sante. Jon Langford performs a tune on acoustic guitar.

The special features also include more interviews, including a bit about a column following The Mekons, as well as Rico showing his art space. Will Oldham performs his song “For The Mekons Et Al.” There is a concert poster gallery and the film’s trailer.

Revenge Of The Mekons was directed by Joe Angio, and was released on DVD on July 28, 2015 through Music Box Films.