Interview : A.A. Bondy, Playing Tonight at the Gargoyle

November 20, 2009

A.A. Bondy

Interview : A.A. Bondy, Playing Tonight at the Gargoyle
By Jaime Lees in Story Outtakes
Fri., Nov. 20 2009 @ 8:06AM

From television to the radio to the internet, indie-folk newcomer A.A. Bondy has been popping up everywhere lately. In addition to touring with Bon Iver, the Felice Brothers and Conor Oberst, he’s appeared at Bonnaroo, recorded a session for Daytrotter.com and performed for Conan O’Brien (to name a few). Furthermore, his music has been roundly praised by influential tastemakers such as Brooklynvegan, Pitchfork, Stereogum and– ahem– the Riverfront Times.

Yep, Bondy seems to be steadily climbing the ladder of success, but it’s not for nothin’. His debut album, 2007’s American Hearts, was so warm, so hauntingly beautiful, that audiences immediately took notice. His glowing arrangements carry just the right amount of magic to induce fuzzy, slow-motion Winnie-Cooper-standing-in-the-sunshine Wonder Years-type moments.

Critics frequently describe him as “the next Bob Dylan,” but this weighty comparison doesn’t seem to have gone to his head. For all of his musical intensity, Bondy comes off like a normal dude. We caught up with him on the road last week while he was en route to an Atlanta gig and he was both humble and humorous. (Bondy is currently on the road with Elvis Perkins in support of his sophomore release, When the Devil’s Loose.)

When did I last interview you? At the beginning of 2008?
Yeah, I remember. But I last saw you there when I played with the [Felice] Brothers in the fall at that weird cafeteria.

Well, what has been happening with your career since then because your shit has been blowing up!
Is it?

Don’t play. I have a list here in front of me. Uh… NPR. Conan. Good Morning America… I could go on.
Oh. I mean, I guess so? I just keep my head down and try to do my job. And if there’s money to be collected, I certainly get it. But, um, I don’t know. I’m all right with what’s going on. I mean, it’s not, like, to the point where it’s like drastically life-changing. [It] feels good, you know, when you go to a town and people show up or people buy records. I like all that stuff.

Do you feel like you’re doing pretty well? Are you getting stuff done that you wanna get done?
It depends on what you mean by that. I mean, I’m able to make records and live off of it. That’s pretty, uh, a big thing, I think. If anybody gets to do what they really feel like doing and make a living off of it — one should sleep well at night, I guess.

How are you doing on your tour? You’ve been touring pretty much non-stop for two years and you’ve got tons more dates scheduled still, right?
Yeah, we’re hitting it pretty hard right now. We’ve crossed the month line and we have five weeks to go. [We have] one month off for Christmas, then we get to go back out. Yeah, I mean, right now I’m alright. It feels pretty good. Some times are better than others, but that’s to be expected in anything.

What’s up after the tour stuff?
Uh, probably looking at what another record is going to be like.

Do you know where you’re going to record it?

Probably in Mississippi, but I don’t know yet. I don’t know. I’ll start there, and then, I don’t know. I don’t know. I can rarely think about it. I just listen to this little box that tells me where to go.

The “little box” being the dude that tells you where to drive? [OnStar]
Yeah. I wish he would tell me everything else to do like, “Pull over in 2.1 miles because you’re having fried chicken.” That would be great. [laughs]

[laughs] Do you know what I think is weird? You’re funny, but because your music is so serious nobody would suspect it. I mean, all of the press I read about you has this ultra-romanticized old-timey stuff in it like, “Oh, he’s a lone troubadour,” and “He probably rides from gig to gig on a horse,” and stuff like that.
Fuck that. Fuck. That. [groans, laughs quietly] You know what I mean? Whatever. I have no answer for why anybody says what they say, you know? Like, you go to a movie and you get sad at the things other people think are funny and vice versa. [adopts a hyper-Southern country accent] Yeah, let me cut this interview short because a train is about to come by and I’ve gotta jump onto it.

Exactly! That’s what I’m saying!
Yeah, [they say] I’m basically a fucking hobo, you know. Whatever.

So, I imagine that when you’re on the road you’re talking to people all day, you’re doing interviews, you’re shakin’ hands and kissin’ babies and whatever. How do you get writing done on the road? Do you have to find quiet time?
Uh, sort of. I mean, when you do get time it seems like better things come out. You don’t have to work as hard to get to them. You just have less time to work things out. And my brain works more slowly at home, so it takes a lot to get to a place where I can get anything done [at home]. I do a lot of laying around in the grass and smoke cigarettes. Ride my motorcycle. I’d like to have more time out here to get stuff done cause I feel like I could get better things done but, you know, really you just do what you can.

Now that there’s more people paying attention to your work, do you feel like more under pressure to be good or– more to the point– are you ever intimidated by all the stuff that’s happening now?
Not at all. Nuh-uh. I mean, I’m too old for that. Like, I just wanna do my job, you know. That’s all I care about. It’s like a series of absurd situations. But I don’t know, I feel more capable now than before. And hopefully that’s how it goes with anything. So of course you get into situations where… I usually just beat myself up. I don’t need anybody else to do it for me.

Aw. That’s sad.
Well, no, it’s not like that. Anybody who makes anything has to go through that.

I’ve got one more question for you and I’ll let you get back to driving. It’s a question that I ask everyone I know. And it’s very serious.
Uh… ok.

Who do you think is a bigger alien? Prince or David Bowie?
[laughs] Prince or David Bowie? [laughs] Hmmm… I think there’s equal amounts of alien in both of those guys. Maybe from different planets. I mean, if I had to pick… I don’t know… they’re both just… I’m going to call it a draw. Hmmm… But David Bowie had that eye thing going for him and when he was taking all of the coke he definitely appeared much more Close Encounters than Prince but… Prince is weird as fuck, too, so…

And he’s so tiny!
I know! But I say Tyra Banks is more alien than both of them.


Interview with Lou Barlow of Dinosaur Jr.

October 8, 2009
J Mascis, Lou Barlow and Murph of Dinosaur Jr. Photo by Brantley Gutierrez.

J Mascis, Lou Barlow and Murph of Dinosaur Jr. Photo by Brantley Gutierrez.

Dinosaur Jr./Lou Barlow & the MissingMen
By Jaime Lees
Published on October 05, 2009
8 p.m. Wednesday, October 14. The Pageant, 6161 Delmar Boulevard.
$22 advance, $25 day of show. 314-726-6161.

With grunge-era staples such as “Freak Scene” and “Out There,”Dinosaur Jr. specialized in bittersweet compositions, where even the sad songs were love songs and even the love songs were sad. But they were no crybabies: An impermeable wall of screaming guitar concealed much of this melancholy. To the delight of fans, not much has changed over the past twenty or so years. The older songs still ring true, and the live shows are still a pulverizing avalanche of sound. (The volume of which can only be described as “unholy.”) And don’t call this a nostalgia tour: The band’s new album, Farm, might be its best one yet — supplying a mixture of confessional songwriting and dizzy, throbbing rock. Dino’s own Lou Barlow opens the show in support of his solo album, Goodnight Unknown.

INTERVIEW:

Lou Barlow has indie cred out the ass. As the bass player for Dinosaur Jr (which is playing at the Pageant on Wednesday, October 14), Barlow (alongside guitarist J Mascis and drummer Murph) has been at the forefront of the “alternative” scene since the early ’80s.

And if playing with Dinosaur Jr. wasn’t enough, this dude started college radio gods Sebadoh as a side gig. A side gig! He needed another outlet for his songwriting and — whoops! — he accidentally started freakin’ Sebadoh. Jeez.

Still, it gets crazier. For a few years in the mid-’90s, Barlow fronted psych duo Folk Implosion. Yeah, you know ‘em. That’s the band that scored a surprise hit with the spooky “Natural One” off of the soundtrack from the film KIDS.

Oh yeah, and Mr. Midas puts out beautiful lo-fi solo albums, the latest of which, Goodnight Unknown, is released this week on Merge.

We “interviewed” Barlow via email a couple of weeks ago while he was touring with Dinosaur Jr. in Europe. He was gracious enough to write us back, despite the semi-ridiculous questions we sent his way. Thanks, Lou.

Jaime Lees: So you’re doing a weird thing on this tour. In addition to playing with Dinosaur Jr., you’re also the opening act, playing your solo music with a backing band. How does that work out? It seems exhausting. Do you need to take a nappy, Lou Barlow?
naw, the more i play the more energy i have. dino only plays for an hour and half a night. my band will be playing for 45 minutes, tops. we’ll be on a bus, so i can sleep, dino has roadies so i can sit on my ass for most of a day. i’ll be fine.

Your new album, Goodnight Unknown, gets better with each listen. It seems more upbeat than your previous solo work, but it still lovey and conflicted. Do you write about situations in your own life or do you see yourself more as a storyteller?
i’m not a storyteller. at all. the songs are based on situations in my life. i collect phrases that have the right feel when i sing them. string them together around the theme. maybe a particular incident or a general message ( i.e. ‘i love you’ ). songs provide a lot to hide behind. you can get away with murdering the language. as long as the feel is right.

When you’re writing music, how do you decide who gets it? Meaning: Do you write songs for your solo albums and Dinosaur Jr. albums separately? Or does it all start from the same place?
with dino i like to start with improvising bass and drums. finding riffs that feel good. then marrying them with existing melodies or something totally new. the main objective is matching the texture of j’s songs in some way. i don’t want to frankenstein a song i wrote on acoustic into a dino-replica. i want it to be organically dino. if that makes sense. the songs i write on acoustic guitars seem best kept acoustic, for now. those became the songs on ‘goodnight unknown’

So, I really loved those silver and purple limited edition Dinosaur Jr. themed Nike High-Top Dunks. Do you have any other plans to license merchandise like this? And can you hook a ho up with some phat new kicks? (Ladies size 7, please)
i don’t even know how that happened. j’s on a whole other level of brand awareness and profit avenues. Do you still live in L.A.? What’s the process for when Dinosaur Jr. needs to get together to write, rehearse or record? i still live in LA. when dino needs me i go back east, stay with my parents and soak up the hometown vibes. and i can bring my wife and the kid out for gramma time.

How on earth do you still have your hearing? I last saw Dinosaur Jr. play in 2006 and it was the loudest MF sound I’ve ever heard in my life. Not just the loudest concert I’ve ever been to, but the loudest sound I’ve ever heard. Many people fled the venue. Those who stayed were shoving cocktail napkins down their ear canals. At least two chicks were crying. Does that make you proud, Lou? Huh? Does it?
no. it’s f-in ridiculous. it’s j’s trip. he is inflexibly dedicated to the idea of extreme volume as a necessity. was then, is now. it’s one of the great mascis mysteries.

i wear 2 pairs of 33 db reduction earplugs. one pair buried in my ear canals, the other gaffer taped on top of those.. it sounds and feels pretty great that way. i experience the songs on a physical level as well as melodic and emotional (i think and dance to them )

we played a show last year with small amps and it was great. we really don’t need the extreme amplification but it’s part of j’s ‘brand’. that’s the ship i’m sailing on and i won’t be mutinying anytime soon. the positives still outweigh the negs.


The Breeders in St. Louis

August 6, 2009

The Breeders
9 p.m. Friday, August 7.
Blueberry Hill’s Duck Room, 6504 Delmar Boulevard, University City.
By Jaime Lees

St. Louis is frequently a flyover city for national touring bands, but that’s not the case with the Breeders. They have love for us, and it’s documented: The band returns to town on Friday for the first time since filming a music video here in February, a clip which starred our own female roller-derby league, the Arch Rival Roller Girls. The song in the video, “Fate to Fatal,” is the lead track off of the band’s limited edition EP of the same name. Like 2008’s Mountain Battles, the new EP showcases the same candy-coated indie-pop harmonies that made the band so magnetic during its first wave of success in the ’90s. It’s been nearly twenty years since its first album, Pod, and it’s clear that the Breeders haven’t lost any of its magic.

>> interview with Kelley Deal HERE<<

  • article – link
  • The Breeders – website
  • Arch Rival Roller Girls – website
  • “Fate to Fatal” video here

The So-Cal Punk Invasion Tour

July 29, 2009


The So-Cal Punk Invasion Tour
7 p.m. Friday, July 31. Fubar, 3108 Locust Street.
By Jaime Lees

Package tours are usually about reviving long-dead bands for a quick buck. However, the So-Cal Punk Invasion Tour breaks that tradition: Each band on the bill is still active and fully functional. Sure, the lineups may not be original, but for those who missed the first wave of West Coast punk, this tour is a great introduction. Lee Ving returns to St. Louis to headline with his pioneering punk band, Fear. (Judging by the energetic reception to a Ving solo show at Deluxe in April, the Gateway City has been hurtin’ for some hardcore.) Punk palates will be further sated by the surf stylings of Agent Orange and by D.I. (a band featuring ex-Adolescents and Social Distortion drummer Casey Royer). Total Chaos and Bloodhook round out the bill.


Sybris

July 29, 2009
photo by Heather Stumpf

photo by Heather Stumpf

Sybris
9 p.m. Friday, July 24. Cicero’s, 6691 Delmar Boulevard, University City.
By Jaime Lees

For six long years, Chicago’s Sybris has been touring in the Midwest and beyond. The band’s brilliant second album, Into the Trees, was recorded at Pachyderm Studio (read: birthplace of Nirvana’s In Utero) and was released last year on the indie label Absolutely Kosher. Sybris’ sound has built over the years, with songs that range from Pavement-esque shuffling to unexpected bursts of great grungeitude. Singer Angela Mullenhour’s divine voice is what makes the band truly unique, though: Her coy coo sounds like some weird, dreamy hybrid of Emily Haines (Metric) and Harriet Wheeler (The Sundays). The band is just now reaping moderate success, having scored a few choice opening slots and a place on the Lollapalooza lineup last year, so catch them while you can.


Interview with Kim Gordon of Sonic Youth

July 15, 2009

Photo by Michael Schmelling. Doodles by JL.

Photo by Michael Schmelling. Doodles by JL.

Sonic Youth 7:30 p.m. Friday, July 17.
Live on the Levee, under the Gateway Arch. Free.


Electric Youth: Sonic Youth and Kim Gordon continue to age gracefully with a new LP, The Eternal
By Jaime Lees

In their 28-year career, indie-rock godfathers Sonic Youth have experienced unprecedented success — and had unparalleled staying power. Credit this longevity to the band’s stability: Guitarist/vocalist Lee Ranaldo, drummer Steve Shelley, bassist/vocalist Kim Gordon and guitarist/vocalist/her husband Thurston Moore have launched numerous side projects, completed countless world tours and released copius rarites and studio albums.

The band’s Matador Records-released latest, The Eternal, marks its return to an independent label. (It had been with Geffen since 1990’s Goo.) But Eternal is the perfect extension of the Sonic Youth catalog, a hybrid of resonant guitar textures and jammy, jazzed-out, free-form experimentation. The album evokes Daydream Nation’s unpredictable explosiveness and the near-psychedelic, extended harmonies of Washing Machine, but it isn’t a musical progression as much as it is a lateral move. That in particular is Sonic Youth’s trademark: Although each new album the band releases might contain heavier guitars, additional harmonies or more noise, they all maintain that nebulous Sonic Youth quality. There’s something special about the dreamy pop blasts that the band creates together; instead of their dueling talents triggering a compromise, it feels as though collaboration enriches the Sonic Youth sound.

As Sonic Youth’s bassist and one of its songwriters, Kim Gordon has long been an inspiration to younger musicians. As one of the few females in a respected, long-running rock band, Gordon is thought of as the cool, MILF-y matriarch of indie rock. But unlike many women, she’s praised as much for her musical input as she is for her good looks and hushed, lusty voice. Her contributions to the band have rarely been as pronounced as they are on Eternal, on which she sings lead on several tracks, and her imposing bass lines sweep boldly through the din.

A prolific visual artist, Gordon is also accomplished in many other disciplines — including painting, drawing, writing, producing and organizing both art and music events. She’s also fronted two successful fashion lines, X-Girl and the new Mirror/Dash, which is sold at Urban Outfitters. On the eve of Sonic Youth’s current tour, we spoke with Gordon about how she balances her multiple interests with life on the road. She has a reputation as being private — even aloof — in interviews, but we found her to be inviting, engaging and downright giggly.

Jaime Lees: You have so many different projects. How do you decide what you’re going to work on? Is it deadlines?

Kim Gordon: Yeah, deadlines. Exactly. Well, with the art stuff, some things you have to create [on deadline], either projects with someone or sometimes you get asked for a show. I work on ideas and stuff, but when it really comes down to it, it’s all about a deadline.

Do you complete your art first and then look for a show for it, or do you hear about an interesting show and want to create something for it?

It’s kind of a little of both. Right now I’m in this show in Graz in Austria, a group show. I don’t usually like group shows, but this one was interesting. I like the curator [Diedrich Diederichsen]. He’s a writer before he’s a curator. [Along with] my friend, Jutta Koether, who’s an artist, they asked us if we wanted to do a collaboration.

So how can you spend half of your life on the road and still be painting?

Well, this has been a really busy spring, but generally we just tour around a record. We’re not one of those bands that goes on tour for a year or something. We have a daughter, and Lee has kids so, you know, I try and tour around her school schedule. We’ve been gone a lot this spring already, so it’s hard. And I think it’s actually harder for moms to leave their kids. I know some people say, “How come people don’t make a big deal about asking fathers what it’s like to go on the road?” It is hard for them, too, but I think it’s easier if you have one parent at home that’s taking care of it.

Do you bring her [daughter Coco] with you on tour?

Sometimes. But as she’s gotten older she’s been able to stay home with someone. And she prefers to stay home. [Laughs]

When you’re out touring and you get to each new city, do you have something you like to do there? You know, like some people like to find the city’s best restaurant or used bookstore or whatever.

Oh yeah, we’re totally into picking out good restaurants. And actually, Mark [Ibold, of Pavement fame], who is playing bass with us now, he’s really great at looking up food websites, and he always knows about places to try. But when we first started touring, it was always like, “Where’s the good barbecue place?” [Laughs] So when we get to a city, sometimes we’ll get day rooms at a hotel. We usually have a few hours during the day to hang out before we do sound check, and sometimes we have interviews.

So you have sound check and then you go do your dinner thing before the show?

Sometimes. I mean, you have to eat a certain amount of time before the show. Steve, our drummer, won’t eat if it’s less than five hours before our show.

Does he get barfy?

[Laughs] He just plays better. And you do play better if you’re not full. Nothing like a whole lot of barbecue and then having to go onstage! [Laughs]

So do you get any of your other work done on tour? I mean, it’s not like you can paint on the bus…

It’s hard. Some people can do a lot of stuff on tour. I can’t because I have a perpetual state of exhaustion because I don’t sleep on the bus very well. Like, Lee seems to always have little projects he’s working on, but I’m not so good. I’m going to try and seek out, like, yoga classes and things like that to offset the barbecue. [Laughs] It’s a little anxiety provoking, actually, to have to go away for six weeks. In fact, I’m in the middle of packing right now.

I know, like, how many shoes do you bring? Who knows?

Yeah, it’s like, how do I pack all these vitamins? I always over-pack. But you’re basically living out of a suitcase for six weeks. It’s like, you buy all these clothes [at home], but then you kind of have to say goodbye to them. [Laughs] It’s hard to go away during the summer, actually. But it’ll be fun once we get going.

Is it easier for you guys when you’re touring with another band, because then you have more people around to hang out with? Or is that just annoying?

[Laughs] Well, it can be. You’re together all the time, and sometimes you sort of create a distance, because otherwise you would really be irritated all the time. [Laughs] Twelve people on a bus is kind of hard. But anyway, God, it’s nice to be asked other questions than normal, you know? I mean, we get tired of the same questions all the time so it’s going really well so far. You’re doing a good job.

Well, thank you. I’m bored with reading the same questions all the time. So, do you ever have free time? Do you ever have a time where you’re at home, and you don’t have any huge projects staring at you?

Um, pretty much never. But last summer, we only did a little bit of touring, but that was the first time in maybe twenty years where we hadn’t toured in the summer. I mean, it was kind of shocking, actually. But when I’m home I procrastinate about doing things so I can hang out with my friends. Like now, I should be getting my things done, but I’d rather see my friends before I go, so…

So what are you doing when you get back from tour? What’s your next big thing?

Well, Mirror/Dash, the clothing line, is kind of an ongoing thing. But for the next project, I have a book I’m working on, my paintings, and I’m sort of working on another painting series. But we’re going to do a bunch of touring in the fall, so I’m kind of keeping my schedule as open as I can. I don’t want to be too…pressured. But as busy as I am, Thurston has many more projects than I do. I don’t know how he does it, really. But it’s energizing if you get stuff back from it.

  • Riverfront Times (St. Louis) – link
  • reprint in The Pitch (Kansas City) – link
  • reprint in Dallas Observer – link
  • interview outtakes at A to Z blog – link
  • Sonic Youth – website
  • Sonic Youth – Facebook
  • Sonic Youth – Twitter
  • Urban Outfitters – Mirror/Dash
  • Michael Schmelling – website

The Phonocaptors

June 3, 2009
painting of Phonocaptors by Dana Smith, asbestossister.com

painting of Phonocaptors by Dana Smith, asbestossister.com

The Phonocaptors with Sex Robots
10 p.m. Friday, June 5. Deluxe, 2733 Sutton Boulevard, Maplewood.
By Jaime Lees
Published on June 02, 2009 at 10:11am

Local rockers the Phonocaptors were once a beloved Midwestern treasure, a band revered for dynamic live shows and for songs built on vibrant, fuzzy guitars. The trio created three albums full of powerful, juicy rock & roll candy — thanks to guitarist/songwriter Jason Hutto’s flashy riffs, Keith Voegele’s weighty bass and the slick drumming of Scott “Scooter” Hermes. The Phonos disbanded in 2004, and since then, its members have found success with other bands, including area favorites the Bottle Rockets, Bunnygrunt, Tight Pants Syndrome and Walkie Talkie U.S.A. However, these experiences have just added to the trio’s many talents — which it’ll reveal once again at this Friday night reunion show. Welcome back, Phonocaptors. We missed you.


