Justin’s Album Of The Week: Tempo by Salvatore

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Every week of this outdoor Mister Sunday season, we’ll be asking Eamon or Justin to highlight an album that they’ll be playing in full at the beginning of the day. This week, it’s Justin’s turn. He’s chosen Salvatore’s Tempo album. This is what he has to say about it.

When I got out of college in 2003, I dabbled in music journalism. Those were the days when PR companies would still send out CDs to writers, and it didn’t take long before I would get overwhelmed by piles of CDs. Luckily this album was one of the first I got, when it still felt really special to get new music in the mail for free.

What made it all the more special is how psyched I was on the music. (I quickly discovered that most promos were mediocre, so finding one I loved in the early stages was like hitting a home run at my first at-bat.)  Tempo became a staple album for me. It still reminds me of that time in my life, riding back from Beach Five at Robert Moses State Park in my friend Vance’s Jetta with the window open and my best friends in the back seat.

The music is expansive, with large debts to krautrock and post-punk (when I interviewed them, the Salvatore guys told me that they loved Liquid Liquid; it recently dawned on me that they probably named the band after the Liquids’ lead singer and percussionist Salvatore Principato). Beyond the homages to the past, the record also felt very contemporary. You could tell they listened to a lot of sample-based electronic music. I don’t think sampling was involved in the records, but the drummer played repetitive breaks as if they’d been sampled. They were clearly also shoegaze fans. Guitar lines would only be a few notes long, but they’d hang in the air for ages.

I recently pulled the album out, and it sounds as good as ever. I’m really excited to play it for you Sunday.

Eamon and Justin Live From Mister Sunday’s Outdoor Opener


Justin Carter and Eamon Harkin live at Industry City on the opening day of 2015’s outdoor Mister Sunday season, May 24th. This is two recordings combined into one – one direct from the mixer and one from a microphone perched in a tree just off the dancefloor. Enjoy!

Rain or Shine

mrsun_email_2015Hey, folks. In case you’re wondering, we’re definitely on for today. It might rain a little. It might not. Either way, we’ll be having a good time! Hope to see you down there.

Eamon’s Album Of The Week: Jazz Jamaica by Ernest Ranglin

Every week of this outdoor Mister Sunday season, we’ll be asking Eamon or Justin to highlight an album that they’ll be playing in full at the beginning of the day. This week, it’s Eamon’s turn. He’s chosen Ernest Ranglin’s Jazz Jamaica record. This is what he has to say about it.

On a recent tour of the UK, Justin and I dropped into Idle Hands, a really nice record store in Bristol where we did a spot of record shopping. (There’s actually a video of us talking about a few of our picks from the store in case you’re interested.)
One of the records I picked up was Jazz Jamaica by Ernest Ranglin, and it’s that record we’ll be kicking proceedings off with this Sunday. The record initially caught my eye for the cover, which was clearly Jamaican but suggestive of a different kind of sound than reggae, ska, dance hall, etc.

As the title suggests, it’s actually a jazz record – notably, a jazz guitar record. Ernest Ranglin was a prolific guitar player in the reggae and ska worlds, integral to the early releases on Chris Blackwell’s Island Records, and his progressive style in the early 60s is credited with starting what would become know as ska. You can read a whole lot more in his bio.
It’s a really elegant record, with an obvious Caribbean swing to it but at the same time, it’s unmistakeably a jazz record. I buy a lot of jazz, and recently I’ve specifically been exploring the world of jazz guitar. I’ve really grown to love this record for its unique combination of jazz playing with a Jamaican sensibility. A perfect record to ease the party in this Sunday.

A New Tradition, Starting With First Recordings by RL Burnside

RLIf you’ve ever gotten to the party early, you’ve probably heard Eamon or Justin play a full album or two. We’ve got a pretty nice sound system, and it’s a treat to hear a good long player over the PA before the dancefloor fills up. This year we’re making something official of our casual tradition with one of the guys selecting an album in advance and telling a little about why they’re going to play it. Justin’s taking the first turn. The record he’s chosen is RL Burnside’s First Recordings:

Back in October of 2011, I took a trip through the south that landed me in Clarksdale, Mississippi and Memphis, Tennessee. Before then I had the cursory blues knowledge that any music fan might, but the stops in those two towns made me fall deeply in love with the music. (I made a short mix of some of my first blues infatuations back in January in 2012 in case you’re interested.) Since then, I’ve grown my collection, and I’ve become particularly interested in the blues as dance music.

In its heyday, the blues were played in many ways and served many purposes, but my favorite recordings are the ones that put me in a trance, where the guitars drone and the vocals punctuate. Even when there’s no percussive elements in a recording, you can almost hear how dancers would’ve clapped along or stomped their feet to fill in the space.

The first recordings of RL Burnside contain some of the hardest dance tunes I’ve heard in the blues. Absolutely crushing stuff. (I played “Skinny Blues” at peak time at one of the most recent Mister Sundays.) Even the songs that aren’t dancers are full of groove and swagger. I can’t help but nod my head through the whole record.

The story of how this album was recorded is also very cool. George Mitchell, one of the great blues scholars and field recorders, was in Mississippi in 1968, searching for unknown players. He was led to RL by Othar Turner, a legendary blues man himself. When Mitchell arrived at Burnside’s small home, his wife, nine of his ten kids, and a few local friends were squeezed inside. Mitchell took a seat on their couch, and RL started up. After the first song, George Mitchell, mesmerized, hit record on his tape machine and captured the album we’ll listen to Sunday.

If you’re interested in any more of the story, feel free to come to the booth and ask to see the jacket. (I also have the first issue of some of the recordings, which has a little more back story. I’ll bring that, too.) I’m really looking forward to playing it for you – and, selfishly, taking yet another opportunity to listen to it myself!

–Justin Carter

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    Mister Saturday Night or Mister Sunday parties are in bold. Non-bold listings are for Justin Carter & Eamon Harkin DJ sets.

    Sunday, June 28th // Mister Sunday with Justin Carter and Eamon Harkin // at Industry City // all ages // more info and advance tickets

    Sunday, July 5th // Mister Sunday with Justin Carter and Eamon Harkin // at Industry City // all ages // more info and advance tickets

    Sunday, July 12th // Mister Sunday with Justin Carter and Eamon Harkin // at Industry City // all ages // more info and advance tickets

    Sunday, July 19th // Mister Sunday with Justin Carter and Eamon Harkin // at Industry City // all ages // more info and advance tickets

    Sunday, July 26th // Mister Sunday with Justin Carter and Eamon Harkin // at Industry City // all ages // more info and advance tickets

    Saturday, August 1st // Eamon Harkin with JG Wilkes at Twisted Pepper in Dublin, Ireland

    Sunday, August 2nd // Mister Sunday with Justin Carter Solo All Day // at Industry City // all ages // more info and advance tickets

    Sunday, August 2nd // Mister Sunday London with Eamon Harkin Solo All Day // at Oval Space // all ages // more info and advance tickets