The fact checkers at The New Yorker fucked up – ha ha- again. Last time I sent them a letter, which they pubbed, correcting David Denby on the Dogma ’95 agreement by Danish filmmakers. This time I can just blog it — in their Goings on About Town’s ‘Recordings’ section, a review of the Little Willies, written by Ben Greenman, mentions that they cover “Gram Parsons’s ‘Streets of Baltimore.'”

But Parsons didn’t write it. He doesn’t even own it by way of his great cover. Harlan Howard and Tompall Glaser wrote it. It’s not even an obscure music fact. Or you can look it up. The New Yorker didn’t, but they still have things to offer us in the future. So don’t hate them so. Just poke fun at them.

In selected parts, disco had a minute amount to offer future music. As a music unto itself, it was only a matter of time until its potential was spent. It’s not even funny anymore when it comes on during a party. We have mid-eighties hip hop for that (I got it made …)

This brings me to “Ring My Bell, ” which contains possibly one of the best guitar figures in rock, disco, c&W, whatever, and it’s a true pleasure to hear if you can get past the laser-bells sound. David Byrne steals it and reorders the chords for “This Must Be the Place (Naive Melody),” on Talking Heads’ Speaking in Tongues album, further proof that his real reason for being alive is to shut up and be a guitar player.

A recent “Ring My Bell” rei-imagining comes on “Tunnel Music,’ via Zongamin, the nom de deck for Susumi Makai, who creates one-man-band beats vs. live-guitar instrumentals. His 2003 self titled debut is a nice start, but not riveting; recently leaked stuff and remixes for the likes of Dizzee Rascal have me salivating. Let’s call this genre cyborg, because it’s half human half robot. Unlike every channel on my cable, however, this cybog is not fighting a Navy Seal.

And here’s a bonus Zongamin track, “Spiral,” which is probably the album’s only other highlight.