Interview with Kelley Deal of the Breeders (STL)

April 14, 2009
photo courtesy of Sarah Paradoski

photo courtesy of Sarah Paradoski

Interview with Kelley Deal of the Breeders

This one is personal, darlings. As a Breeders fan and a native St. Louisan, I was beyond stoked to learn that the band would be shooting a video in my city with our roller derby team, the Arch Rival Roller Girls.

The event was whispered about for months, but nobody was sure if it would really happen until about a week before the video date. There were no contracts involved, just people getting together to make something cool, completely D.I.Y. style.

So imagine our excitement when it actually happened. Right on time, Kelley Deal arrived in town with video directors Mando Lopez (Breeders bassist) and James Ford. Suddenly, we were superstars. And it was all set up by my friend, Amy Whited.

Whited is a lovable little spaz with a brain that moves lightning fast (and a mouth to match). I’ve known her since I was about 17 years old and she was a cool older sister type who had a band and hosted riotgrrrl concerts in the basement of her ramshackle house.

As far back as I can remember, Whited’s true love had always been music- specifically the Breeders. She’d met the band, seen them play countless times and she has artwork from a Breeders record tattooed prominently on her upper arm. She even adopted two little mixed Dachshund puppies and named them Kim Dog and Kelley Dog.

Whited explains, “They were my most favorite band. I loved the Pixies before them. I was on a mission to meet them cause I saw them in Columbia, Missouri in April 1994, and I was thinking that I must speak to Breeders at Lollapalooza. And they were nice!”

Her dedication all of these years resulted in a spectacular success: arranging for the Breeders to record the bands latest video in St. Louis with her roller derby team and newest obsession, the Arch Rival Roller Girls.

The shoot was scheduled for early on Valentine’s Day and despite the drizzle, the roller girls turned up en masse. During the eight hour video shoot they had to skate pretty much constantly, but they hardly even took breaks. In fact, the rollers seemed to rally near the end of the day.

“We kind of got delirious around hour number six, ” explains Arch Rival Roller Girl Lauren Busiere, “We had to keep skating all day and we were all exhausted. We were completely bonkers. It was like a child’s slumber party in the middle of the day- except Kelley Deal was there. It was really awesome, but completely crazy.”

The spirit of the day was greatly helped along by Deal, who has endless enthusiasm and a contagious smile. She trotted around the rink, sprinkling encouraging words, heartfelt ‘thank you’s and pats on the back wherever needed. Her main role of the day, however, seemed to be to coach the performers with the song lyrics. She wanted the derby players to be the ones singing the song in the video, so she spent much of her time standing behind the camera, holding up a lyric sheet and singing along.

I talked to Kelley yesterday and asked her about Whited, roller derby, the video, her new EP and the Breeders’ future plans. The interview is below.

Jaime Lees

——————————————-


JAIME LEES: Ok, so let me just say, I’ve known Amy Whited for about a million years.

KELLEY DEAL: Oh, me too. Do you know the story of how we met her?

Yes, but please tell me all of it.

1994-b

Kelley Deal, Amy Whited, Kim Deal in 1994

Ok, the Breeders- this was in 1994, the Breeders were on Lollapalooza and we were in Chicago. And my mom and dad had gone to that show ’cause they live in Dayton. So, of course they have all the backstage passes and all that stuff. So we were out walking around and stuff and then we go back to say hi to my mom and dad and they have this, like, 16 or 17 year old little blond-headed girl with them. And they introduced us to her and we were like “Hey, well Hi, how are you?” and my mom is like “This is Amy. She’s joining us back here.”

I guess they started talking to her and they discovered she’d hitchhiked from St. Louis, Missouri to Chicago to go to Lollpalooza. So, of course, my mother and father were just appalled at that idea. So they kind of adopted her that day. So we said hi to her and got her a pass and we hung out back there. And I know before the end of the day my mom and dad gave her money and made her promise to take a bus home back to St. Louis.

Awww.

You know, I never did ask her how she got home. I need to ask her that. Cause if it were me, I’d have spent it on drugs, you know? Wouldn’t you? But, so after that, years would go by. And any time the Breeders went out, any time we were close to St. Louis like Chicago or Cincinnati we’d be like “Hey, there’s Amy!”And eventually we exchanged phone numbers and then when the email came along we exchanged email.

And the last time I saw Amy was back in the summer when the Breeders came to St. Louis and we met up and we were talking to her and her and some of her friends and roller girl friends came on to the tour bus and we hung out there and stuff after the show. And Amy and I were just talking about how cool it would be to do a video with the derby involved in it somehow. Like the Breeders could play in the middle of the rink or something and we both thought it would be a great idea but then we just kind of forgot about it.

So we left and then the Breeders did this Vote Early, Rock Late rally. It wasn’t for Obama but it kind of ended up being for Obama, if you know what I mean. And it was in Cincinnati and we’re hanging out after our show and we’re talking to these girls and one of them had a derby shirt on for the Cincinnati roller derby and I’m like “Oh my god, are you guys in derby, too? Oh, do you know Amy?” Thinking that everybody knows everybody, you know how that is. So then… That was in October and in November, you know, I had my knitting book out.

Yes.

So there’s this thing called the No Coast Craft Fair in Minneapolis in November and they invited me to go out there to do a book signing and to judge craft contests. It was really fun. There was five teams and it was me and several other judges. And one of the teams was the Minnesota roller girls. And they actually won the contest. But they actually deserved to win. It wasn’t just that I liked roller derby and so they won. (laughs) Yeah, so I was like “What is going on with this derby stuff? This is crazy! Ok, I can take a hint.” And so I called Amy up and I said, “Amy, listen, we’ve gotta do this.” And since then we had a new song we had done. And I was like “That new song, ‘Fate to Fatal’ would be perfect for this.” But then the idea of us all getting together… We were taking a break, the band was taking a break and two of the people live in Los Angeles.

Right.

And Kim and I are in Dayton and I’m like “How are we going to get all of our people down there to do a live show?” And at the same time, I was thinking about how cool it would be if the [roller] girls would do the lip-synching. That’s way more interesting to me, to have them do the lip-synching. So we started thinking, how could that work? Cause there’s not any real narrative to it. It’s not like there’s really a story, and I never really wanted there to be a story, I really just wanted it to be about their derby and how fun it is and how rad it is, you know? And that’s it. I don’t think it needs any story. It’s a fantastic visual. And it’s a great song. So it just worked out perfect.

So how did you decide to do it here [in St. Louis]? Are the Dayton/Cincinnati roller girls pissed?

Good point, good point. At one time, Amy and I were talking and we had talked about all of this a lot. And we’re like, what we could do- I was calling them away games but they’re not they’re called “road derby” or something. And they were going to be going through Detroit and I was like “Well, you guys could come through Dayton, and you could, like, play against the Dayton derby.” And that would have been cool. But the thing is, logistically, where are we gonna set all the girls up? And they’d have to come through here, we’d have to get hotels or find houses for people to stay in- it just made more sense [to film in STL], because there’s so many derby girls there in St. Louis. I mean, there’s the whole league, and it’s not just Amy’s team. And it took me a while to put that together. I was like “Oh, so there’s not just 13 of you rolling around.” “Oh no, there’s tons of us, and we could actually play against ourselves on our teams.” And I’m like, “You know what, Amy, it will just be easier.” And I drove down from Dayton in my car. And then Mando [Lopez] and [James] Ford, they flew out to St. Louis. And you know, cameras are so good now, and Mando- he’s the bass player in the Breeders- he actually does it for a living. He does camera work for a living.

So you were like, “Well, we don’t have to get a camera guy…”

Kelley Deal, Amy Whited in 2009 looking out over Skatium Rink (photo by Jennifer Hylton)

Kelley Deal, Amy Whited in 2009 looking out over Skatium Rink (photo by Jennifer Hylton)

Exactly. So then it was like, how is this gonna work? Cause I’d never been to the Skatium before. And I’m like what about drinks? Cause people are going to be thirsty. And what about food? And I’m just… all of these are question marks, cause we were in the middle of doing something else right then.

Kim and I were driving to Chicago to do this benefit we do with Second City, it’s like a 24 hour comedy and music thing. We’ve been doing that for a few years and it’s really fun, so we were rehearsing for that cause you’ve gotta kind of tear all the songs apart and make them interesting for just two people to play. And we had to figure it out. Kim would be like, “We could do Pacer, Kelley, if you play the bass part.” And I’d be, “OK, well how does the bass part go?” [Kim,] “Well, wait, I don’t remember. So I’ll play the bass part and sing.” So we were kind of re-learning that. So it was really busy, and Christmas was coming up, and it just seemed really busy so I was so worried it wouldn’t come together. That I was just going to drive into the Skatium and I was just going to go “Uh… here’s the lyrics. Go! Make magic!” So I get there, Amy has it completely– I don’t know what she does for a living. I think it has something to do with, like, organization and shit, doesn’t it?

Yeah, it’s some kind of office something right now.

Yeah, exactly. You can tell. Everything was completely mapped out.

Dude, if Amy wants to get something done, she just gets it done.

Oh my god! And gets it done well. Yeah. It ran like clockwork. I mean, I was so fuckin’ impressed, man. Yeah, I was really impressed.

She has some kind of weird motivating skills, do you know what I’m saying? She got all of those chicks to show up and skate for eight hours straight…

Oh my god! They skated like dogs for eight hours. Without drinking. No beers.

They really did.

I’m impressed with that. They’re really good about not drinking and skating. At least, they seem to be. Maybe somebody is there with a flask takin’ a nip, but I was pretty impressed with that. There’s a lot of socialization there, too. You wanna talk with your friends and you wanna have fun, so the idea of not drinking when you’re doing it for eight hours and it’s on a Saturday…

Well, what’s kind of great about that derby is that most of those girls didn’t know each other before they got involved in it. They all just kind of made their own family and it’s kind of sweet to watch. Cause they wouldn’t really know each other otherwise.

Oh, I know. It’s so cool. And, you know, when you get older you have all of your high school friends and all your neighborhood friends and then you have your work friends but as you get older you kind of start losing the number of friends somehow. I think, I don’t know what it is, how that works and shit, but something like derby, having those relationships with girls- it’s so good. And it’s not work relationships. I used to work in an office, you know, and everybody in the office goes out to dinner afterward, you go to a bar, meet up or something like that, but then you invariably start talking about work, or people at work. But the derby it just so great cause it’s something other than work.

I mean, I was shocked by how much they just- they just skated for eight hours straight and then all of those tricks at the end? I had no idea they could do that stuff.

Oh I know, oh my god. I don’t know if it’s out right now, or if it’s going to be out in the next couple of days. Have you seen the video? Mando called it- he titled the making of “Skate to Fatal.”

Yeah, I saw the clip on Rolling Stone.

They were really cute talking about- I mean, you see all of these wipe-out shots- it was pretty bad at the beginning there.

I watched saw James [Ford] take a serious fall. I wasn’t sure if he was going to be OK there for a minute!

Ha! Oh my god! Yeah! Mando was talking to me, about an hour into it, and he’s like “Man, I’m telling them to slow down but they can’t slow down. Listen I don’t know how this is going to work, but it’s not going to work how I thought it was. They can’t slow down. They’re unable to.”

Yeah, you just have to get out the way!

Yeah! So the video is cool. It’s awesome. There’s so many wipe out shots that look really bad ass. I don’t know all the girls and stuff, but there’s this one girl that’s got long hair and she’s doing push-ups. As a chick, I just really love it. And there’s at the very end, the whole thing ends with Grave Danger absolutely wiping out and she’s just laughing- it shows her laughing on the rink. It’s so cute. And they were all so patient! And they were willing just to try everything and they had enthusiasm and they looked great and the shots were amazing.

And they were doing those jumps and spins and shit. I mean, I’ve seen plenty of games, but I didn’t know they could do stuff like that.

I know!

So were you technically a director?

No, I was the… how do you say… I was the idea person.

Well, it was hard to tell, cause it seemed like you had some stuff planned out. But then it would be like “OK, wait, now to this.”

Right. I mean, I had a vision. And Mando respected that.

(Laughs)

And I appreciate that he let me, you know, work on it.

So tell me about the EP that “Fate to Fatal” is going on. With Mark Lanegan and all… I love him.

Oh my god, his voice…

It’s so soothing!

You know, he sings like… (long pause) he sings like an old black man. He has that resonance of life, love, love lost, dreams smashed, forlorn- you know what I mean?

Oh yeah.

It’s like he sings like a serial killer would.

Yeah!

It’s kind of really spooky and eerie and kind of dangerous but soothing, too, in a really weird way.

It’s half soothing, half really sexy and I’m always confused about how to react when I hear it.

(laughs) Yeah, right, exactly. Like, “Should I be afraid of that voice?”

Yeah, am I scared or am I turned on or what?

Totally. Yeah, should I be turned on or not?

So why did you put out an EP and not a full album? Are you going to make another one?

Well what happened was last summer Kim got into a little writing frenzy. So we were doing some songs and we decided to record one of the songs, Fate to Fatal, in England at the very tail-end of the tour. And then we came home until, like, November. And we had a month, month and a half break there. And then we worked some more. And we worked some more. And we knew we were going to do All Tomorrows Parties, do you know about that?

Yeah.

Yeah, we’re curating and we’ve got really good bands. X is doing our party. Gang of Four is doing our party. Wire is doing our party.

Damn girl!

I know, it’s so awesome. And Teenage Fanclub…

(gasps) Don’t even talk about Teenage Fanclub. Love them!

Yeah! I like to call it “my party.” (laughs) And so we were going ATP and we’re going, “Geez, we’ve got these songs, we should release, like, an EP around that time. It’s be fun. It would give us new songs to play- cause we just did Europe- we were just there. So we can do some new songs and people would actually know the new songs cause they’d have been released.” So that’s what we decided to do- put out an EP. And then we were talking about how we should release it, and we talked to 4AD a little bit and it was, like, overkill, so we thought “we should just do it ourselves” so we did.

And now it’s going to be on vinyl and digital download?

Yep.

Well that’s the best way to do it now.

I think so, yeah. It just so happens that we were doing this the same time that Record Store Day was coming up. It’s this Saturday, so we were like, if we wanted to, we could just make the release date Record Store Day. So we just did that and it will be available for download on iTunes the following Tuesday. We’re doing the in-store at Shake It Records and that’s this Saturday. Shake It Records is a local vinyl store in Cincinnati, and Kim and I are going to drive down there with some guitars and play for like a half an hour or 40 minutes and I think we’re going to sign some records, too.

Everything just seems to keep lining up in the right way. And when I was looking up the release info it said that Pod and Last Splash were being re-released on vinyl, too. Is that true?

Well, we’ve never had a release that has not been on vinyl. So yeah, it’s all coming out on vinyl and I think it’s great.

So are you gonna summer tour? Are you coming here? What up?

That’s a good question. I know we’re doing… we’ve already… dates are already starting to get confirmed for August in Los Angeles. We’ll start working that out then. We’ll start moving out from there. I think we might do this San Diego street fair- Street Scene or something like that. Then opening for Elvis Costello who is doing something with Jenny Lewis at some bluegrass thing. He’s doing something with her and some other people. I can’t remember what it’s called, but it’s a bluegrass kind of thing. I think it would be awesome. Whatever Elvis Costello does- I’m so happy to open for him. Oh my god. So yeah, some more touring. I don’t know exactly where or when we’re coming.

Well, that’s nice. But when you do the midwest again you know you’ve got to come here cause you know about a million more people want to come.

Oh my god, I’d love to. I can’t wait for those guys- and for you, too, cause you were there during it- to see the video.

Oh my god, I stayed the whole time, it was so long.

They skated like dogs!

Like dogs!


———————————–


Interview with Lee Ving of FEAR

April 1, 2009


No Fear of Music: Fear’s multi-talented founder, Lee Ving, is more than just a punk icon
By Jaime Lees
Published on March 30, 2009 at 5:08pm

As the lead singer for the punk band Fear, Lee Ving earned a reputation as a sharp, acid-tongued agitator. His commanding, drill-sergeant vocal delivery and surly attitude helped to build a new breed of bad-tempered hardcore. With songs like “Let’s Have a War” and “I Love Livin’ in the City,” Fear put on a legendarily abrasive stage show, disguising complicated music beneath a blanket of punk-rock attitude.

Still, Ving is not at all what you might expect. College-educated and thirsty for theoretical physics, the clearly intelligent Ving runs his own MySpace page and is starting a record company to release his many musical ventures — everything from out-of-print Fear albums to new recordings by his bluegrass band.

We caught up with him in early March to ask about his history and upcoming solo shows. Warm and enthusiastic, with a voice like sweet honey whiskey, Ving is honest and funny, offering up quotable bits like “I have to say, I was really overjoyed when Guns N’ Roses recorded a cover of ‘I Don’t Care About You.’ That was…lucrative.” And: “I like that John Mayer. He’s a good player, and that’s the kind of thing I respond to.”

Jaime Lees: Aside from Fear, you have a rich musical past. How did you get into playing these solo shows?

Lee Ving: I’ve been doing it for a while, and I get to do a lot of different kinds of music. I don’t try to stick to the Fear format, or try to be Fear all by myself. I do other kinds of music. You know, pop tunes, jazz standards, solo tunes, songs that I liked over the radio — things that the Fear crowd might not readily accept. But they’re songs that I like to sing; I sing them well, so I really want to do them. It gives me an outlet to do it. I’d been playing for a while when I started Fear. I didn’t learn to play as Fear began, as some other groups did. Some of the first bands I was ever in were blues bands in Philadelphia — we played with Buddy Guy and B.B. King and Junior Wells. I was in this band in Philly called Sweet Stavin Chain, and it was a full-on blues band. Michael Brecker would come and play with us on weekends. Let me tell you, as a blues soloist, there was no one better. So that band really smoked. Now many people mention Michael Brecker and John Coltrane in the same breath. I mean, Michael Brecker had Junior Walker down so good. He played better than Junior Walker. You know who Junior Walker is, right?

Yeah, I love all those old Motown guys. So how did you transition from blues to punk?

OK, so I moved from New York to Los Angeles, and then eventually I discovered this punk-rock thing. And I thought that the players I saw were beginners and that the shows weren’t thought out. I knew that I could put a band together that had far superior players, and I knew that I could incite better than the people I was seeing. But what I really liked about it was the audience! The band starts playing, and the audience starts jumping up and down and bashing the living daylights out of each other! With punk you could say whatever you want, play whatever you want and give the audience a hard time if you wanted to. I thought, Wow, this is great. So that’s what inspired me to start the Fear thing. And we’ve been at it ever since.

See, but I think that all of your different musical training came through in Fear.

Absolutely. I was in New York and Philadelphia listening to these jazz musicians play live three to six nights a week for most of my life, and that still comes out of every pore when I write something. There’s no way to keep that under wraps, and that education is priceless. I mean, I heard Charles Mingus play live many, many nights. And Stanley Turrentine many, many nights. And Freddie Hubbard. And Archie Shepp and Art Blakey and Beaver Harris and Clifford Jordan and McCoy Tyner, and Elvin Jones and Tony Williams, Rahsaan Roland Kirk… I could just keep going all night. So it was a very advanced musical platform that gave birth to this punk-rock band. Which I think is reasonably unusual.

How did Fear relate to the other bands in the punk/hardcore scene? Many of them were straight-edge and writing songs like “TV Party,” but you were singing about wanting more beer.

Well, you know, I was aware that there was this straight-edge thing, but it just seemed ridiculous to me. I didn’t believe it for a minute. And it’s OK to say what you believe in, and it’s OK if you do that. It just didn’t seem like something that was real. I couldn’t believe that none of these people were having any sex or drinking at all or taking any drug. But maybe they weren’t.

Also, I think that the idea of being cloistered or monastic in some way may free the mind to concentrate on some things; maybe there’s benefit in it. But you know, we just did what we did. And we wanted to say shit that was funny to the audience — and we certainly consumed our weight in beer, no problem. [Clears throat] But if we weren’t going to be accepted among bands that didn’t seem like they had a sense of humor, then so be it. Black Flag said they didn’t like us because we were telling jokes. They didn’t think that there was any place for that.

Well, Black Flag was serious business. I love them for it, but most kids just want to laugh, scream at people and be loud.

Yeah, you’re a kid! That’s what to do. That’s what feeling good is all about! So it all just seemed funny to me. The fact that there were causes also seemed funny to me. For people to try to say that their band really stood for some sort of political movement or something? I didn’t believe any of that shit for a minute, either. I thought that the band stood for, you know, trying to make some money — if it was getting paid $17 or $10,000. And we wanted to put across entertaining shows musically and verbally, you know, the banter between the band members and the back-and-forth with the crowd.

That’s why it was so great! Because you never knew if you were joking, and it made it very confusing and very excellent.

Yeah, that’s right! That’s exactly where I wanted it! I wanted the boneheads to think that I was completely serious, that I really wanted to “have a war,” and I wanted those that were capable to see the satire in those sort of ridiculous statements and song titles. That way, everybody could go home happy!

Details:
Lee Ving
8:30 p.m. Saturday, April 4.
Deluxe, 2733 Sutton Boulevard, Maplewood.
$15 advance, $17 day of show. 314-646-0370.


Afroman

April 1, 2009

Phil Spector is the real Afroman

I was gonna write this show preview, but then I got high.
I was gonna tell you about rapper Afroman, too, until I got high.
Now I’m skimpin’ on the content and I know why. (Why, man?)
Because I got high. Because I got high. Because I got high.
I was gonna hype this show up well, but then I got high.
I had a whole lot of stuff to tell, until I got high.
But I’ll see you at the Firebird and you know why. (Why, man?)
Because you’re all high. Because you’re all high. Because you’re all high.
La da-da da da daa.


The Visitations

February 24, 2009

The Visitations
8 p.m. Sunday, March 1. The Wedge, 442 Bates Street.
By Jaime Lees
Published on February 24, 2009

Davey Wrathgaber is a member of the Athens, Georgia, pop powerhouse the Elephant 6, a collective of bands that includes Apples in Stereo, Elf Power, Of Montreal and Neutral Milk Hotel. Wrathgaber enlists friends from these bands to play with him in the Visitations, and although hyped as psych folk, the band is not so much psychedelic as it is comfortably schizophrenic. Its new album, The Conundrum Tree, is multifaceted and diverse; songs like “Fresh Dog” perfectly mix “We Got the Beat” with “Sister Ray,” while “Bony Maurine” reflects the ringing regional sound so clearly that it sounds like Mike freakin’ Mills actually sings it. Apparently, Wrathgaber’s talent lies in tweaking the delicious Athens recipe and baking something that tastes a little less sweet — and a lot more dreamy.


The Breeders + V-Day + STL = LUV4EVER

February 12, 2009

The Breeders + V-DAY + STL = LUV4EVER
Wednesday, Feb. 11 2009 @ 2:57PM

We’ve been sittin’ on this one for weeks, people. We tried to get official announcements and press statements but they weren’t forthcoming.

So here it is: The Breeders are scheduled to be in St. Louis on Valentine’s Day to shoot a music video with St. Louis’ all-female roller derby league, the Arch Rival Roller Girls. The video is reportedly for a song on a new Breeders EP that will be released this spring/summer.

We’re not authorized to leak specific details (this is a private shoot), but we will say that one wouldn’t have to work too hard to find the location and scam an invite. It’s a “friends of friends” style event so start asking around.

Ahhh… It feels so good to spill the beans. Check back at A to Z where we’ll give you details and other information as we have it.

See you there, my hearts,
Jaime Lees


Sex Robots: Fables of the Deconstruction

January 22, 2009

Sex Robots: Fables of the Deconstruction
By Jaime Lees

It only takes one good local concert (or few strong drinks) and I’m primed to begin my often repeated sermon about how this city is filled with a disproportionate number of good people and great bands. St. Louis is not that big; we have no right to be so awesome. But like an opportunistic fungus, art finds fertile ground in the oppressive weather and dank basements of the Midwest. The right people just seem to find each other, and when the magic is poppin’ it seems like nothing short of divine intervention.

That is why, with a heavy heart, I called up singer/guitarist Mario Viele and asked him about his upcoming semi-permanent move to New York. Viele is a ridiculously skilled musician. He seems to jump on any instrument with a virtuosity rarely witnessed — dude really does play the guitar just like he’s ringing a bell. Truthfully, his ubiquitous talent would be flat-out annoying if he wasn’t so damn humble.

Though only in his mid twenties, Viele has left deep footprints all over the local scene. His own label, Roadhouse Tunes, promotes and presses local records and his recent bands include St. Louis favorites such as Bunnygrunt, the Pubes and Sex Robots.

I’m not ashamed to say that Sex Robots have saved my life, or at least my wee rocker heart, on more than one occasion. I’ve had some of the best nights of my life watching the Robots play energetic, shambolic sets in dirty dive bars. The bands hooked-out sound and simple melodies reflect everything amazing about rock and roll, all rolled up into tight, two-and-a-half minute songs. I’m too young to have seen the Replacements in their prime, but I can’t help but imagine that a Robots show is very similar.

With only two more local shows scheduled, Viele’s upcoming move, rumors of bassist Tracey Morrissey going back to school and drummer Maysam Attaran working with a new band, the future of the Robots appeared grim. Robots go bye-bye? Really, I couldn’t stand the thought.

Determined to get to the bottom of this, I caught up with Viele a few days ago to discuss the status of Sex Robots. He was with Bunnygrunt, finishing recording its album at Bel*Air Studio in Athens, Georgia. When his duties were complete he called to set the record straight. After I relayed my breathless, fangirl fear that his move marks the end of the Sex Robots, Viele seemed to try hard not to laugh, reassuring me that I couldn’t be more wrong. Me? Wrong? I guess there’s a first time for everything.

“The thing I like about 2009 is that there’s definite plans,” Viele explains, “There’s plans to tour and make an album and because of that, our working energy is going towards making those things happen and therefore everything else, as far as where we are and where we will be, is all kind of a big x-variable, and that’s really cool.”

Sex Robots have one show scheduled tonight at Mangia and another set for February 13 at the Schlafly Tap Room, but are going on an East coast tour between these dates, with plans to record an album in St. Louis in the summer and tour again in the fall. Viele, for one, relishes traveling and the time on the road and seems completely unconcerned with the upcoming change of surroundings or the strength of the band.

“I feel that if we went and recorded now, it wouldn’t be as good as if we took a little time away and then got back together to play it out. That way it will be all worked out, but also be totally fresh. I’m following what my brain says and my brain wants two things: to make music and tour. I just do what my brain says. The voice in my brain goes ‘Hey, do this’ and I go ‘Okay, Brain, I don’t know why, but I trust you.’

“I’m getting to the point where I trust what my brain tells me to do. I just look at it as, the more we’re traveling, the more I see it as gaining ability to write and operate from anywhere. It’s an adventure. I think of the band as the best excuse ever to make ridiculous decisions and go on the road with my best friends.”


Pazz + Jop 2008

January 22, 2009

This year I was (again) honored to be asked to contribute to the annual Village Voice critics’ poll. Here’s the info and the results.

Pazz & Jop 2008
36th Annual Village Voice Critics’ Poll

the winners
the ballots

About Pazz + Jop:

The Pazz & Jop critics’ poll is a highly influential poll of music critics run by The Village Voice newspaper. It is compiled every year from the top ten lists of hundreds of music critics (roughly 800 in the 2004 poll). Albums have been voted upon every year since 1974 (voting also took place in 1971), and votes for singles have been tabulated since 1979.
Since the poll’s inception, critics have been invited to award their ten albums a total of 100 points, with each album receiving a maximum of 30 points and a minimum of 5. Lists submitted without points are given 10 points per album by the poll’s editors. Singles lists have always been unweighted.

Music critic Robert Christgau was in charge of the poll for 33 years, and wrote an essay every year that accompanied and framed the list. Christgau was dismissed from the Village Voice in August 2006, but the paper intends to continue the feature. Christgau continues to submit his Top Ten list and to encourage other eligible critics to do so.

The poll was jokingly given the spoonerism name “Pazz & Jop” rather than the more obvious “Jazz & Pop” because, inevitably, some detractor will claim that a nominated work is ineligible or undeserving on the grounds that it isn’t “really” jazz or pop. Since there are no formal definitions for the made-up terms “pazz” and “jop”, voters will concentrate on the actual merits of a work rather than arguing over whether it fits into this or that genre.

Village Voice – website


Rum Drum Ramblers

January 14, 2009


Ramblin’ Men
By Jaime Lees
Published on January 12, 2009 at 2:43pm

It’s a packed Tuesday night at BB’s Jazz, Blues and Soups, and the crowd doesn’t pay much attention when three young gentlemen wearing dapper hats and sharp trousers take the stage. But less than a minute into the trio’s set, most of the room is captivated. Two of the men share singing duties, exploring the deep, pained voices of the blues. Occasional hootenanny-style off-microphone hollering energizes the audience, as does a mournful, wailing harmonica.

A previously unmoved patron with a gentle face like fine, worn leather cracks a smile. He releases an exhilarated “Hot damn!” and commences tapping his toes and beating out rhythms on his polyester-covered thigh. The Rum Drum Ramblers have won over a new fan — an increasingly familiar occurrence to anyone who’s seen the group live since it started playing together in 2007.

To the uninitiated, the Ramblers might seem like an atypical blues band. The group features three young white kids in their early twenties, all of whom have roots in the punk scene. (Their previous groups include the Vultures and Nineteen.) But guitarist Mat Wilson, bassist Joey Glynn and harmonica player Ryan Koenig are no dilettantes, and they often look to their DIY roots for guidance. The group averaged three performances a week in 2008 and will perform anywhere; favorite haunts include pizza joints, rock clubs and even street corners. As Wilson explains, “The variety of places we played this year was just ridiculous. We’ve taken so many random gigs. You have no clue — I have no clue where we’ll pop up.”

And invites aren’t even necessary — sometimes, the band will just host its own damn party. The Ramblers’ label, St. Louis’ own Big Muddy Records, threw one hell of a hoedown this summer at a pavilion in Tower Grove Park. Lit by the moon and mountains of tiny tea candles, a couple hundred revelers passed bottles of hooch, shook their tail feathers and reclined on quilts in the grass. The trio’s set was acoustic but powerful, spreading energy and good vibes out into the warm, dark night.

That spirit lives on in the band’s debut recording, Hey Lordy Mama Mama Get Up and Go. It’s an electric, lively EP that sounds polished — but still preserves the rawness and passion of its shows. In between sets at BB’s, we caught up with Mat Wilson and Ryan Koenig and discussed what makes the Rum Drum Ramblers tick.

B-sides: Tell me about why you chose to play all of the different places you played last year.

Ryan Koenig: If you just play the same club every week, you just get the same crowd. When we play BB’s we draw the blues people. When we play the Blues City Deli, we draw from that neighborhood. When we play CBGB, we draw all the punk rock[ers] and the young community that hangs out on South Grand.

Mat Wilson: As a blues band, we can drag some shit out and entertain people for four hours, or we can step in CBGB and play 30 minutes of material and kill it. We can also play an electric set or an acoustic set, or a set with horns and a drummer or without it, or with guest players. The fact that we can do anything like that at a show makes it fresh.

What do you guys think you sound like? What’s your inspiration?

Wilson: I would say, like…I’m pulling from pre-war Chicago blues. Like, the first electric blues.

Koenig: I’m into a lot of the country blues and just country in general. But then I also like a lot of the Chicago stuff and the New Orleans stuff. I tell people it’s just American music.

Wilson: Yeah, American music. I like it when people call us Americana more than blues ’cause it’s not like we’re… hoochie-coochie men. [Laughs] Our thing is getting as much variety as possible and not just sticking to clubs in the blues scene. Because I’ve seen enough of it, and we can totally do it with a punk-rock ethic and kind of be troubadours with what we’re doing. We don’t need the blues society to book a blues show. We can bring a blues show any fuckin’ place we set up and play.

What music do you have in common that you all love?

Wilson: Jimmy Reed. Otis Rush. Magic fuckin’ Sam. A lot of that more obscure Chicago blues. Bo Diddley. Mississippi Sheiks, big time.

Koenig: Also, our same tastes include the Clash and the Damned, Johnny Thunders and the Circle Jerks.

Wilson: Punk rock definitely came first for me, but it wasn’t until I picked up a Muddy Waters record and John Lee Hooker record until I realized those dudes were punk as fuck. And I didn’t think that because I wanted everything to be punk rock, but because I recognized an intensity that was there.

Koenig: One thing I think modern rock lacks is intensity. I think the way to bring the intensity back to live music and to clubs is to be playing stuff that’s not just what’s out there now. To show people that it’s still alive, I guess.

Wilson: I think that blues is definitely the original struggle music, just as I saw punk rock when I got into it. Now we’re going through historical times just as they were then. So if you hear some new material that reflects on what’s going on now, it might be interesting. We know that blues didn’t die. Punk rock didn’t die.


An Open Letter to Kid Sister

January 12, 2009

An Open Letter to Kid Sister
By Jaime Lees
Thursday, Jan. 8 2009 @ 12:25PM

Dear Kid Sister,

I love you, but you need to get off of your ass and release your debut already. I read yesterday that you and your label are holding your album until it feels right “sonically.” I don’t know what that means, but it smells like caca. I mean, all I wanna do is bump Dream Date at my next house party and you fools are ruining my fun.

And what the fuck, yo? Chicago is not that far away, please come play St. Louis. What’s wrong? You’ve got no love for us? We love you. (See proof here and here). I heard you played Washington University a few months back, but us non-students didn’t have a chance of getting in to that show.

Back in the day, I saw you kick it with Flosstradamus at the Town Hall Pub parties up in Chicago, and I know that you’re the right girl to get a St. Louis dance party started. I’ll even come and pick you up! The damn engine light is on in my stupid VW Beetle and I’d still road trip my ass up there to come and get you. You’d have fun here: We’ve got mad beauty shops and hella nail salons — we’ll take you to get your nails did! I know you like it.

I saw you at SXSW last year and I gotta say, you were crunk, but your performance was still tight and your style was fly as hell. I sprained my ankle that night and after your show you walked by me trying to dance while still elevating my ankle on a bar stool and you told me I was “workin’ it.” Damn, don’t I know it!

Anyway, I sprained my ankle for you — you owe me. Any time you want to come to the Lou, just holla at yo girl and we’ll get it worked out. Hell, hit me on my beeper.

Much Love,
Jaime Lees and the City of St. Louis


The Livers

January 2, 2009


The Livers
By JAIME LEES
Published on December 30, 2008 at 4:18pm
The Livers, with the Pedaljets and Honeywagen.
Friday, January 2, at the Record Bar.

The Livers have managed to invent something brand-new: a four-person rock band with just two members. Multi-instrumentalists Scott Freeman and Luke Roulston augment their live sound by playing electric guitars in front of a prerecorded video of Freeman on drums and Roulston on bass. Through the magic of painstaking video editing and green-screen wizardry, all four band members have the ability to interact with one another. This setup is both spectacularly effective and logistically bewildering, but without competent songwriting and playing prowess, the Livers would be little more than an interesting live art project. Amazingly, the music is even better than the presentation. The Livers’ sound lands somewhere between the Pixies and the Melvins, with a combination of crunchy riffs, catchy lyrics and intimidatingly heavy drum hits.


Dark Dark Dark

January 2, 2009

Dark Dark Dark/Mayday Orchestra/Pokey LaFarge
10 p.m. Monday, January 5. CBGB, 3163 South Grand Boulevard.
By Jaime Lees
Published on December 29, 2008 at 5:16pm

Dark Dark Dark has built-in dimension, thanks to the fact that both Nona Marie Invie and her male bandmates handle vocal duties. The quartet capitalizes on this dichotomy by cultivating rich, multi-tonal reverberations. A combination of rickety strings and tiptoeing accordion results in compositions that sound like a more solemn Belle & Sebastian crafting the soundtrack to a bittersweet French film. The band’s pensive dirges slide easily into deep atmospheric swells that roll from somber to exhilarating. Two locals open the show: Pokey LaFarge and the Mayday Orchestra. LaFarge’s dynamic showmanship makes him a solid addition to any lineup, and the Mayday Orchestra will be the perfect complement to Dark Dark Dark. The new musical collective was born of two recently (and regrettably) terminated bands, Bad Folk and Rats and People. Expect great things.

  • article – link
  • Dark Dark Dark – MySpace
  • Mayday Orchestra
  • Pokey Lafarge – MySpace

The One I Love

December 17, 2008


Ear Burns: Our critics spew some haterade about 2008’s bummer songs, albums and events

This year Michael Stipe announced, unequivocally, that he is gay. Mr. Stipe, you are brave to declare your snuggling preferences and you handled the situation with sincerity and grace. But why did you have to break my heart? As a straight female R.E.M. fan, I’ve been spending the last fifteen or so years imagining that you were murmuring to me. Your wiggly hips, bright blue eyes and unfathomably long Snuffleupagus eyelashes really do it for me. I’d like you to put your man on my moon. Sigh. I guess I’ll have to get over it. Hey — Peter Buck…call me.
— Jaime Lees

[read the rest - HERE]

  • article – link
  • Michael Stipe press announcement – YouTube

2008: My Favorites

December 17, 2008

TV Blinded Me With Science

My favorite major release of 2008 was TV on the Radio’s Dear Science. Holy crap, was I unprepared to deal with the magnetic, schizophrenic brilliance of that album. I tried to listen casually — you know, in the car, while doing the dishes, etc. — but I soon found myself up late at night, incapacitated by the weight of big-ass headphones, wide-eyed in wonderment and smiling in the dark.

After bumping hip-hop newcomer Kid Sister’s tune “Beeper” on the daily, I spent an unprecedented amount of time — and a sickening level of ass-kissing — trying to scam an advance copy of her debut LP, Dream Date, from better-connected industry friends. Though it won’t be released until March 2009, Kid Sister’s playful, fly girl charisma permeates every song on the debut, and this hip-hop cutie has the skills to back up her Next Big Thing hype.

There were some hot reissues this year, including R.E.M.’s Murmur, Verbena’s Souls for Sale, A.A. Bondy’s American Hearts and the remastered Replacements discography. All were greatly appreciated — and rocked accordingly.

The best concert I saw in town was Sharon Jones at Blueberry Hill’s Duck Room in January. I knew she would be good, but I had no idea how good. The sold-out, sticky, sweaty, shoes-off, swinging hair, soul-filled basement show had me jumpin’ and forced my booty to do things heretofore unthinkable. Hallelujah.

Locally, I still crush on Bunnygrunt, the Humanoids, Sex Robots, Rum Drum Ramblers and Pokey LaFarge. I’ve seen each about 27,856 times this year and I’m still amazed at the spirit and passion their performances ignite. In addition, I can’t say enough good things about the Livers. This extraordinary rock duo is relatively new, but it consistently churns out one of the most exceptional live acts in the city.
— Jaime Lees

["the RFT's music writers weighed in on what they liked this year" - HERE]


Rats and People Motion Picture Orchestra

December 2, 2008


Rats and People Silent Movie Show
Date/Time:Fri., December 5, 9:00pm
Jaime Lees

The recent break-up of local favorites Rats and People was a major blow to the soul of the St. Louis music scene. Known for its strong storytelling and spirited instrumentation, the Rats filled a niche we didn’t even know existed. But this dissolution has a big, fat silver lining: It leaves more time for the Rats and People Motion Picture Orchestra — which has the same players, but is a different project altogether. Ever the multitalented multiinstrumentalists, the Orchestra has both scored movies and played live accompaniment to silent films. The latter performances are where the tiny orchestra shines, because the custom music so perfectly captures the mood and matches the film that you forget it’s even playing. (And that’s the highest compliment.) Come see the Orchestra work its magic on Buster Keaton’s Go West on Friday night.


Interview with Henry Rollins of Black Flag

November 5, 2008

Get in the Van: Henry Rollins — musician, spoken-word artist, writer and punk legend — talks about life on the road
By Jaime Lees
Published on November 03, 2008

Henry Rollins is a workhorse with a considerable legacy. As the vocalist of Black Flag from the early- to mid-’80s, he played a major role in the evolution of American punk rock. With both Black Flag and later the Rollins Band, he was a powerful and dynamic frontman, using his enthusiasm to dredge up raw emotion and induce cathartic explosions of energy in audiences.

Even now, more than two decades later, Rollins is still a captivating performer, although in a slightly different capacity. On his solo spoken-word tours, the 47-year-old tells stories, makes observations and (of course) shares his opinions on current events and politics. Judging by recent reviews, expect an exhaustive, passionate three-hour performance full of Rollins’ trademarks: thought-provoking anecdotes and stamina testing rants all presented with a big, contagious smile.

It’s a testament to his endless energy and humble nature that although Rollins pushes out hundreds of thousands of words a night, he always makes time to greet his fans post-show. This tireless ambition and attention to detail also feeds his many other occupations: author, columnist, commentator, documentarian, actor, narrator, blogger, radio host, television personality, poet and USO volunteer. We spoke with him about his current tour and found him to be intelligent, inspirational and utterly charming.

Jaime Lees: What else are you doing on tour? I know you have a bunch of things you have to get done, but how are you prioritizing it?

Henry Rollins: Well, deadlines. I’m on deadline for a book so I have to keep kind of pushing that along, and it’s quite a ways off from being finished. So I try and work on that when I can. There’s always something, and I’m always planning for what’s to be done in the next few months. In my line of work you plan well ahead of time — you know, shows, booking, holding down a venue or whatever else. All of a sudden you’re already planning the first two quarters of the next year, which I’m already doing, so far as releases, travel [and] work.

What’s your day like? You have your show at night, and then do you get on the bus and wake up in a different place?

Yeah, but it takes quite a while to get to sleep post-show. Yesterday I worked out for a long time at the gym, did the show and got off the stage with my legs being fried. And then you get on the bus and you’re very tired but unable to sleep, because the mind is still racing. So you find a way to somehow grind your teeth or whatever until you finally wear yourself out. I just try to get my head down as soon as possible, ’cause there’s always the show, the press and the gym waiting for me the next day. So there’s a small pocket of time to try to get something done, and I usually fall way below the amount of stuff I want to get done on the tour. I bring a lot of books out with me, they rarely get read all the way.

You also seem really courteous with your fans. After the show you’ll stay and talk to them for a long time.

Yeah, and I don’t mind it. It’s the right thing to do, but it is taxing, because people want to make a connection with you. I understand it. But I don’t blow people off. I don’t say, “Uh, uh huh, sure. OK, bye.” I listen ’cause they’re sincere, and I don’t dislike them. Quite the opposite, in fact.

Do they ever tell you that they feel as though you’re speaking for them?

Yeah, that’s [been] said to me all the time for many, many years. I think that’s just the nature of the fact that my feelings are not all that unique. My sentiments, whatever I’m coming up with, I’ve just gotten more access than some people do in the fact that I have a microphone, I’ve got an audience. So they might want to say “stick it to the man” or something, and they can say it to their friends at work, but I can kind of get it out there, fairly far and wide. So sometimes they’ll thank you for that, like, “Hey, thanks for getting that out there.” And I’m like, “That’s no problem. Glad to do it.”

Do you know what you’re going to say when you get up there? Do you know topics you’re going to hit?

To a great extent, yeah. I go up there every night and try to shoot my entire life though a pinhole in the wall. So I’m fairly front-loaded just coming out here with my big stories and whatever. You know, I have a path I want to go on, there are ideas I know I want to do. How I get to them — basically, I know the riffs and I jam on it on stage verbally.

Do you feel like there’s separation between you and your work at all?

No, they’re kind of all the same. All smashed together, for better or for worse. It’s not always a good thing.

Well, you seem like you take your work very seriously, but at the same time, whenever I’ve seen you, you’re very funny onstage.

The trick is to take the work seriously, but not yourself, you know? That way you can really just get in it and do your work and just be enthralled by your own fumes. ‘Cause I think that’s what gets in the way, to be thinking about how you’re coming off or how you look too much. You should just be really all about what you’re trying to say, what you’re trying to get across. So that’s what I try to do — and that’s not unique, either. I’m sure you’ll find a lot of people onstage who take the audience to task with a great amount of seriousness, but when they talk about themselves, it’s almost dismissive, because they know that the bigger priority is this thing they’re trying to do. The person trying to do it is not what it’s all about.

Well, at the same time, there’s not a lot of people who do what you do, if any. I can’t think of anyone whom I would consider your peer at this point.

As far as the talking shows and stuff, yeah. Well, it’s a unique thing in a way, but then again not. There’s been people onstage kind of ranting and raving since the proverbial soapbox made of marble in Rome. But in coming from the punk-rock thing, doing it in this way, maybe there’s a uniqueness there. Again, I really don’t give it much thought. I’m just trying to get this thing over the wall every night. And it is a considerable task. It takes a lot out of me. Like, whenever I walk offstage, I’m kind of surprised that I did it.

8 p.m. Thursday, November 6. The Pageant, 6161 Delmar Boulevard. $23. 314-726-6161.

EXTENDED INTERVIEW HERE


Henry Rollins – interview outtakes

October 30, 2008

-INTERVIEW HERE-

Interview Outtakes: Henry Rollins Talks Politics
Thu Oct 30, 2008 at 03:09:04 PM

Jaime Lees: I was wondering how it’s all been changing since you started [the tour] with the election getting closer? Because it’s mostly political, this tour, right?
Henry Rollins: In a way, it all is [political], in that if you’re kind of alive and living in the world at this point. But I don’t go and opine about George W. Bush all night. You have your opinion of him by now, after seven years and some months, and you don’t need me to tell you what you know, or what you think or need to think.
You’re a big person now and you can draw your own conclusions. But this election has been interesting in a lot of ways. For all of the obvious ones: the first time a woman has gotten this far with Hillary, and having an African-American, Barack, it’s made it very interesting. The debates, those things are never all that much to write home about. It’s been interesting watching kind of the body language and mannerisms of McCain. That’s been interesting for me.

Oh, especially that last time.
Yeah, I don’t think he came off all that well just on a human level. Where Barack, who I thought was going to be kind of a letdown in the debates, has surprised me by being way better and more together than I thought he was going to be. I thought he was going to be a big more stammering, but I think he really presented himself very well. I also think that people are kind of freaking out on Sarah Palin. She is really… [laughs]… she is somethin’ else.

That’s a nice way to put it.
Yeah, I’m trying to be generous. I don’t know much about her mayorial [terms] or careers as governor, but apparently she left Wasilla fairly bankrupt, and I have no idea what will be as far as this thing will go. Weeks and weeks ago I thought it was going to be McCain, and now I’m not so sure.

That’s the same thing I was feeling.
Yeah, I mean, I thought McCain was going to ratchet up the fear, which he tries to do. And I thought Barack was not going to be able to bring what he’s been bringing to the whole thing. And he’s surprised me, and I think the Wall Street thing was kind of a perfect storm moment for Barack.

Oh, totally.
It’s a bad situation, but it’s kind of looking better if you’re a Democrat in all of that because no matter what McCain says or who he tries to assign blame to, the Republicans and conservatives have a lot to answer for with the deregulation that brought us to that place. Of course there’s always people who will tell you that it’s the New Deal that brought us all to all of this, so that’s always going to be contested.

Do you feel like the audience is changing as the election is getting closer? Are you feeling different vibes off of them?
I’m not getting much of a feeling from the audience, though they’re showing up in wonderful numbers. It’s post-show when I talk to people outside you hear the concern. You know, how a lot of that stuff is really resonating with them. And a lot of people will be voting. I think at least one of the upsides of the Bush administration has perhaps polarized a lot of people in America, or perhaps polarized America, but it has gotten a lot of young people kind of off their asses to vote, which I think is a great thing.

I’ve never seen that happen in my time until now.
Yeah, and it took this. Well, since all of this is in the past now, as far as the two Bush terms. And we can’t undo it, it is nice to look for some good parts of it. And I think it got a lot of young people to realize [that] this is their country, this is their planet, this is their time and they really gotta weigh in. They can’t sleep on this. And that’s not bad, I’ll take that. ‘Cause there’s so much awful stuff to catalog the last several years and the more you look, actually, the more bad stuff there is to note. Like, a lot of non-congressional appointments that a president is allowed to make. When you see who is in some of these positions, it’s enough to make you howl.

No lie. I’m just now getting to where I feel like I understand the hippies a little better. Like, I’m starting to get what was happening in the 60s. I’m starting to feel it, with everyone talking about it all the time.
Yeah, absolutely. You see, uh, a lot of similarities in the protests and the rhetoric from both sides when you hear people talk about the invasion and occupation of Iraq. When you hear your Pat Buchanans and your Bret Humes and all of these conservatives, the rhetoric is the same. And there was so many people questioning and protesting the Vietnam War, you know, very vigorously [there were] a lot of cracked heads, you know, and you’re seeing the same kind of things being said now. You know, where presidents are getting the hard eye from the proletariat, and it’s interesting to see the same thing happening now. None of this is new. It goes in cycles, and at the end of the day people are people, you know, they protest and it’s interesting to be an American and have at least the Vietnam War as some perspective, and you know, hated presidents, like Nixon, to kind of run similarities between.

Yeah, no one can shut up about it and it feels good.
Yeah. You know, without a doubt, that you’re in the middle of something extremely important. You are part of it, you’re going to make a difference. I don’t think about how it will be judged later ’cause I’m too busy being in the present. But we are really cursed with interesting times at this moment.

When you’re reading all this news do you read something and think “Oh, I can’t wait to talk about that tonight”?
Sure! Yeah, there was some interesting moments in those [presidential] debates [that made me] so happy I had a gig that night. Or there was a night off during the vice presidential debates and I was in a gym on a treadmill listening to the debate with great interest. And I was making notes in my head the whole time I was listening and when it was over, I was like “Oh, I can’t wait for tomorrow.”


Patti Smith – concert preview SF

October 15, 2008

Wild Horses
By Jaime Lees
Published on October 15, 2008
Where: The Warfield
Details: Monday, Oct. 20. 9 p.m., $25-$27; www.goldenvoice.com.

With the release of her revolutionary debut, Horses, Patti Smith solidified her place in the vibrant music scene of 1970s New York City. From then on, she has displayed talent in many roles; she’s a soul sister to the singer, a friend to the author, a peer to the painter, a poet laureate to the punks, a sympathizer to the radical, a muse to modern musicians, and a goddess to her fans. At age 61, Smith is as prolific and inspirational as ever. In addition to being the subject of Steven Sebring’s documentary, Dream of Life (which opens in San Francisco this week), she is still touring, bringing her unrivaled live show to town.


Man Man

October 15, 2008

Man Man
9 p.m. Monday, October 20. The Bluebird, 2706 Olive Street.
By Jaime Lees
Published on October 15, 2008
Details: $12 21-plus, $15 under 21. All-ages. No phone. www.bluebirdstl.com.

Philadelphia’s Man Man exists on the blurred dividing line between indie and experimental music. The band has a thick, unpredictable, lurching, jazzy burlesque-music sound without being too cacophonous or abrasive — meaning its music feels more like the product of a punk rock orchestra than a rock band. But Man Man somehow manages to avoid being too “art school,” even if its members perform in all-white outfits using stage names (i.e. “Pow Pow” and “Wang Chang”) and frequently sport face paint. Its new album, Rabbit Habits, has more of a swinging-circus sound than the band’s previous efforts, complete with gravel-throated singing and an unceasing throbbing backbeat, reminiscent of our own local Casey Reid.


Nick Oliveri

October 8, 2008

Nick Oliveri
10 p.m. Friday, October 10. The Trade, 3515 Chouteau Avenue.
By Jaime Lees
Published on October 08, 2008

You might not know the name Nick Oliveri, but chances are he’s been in one of your favorite bands. Arguably the most important group on his résumé is the mighty Kyuss, which remains one of the strongest, most definitive bands within the otherwise nebulous “stoner-rock” genre. After Kyuss split in 1995, Oliveri hopped all over the West Coast desert scene, and joined (or established) essential outfits such as the Dwarves, Mondo Generator and Queens of the Stone Age. Oliveri now splits his time between new band the Knives and his gigs as a fill-in singer, bassist and guitarist for artists such as Mark Lanegan and Turbonegro, although this current tour is an acoustic one. Expect to hear favorites from all of his old bands and cuts from his solo debut, Demolition Day.


The Felice Brothers + AA Bondy – concert preview

September 17, 2008

Felice Brothers/AA Bondy
9 p.m. Wednesday, September 24. Billiken Club, in the Busch Student Center on the campus of Saint Louis University, 20 North Grand Boulevard.
By Jaime Lees
Published on September 17, 2008

Coming straight outta the Catskills, the Felice Brothers play a twanged-out style of gypsy Americana, music which drips with bayou-sounding horns, humming accordion and light tinkering on a tinny, old-West-saloon-sounding piano. With nods to ’60s protest songs and gritty swells of dark-folk, it’s perfect campfire music for a cool fall night. The Felice Brothers are currently on the road with their real-life brother-in-law, AA Bondy. Bondy is a singer-songwriter touring in support of his crushingly beautiful debut album, American Hearts (which Fat Possum Records re-released earlier this year). With just a harmonica and a stellar command of his acoustic guitar, Bondy crafts pure, sophisticated, Dylan-esque compositions with solid conviction, quiet determination and grace far beyond his years.

> SEE HERE <


OFFICE – concert preview

September 17, 2008

OFFICE
9:45 p.m. Friday, September 19. Cicero’s, 6691 Delmar Boulevard, University City.
By Jaime Lees
Published on September 17, 2008

Largely the baby of songwriter/lead vocalist Scott Masson, OFFICE is all about catchy, ultra-hooky pop songs. Albums such as A Night at the Ritz hint at a bit of Blur here, a sprinkling of Elton John there and overall a less campy Scissor Sisters covering Teenage Fanclub songs. Live, the Chicago quintet’s electro tendencies are more pronounced — it relies heavily on lifting keyboard melodies and sick bass lines, à la John Taylor of Duran Duran. As such, an OFFICE concert is always a joyous spectacle, with even the crankiest audience members dancing and clapping along by the time the third song begins.


Patti Smith – Dream of Life

September 12, 2008

Patti Smith Biopic Dream of Life Screens at Webster University, Thursday, October 2 to Saturday, October 4
Fri Sep 12, 2008 at 09:00:30 AM

Dream of Life is a new documentary about Patti Smith directed by photographer Steven Sebring. Dream has already won an Excellence in Cinematography Award at the Sundance Film Festival where it was hailed as the definitive portrait of the singer. This is an extraordinary compliment, given Smith’s expansive history in music, alone. Dating back to Horses, her striking 1975 debut album, there’s plenty of ground to cover in her professional adventures and there’s also public interest in her secretive personal life.

Filmed over the course of eleven years, the documentary contains live performances, photographs, interviews and her art. This mixed-media approach is the only method that would befit a mixed-media life. Smith is known as a singer, musician, artist, activist, poet, painter, feminist, revolutionary, writer, hippie, punker and goddess, and it is quite a task to present all of these elements in a standard-length film.

The biopic provides an account of her evolution as an artist during a time that most others at her age would be retiring. As an artist Smith is still prolific, allowing her love of words and history to permeate all of her other projects. In fact, it seems as though her prominence has only grown throughout the years. Her singing performances are still transcendent. In concert she seems to tap into some sort of witchy shaman vibe, and behind the power of her presence on the stage and a bright smile the 61-year-old seems both eternally youthful and positively invincible.

The film screens as part of the Webster Film Series at 8 p.m. from Thursday, October 2, to Saturday, October 4.

– Jaime Lees


Yea Big + Kid Static

August 14, 2008

Yea Big + Kid Static
9 p.m. Thursday, August 14. The Bluebird, 2706 Olive Street
By Jaime Lees
Published on August 13, 2008

The last time Yea Big + Kid Static came through town, the Chicago indie-rock emcees rocked the floor from the beginning — literally: The duo cleared a circle in the middle of the crowd for the performance, ensuring that everyone in the room knew they were in for an interesting show. It’s rare that a rap group is both tight and funny (most groups seem to skew one way or the other), but on that night these boys had it all: smooth rhymes, funny stories and solid prerecorded beats — in short, everything you would expect from a professional touring duo, but without the pretension. Most important, both guys seemed serious about putting on a good show — but kept it loose enough so it felt like a nice, classic “Yo mama’s so fat…” joke wouldn’t seem out of place.


Show Review: Alice Cooper at The Pageant, 8/7/08

August 8, 2008

Show Review: Alice Cooper at The Pageant, 8/7/08

Last night at The Pageant, Alice Cooper gave St. Louis all of the stage theatrics on which he built his career.

There were dancers, zombies, dead Disney princesses, a straight jacket, a mock execution and dead babies abounded. Even the equipment techs were dressed as some kind of Spinal Tap druids. He’s been doing this kind of show since the 1970s, and it seems to just get better and more impressive with each passing year.

Cooper took the stage with the full makeup and costume audiences would hope for. Everything, but everything, was black. Most of his props were either leather or wrapped in electrical tape. This display of gothic finery was offset by the one white thing on the stage: Cooper’s face. It was painted with the familiar black lines, and from the right angle he looked just like he did 30 years ago. His stage attitude was enthusiastic and he seemed very serious about the show.

Though Cooper’s at retirement age, he isn’t cutting any corners. He would drop to his knees and run across the stage with the abandon of a man one third of his age. And just when the music would get powerful or the mood would get a little intense, Cooper would sing even harder, looking tortured. When the song was done he’d slump over and then give the audience a little wink, letting them know he was just playin’.

Cooper’s interaction with the audience didn’t stop during the whole show. He’d smile at the front row and bow a little, signaling his appreciation for their excitement. He also seemed to give the audience all of his stuff. Generous Alice threw out two bedazzled wands and a glittering blinged-out chain, and that was just during the first couple of songs. He also gifts the audience with the things closest to his heart: his children. Yep, the kids are even in on the show. His eldest daughter, Calico Cooper, performed a jarringly beautiful modern ballet during a ballad, and other members of the Cooper family pitch in as assorted back up dancers and stage zombies.

The fun family vibe continues across the stage. Instead of just hiring an average back-up band, Cooper has obviously hired the best dudes he could get his hands on. First of all, the drummer was Eric Singer (you know, from a little band called KISS?) and his drum solo during one of Alice’s intermissions was worth the ticket price, at least.

Every band member really stood out in his own way, and that’s a lot to say for this kind of show. It takes professionals like guitarist Jason Hook and bassist Chuck Garric be noticed among lights, choreography, an assortment of props and the mighty Cooper, himself.

The band was very interactive with the crowd, frequently throwing out guitar picks, pointing out particularly rockin’ audience bros, nodding at the ladies and posing in “rock stance” for pictures. They all looked like they were having a great time, and truly, enough cannot be said about how much they added to the show with both their playing prowess and their engaging presence.

- Jaime Lees


’80s Prom featuring The Mandonnas

August 6, 2008

’80s Prom featuring the Mandonnas
10 p.m. Saturday, August 9. The Gramophone, 4243 Manchester Avenue
By Jaime Lees

In ’80s movies, no social situation brims with more potential trauma than a prom. And director John Hughes has retroactively ruined the event — and the decade — for us all by setting parts of his movies at the iconic school dance. (That sadist.) Hughes is why you’re still waiting for Jake Ryan, why you want to smoke doobage with Bender, and why you pray that Blaine (“That’s a major appliance, not a name!”) will justify your sorry thrift-store existence with an invitation to the big dance. Show Hughes you aren’t scared, though, by attending an ’80s Prom at the Gramophone and getting down to the Mandonnas (a.k.a. “St. Louis’ Own All-Male Madonna Tribute”) with zero drama. And, hey, don’t you forget about me: If you run into Lloyd Dobler, be a pal and slip him my digits.


Alice Cooper

August 6, 2008

Alice Cooper
8 p.m. Thursday, August 7. The Pageant, 6161 Delmar Boulevard
By Jaime Lees
Published on August 06, 2008

Despite his faux-goth theatrics, Alice Cooper has always been a rocker. Sure, the Detroit native’s image is a little tarted-up — what with his costumes, guyliner and a sexy serpent — but the music is straight up rock & roll; even his most popular tunes (“Poison,” “School’s Out”) maintain an element of subversive, slithering nastiness. Listening to his other classic hits with fresh ears reveals new dimensions, though: “Welcome to My Nightmare” sounds remarkably like the Doors and the lyrics in “I’m Eighteen” are still angsty and uneasily spot-on. Today Cooper is known as a cultural icon and commercial figure, having starred in advertising spots for everything from Bridgestone tires to Marriott Hotels. Shockingly, his image hasn’t been compromised in concert, and the 60-year-old still conjures up a dramatic, powerful performance.


Dr. Dog

July 23, 2008

Dr. Dog
8:30 p.m. Wednesday, July 30. The Bluebird, 2706 Olive Street
By Jaime Lees
Published on July 23, 2008

Emerging as the less-jammy, younger version of Wilco, Dr. Dog is on the rise. The well-loved band’s music builds on a warm ’60s groove, while somehow managing to avoid hippie sinkholes. In fact, the Philadelphia quintet’s radiant new album, Fate, stands as a tribute to some of the greatest products in pop-music history — and even better, the band wears its musical influences proudly out front. Beach Boysesque arrangements mingle with “Hey Jude”-like background vocal lifts. Completing the sound is a touch of rock from the Band and a sprinkling of haggard Neil Young jangly bits.


Mötley Crüe

July 18, 2008

Mötley Crüe
5 p.m. Sunday, July 20. Verizon Wireless Amphitheater, 14141 Riverport Drive, Maryland Height
By Jaime Lees
Published on July 16, 2008

The dudes of Mötley Crüe have become rich and famous by basically being douchebags — and what’s not to love about that? Sure, the band members are hair-metal-inventing, Hollywood-promoting, Grade-A misogynists, but, damn, they do it so well. In the early ’80s the band found a musical formula that worked, and it’s never strayed from it since. The new album, Saints of Los Angeles, sounds like classic Crüe (and even includes a tribute to the glory days of boneheaded cock rock, “Down at the Whisky”). Following along the well-worn path of previous hits “Girls, Girls, Girls,” new songs such as “This Ain’t a Love Song” and “Chicks = Trouble” continue to, uh, applaud the female form (“I really thought that pussy was gold.”). Oh, Crüe. You’re so naughty. It’s comforting to know that some things never change.


Snoop Dogg

July 8, 2008

Snoop Dogg
7 p.m. Saturday, July 12. Verizon Wireless Ampitheater, 14141 Riverport Drive, Maryland Heights
By Jaime Lees
Published on July 09, 2008

A’ight, here’s the dizzle: The d-o-double gizzle is in the Lou this Saturdizzle. Snoop Dogg is guarantizzled to pull out his sweet summer jams (“Drop It Like It’s Hot,” “Who Am I (What’s My Name?”)) at this show, fo’ shizzle. Though he’s known for smoking lots of marijuizzle, Snoopizzle is far from a stoned slackizzle. He’s even improved his shizzle from the early days of Cali-collaborating with Dr. Dreizzle. Quite the entreprenizzle, Tha Doggfather also knows how to get paid lots of bizzles. From directing pornizzles to pimping out poonizzles, he’s got all kinds of businizzles. C’mon, maybe it’s about tizzle to take a break from grilling outside of your red brick hizzle. Don’t stay home and watch another Cardinizzles game on the televizzle — roll out to the Verizon Wireless Ampivizzle ’cause this show is sure to be off the hizzle.

  • article – link
  • Snoop Dogg – website
  • 07-09-08 reprint in the Pitch (Kansas City) – article link
  • 07-31-08 reprint in the Dallas Observer (Dallas, TX) – article link

The Dials

July 8, 2008

The Dials
10 p.m. Saturday, July 12. Way Out Club, 2525 South Jefferson
By Jaime Lees
Published on July 09, 2008

The Dials have a history of creating hooked-out, grooving pop tunes. The Chicago quartet’s debut full-length, 2005’s Flex Time, was a pop revelation. However, the band members’ combined talent was never as apparent as it is on the new album, Amoeba Amore. Amore takes the band’s trademark sound — girl-group sugar on top of dirty garage spice — and layers on tighter thumps and speedy riffs. Add to that buzzes, pops and bouncy hiccuping, and the results feel like the band took only the best parts out of pop music history (’60s harmonizing vocals, ’70s blaring guitars, ’80s new wave synth licks) and squished them all together. And while the albums are impressive, the live show is where the band proves its worth: The Dials make it look disgustingly easy (and fun) with an energetic show that gets heads boppin’, feet tappin’ and even a few devil horns thrown.


Show Review: Stevie Nicks at the Chaifetz Arena

June 14, 2008

Show Review: Stevie Nicks at the Chaifetz Arena, Friday, June 13, St. Louis, MO
Sat Jun 14, 2008 at 11:30:08 AM

I’m just going to come right out and say it: Stevie Nicks must have a magical coochie. That’s all I could think about last night while watching her perform at the new Chaifetz Arena. That isn’t to discredit her ample musical talent, but her feminine gravitational pull is apparent, even in a large music venue. She’s got that something. And whatever it is, it’s magnetic and irresistible.

Over the years her lady parts have served her well: the source of most of her song writing material has come from her love affairs. Most of these episodes were well documented, even in the pre-paparazzi days of 1970s celebrity. Successful rock-and-rollers lined up around the block back in the day for a crack at Miss Nicks. She supposedly gave quite a few of them a spin, from Don Henley to Mick Fleetwood to Jimmy Iovine, and her long relationship with uber-sexy band mate Lindsey Buckingham was a main topic in Rumours, the classic Fleetwood Mac album.

Even now, at the age that most people retire, Nicks still knows how to work it. She’s still all high-heeled platform boots, gothic Lolita dresses, long blond mane and sparking shawls. Her static, uncompromising image is shockingly stubborn. Imagine a ’70s punk who still sports a mohawk as an old man on the golf course. Still, Nick’s image doesn’t feel contrived- it’s just as if she found a good thing an stuck with it.

And the fans? They love it. When she opened with “Stand Back” one would have never known that the arena was only about half full, as every older lady in the place got up out of her seat and cheered while mentally reliving her glory days.

What followed was a string of hits (including “Dreams,” “Rhiannon,” “If Anyone Falls in Love,” “Sorcerer,” Gold Dust Woman” and “Landslide”) and a couple of surprising covers (Bob Seger’s “Face the Promise” and a torturous version of Dave Matthews Band’s “Crash”).

To her credit, Nicks basically excused these covers by explaining that she and her band need to do something fun every now and then. By “fun,” I’m guessing she means “sing a song that I haven’t already sang 873,421 times in my life.” It’s cool. She’s forgiven for that. She is still under the gun, however, for one part in her stage show.

There was a huge video screen behind the stage that showed mostly innocuous, appropriate swirling art (a rain shot during “Dreams,” a yellow haze during “Gold Dust Woman,” etc.) but during “Rhiannon” it featured a pair of cheesy white unicorns frolicking in the freaking forest. I shit you not. It was distracting and I laughed for nearly the whole song with sympathetic embarrassment for everyone on that stage. Lest you think I am a cynical party-pooper, those unicorns garnered snickers from quite a few people near me and pretty much ruined the song for us all. Lose the unicorns, Stevie, that’s pushing the “mystical” and “enchanting” thing just a little too far.

This was the first “rock concert” hosted at the Chaifetz, and aside from the poor attendance (due, no doubt, to the high ticket cost), the management can certainly call it a success. The place is much smaller than an average arena, creating a cozy feeling even at a big show. It’s a clean white space accented with SLU blue, but it doesn’t feel cold, just new. There were helpful ushers, food and drink and a kind employee even offered to escort me to my car. Yes, the parking situation is kind of wack, but you’ve dealt with worse. There’s just nowhere to park that feels close. I paid $10 and went for the SLU garage. It was a bit of a hike from the garage to the arena, but it’s nice scenery with small ponds, bridges and sports fields to watch along the way.


Stevie Nicks

June 14, 2008

Stevie Nicks
8 p.m. Friday, June 13. Chaifetz Arena, One South Compton Avenue
By Jaime Lees
Published on June 11, 2008

During her time as a member of Fleetwood Mac, Stevie Nicks filled many roles: singer, songwriter, muse, tambourine player and main hottie. As a contributor to the Mac’s legendary Rumours album, Nicks sealed her place in history as one of the great original rock & roll heroines. After penning some of the band’s biggest tunes (including otherworldly classics such as “Dreams,” “Rhiannon” and “Landslide”), the 60-year-old went on to enjoy a successful solo career, scoring hits with songs like “Edge of Seventeen” and “Stop Draggin’ My Heart Around”. These days Nicks is still working the witchy hippie thing, what with her suede boots, shimmery scarves, untamed mane and trademark twirling dance moves. Her infrequent tours command top dollar, as Miss Nicks is still a powerful performer who has grown into her delightfully distinctive voice.


Wooden Kites

June 4, 2008

Wooden Kites
7 p.m. Friday, June 6. Vintage Vinyl, 6610 Delmar Boulevard.
By Jaime Lees
Published on June 04, 2008

Between playing shows, recording an album and keeping commitments to various other musical projects, it’s a wonder that any of the Wooden Kites have had time to sleep, much less weather life’s other tedious obligations. The band plays out relentlessly, earning fans night after night with its combination of earnest emotion and a stormy (yet controlled) musical presentation. All of this practice has solidified the songs on the band’s debut album, The Orchard — which is a fusion of bold, swinging compositions (“Miranda Avery”), pirate-inspired anthems (“Sailin’ Song”), drinking ditties (“You and Me and the Bottle Makes Three”) and climactic, transcendent indie rock (“Bumble”). Think local folk-punks Rats and People mixed with Bright Eyes — only better.


RFT Music Awards Nominees

June 4, 2008

RFT Music Awards Nominees: St. Louis’ Best and Brightest
Published on May 28, 2008

Please follow this link to read about the nominees listed below.

Best Americana/Folk – Rum Drum Ramblers
Best Untraditional Americana/Folk – Rats & People
Best Funk/Soul/R&B – Kim Massie
Best Hard Rock/Metal – Head On Collision
Best Local Release (self-released) -
Rats & People’s The City of Passersby
Best New Artist – The Livers + Wooden Kites
Best Pop Band – Sex Robots
Best Punk/Hardcore – The Humanoids


Sea Wolf

June 4, 2008

Sea Wolf
9 p.m. Thursday, May 22. The Bluebird, 2706 Olive Street
By Jaime Lees
Published on May 21, 2008

Playing under the name Sea Wolf, singer-songwriter Alex Brown Church performs with a steady cast of backup musicians that help his indie rock visions come alive. Church possesses storytelling skills in spades, and frequently rouses both regretful and hopeful emotions with heart-tugging lyrics — most of which revolve around relationship woes (“Black Leaf Falls”) or wasted time (“Winter Windows”). Many songwriters could spend their whole lives trying to write a song half as beautiful and complex as any on Sea Wolf’s debut LP Leaves in the River; there’s just something gorgeously creepy about the album’s gentle chord progressions and pretty, stirring melodies. Riding on the success of his devastatingly haunting single “You’re a Wolf,” Church is charming his way across the country with hypnotic performances in intimate spaces.


Rock & Roll Prom

June 4, 2008

Rock & Roll Prom
9 p.m. Friday, May 23. The Way Out Club, 2525 South Jefferson Avenue
By Jaime Lees
Published on May 21, 2008

Aside from its New Years Eve celebration, the Rock & Roll Prom is one of the biggest annual events at the Way Out Club. This themed party nearly always fills the venue to capacity, as patrons come out from all corners of the city, all outfitted in their best prom dresses and suits and looking for a good time. This years sub-theme is “zombies,” so expect some extra bloody pageantry and pale-faced hilarity. The entertainment lineup includes favorites of the club, like the horn-heavy psychobilly of the Devil Baby Freakshow and the shambolic roots rock of Tijuana Hercules. Velcro Lewis & His 100 Proof Band and Alas, Poor Yorick round out the bill.

  • article – link
  • The Devil Baby Freakshow – MySpace

Concert Review: The Breeders in St. Louis

May 13, 2008

Concert Review: The Breeders in St. Louis
Saturday, May 10, 2008 – Pop’s

(Photos by Sarah Paradoski; setlist by RØB Severson, review by Jaime Lees)

It used to take a lot for me to drag my ass to the East Side. But after last weekend, good ol’ Sauget, Illinois, might be one of my favorite places to hang out or see a show. Saturday the Breeders played Pop’s, and the whole experience was just so damn pleasant. One would never know they were mere yards from the terrifying, toothless tranny hookers that congregate just on the other side of Route 3.

Before the show I was disappointed to hear that Pop’s was going to close off half of the venue (something the venue does at certain shows), but when everyone made it inside, it was clear that this was the right decision. Floor space was tight, but not smashed and the balcony was cozy.

Sure, drinks are always more expensive on that side of the Big Muddy, but the staff was helpful and laid back, showing no signs of the aggro tendencies I’ve witnessed there during other shows. The staff seemed to recognize that this was a show for sleepy indie folks and acted accordingly. I asked a bartender if he caught the sound check and he said, “I didn’t. And you know, I don’t know anything about the band. But I’ll tell you what: those sure are some nice people. Great smiles, too.”

I couldn’t have said it better myself.

Watching the band is like catching up with old friends. Older songs (“I Just Wanna Get Along,” “Divine Hammer”) induced much heart-swelling and the newer songs from latest album Mountain Battles (“German Studies,” “It’s The Love”) blended perfectly into these live sets. On stage, Jose Medeles and Mando Lopez, also of pumped-up punkers Fear, kept the rhythm section bumpin’ and thumpin’ while remaining mostly heard and not seen. New kid Cheryl Lindsay hopped in where needed with extra vocals and instrumentation, and mostly stood calm and still on the side of the stage.

Predictably, Kim and Kelley Deal (and their mega-watt smiles) took center-stage. Both seemed at ease, happy and comfortable with the audience, sharing jokes and answering questions. In addition to Breeders jams, the Deals sang quite a few songs by the Amps (including “Empty Glasses,” a rarity), Kim’s other band. Kelley graciously stepped into the wings when she wasn’t needed during Amps songs, but could still be seen through a rip in the stage curtain rocking out and enthusiastically singing along as if she was a mega-fan.

1. Tipp City (Amps song)
2. Huffer
3. Bang On
4. Shocker in Gloomtown (Guided By Voices cover)
5. Divine Hammer
6. Night Of Joy
7. No Aloha
8. Pacer (Amps song)
9. We’re Gonna Rise
10. It’s The Love
11. Walk It Off
12. New Year
13. Cannonball
14. I Just Wanna Get Along
15. Happiness Is A Warm Gun (Beatles cover)
16. Iris
17. Safari
18. German Studies
19. Empty Glasses (Amps song)

ENCORE:
20. Overglazed
21. Fortunately Gone
22. Here No More
23. Saints


Interview with Kelley Deal of the Breeders

May 7, 2008

She’s Crafty: The Breeders’ Kelley Deal talks knitting, nudity and Steve Albini’s bodily functions
By Jaime Lees
Published on May 07, 2008

Kelley Deal co-leads the Breeders with her sister Kim, who’s best known for being a member of the Pixies (and later, the Amps). The Dayton, Ohio, quartet first found fame in the early ’90s with songs such as “Cannonball” and “Divine Hammer” and is in the midst of a most welcome comeback thanks to a new album, Mountain Battles.

Its first release since 2002’s Title TK, Battles displays all of the familiar Breeders qualities — i.e., sugary vocals and inventive songwriting — while highlighting genre experimentation and improved instrumentation. Written and recorded over years with quite a few influences (most notably, engineer Steve Albini), Battles is an album that becomes more accessible with each spin, as its dazzling subtleties grow more prominent.

The sisters’ voices together are as striking as ever, producing Phil Spector-worthy harmonies that sound angelic in any language. (No, really: The Deals sing one song in Spanish and another in German.) Other album highlights include “Here No More,” a simple, prairie-style folk song and “We’re Gonna Rise,” which is a shifting and hopeful ballad. “It’s the Love” sounds the most like a classic Breeders pop tune, and seems to be a crowd favorite.

We caught up with Kelley last week while she was on a tour stop in Las Vegas.

Jaime Lees: Tell me about when you were recording your album. I love Steve Albini and obviously you like him, ’cause this is the third Breeders album you did with him.

Kelley Deal: Well, here’s the thing: We did not do that much of this record with him. But people read his name and just go [with it] because he’s such an interesting character, and he has such an interesting history with the Breeders. The thing is, on the album credits, we don’t go through everything, ’cause we went to a lot of places and worked with several different people.

The guy we worked with most on this record? His name is Manny Nieto. We met him in East Los Angeles. He had a studio there and his people call him “Albiner” ’cause he’s a huge Albini fan. He knows Steve, he talks to Steve. Now, we did go to Albini’s and we recorded. “Here No More” and “Walk it Off” were recorded and mixed by Steve. He recorded “Overglazed” and “It’s the Love” and he mixed “Regalame Esta Noche” and he did some other stuff. But “Overglazed” was mixed by Manny, “Bang On” was recorded and mixed by Manny. “German Studies” was recorded and mixed by Manny. So he actually did most of the work.

And there’s this other woman, her name is Erika Larson, she recorded “We’re Gonna Rise” and “Regalame Esta Noche.” But it’s interesting, I’ve noticed when I talk to people they say, “So you worked with Steve Albini again on the record.” And I explain it, but a lot of times they just say “worked with Steve Albini” and I don’t blame them, ’cause Steve Albini is a freak, basically. He’s a wonderful character to talk about.

Yeah! I always wanna know if he’s as serious as he leads on. I’ll watch him in interviews, and he’s just so serious.

Oh, totally. You know, in the middle of a serious discussion, he’ll lean over a cheek and fart without blinking an eye. And it’s not like he’s doing it to get a reaction, and it’s not like this huge stinky thing. [He'll say] something about, “It’s a natural bodily function.” He’s just gonna give it a poot! If you did the same thing, he wouldn’t blink an eye. He’s just the weirdest guy. He’s so smart, too. He’s so smart it’s weird.

All of the records he makes always sound really good in my car. Does that make any sense?

Absolutely! That’s the mark of a great engineer.

OK, so, tell me about your knitting book. [the forthcoming Bags that Rock: Knitting on the Road with Kelley Deal]

[Laughs] Yes, you know, I like to knit. I did an interview with somebody in San Francisco, and when we got there I saw the interview [in print] and the caption said “Kelley Deal knits up a new record.” And I started blushing. ‘Cause, you know, it’s so uncool. But on the other hand I’m like, fuck that, man. I’m not gonna be embarrassed by it. You know, I’m gonna let my freak flag fly. You know, I like to knit, fuck everybody else. But just the word “craft.” “I craft.” It’s so lame. But anyway, yes, I like to knit. And I have a book coming out in October. Enough said about that.

What else are you doing on tour to just, like, chill?

Let’s see, what else are we doing on tour? What do I like to do? You know, I do a lot of reading. When you’re on a bus with a lot of people, when you get some time, you kind of just want to have “me time,” whatever that is. Also, I’m in Las Vegas, I’d really like to hit up a meeting, as they say. A twelve-step meeting. I’ve been to a meeting before here in Vegas, and there’s nothing cooler than that, go to an AA meeting in Vegas. You can bet it’s raw, you know? [Laughs] Like, “Oh, look at that guy. He sold his car. He gave his baby away.” But I want to go, even though I feel like I’m just an observer. I mean, and I need to go, I think it’s a good idea.

I think it’s great that you talk about stuff like that.

I never… everything is kind of open, it’s all up for grabs. I’m totally, I’m so Midwest, you know? Like, Chatty Cathy. I don’t feel like people hold back or, like [whispers], can’t ask me something because it’s inappropriate.

I’m glad the tour is going well. When I saw you guys in Austin in March you seemed kind of nervous. Oh man, but the audience was freaking out. They were really stoked to see you.

Oh good. Damn! Good! You know when we play the new songs, people love ‘em. They fit right in. It’s not like people are just sitting there looking at us.

So you’re gonna come here to St. Louis. Do you know about the place you’re playing? It’s kind of like that place you’d go to see a Journey cover band.

Ha! The place that we’re playing there? Really? Oh God, I hate when you tell me shit like that, it’s so weird!

No, it’s a fun place, but it’s in East St. Louis, and it’s sort of like, you have to stay on that street or you die.

[Laughs]

So don’t go roamin’ around there.

OK. I mean, will people not come because of the location?

No, you can totally go there, you just have to go straight there and then leave. Its like, in the middle of a couple of strip clubs.

I can take my clothes off, that’s what you’re saying?

Well, uh, next door at least. Or, uh, probably there, too. It’s your show.

I’ll just take ‘em off there, too.

8 p.m. Saturday, May 10. Pop’s, 1403 Mississippi Avenue, Sauget, Illinois. $17 in advance, $18 at the door. 618-274-6720.


The Hood Internet

May 7, 2008

The Hood Internet
9 p.m. Friday, May 9. Bluebird, 2706 Olive Street
By Jaime Lees
Published on May 07, 2008

The two dudes in the Hood Internet are multitasking experts. In addition to the occasional remix, the Chicago DJ crew pumps out frequent mash-ups, which layer beat-filled songs on top of each other to create new, booty-poppin’ super-songs. The Hood frequently meshes current phenoms with old-school jams (Tag Team vs. LCD Soundsystem, Mos Def vs. Battles, Prince vs. Kid Sister). Plus, unlikely combinations (like R. Kelly vs. Shellac) abound. Yes, R. Kelly and Shellac are played in tandem to produce bumpin’ results — all of which are downloadable (for free) at its Web site (www.thehoodinternet.com). Come out and kick it dance-party style, because Dan Deacon ain’t got shit on this.

  • article – link
  • The Hood Internet – MySpace
  • The Hood Internet – website
  • photo credit – Rob Warner

Interview with Thurston Moore of Sonic Youth

April 23, 2008

Folk Meets Noise Meets Whatever
Sonic Youth’s Thurston Moore on Nashville’s noise scene
by Jaime Lees
Sonic Youth play Friday, 25th at City Hall w/Leslie Keffer

As a singer and guitarist for America’s preeminent indie rock band, Sonic Youth’s Thurston Moore has devoted the better part of three decades to engaging and electrifying the alternative underground scene. A life-long booster of punk rock and punk ethics, Moore believes in doing it all (and doing it all by himself). His many projects include scoring film soundtracks, playing in other bands, releasing solo work, running his own label, guesting in documentaries and writing and editing books.

With the recent album releases of Sonic Youth’s spectacular Rather Ripped and Moore’s own deliciously lo-fi Trees Outside the Academy, he has been roundly praised as being at the top of his game. His small record label, Ecstatic Peace!, has found success with quite a few Nashville bands, most notably with the noisy garage rock of Be Your Own Pet. Moore enthusiastically describes BYOP as “totally hot” and elaborates, “I remember thinking, who are these kids? When I was 17, I was just mowing lawns and being very afraid of girls and stuff. And these guys were on the road, punking-out across the world.”

Moore claims roots in McKenzie, Tenn., and therefore, good “Tennessee radar,” so it’s no surprise that he’s tuned in to regional acts, or that Nashville is one of only five show dates for Sonic Youth in April. Between Moore’s fondness for Grimey’s New & Preloved Music and deep, historical knowledge of the Nashville underground music scene, he could easily pass as a lovably weird local noise dude.

We caught up with Moore over the phone last week, and his passion, humor and laid-back boyish charm clearly translated across the wire.

Scene: So aside from Be Your Own Pet and Turbo Fruits, who else on your label is from the area?

Moore: Well, Leslie Keffer moved to Nashville from Ohio, and she makes harsh underground noise music. She sets up her own sort of idiosyncratic kind of noise gear with radios and cassette tapes and stuff. And there’s a certain kind of pure sound that she deals with, you know? She kind of filters radio signals into this kind of noise wash and I thought it was good stuff, so I kind of reached out to her. She’s a huge Be Your Own Pet fan and we were putting their records out. And she sort of hooked up with Angela Messina—there’s this whole Nashville noise underground of bands and [Messina] was in a bunch of them, like Taiwan Deth, Tan as Fuck, The New Faggot Cunts and I think she was in Vegan Brand. [laughs]

Scene: Those band names are all…uh…poetry.

Moore: [laughs] She’s kind of an artist and poet. And she’s been on the scene for a while and she’s great. There’s also this other guy in Nashville that I really like. His name is Derek Schartung, he’s in the underground Nashville noise scene [also in Taiwan Deth] and plays really good stuff. Then there’s bands like Cherry Blossoms. They’re really great. They had a record out that was really happening. [It was] open-ended, kind of beautiful folk meets noise meets whatever.

Scene: How are you finding time to get all of the stuff done that you get done?

Moore: I’m kind of trying to figure that out myself, you know? Sometimes it gets really overwhelming and I start having anxiety attacks and I just sort of want to climb under the covers and escape it all and hope it all goes away. But the thing is, I’m so enamored by this stuff. I love it. I always wanted to be in a position where I could actually make records and make books and make cassettes and make films and write and play music…. That was my ambition as an adult…to be able to do that.

Scene: What are you doing with your down time, if you ever have any?

Moore: That doesn’t include getting together with some people doing cross-country improvised noise music in basements, which is what I really want to do? Or starting a black metal band and like completely disguising myself as a black metal guitar player in a nefarious, bleak and dim black metal band, which is also what I would love to do? Do you mean, how do I step away and what do I do? [laughs] Hmm…. I guess I sort of do what any normal person would do—I’d start watching successive episodes of Buffy the Vampire Slayer!

Scene: Are you doing anything today for Record Store day?

Moore: Record store day is today, isn’t it?

Scene: It is!

Moore: I was gonna come down to Grimey’s and sort of totally hang out and drink beers and get into the groove of the day, but you know what? It’s not gonna happen. I’m here and I’m babysitting my 13-year-old. Not babysitting, I’m child-rearing.

Scene: You produce a lot of limited-edition cassettes and LPs on Ecstatic Peace!

Moore: Nobody buys records anymore. So it’s hard to do things on any level. It’s really super-duper slumped right now. Nobody buys records. I mean, that’s why, in a way, for me, it’s more rewarding and more fun sometimes to make real boutique edition stuff of real subterranean artists.

Scene: So about this show on Friday.

Moore: I hope people show up.

Scene: I don’t think that’s a problem for you.

Moore:
Yeah, well, it’s kind of a big place. You hope people show up and have a good time. That’s all we can say, it’s gonna be a good time in a sonic way.


Interview with The Livers

April 23, 2008

Using Their Illusion: Ferocious — and funny — locals the Livers hope video builds the radio star
By Jaime Lees
Published: April 23, 2008
9 p.m. Friday, April 25. The Bluebird, 2706 Olive Street. $7 21-plus, $10 under 21. No phone.www.myspace.com/bluebirdstl.

BFFs Scot Freeman and Luke Roulston hit a rough patch last year. Mired in typical twentysomething malaise, they found themselves working too hard, drinking too much and continually complaining about their lack of a creative outlet. Both were seasoned musicians who admired each other’s skills and former bands (Freeman’s Chiaroscuro and Roulston’s Poe’s Music for Weirdos), and so as an extension of their bromance, these multi-instrumentalists decided to quit their bitching and put together a new band.

There was just one problem: They only wanted to play with each other.

Freeman and Roulston began trying to find a way to multiply their sound without adding any extra people. They jokingly wished they could form a band with clones of themselves to fill out the empty instrument positions. As the story goes, one day Roulston said, “What if we just did that?” And so after considerable preparation and months of trial and error, they managed to invent something brand new: a four-person rock band with just two band members.

This is accomplished by both Livers playing guitar in front of a prerecorded video of themselves as the rhythm section (with Roulston on bass and Freeman on drums). But the virtual band members don’t just play, they also have names (Karl and Merl), distinctive personalities and sassy attitudes. Through the magic of painstaking video editing and green-screen wizardry, all four band members have the ability to interact with each other. (In fact, the video Livers frequently talk back to the live Livers.)

This elaborate presentation is helped along by Zak Thenhaus, the unofficial third (fifth?) Liver. Similar to the Wizard of Oz, Thenhaus fills the role of the unseen magical man behind the curtain (or video screen) who assists the real-life Livers in their video interactions, largely by handing them props. Between songs every last Liver gets to catch a break as hilarious commercial-like clips — such as a Laverne & Shirley spoof, or one for Evan Williams brand whiskey — appear on the video screen. (These riotous, between-song bits are also known as the “interstitiary videos” in Freeman’s professional-speak.)

The result is both spectacularly effective and logistically bewildering. Roulston dryly explains, “Yeah, it’s kind of our motto: ‘To do everything the hardest way possible.’”

Entering the Livers’ headquarters — a.k.a. Roulston’s spacious Benton Park bedroom — one immediately begins to get an idea of just how detailed the band’s production process must be to pull off this kind of act. The vast space is part living area and part artist workshop, with enough cameras, lights and cables to outfit a television studio. In addition to the clothes, electronics, books and numerous art pieces strewn around, tiny strips of green tape on the wood floors mark frequently used instrument and filming positions. It is here that all of the “rhythm section” and comedic segments are taped.

Though these ingenious videos and fun live additions make the band instantly unique, without competent songwriting and playing prowess, the Livers would be little more than an interesting live art project. But the band’s tunes stand alone and can be enjoyed, even separate from its shtick.

The admitted “control freaks” extended their hands-on attitude to their debut album, Vino in Uriam Mutando, which they self-mixed. Recorded locally at Firebrand Recording studios, Vino sounds strikingly professional (with solid lyrics, wicked riffs and intimidatingly heavy drum hits) and contains recordings of a few songs that are quickly becoming audience favorites. Freeman’s “Autistic Girlfriend” was written as a “rock juggernaut” about a cold lady with insincere feelings and “a hole where her heart should go.” In contrast, Roulston’s “She-Wolf” is a wistful, gently sung pop-punk musing on missed opportunities and misdirected emotions. Other standout tracks include the sweetly seductive “Humble Plight” (a salute to the pleasures of love and makin’ love) and “2 Legs to Dance,” a jolting bass-and-beat-filled swoop into the world of dance rock that implores listeners to get up, get drunk and start dancing.

Between the Livers’ unprecedented musical presentation and strong tunes, it’s rumored that the young band has already been fielding label and distribution interest. When questioned on this development, both guys just smile and coyly decline to discuss this topic on the record, claiming superstition. It wouldn’t be surprising; the band contains the kind of natural charisma and overflowing raw talent that label scouts are always looking to unearth. Plus, Freeman and Roulston seem to have a very brotherly relationship — where both compliments and playful ribbing are common — and both are good-natured, smart and funny as hell.

On meshing their musical styles:
Scot Freeman:
Luke’s music is really complicated and the time signatures are all weird and stuff and I can only play, like, uh…
Luke Roulston:
3/4 and 4/4 or a combination thereof. [Laughs]
Freeman:
Yeah! Really, just like, Top 40. I just wanna play riffs and sing soaring choruses and that kind of stuff. So when I write a song it’s usually really simple but his stuff is all over the place and I’m like, “I’m gonna go ahead and dumb this shit down.”
Roulston:
Well, that’s called “rocking it up.”

On their perfectionism in the videos:
Freeman:
I think I’ve worked harder on this than on anything I’ve worked on, ever. There have been times that my actual job has bummed me out, but there have been times with this shit where I wanna cry.
Roulston:
It’s toil.
Freeman:
There’s been times when we worked on this 50 or 60 hours a week, while still working our regular jobs 40 hours a week. I mean, [we were] working to the point where it’s almost ruined friendships and relationships.
Roulston:
But the best thing about it is, the other members of the band? They don’t seem to argue! [Laughs]
Freeman:
On the videos, I’m of the opinion that Luke could pretty much fake it, that he could hit some wrong notes. But he refuses. He refuses to hit one wrong note, even though it wouldn’t matter.
Roulston:
If there was a bass player [in the audience] that actually had perfect pitch and knew his shit, he would know.
Freeman:
And that’s why he obsesses. We’ll get done taping and he’s like “I missed a note,” and I’m like “I played it fucking perfectly! I’m bleeding!” and he’s like “Let’s do it again.” And I’m like “Fuck!” and I fucking duct-tape my hand back together, [and] do it again.

On the band’s sound and influences:
Roulston:
Thus far, we’ve been compared to ’90s music. But I love ’90s music. Our big influences are the Jesus Lizard and the Pixies and Nirvana and the Foo Fighters and, you know, just hard-hitting drums. And he [Freeman] plays better than most drummers I’ve ever seen.
Freeman:
Yeah, all my favorite bands are fucking gone. Jesus Lizard and fuckin’ Seaweed, Failure, whatever. Bands that nobody remembers.
Roulston:
At least the Pixies came back, I guess. You know what I liked? When Frank Black came to the Duck Room. That was a really fucking awesome show. I have nothing but respect for him. Actually, I have nothing but respect for anybody in the Pixies. They’re just… God! What a great fucking band! I would say, like, that’s the band that I would aspire to lick their…
Freeman:
Junk!


LOLBini

April 8, 2008

The Safes

April 2, 2008

The Safes
9 p.m. Saturday, March 5. The Bluebird, 2706 Olive Street
By Jaime Lees
Published: April 2, 2008

The Safes groove a familiar sound that is wholly unoriginal but entirely excellent, by nodding to Brit-garage, Mod and all kinds of power pop. (Think early Kinks spliced with any bubbly Superchunk tune.) The Chicago trio’s 2007 release Well, Well, Well earned the brothers O’Malley — and they’re real brothers, not “band brothers” à la the Ramones — plenty of positive attention from tastemakers like Pitchfork. Some of the Safes’ studio detail is lost in translation live; the blasting rock elements overpower the music’s pop intricacies. But its show always brings a welcome punch of rock & roll fun — and a chance to shake your tail feather.

  • article – link
  • The Safes – website
  • The Safes – myspace
  • photo credit: Andrew Ballentyne

The 1900s

March 26, 2008


By the Numbers

Rarely, if ever, do we get jealous of Chicago — save for its big pizza and its 4 a.m. bars, which means that the city’s still partying while we’re driving through Taco Bell. But there’s one thing St. Louis can’t claim: The 1900s. And now we’re officially stamping our feet and whining, “No fair!”

Each exuberant element of the band’s sound calls to mind different comparisons: the boundless organ favored by the Zombies; John Denver’s tranquil simplicity; the honeyed vocal interplay of Fleetwood Mac or the Mamas & the Papas; and the omnipresent tension of the Velvet Underground. But even with these various influences, the 1900s aren’t close to being a rip-off; it’s like the band took only the best parts from these classic groups and combined them to design and birth a pretty little pop baby. In fact, the band was born so perfect that it signed to the Urbana, Illinois, label Parasol after its very first public show, in May 2006.

Now seven members strong, the 1900s’ first full-length for Parasol, Cold & Kind, is an indie-pop masterpiece. Main songwriter/vocalist Edward Anderson says the band wanted to make a “big, epic record,” and though the process was grueling (all band members still have day jobs) he modestly admits that “[Kind] seemed to come out all right.” Credit this satisfaction to his creative approach to music: Although Anderson writes lyrics the old-fashioned way — “I’ll just sit and smoke a lot of cigarettes and drink, like, a bottle of wine and try to figure it out” — recording music is another story.

“Like, the first run-through will be maybe on my phone while I have an idea,” he says. “And then I’ll do it on GarageBand for a couple weeks or months or whatever it takes, kinda iron it out. Then I’ll do a ProTools demo, then I’ll give a CD to the band. [The songs] usually change quite a bit [when] they all add their parts.”

For being barely two years old, the 1900s have received a ridiculous amount of good press. In fact, it’s nearly impossible to find a negative printed word. When questioned about this phenomenon, Anderson laughs and seems embarrassed. “Kind of miraculously, for the most part [the press] has been pretty good,” he says. “In Chicago a lot of people have the perception that we’re this band that made it and everything, because we do really well [there] and all the papers write about us and stuff. But then we go on tour and no one knows who we are.

“For us the main goal is to try to get a little more known outside of the city. It’s kind of exciting, though. You get people on MySpace or all over the world writing and stuff and someone will be like ‘Oh, there’s some teenagers in Paris listening to the record,’ and it’s like, ‘Oh, that’s strange.’”

— Jaime Lees

9 p.m. Saturday, March 29. The Billiken Club, 20 North Grand Boulevard. Free. 314-977-2020.


SXSW: The Random Picture Post

March 17, 2008

These snaps were just too hot not to post.

photo by Jaime Lees
PHOTO: Dead Confederate
WHEN: Wednesday, March 12, 11p.m.
WHERE: Stubb’s BBQ, big outside stage
NOTE: This band opened for R.E.M. (Athens represent) and might have been the best surprise of the festival. Read our coverage here.

photo by Jaime Lees
PHOTO: AA Bondy
WHEN: Thursday, March 13, about 9:30p.m.
WHERE: The gorgeous poolside rooftop stage of a heavily sponsored free party.
NOTE: This was one of 12 AA Bondy shows in a 3 day time span in Austin.

photo by Jaime Lees
PHOTO: downtown Austin, TX, view from the AA Bondy rooftop show
WHEN: Thursday, March 13, late night
WHERE: at 3rd Street and Guadalupe looking East
NOTE: There should be more rooftop shows. Always.

photo by Jaime Lees
PHOTO: Autolux’s Eugene Goreshter
WHEN: Friday, March 14, afternoon
WHERE: Red Eyed Fly backyard venue
NOTE: Goreshter’s amazing vocals on Autolux albums? Not studio magic. Dude actually sings like that.

photo by Jaime Lees
PHOTO: J Mascis of Dinosaur Jr, solo show
WHEN: Saturday, March 15, mid-afternoon
WHERE: Garden Party (read: gorgeous yard), the French Legation Museum
NOTE: J Mascis is a God among men (who just happens to use a baby pink Razr as his preferred cellular device.)

photo by Jaime Lees
PHOTO: Thurston Moore and the New Wave Bandits
WHEN: Saturday, March 15, afternoon, slot after J Mascis
WHERE: East Austin, French Legation Museum
NOTE: Sonic Youth’s Thurston Moore stole the show with his expansive talent and boyish charm. Read our coverage here.

photo by Jaime Lees
PHOTO: The Breeders
WHEN: Saturday, March 15, about 9p.m.
WHERE: Waterloo Park, north of downtown, 2nd stage
NOTE: Two Deals are always better than one. Read our coverage here.

photo by Jaime Lees
PHOTO: Kid Sister at the Fool’s Gold Showcase
WHEN: Saturday, March 15, 1a.m. (after Flosstradamus, before Chromeo)
WHERE: Volume nightclub, next to the told Emo’s on 6th Street
NOTE: Kid Sister claimed she was crunk but she still held down her raps with a little help from brother Josh “J2K” Young (of super-fly duo Flosstradamus) as back up.Category: Music, Reviews, SXSW, Snapshots


The Breeders at SXSW

March 16, 2008

The Breeders played an unofficial South By Southwest show in Waterloo Park last night and gave the audience a small preview of its upcoming tour. The band dished out a long set of classics from its albums, plus selections from the Amps (Kim Deal’s other, other project). Instead of serving as a nostalgia act, the Breeders seemed fresh, well rehearsed and enthusiastic about the show. Surprisingly, even songs off of the forthcoming Mountain Battles went over well. As usual, Kim and Kelley Deal were gracious, dorky, sweet, smiling and sang in perfect angelic harmony. Kelley, especially, seemed into the performance. On stage wearing her “Dayton, Ohio” t-shirt, she picked up the bass and joked “I wish I knew a Korn song.” Their parents really should have had more kids.

Setlist (from picture):
Overglazed / Bang On / Tipp City / No Aloha / Huffer / Walk It Off / We’re Gonna Rise / Pacer / Shocker in / Gloomtown / Night of Joy / Divine Hammer / Cannonball / Happiness in a Warm Gun / Iris / Saints / Safari / Here No More Encore: Fortunately Gone / German Studies / Regalme

Note: pictured setlist isn’t entirely accurate, “Regalme Esta Noche” wasn’t played and I remember rocking out to quite a few songs that weren’t listed (“Doe,” “Hellbound,” “It’s the Love,” etc.)


Shame Club at SXSW

March 15, 2008

Whenever my fellow St. Louisans asked if I liked local favs Shame Club, my standard response was “I like them as dudes, but I just can’t hang with their tunes.” I’d last seen the band a couple of years ago and wasn’t impressed. It wasn’t at all bad, I just didn’t *get it*. And you know what’s a damn shame? That I had to come all the way to Austin to find out that my hometown band is bitchin’ after all.

I went to see the band at the Small Stone Records showcase last night and was not at all prepared for the bombastic blast. Each band member is electrifying and the dynamic combination produces everything you could want in a hard rock band: shredding guitar licks, thumping bass grooves, evil drum beats and wailing vocals. Holy shit, I’ve seen the light.

Andrew Elstner, singer and guitarist for fellow St. Louis band Riddle of Steel was along for the trip as roadie/groupie/merch dude, and it was his band that gave me a revelation about a year ago. Let’s call it the Revelation of Steel. I’d also filed his band in the “cool, but not awesome” section in the list of local bands in my head. After not seeing the band for years, I accidentally caught it at a random bar show and they blew me away. Much to my delight, practice does, indeed, make perfect and the Riddle prompted me to go back to bands I’d previously avoided and give them a second listen.

So now the same thing has happened with Shame Club. A band that was previously alright is now super tight. Man, do I feel like a tool. Hey, Shame Club, I’m down with you. And I take back any smack I’ve ever spoken about any local band ever. Don’t disregard your hometown superstars, kids. They might just rock you.

– Jaime Lees


Von Bondies

March 5, 2008

Von Bondies Von Bondies
7 p.m. Friday, March 7. Creepy Crawl, 3524 Washington Boulevard
By Jaime Lees
Published: March 5, 2008

The Von Bondies produced one superior, bliss-pop hit a few years ago: “C’Mon, C’Mon,” a ringing, hook-filled tune that’s jump-up-and-down-on-your-bed-in-your-underwear perfection. Sadly, the Motor City band’s albums (such as 2004’s Pawn Shoppe Heart) consistently score a solid rating of “a’ight,” and though it’s set to release a new disc (Love, Hate and Then There’s You) in the fall, it’s unlikely the group will again reach the chart heights it once enjoyed. That’s fine, though, because the coed quartet proves itself at gigs. Live versions of the songs possess more grit than they do on the diluted recordings. By alternating between cutesy-girl harmonies and dirty Midwest bravado, the Von Bondies leave crowds with delightfully alternating urges to either make out with someone or punch them in the face.


The Felice Brothers

February 27, 2008

The Felice Brothers
8 p.m. Friday, February 29. The Pageant, 6161 Delmar Boulevard
By Jaime Lees Published: February 27, 2008

The Felice Brothers — which is actually three brothers and a non-relative named Christmas — embrace and transcend its Americana roots. On its self-titled debut (out this Tuesday on Team Love), the songs are mostly patterned on skippy, toe-tapping beats and are frequently punctuated with accordion and old-Western saloon-style piano prancing. Any of the quartet’s songs might morph from throwback, “Scarborough Fair”-style folk to a rumbling, doom-filled jam at any moment. Though the lyrics are of the classic variety (booze, ladies, Jesus, heartbreak, lust), a few punchy one-liners stand out (“I put some whiskey into my whiskey”) Even the dangerously derivative Bob Dylan-style vocals don’t come off as plagiarism, but as charming and warmly familiar. The Brothers’ robust multi-member chorus sing-alongs during its live shows are also not to be missed. Drive-By Truckers — who recently released Brighter than Creation’s Dark — headline.


“Interview” with Bret Michaels of Poison

February 13, 2008


Bret Michaels (sort of) talks dirty to RFT
By Jaime Lees
Published: February 13, 2008

Bret Michaels is a horny beast. Throughout his time as the lead singer and frontman of the classic hair-metal band Poison, this was a well-documented fact. He initially wooed women with a hyperactive stage personality — music videos showed him makin’ eyes and advances on wickedly dressed über-babes — but then he’d slow it down and aurally caress their lady-spot with smoothly strummed, sensual power ballads. With his tight clothes, vampy attitude and requisite rocker-length hair, he was quintessentially ’80s sex-on-a-stick. Similar to his perma-boner peers in Mötley Crüe, he seemed to have a thirst that only ‘tang would quench. Today, it seems as though not much has changed in the life of Bret Michaels. Though grunge came along some time in the early ’90s and made hair metal look like yesterday’s used condom, he released several fairly well-received solo albums and became a talking head on VH1. Through it all, he’s still a dude who aspires to rock — even if the hairline of his long blond hair is now strategically hidden under a doo-rag.

But being (potentially) follically challenged hasn’t exactly hurt Michaels’ game. He still has the enviable luxury of sitting back and letting the honeys just fall into his lap — quite literally, it seems. As the star and subject of the recent hit VH1 reality show Rock of Love, Michaels is currently entertaining audiences in a whole new way. The dating show arouses rumor and scandal as a gaggle of busty gals basically punch one another in the breast implant over who gets to date him. (And we use the word “date” very loosely here.)

Still, Love is glorious. The show’s trash factor makes it irresistible, while its popularity seems to have greatly helped Michaels ease back into the media spotlight. The intimate details he reveals in the show — about things like his debauched past and medical issues — also add a whole new dimension to the public perception of the man, because he comes off as cooler, sexier and funnier than you would expect. But mostly, the show serves to illustrate that Michaels is still, God love him, a lustful rock star to the core. In honor of his Valentine’s Day concert at the Bottleneck Blues Bar, we’ve dug up some classic Poison lyrics in hopes of getting you in the mood for makin’ love (or just straight-up doin’ it). Some of these lyrics are romantic, some of them are titillating and some of them are just plain obscene. We’ve also completely fabricated quotes from an imaginary conversation we had with Bret Michaels, in which he explains the meaning behind these bits of suggestive soft-core literotica.

Song: “Look What the Cat Dragged In”
Lyrics: “No tell, motel, hotel bed/If it wasn’t for the sunlight I’d swear I was dead/I got a girl on the left of me/A girl on the right/I know damn well I slept with both last night”
Bret Michaels might say:
“Oh yeah, I remember that night. I usually score with more than five babes a night, and that night I only banged these twins. Eh… it was just a Tuesday. I forgive myself.”

Song: “Talk Dirty to Me”
Lyrics: “‘Cause baby we’ll be at the drive-in/In the old man’s Ford/Behind the bushes/’Til I’m screamin’ for more/Down in the basement/Lock the cellar door/And, baby/Talk dirty to me”
Bret Michaels might say: “That is poetry. It’s truthful. It’s moving. It’s inspirational. And doesn’t it make you hot? I’m the Shakespeare of turning you on.”

Song: “Nothing But a Good Time”
Lyrics: “They say I spend all my money on women and wine/But I couldn’t tell you where I spent last night/I’m really sorry about the shape I’m in/I just like my fun every now and then”
Bret Michaels might say: “Chicks are always trying to change me! They don’t understand that I’ve just gotta ramble, y’know? Some babes just can’t handle how hard I must rock. I’ll tell them ‘Woman, you look good an’ all, but ease up off of my stick. I’m the man around here.’ After that, they know their place.”

Song: “I Want Action”
Lyrics: “Long legs and short skirts/These girls hit me where it hurts/I can’t wait to get my hands on them/I won’t give up until they give in/Now I’m not lookin’ for a love that lasts/I need a shot and I need it fast/If I can’t have her, I’ll take her and make her”
Bret Michaels might say:
“Uh, yeah. Man, that does sound a little creepy and aggressive. But girls just parade around like that and I get all worked up. Don’t they know who I am? I just told them I wanted action!”

Song: “Something to Believe In”
Lyrics: “I drive by the homeless sleeping on a cold dark street/Like bodies in an open grave/Underneath the broken old neon sign/That used to read JESUS SAVES”
Bret Michaels might say: “See? It’s not always about chicks! I have important things to say — this is social commentary. I do have a soul. But I gotta tell you, this soul mostly just wants to poke hot babes. D’ya know what those cold homeless guys need? A warm woman to cuddle up to on those dark nights. Trust me, going balls-deep will keep you warm.”

Song: “Every Rose Has Its Thorn”
Lyrics: “We both lie silently still/In the dead of the night/Although we both lie close together/We feel miles apart inside”
Bret Michaels might say: “There’s a rumor this song is about the downside of dating a hot-ass stripper. People always think it’s some big analogy about love and life. Really, it’s just about flowers, man. Being a playa-playa I give out a lot of roses and, damn, those thorns are a bitch.”

Song: “I Hate Every Bone in Your Body But Mine”
Lyrics: “This chick’s got me so addicted/I hate her so much even though I wish she was my girl/I hate every bone in your body but mine/I can’t wait till I can hate you tonight”
Bret Michaels might say: “Gimme a break, people. I need attention down there. That ain’t no sock in my pants!”

7:30 p.m. Thursday, February 14. Bottleneck Blues Bar at Ameristar Casino, One Ameristar Boulevard, St. Charles. Sold out. 636-949-7777.

  • 02-13-08 Riverfront Times (St. Louis) – article link
  • 03-27-08 reprint in the Houston Press (Houston) – article link
  • Bret Michaels – website

Interview with A.A. Bondy

February 6, 2008


AA Bondy reinvents himself as an indie-folk artist

By Jaime Lees
Published: February 6, 2008

Though few outside of the indie circuit recognized Verbena, critics and fans hailed the group as the second coming of Nirvana. The comparison was easy to see — and not just because former Nirvana drummer Dave Grohl produced the band’s 1999 major-label debut, Into the Pink. When Verbena emerged from Bir­­m­ing­ham, Alabama, in the late ’90s, its sound was dark, powerful and based on a foundation of big pop hooks. Lead singer Scott Bondy in particular came across as very Kurt Cobain-esque, with his lazy, marble-mouthed singing style, snarky attitude and bleached-blond hair. These days, Bondy is all grown up and no longer playing the role of snotty rock kid. Performing solo under his birth name of AA Bondy (the initials stand for Auguste Arthur), he composes enchanting, elegantly sparse indie-folk music. The songs often feature just his voice and an expertly strummed guitar, with the occasional hint of mournful harmonica and handclaps used as percussion.

When he tries to explain the difference between the louder Verbena and his current stripped-back project, Bondy confesses via phone, “I don’t really know what I was doing before.”

He’s certainly figured out what to do on his solo debut, American Hearts (which will be re-released on Fat Possum Records in April). Hearts is a bewitchingly beautiful album that’s been embraced as an impressive contribution to the world of nü-folk — largely because the songs don’t sound like the “unplugged” indulgences of a former rock guy. They’re not stripped down; they’re just not decorated with unnecessary wrapping. The songs overflow with unflinching sincerity, and the tiniest details — like the delicate noise of fingers sliding across guitar strings — stand out and seem purposeful.

The way Bondy constructed Hearts reflects this simplistic style: He recorded it in a rickety old barn next to his house in New York. (“It’s a really good-sounding barn,” he says with a chuckle.) Perhaps as a result, Hearts‘ lyrics are also unadorned and straightforward, relying heavily on the polarities of good vs. evil, apathy vs. love and God vs. the devil. Still, Bondy finds plenty of room for shrewd statements (“Love, it don’t die/It just goes from girl to girl”) and optimistic observations (“The barroom is filled with the joy/Of making old friends.”)

Many of Hearts‘ songs also carry a twinge of the ’60s protest vibe — meaning that the Bob Dylan comparisons are inevitable. It’s no surprise that Bondy has absorbed a penchant for clever lyrics; he cites Tom Waits, Nina Simone and Tom Petty as classic favorites. But of these influences, he fondly explains, “You can’t really speak to the nature of what makes things special. But whatever does make things special doesn’t really matter. I guess for a listener you just know it is special to you — and that’s all that matters.”During live shows, Bondy is frequently accompanied by his wife, Clare Felice, who plays the organ. She’s from the same family that produced the up-and-coming Americana band the Felice Brothers — a group Bondy lovingly refers to as his brothers and source of inspiration.

Jaime Lees: The stuff you’re recording seems very… like, if someone walked into your house, you could be sitting there playing it.

AA Bondy: Yeah, I could.

It seems very intimate — like you’re not putting on a kind of show.

Yeah, those songs could exist without any other accompaniment. And they were written that way. Which is one of the main differences between this stuff and anything that happened before it. Those other songs weren’t brought to the light of day in that fashion. They were always pieced together. They were… like, a guitar part always came first. They never started with, like, basically a finished song. Which all of these songs did. They were finished songs that things got added to — or didn’t.

Is it scary for you to stand up there alone?

When I first started playing by myself, I’d played tons and tons of shows with a band. I didn’t even understand how freaked out I was. If you’re getting up on stage with a band, it’s like you’re part of a team. But once you get up there by yourself, it’s totally different. ‘Cause you’re responsible for it all. I like it better. It’s more thrilling, at least. I don’t get too freaked out anymore, but I used to. When you’re by yourself, it’s so much easier.

How is your writing different as you’ve gotten older?

I actually write songs now. [Laughs] You know, I don’t just, like, play a guitar part and put some stuff over it. I just know that it feels completely different than it used to. It feels like there’s something contained inside of it, as opposed to being like a shell.

The topics seem pretty grown-up — relationships, war. Do you feel like you’re getting something out? Does it make you feel better?

Maybe it makes me feel better only in the way something gets completed that I’m somehow satisfied with. Not in the way that I’m saying something, you know. Like, it could be a song about a pile of leaves that I lit on fire and I could feel just as good about that as if it was, like, a so-called song that had something to say.

8 p.m. Wednesday, February 13. Off Broadway, 3509 Lemp Avenue. $8 advance, $10 day of show. 314-773-3363.

[FOR EXTENDED INTERVIEW CLICK HERE]

  • 02-06-08 Riverfront Times (St. Louis) – article link
  • 02-07-08 reprint in the Pitch (Kansas City) – article link
  • 03-27-08 reprint in the Dallas Observer (Dallas) – article link
  • interview outtakes here
  • AA Bondy – MySpace

The Village Voice – Pazz and Jop 2007 (continued)

February 4, 2008

The Village Voice posted this on their blog regarding the results of the Pazz & Jop poll. It’s hilarious. Please read.


The Village Voice – Pazz and Jop 2007

January 23, 2008

This year I was honored to be asked to contribute to the annual Village Voice critics’ poll. Here’s the info and the results.

Pazz & Jop 2007
35th Annual Village Voice Critics’ Poll

About Pazz + Jop:
The Pazz & Jop critics’ poll is a highly influential poll of music critics run by The Village Voice newspaper. It is compiled every year from the top ten lists of hundreds of music critics (roughly 800 in the 2004 poll). Albums have been voted upon every year since 1974 (voting also took place in 1971), and votes for singles have been tabulated since 1979.
Since the poll’s inception, critics have been invited to award their ten albums a total of 100 points, with each album receiving a maximum of 30 points and a minimum of 5. Lists submitted without points are given 10 points per album by the poll’s editors. Singles lists have always been unweighted.
Music critic Robert Christgau was in charge of the poll for 33 years, and wrote an essay every year that accompanied and framed the list. Christgau was dismissed from the Village Voice in August 2006, but the paper intends to continue the feature. Christgau continues to submit his Top Ten list and to encourage other eligible critics to do so.
The poll was jokingly given the spoonerism name “Pazz & Jop” rather than the more obvious “Jazz & Pop” because, inevitably, some detractor will claim that a nominated work is ineligible or undeserving on the grounds that it isn’t “really” jazz or pop. Since there are no formal definitions for the made-up terms “pazz” and “jop”, voters will concentrate on the actual merits of a work rather than arguing over whether it fits into this or that genre.



Vince Neil

January 16, 2008

Vince Neil
7:30 p.m. Thursday, January 17. Bottleneck Blues Bar at the Ameristar Casino, 1260 South Main Street, St. Charles.
By Jaime Lees
Published: January 16, 2008

Vince Neil probably doesn’t care that I’ve decided he’s the Third Hottest Blond Guy in a Hair Metal Band from 1987 (third to Bret Michaels and Sebastian Bach, duh), but he does still seem to care about bringing the rock. As lead singer of the mighty Mötley Crüe, Neil has faced some hard times — like the death of spandex — some of which have hopefully prepared him for playing the has-been casino circuit. He may seem like a bloated shell of a reality-television whore now, but don’t forget that this is one of the men behind the classic Crüe albums (i.e., Too Fast For Love, Shout at the Devil, Girls, Girls, Girls). A true star, Neil will face anything (even his own mortification) to make ya feel alright.


Interview with Bobby Bare Jr.

January 2, 2008


Bare Is My Mind?
Bobby Bare Jr. covers up with his ace Pixies and Breeders tribute act.
By Jaime Lees
Published: January 2, 2008

Call him what you will — Charles Thompson, Black Francis or Frank Black, but as the frontman of the Pixies, ol’ what’s-his-name deserves a little praise. From 1985 to 1993 Black pulled lead singing and songwriting duties for America’s preeminent alternative band — and is credited with bringing killer caterwauls, magnetic guitar hooks and paranoid, UFO-themed lyrics to the masses. The Pixies reigned over college radio and youth culture for a time, and the bands that followed in its sonic wake still hail the power of the quartet as a revelation. (Most famously, its loud/quiet/loud dynamic was claimed to be the sound inspiration for a blue-eyed, blond-haired guy fronting some band called Nirvana.)

Nashville singer-songwriter Bobby Bare Jr. counts himself among the Pixies’ many fans. As the son of country musician Bobby Bare, he grew up around music and has the distinction of receiving a Grammy nomination at the age of five. First fronting the rock band Bare Jr. — and now as a solo artist churning out stripped-down, bittersweet compositions that push the envelope of alt-country — Bare has found genuine success throughout his entire career.

But for now, Bare has put all solo and future plans on pause in order to squeeze one more project into his busy schedule: His very own Pixies cover band, Is She Weird, Is She White. (Appropriately, it’s currently touring with a Guided By Voices cover band, the Teenage FBI.) Bare’s Pixies covers can sound much different than the originals, often changing the tempo or the tone of the songs — making these interpretations insightful, if not asking the audience to listen again with fresh ears.

Which begs the question: Why would Bare, a renowned solo artist and pedigreed musician, start a cover band? That scene is usually a schlocky, dirty world populated by balding has-beens and portly never-beens. Why would Bare take the chance of sullying his good name — and embrace another artist’s music?

“Because the Pixies fuckin’ rock!” Bare explains, enthralled.

And indeed, his love of Black Francis is well-documented. The lyrics to “Dig Down,” a song found on Bare’s first solo album, Young Criminals’ Starvation League, include Francis in an exalted list of historical rock icons. Bare sings about all of the distinguished dudes who have used up all the soul and original ideas in the world of rock & roll, listing Francis in a pantheon of recognized legends including Pete Townshend, Jimi Hendrix, Chuck Berry and the Beatles.

When we catch up with Mr. Bare via phone, he seems honest and charmingly childlike, as though he can’t contain any emotion — be it excitement or insecurity. He comes off as a hyperactive kid on a sugar high when talking about music that thrills him, and he’s eager to relay fanboy stories of Frank Black and the Pixies (like a fantastic, “freaked out” moment when he sang background vocals on a recent Frank Black record). And of course, Bare’s most eager to discuss his past and future work — and undying love for the Pixies.

Bobby Bare Jr.: I obviously have been a fan for a long, long, long, long time. Because it’s like, I don’t know, do you dress up for Halloween?

Jaime Lees:
Oh, hell yeah.

It’s exactly like dressing up for Halloween, for a musician. It’s just fun to be somebody else.

How do you have time to get all of this done?

It’s a whole lot of work. Usually for a real set you learn fifteen songs — like, for an hour [long] set. If you learn fifteen Pixies songs you’ve only learned 30 minutes worth of music. So, you know, we’ve got to learn twenty-something songs. And we do some Breeders songs.

What’s your favorite to sing? Or what do you most look forward to?

What songs? The ones like “Gigantic,” where I just play guitar. ‘Cause I never, ever get to just play guitar in any band. So that’s what’s fun to me.

Are the people who come to the shows your fans? Or Pixies fans? Or a mix?

Um, I think they’re just mostly Pixies fans. We’ve only done this in Nashville. This is going to be our first show out of town.

The St. Louis one is?

Yeah. We’ve only done probably four of these. It’s me; the former drummer from [...And You Will Know Us By the] Trail of Dead [Doni Schroader]; and Beth Cameron, both of whom are also in a band called Forget Cassettes. And a girl named Leah [Paxton] who’s been in bands with the other two people.

How did you get hooked up with the Guided By Voices tribute band?

It’s other people who have been in my band. It’s my drummer from my last tour who is also the drummer for Clem Snide [Ben Martin]. The guitar player is William Tyler; he’s in Lambchop and the Silver Jews.

Did you go see any of their [Pixies] reunion tour shows?

Yes, I saw three of them. I played Sasquatch in Seattle and Austin City Limits in Austin where they were the headlining band….But they played the Ryman Auditorium [in Nashville] and that was the best show I’ve ever seen anybody do anywhere. Seeing them at a festival where there’s 75,000 people was just OK, but at the Ryman it was transcendent.

Did you hear any of the new Breeders album yet?

No! When did it come out?

It didn’t come out yet, but they leaked a single online last week.

Oh, wow. Is it good?

It’s really good. It’s sort of like, sleepy-time Breeders, you know? It’s really pretty. They said that they’re going to have a whole U.S. tour in the spring and do South By Southwest…

For the Breeders? Holy cow. Awesome. Isn’t there supposed to be a Pixies album, too?

I don’t know. No one ever gives a straight answer on that crap.

Do you think anybody will come out and see us?

Heck yeah. We’re big here on fun shows…So are you gonna call yourself Bare Robert or something?

Naw, I’ll just be Bobby.

9 p.m. Thursday, January 3. Off Broadway, 3509 Lemp Avenue. $10. 314-773-3363

  • 01-02-08 Riverfront Times (St. Louis) – article link
  • 12-17-07 reprint in the Nashville Scene (Nashville) – article link
  • Bobby Bare Jr. – website

2007: My Favorites

December 19, 2007

2007: The Year in Movies and Music
By Jaime Lees
Published: December 19, 2007

LCD Soundsystem’s self-titled 2005 release stands as the album that made me finally, truly believe in new electronic music. But Sound of Silver was a huge step up — and my ultimate album of 2007. It had everything I wanted: fun, super-fresh style, beauty and plenty of beats. “All My Friends” is elegant and touching, “Someone Great” is bloop-bloop perfection and the hand claps and joyous shouts of “a-woohoo!” in “Watch The Tapes” are majorly addictive.

Still, my favorite part of the music year was when an android stork dropped down from outer space and delivered us Radiohead’s In Rainbows. The media hullabaloo surrounding the surprise release sucked me in whole (because I’m a dork and I love shit like that). And while I remain fascinated by the band’s alien marketing techniques, the album had the chops to back up the hype. It’s pretty, glitchy, bittersweet and epic — in short, everything you would expect from a Radiohead album. However, In Rainbows is instantly more accessible than Amnesiac, Kid A or even Hail to the Thief. Around the same time as the album’s release, the band started leaking performances on its Web site, including live versions of album tracks and my new favorite cover ever: Radiohead playing New Order’s “Ceremony.”

My heart swelled with pride when the Arcade Fire released Neon Bible, and then both fans and critics welcomed the album’s lush, bountiful orchestration. Arcade Fire fans have formed a near-cultish church surrounding the band, but their worship might be justified. “Intervention,” “Ocean of Noise,” “(Antichrist Television Blues)” and “My Body Is a Cage” are nothing short of magical and could easily be mistaken for the rapturous hymns of a new religion. Everyone was primed for a backlash against the indie darlings, but you can’t argue with songs this beautiful.

As far as independent releases, at the beginning of the year I was gifted with an advanced copy of AA Bondy’s recently released American Hearts, and it’s been in heavy rotation ever since. The solo singer-songwriter put aside his former life as the lead singer of scorching glam-grungers Verbena in favor of a more earthy, exposed adventure. Bondy composes lonely tales of complicated redemption, teetering between the delicate confusion of Dylan and the hopeful pride of Springsteen. His soulful voice is soothing and softly Southern, making American Hearts a perfect Sunday-morning album.

I also happened upon tons of great local releases this year. The Humanoids’ Are Born is my favorite; the songs are pure punk and the band straight-up shames most other locals with its energy and authenticity. Rats and People’s The City of Passersby is dense and enchanting, and quite a few songs on the Bureau’s We Make Plans In Secret deserve repeated spins. Finally, Riddle of Steel’s 1985 wasn’t released until the end of this year, but I can safely predict that it will rock me through 2008. (click to read all)
— Jaime Lees


Ghosts of Christmas Past

December 19, 2007

Ghosts of Christmas Past
The Skeletons reunite, we gift some of St. Louis’ best bands and remember Ike Turner.
By Jaime Lees
Published: December 19, 2007

‘Tis the season, y’all: Everyone is celebrating the love and warmth that surrounds Christmas/Kwanzaa/Hanukkah/Festivus, but let’s not forget what the holiday season is really about: getting stuff. With that in mind, we’ve decided to choose presents for all of the bands participating in this weekend’s two-night A Very Merry Christmas Spectacular at Off Broadway. (click to continue)


Koffin Kats

December 19, 2007


Koffin Kats
9 p.m. Friday, December 21. The Bluebird, 2706 Olive Street.
By Jaime Lees
Published: December 19, 2007

Instead of feeling cornered or trapped by its “psychobilly” label, the Koffin Kats embrace it. The tattooed, mohawked and pompadour-sporting trio possesses endless energy, meaning that its music is fast-paced, punk-derived and just a little bit evil. The band’s sound isn’t limited to just one genre, however; anthemic new songs prove that the Koffin Kats really know how to bring the horror business. (Think a slightly punk-rock Elvis Presley singing the Misfits.) Its live shows are always lively and fun, but take care: Sometimes the Koffin Kats excite audiences so much, its fans get a little rowdy and aggro.


The Livers

December 19, 2007

The Livers
9 p.m. Tuesday, December 25. Way Out Club, 2525 South Jefferson Avenue.
By Jaime Lees
Published: December 19, 2007

Up-and-coming locals the Livers put on one of the most interesting live shows in St. Louis. Though the band consists of just two members — Scot Freeman and Luke Roulston — it multiplies its live sound by playing electric guitars in front of a pre-recorded video of Freeman on drums and Roulston on bass. (The pair has even worked out witty banter-and-joke exchanges between the band members and their video-selves.) The resulting sound is that of a full four-member band, but without the two extra dudes to drink up the beer allowance. The Livers aren’t all gimmick, though: The band impresses with sharp lyrics, searing riffs and grunge-heavy drums, meaning its songs sound like solid ’90s rock. (But in a great, Dave Grohl-y kind of way, we swear.) Plus, the Livers’ live show is fun, diverse and full of unlikely covers (like Elastica’s “Stutter”) and cheeky crowd interaction.


Misfits – show review

December 5, 2007

The Misfits at the Roberts Orpheum, Tuesday, December 4
Wed Dec 05, 2007
By Jaime Lees

Original Misfit Jerry Only has the unenviable task of filling the slot left by former lead singer Danzig, that superstar sausage. While Only’s attempts are appreciated, it’s true that the band just isn’t the same. The word I heard thrown around a bunch last night was “depressing.” Only at least looked like he was having a good time. He frequently flashed a handsome smile and made sure to high-five every single kid that got up on stage to stage dive. His signature devil lock hair style now protrudes from a receding hairline, but he did his best to act the part and keep the crowd amped. He gave typical banter (“St. Louis! Since you’re such a small crowd you’re going have to be THAT. MUCH. LOUDER!” or something like that) and basically let us know he knew where his bread was buttered. Keeping this audience happy required playing few new songs and tons of old Misfits classics (“Halloween,” “Die Die My Darling,” etc.), and the band obliged. As a nod to current guitarist Dez Cadena’s former band, the Misfits also ripped through a few Black Flag treasures (“Six Pack,” “Rise Above”). Sadly, this was my favorite part of the show.


VHS or Beta

December 5, 2007

VHS or Beta
8 p.m. Saturday, December 8. The Gargoyle, on the campus of Washington University at Forsyth and Skinker boulevards.
By Jaime Lees
Published: December 5, 2007

The dance-rock craze just won’t end, but that’s cool with us: We like to stagger home after a long sweaty night of clappin’ and vibratin’. VHS or Beta is one of the best examples of what a band can accomplish in this particular genre. The Louisville band makes music that mixes an equal balance of disco, house and punk, all the while never forgetting the beat. The VHS or Beta boys also give special attention to the sing-along factor, with nods to ’80s popsters such as Big Country and Duran Duran (a band they toured with a few years back). The newest album, Bring On The Comets, is so diverse in its danciness that it should attract fans of Interpol and Daft Punk alike.


The Misfits / Humanoids / Holy Python

November 28, 2007

The Misfits/Humanoids/Holy Python
8 p.m. Tuesday, December 4. Roberts Orpheum Theater, 416 North Ninth Street.
By Jaime Lees
Published: November 28, 2007

In the 30 years since Jerry Only joined the Misfits, he’s become a particular favorite of the band’s fans — even if saying Only is your favorite Misfit is akin to saying Ringo Starr is your favorite Beatle. Each musician’s contribution to his respective band is underrated and both have their own strange qualities that attract audiences (Ringo’s playful sideburns, Jerry’s muscular authority). After the departure of bloated former lead dude Glenn Danzig, Only continues to bring the Misfits’ classic punk/horror-style music to the masses. With backing from original Misfits drummer Robo and former Black Flag guitarist Dez Cadena, the band soldiers on, still ready to induce furious fist-pumping at every stop along its tour. The St. Louis stop finds them in good company, with local punk gods the Humanoids and sludge-rockers Holy Python taking the opening slots.


PINK: A Benefit

November 7, 2007

PINK: A Benefit
10 p.m. Friday, November 9. The Upstairs Lounge, 3131 South Grand Boulevard. $7 to $10. 314-773-3388.
By Jaime Lees
Published: November 7, 2007

Pink is a bouncing, beat-filled party thrown by some philanthropic electro-types to benefit the Breast Cancer Awareness Foundation. But this multi-level Upstairs Lounge event (i.e., the crew’s taking over the main floor and the Blue Room) not only benefits females — it celebrates them: Women (and their curves) are featured prominently, from the boob-a-licious flyer to the all-female DJ line-up. Headliners Kelly Marie and cQuence are backed by six locals, including Jen Z, Karizma and Shea Marie. Pink is a great opportunity to dig on a variety of techno, house, and drum and bass — and to toss some bills to a good cause. Throw down and shake ‘em, girls: Bouncing, beats and boobies are made for each other.


Interview with Ian MacKaye of Fugazi

October 31, 2007


Ian MacKaye takes on new venues.
8:30 p.m. Monday, November 5. White Flag Projects, 4568 Manchester Avenue. $5. 314-531-3442.
By Jaime Lees
Published: October 31, 2007

On an Even(s) Keel
As the frontman of the legendary punk bands Fugazi and Minor Threat and co-founder of Dischord Records, Ian MacKaye has proven himself to be both a prolific songwriter and a keen businessman. He birthed the highly respected independent label nearly three decades ago and it has since grown to be the very nucleus of do-it-yourself punk-rock culture. MacKaye’s unwavering integrity and sincerity in the face of the shady corporate music business reveal his career path to be nothing short of inspirational. Viewed as the moral and dignified godfather of the hardcore and straight-edge scenes, MacKaye seems to start accidental revolutions by simply speaking his mind and doing his work.

With the much-missed Fugazi on indefinite hiatus, MacKaye has plenty of other projects to cultivate. In addition to speaking engagements, running the label and giving interviews, MacKaye is busy scheduling tour dates for his newest band, the Evens, a lo-fi (yet still intense) duo with Amy Farina, formerly of Washington D.C.’s the Warmers. Though the Evens could easily cash in their punk-royalty status in exchange for the best gigs in town, the band schedules the dates by itself and prefers to play small, non-traditional venues including art galleries, libraries and community centers.

Calling from Dischord House, the headquarters of his label, MacKaye is instantly likable. He seems smart, affable and warm. In conversation he’s quick, but not rude. Funny, though not sarcastic. In this and every other forum, it is clear that MacKaye takes what he does very seriously.

“I work really hard,” he says. “[Other] people, they punch out for the day and they go home. I never punch out. I’m never off the clock, in a way. The fact that I haven’t separated my work from myself — it has its pluses and it also has its negatives.” The lure, however, is clear. “I wake up every morning having something to do and wanting to do it.”

Aside from the advantage of keeping costs down for fans, MacKaye reveals another purpose in booking alternative venues: “So we can be liberated from the rock world, which is pretty constricting when you get right down to it. I mean, you think about the kind of venues or the kind of establishments where music can be presented, and ultimately it’s pretty limited and largely dictated by one of two industries, you know — and that’s the rock industry and the alcohol industry. And since we don’t feel beholden to either, then why not break free?”

When MacKaye is questioned about his constant work and touring, he pushes off any concern. “I like places, I like people! I like going somewhere. I like that fact that music is a point of gathering that can effectively work anywhere.” Here he further clarifies: “I guess I don’t feel ever burned out at all. I just feel fortunate to be able to go play music.” — Jaime Lees

[FOR EXTENDED INTERVIEW CLICK HERE]

  • 10-31-07 Riverfront Times (St. Louis) – article link
  • 11-01-07 reprint in the Pitch (Kansas City) – article link
  • 11-08-07 reprint in the Houston Press (Houston) – article link
  • 11-15-07 reprint in the Nashville Scene (Nashville) – article link
  • interview outtakes here
  • The Evens – website

Meat Puppets

October 31, 2007

Meat Puppets
9 p.m. Saturday, November 3. Blueberry Hill’s Duck Room, 6504 Delmar Boulevard, University City.
By Jaime Lees
Published: October 31, 2007

Long regarded as lucky metalheads with a psychedelic soul (after all, Kurt Cobain invited them to perform on Nirvana’s MTV Unplugged session), the Meat Puppets have since outgrown most former labels. The band’s new album, Rise to Your Knees, adds half-country harmonizing to the drawn-out, effects-pedal-distorted fuzzy sound found on albums past (perhaps because co-founders/brothers Curt and Cris Kirkwood now call Austin, Texas, home). Other tunes are a throwback to the apex of classic rock and often conjure the jangly alt-rock of Tom Petty & the Heartbreakers. Knees proves that the Meat Puppets have become more than just a band only patient experimental-music lovers could love.


Casper and the Cookies

October 31, 2007

Casper and the Cookies
9 p.m. Tuesday, November 6. The Bluebird, 2706 Olive Street.
By Jaime Lees
Published: October 31, 2007

We’re sorry, but some music is just too Cute to be called anything else. Yes, that’s “cute” with a capital “C,” especially when Casper & the Cookies is involved. The Athens, Georgia, band specializes in prancing power pop with twinkles and rainbows and lollipops and sparkles and unicorns, goddamn it — and that’s a good thing. Far too many bands shy away from being labeled with the C-word, thinking it somehow hurts their credibility. We say embrace it. Few bands can combine dreamy harmonies, joyous melodies and just a dollop of sugary noise with as much delight as Casper & the Cookies does. Expect all of this — and a super-energetic dance party to boot — when the band hits St. Louis.


Melt Banana

October 24, 2007

Melt Banana
7 p.m. Saturday, October 27. 2 Cents Plain, 1114 Olive Street.
By Jaime Lees
Published: October 24, 2007

Not everything that comes from Japan is cute. In fact, Melt Banana seems to be doing everything it can to deny the naturally adorable output of its birthplace. Formed fifteen years ago, the band remains uncompromising in its ability to mess with audiences’ preconceptions by gouging a Hello Kitty-shaped hole right through their eardrums. Employing the use of bass, guitar, theremin, computers and whatever the hell instrument makes that laser-zap sound, the noise band grinds screechy clamor against abrasive thumps with a dash of piercing dentist drill. But the effect is great: If you grit your teeth and listen long enough, you’ll realize the band is actually taking you on an artful journey that culminates in a semi-melodic loop of blissed-out frequencies.

  • 10-24-07 Riverfront Times (St. Louis) – article link
  • 11-29-07 reprint in the Houston Press (Houston) – article link
  • Melt Banana – website

Henry Rollins

October 17, 2007

Henry Rollins
8 p.m. Saturday, October 20. The Pageant, 6161 Delmar Boulevard.
By Jaime Lees
Published: October 17, 2007

Henry Rollins started as the howling, robust frontman of legendary punk band Black Flag. Those who are familiar with Rollins’ vitality and exuberance won’t be disappointed in his spoken-word show. Deceivingly billed as “quintessentially American opinionated editorializing and storytelling,” the show is mostly smart stand-up comedy. The “spoken word” classification often implies a snooze-y presentation of pre-planned, carefully worded poetry, but Rollins’ show couldn’t be more different. He stalks the stage with the same energy and aggression once used for winding up jaded punkers, exploding on the audience with entertaining (and often hilarious) personal stories and tirades. The show is also political: Rollins doesn’t miss any opportunity to express his views and his convincing rants are not without intelligent points — “Dubya” supporters beware.


The Secret Handshake / Family Force 5

September 26, 2007

The Secret Handshake/Family Force 5
7 p.m. Monday, October 1. Creepy Crawl, 3524 Washington Boulevard
By Jaime Lees
Published: September 26, 2007

If someone said to you, “Hey, you should totally check out the Secret Handshake. They’re, like, ambient electro-emo,” what would you do? You’d want to throw up into your Emily the Strange lunch box, right? Well, the truth is: The band’s not as bad as you’d expect. The tunes are just ambient enough to be pretty, electro enough to be interesting and hardly emo at all if you ignore the (infrequent) lyrics. There’s an indie splash and some pop sprinkles in there, too; at times the better songs sound like a teenage version of the Cars. But if you’re over the age of 21, it’s not going to get you dancin’. Just stay at the bar and leave this one to the kids. Family Force 5 headlines.

  • 09-26-07 Riverfront Times (St. Louis) – article link
  • 10-15-07 reprint in the Dallas Observer (Dallas) – article link
  • Secret Handshake – website

Melvins / Big Business

September 19, 2007

Melvins/Big Business
8 p.m. Wednesday, September 26. Pop’s, 1403 Mississippi Avenue, Sauget, Illinois.
By Jaime Lees
Published: September 19, 2007

Beware, children: The Melvins, lordly gods of bone-crunching sludge-grunge, are coming to melt your eardrums. Longtime members Buzz Osborne (exquisite thrashing, psychotic vocals) and Dale Crover (swamp-heavy drum thuds) have joined with Big Business bandmates Jared Warren (bass) and Coady Willis (drums) to breed a new, ultra-heavy sound. (That’s right, the Melvins now have two drummers.) Touring on the bombastic new album, (A) Senile Animal, the band has designed a way to reign all night. Big Business will be the opening band, but before the music there is a screening of A Purge of Dissidents, a short animated film with a soundtrack by the Melvins and friends, including Jon Spencer and Jesus Lizard’s David Yow.


Rats and People

August 22, 2007

Read It In Books
Rats and People hide in a basement, can’t take a compliment, secretly dig proper literature.
By Jaime Lees
Published: August 22, 2007

Weeks before I sit down with Brien Seyle and Matt Pace of Rats and People, they predict that they will give a bad interview. We make plans to discuss the band’s new album, The City Of Passersby, but they are filled with apprehension. Reluctant to explain City’s songs, the pair doesn’t wish to be quizzed. They’re not trying to be difficult; they’re just not sure what they will have to say.

Seyle and Pace don’t seem to understand that they’re in one of the most interesting and original bands in St. Louis. Born from the ashes of punk-pirate legends the Whole Sick Crew, Rats and People easily blends genres and invents a style of its own: post-punk folklore.

Lead vocalist Seyle maintains his nasally, Dead Milkmen-esque manner of singing, but the Rats leave behind the Irish-beer-soaked swagger of Whole Sick Crew. Genres such as folk, blues, rock and bluegrass are distorted with non-traditional instruments, such as Jeremy Quinn’s glockenspiel and accordion and Pace’s trumpet and piano. The latter — who came from local pop favorites the Baysayboos — also tackles the formidable job of arranging Rats and People’s music.

Recorded by Rats and People bassist Garry Moore (a former professional sound engineer) in what Seyle describes as “the closet of a closet,” there is nothing amateur about the sound of The City of Passersby. Despite lush orchestration, the songs have a considerable delicacy, never once sounding cacophonous or over-produced. With the exception of the gorgeous, Pace-penned “Ohio,” Seyle wrote most of City’s lyrics, which unfold in a story-telling style of prose.

In the early days of the band, Seyle and drummer Rob Laptad and Jason Matthews (of the Monads) toiled night after night in a basement practice space. After a year of heavy frustration attempting to solidify its songs, Rats and People added Pace and the group finally coalesced. Since those first shaky months, there have been a few other lineup changes (including the departure of the busy and beloved Matthews and, more recently, fiddle player Beth Dill), but the core of the band remains strong.

With a little prodding, Seyle and Pace talked for an hour and a half straight, spilling out hilarious stories and heartwarming hopes. Gracious, quick to compliment each other and completely humble (if not self-deprecating), they conclude nearly every answer with a self-conscious roll of the eyes and an apology similar to “God, that sounds so pretentious.” They are also fond of passing praise on to current (and former) band members. While they seem to actually enjoy explaining their creative process, they are still cautious when delving into specifics, citing a mutual love for misunderstood lyrics. But the fact is, once the duo gets going, its love for the band and City won’t allow them to contain themselves.

Jaime Lees: First of all, please explain how Rats and People got started.

Brien Seyle: Robby [Laptad] and I were in the Bureau of Sabotage together, that later grew up to be the Bureau. Then we quit that band to found the Whole Sick Crew, which was a band that I dreamed of starting since I was, like, sixteen — ’cause I wanted to rip off the Pogues and sing songs about pirates. We eventually had to break up to lose the shtick factor.

Well, I liked that band.

Matt Pace: I liked that band, too!

Seyle: A lot of people liked that band, but the Whole Sick Crew were more publicly consumable because of the shtick. But more important than that is the Baysayboos, man.

Pace: [Bashfully] I don’t know if it’s more important…

Seyle: We loved the Baysayboos.

Pace: And we loved the Whole Sick Crew. We loved each other. The Baysayboos played with the Bureau of Sabotage, too. Brien looked like he was imported from somewhere. The rest of the band was, like, grooving, and Brien was doing his little spastic thing.

This seems like a very St. Louis album: There’s a fleur-de-lis in the CD packaging, a song called “Filthy Little River,” lyrics that mention red brick, a map included of what appears to be the city with neighborhoods labeled with song titles…

Seyle: The City Of Passersby is kind of St. Louis in another dimension. It’s totally sci-fi, unfortunately. I’m totally reaching for profound I always stop right short of profound — and then it’s just sci-fi, you know? I try really hard to make lyrics that reflect different things in our lives, but since I’m so story-driven, it always ends up being totally fucking D&D [Dungeons & Dragons]. I really don’t want to be pretentious, but I also wanna try really hard and make something awesome, but that’s a fucking hard line to walk.

The feelings in the lyrics are modern, but the stories seem kind of…

Seyle: Ye oldie timey?

Yeah, are the stories related?

Seyle: I’m vehemently opposed to the idea of this album as a concept album, but together it’s easy to imagine them all happening in the same place. But all of the characters in each of the songs are all so focused on their own dilemmas that they don’t even know that one step to the right there is a completely different, just as grave, dilemma going on.

The more I listened to it, the more the stories kind of fit together, as a collection. I kept thinking of Geoffrey Chaucer’s The Canterbury Tales.

Seyle: It’s a catalogue of stories, yeah, but God! A Canterbury Tales album? [Laughs] Maybe we should have written the whole album in Middle English!

Well, you all seem very talented, individually. Are you all multi-instrumental?

Pace: We all jump in here and there. I play a lot of different things within the band, but if the Devil challenged us to a duel, I’d pick up the guitar.

I understand you do all of the arrangements and orchestration? You take all the pieces and make them work? You’re like the Timbaland of the Rats and People.

Pace: [Laughs] Ha! I am! [Thinks, pauses, gets serious] The cool thing about [the band] is that it’s everyone playing honestly on an instrument. You could write the coolest shit in the world, but it’s not going to sound as cool as six people playing the instrument they play, live. I don’t mean to sound pretentious, but I think that’s one of the charms of our band.

What band do you feel closest to in town? Who are your contemporaries?

Pace and Seyle: [simultaneously] Bad Folk.

Seyle: Actually, we’re going to do a split seven-inch with Bad Folk, their song is “Saw a Circus” and ours is “I Sang to Heather Nethereye.” It’s about a prostitute.

Uh..”Nether… eye”? Like “down there”?

Seyle: Yeah. [Stops, looks freaked out] Holy shit! The word “nethereye” [sic] is from Chaucer! Dude, you had my number! There’s no Chaucer on this album, specifically, but Chaucer definitely plays a part… apparently.


The Detroit Cobras

August 22, 2007

The Detroit Cobras
8 p.m. Monday, August 27. Creepy Crawl, 3524 Washington Boulevard.
By Jaime Lees
Published: August 22, 2007

The Detroit Cobras is the world’s most original cover band. Instead of playing karaoke standards, the Michigan garage-rockers prefer to tackle obscure Motown tracks and underground R&B cuts. But the band doesn’t just play the songs as they were recorded — it adds layers of gritty swing and dirty Midwest blues to these chestnuts, which sometimes even improves them. Guitarist Mary Ramirez’s licks hurt so good, they sting like a fresh spanking, while frontwoman Rachel Nagy has been blessed with the powerful vocals of a modern Patsy Cline. (In fact, she often sounds like the little sister of fellow Motor City enthusiast, Patti Smith.) The resulting tunes sound like after-hours at a Phil Spector party, all harmonizing doo-wop girl-group vocals layered with murderous screams.


Poison

August 1, 2007

Poison
7 p.m. Thursday, August 2. Verizon Wireless Amphitheater, 14141 Riverport Drive, Maryland Heights.
By Jaime Lees
Published: August 1, 2007

Though Poison has always been regarded as the “even gayer version of Mötley Crüe” (OK, at least by me), the not-so-reformed hair-metalheads rock. No amount of spandex, makeup or platform shoes can erase the sexy little licks in “Talk Dirty To Me” or the blatant demands of “I Want Action.” And just when it seems like the band members are going to rock all over your “Unskinny Bop,” they’ll take a break and show you their sensitive side — by making you sway along to “Something to Believe In” or the glorious tearjerker “Every Rose Has Its Thorn.” If you’re lucky, Poison might even bust out a cheeky version of “I Hate Every Bone In Your Body But Mine.” That’s some straight poetry. Recognize.


Black Diamond Heavies

July 4, 2007

Black Diamond Heavies
9 p.m. Saturday, July 7. Off Broadway, 3509 Lemp Avenue.
By Jaime Lees
Published: July 4, 2007

Following the departure of former lead singer and guitarist Mark “Porkchop” Holder, the Black Diamond Heavies have toured as a blues duo. Though it seems like a guitar would be the defining instrument in this type of band, drummer Van Campbell and pianist/vocalist John Wesley Myers manage to carry on just as well (if not better) as a two-piece. Myers has stepped up to sing lead vocals, and his growl is reminiscent of Tom Waits’. As Myers’ passionate voice hits deep lows and his hands vibrate across the piano, Campbell picks up the pace with booming blues beats. Hailing from Tennessee, the band uses its lyrics to address classic Southern topics such as religion, evil, drinkin’ — and the evils of drinkin’. Raise a glass to the Heavies, whose show brings both starlight and moonshine.


Gringo Star

July 4, 2007

Gringo Star
7:30 p.m. Wednesday, July 11. Creepy Crawl, 3524 Washington Boulevard.
By Jaime Lees
Published: July 4, 2007

Gringo Star was once a bitchin’ little band called A Fir-Ju Well. For reasons unknown, the quartet of long-haired rockers from Atlanta changed its name. Luckily for us, the band also stepped up the standard touring schedule. Through word-of-mouth, boisterous live performances and constant touring, the group has built a solid, devoted following. True to its name, Gringo Star evoke Sgt. Pepper’s-era Beatles, with swirling psychedelics, haphazard harmonizing and pop-perfect jangly bits. Sure, most rock bands reference the Beatles, but Gringo Star does it better — and in a much, much dirtier fashion. Live, the band also matches its trippy, carnival-like vibe with a rowdy stage show, full of disorderly, cacophonous instrument-bashing and heart-crushingly somber interludes.


Cyndi Lauper

June 27, 2007

Cyndi Lauper
8 p.m. Wednesday, July 4. Budweiser Main Stage, on the Arch grounds, as part of Live on the Levee.
By Jaime Lees
Published: June 27, 2007

Cyndi Lauper has played many roles during her 25 years in the spotlight. She’s been the quirky music-video new-waver, Madonna’s early rival, the girl who just wants to have fun, the undercover singer of the Pee-Wee’s Playhouse theme song, and (most recently) a crooner of jazz standards and gorgeous, delicate originals. Through all of the years and all the hats she’s worn, one priority has remained: Lauper has always been friend of the outcast, queer, misfit or oppressed. She’s just finished headlining the True Colors tour (a highly successful venture to benefit the Human Rights Campaign that featured gay-friendly artists and comics), and this Independence Day Lauper is performing on the riverfront downtown. Expect crazy outfits, prideful parading and the kind of magic that can only be achieved by a true diva.


Tool – concert preview

June 20, 2007


Tooling Around
B-Sides takes a Maynard-related road trip
By Jaime Lees
Published: June 20, 2007

Tool can do no wrong in the eyes of its fans. In fact, the band inspires so much respect from its audience that it’s nearly creepy. Tool gets away with things that would cause lesser bands to be written off or completely forgotten: There have been huge gaps between album releases (up to five years), infrequent tours, high ticket prices and band members who have been known to play in the dark and barely address the audience.

But all of this somehow works in Tool’s favor. Far from feeling slighted or ignored, fans are supremely excited when an album comes out and are willing to pay as much as necessary for the rare live show. And instead of regarding band members as egotistical jerks, fans view them as mysterious and humble. This kind of blind worship is part of what makes the Tool experience so amazing.

The quartet has always been fairly hard to categorize. Metal, prog, alternative, hard rock — all possible genres only partially describe the band. The qualities of the typical “Tool sound” are just as nebulous as the members themselves. The lyrics are dense, mostly intelligent and sometimes inaccessible, hitting on such diverse topics as history, religion, numerology, witchcraft, death, psychology, math and uh, prison sex.

Last Saturday while performing at the tiny Show Me Center in Cape Girardeau, Missouri, Tool gave the kind of performance every fan hopes to witness. The crowd instantly responded when the band opened with “Jambi,” a fast, powerful burner from its latest album, 10,000 Days. “Jambi” was followed by older favorites “Stinkfist” and “Forty Six & 2.” Another stand-out song was “Schism,” which was played differently from the studio recording, as it sped up near the end and highlighted drummer Danny Carey’s superior skills. Live, “Schism” is a song that always seems like it might explode at any moment, but on this night it was held together by the enchanting bass guitar work of Justin Chancellor. Adam Jones rolls his fingers down the guitar frets with ease, making the heavy and bewitching “Vicarious” seem effortless. During “Rosetta Stoned,” singer Maynard James Keenan encouraged the audience to clap along while he moved in his trademark lurching dance, perched on top of a riser in the back next to the drums.

If there was any complaint about the show, it was that Keenan’s voice came across as a bit restrained (although this might just have been an effect of the poor sound quality in the venue). It’s also possible that he was just saving his voice for the slow, quiet portion of the show. Keenan sang low and soft for “10,000 Days,” a delicate and beautiful song rumored to be about his devotion to his mother during decades of ill health (and subsequent death), and her strong religious faith in the face of daily suffering. During this interlude, the audience sat down and watched — not out of boredom, but out of reverence. Many were moved to tears.

This Friday at the Scottrade Center, expect an outpouring of faith and devotion. Tool will be opening the doors to its sold-out church, and St. Louis congregants have been waiting patiently. — Jaime Lees 8 p.m. Friday, June 22. Scottrade Center, South 14th Street and Clark Avenue. Sold out. 314-241-1888.


Tool

June 17, 2007

Tool in Cape Girardeau: A Photo Essay
Sun Jun 17, 2007


Rock the Vote

June 13, 2007

Rock the Vote
The 2007 RFT Music Awards winners are here!
Published: June 13, 2007


Ted Nugent

June 6, 2007

Ted Nugent
8 p.m. Thursday, June 7. The Pageant, 6161 Delmar Boulevard.
By Jaime Lees
Published: June 6, 2007

Ted Nugent’s personality has always been bigger than his music. He’s still a caricature of himself — what with his wild hair, fox-tail, loincloth and Native American headpiece — and he delivers passionate rants about favorite topics such as war, government and hunting. And though he fancies himself a right-wing warrior Republican, he comes across more as an extreme libertarian (sorry Nuge, but it’s true). Live in concert, Uncle Ted still grills it and kills it, delivering a deliciously meaty show that’s full of energy, oversize props and wailing guitar riffs. Ever the showman, this superstar knows to follow newer songs with classic dirty ditties such as “Wang Dang Sweet Poontang” and “Wango Tango.” Be prepared: The Nuge will rock you, like, for real.


Two Gallants / Les Claypool

June 6, 2007

Two Gallants/Les Claypool
8 p.m. Friday, June 8. The Pageant, 6161 Delmar Boulevard.
By Jaime Lees
Published: June 6, 2007

The indie-blues duo Two Gallants showcases complex and original folk ballads. The pair’s lyrics are at once confessional and cheeky (“If liquor’s a lover, you know I’m a whore”) and its songs are gritty, somber and (sometimes) uncomfortably sincere. New fans are often lured into its hypnotic live show by dense, emotionally naked songs. Two Gallants also has a witchy ability to enchant: Often when its set is over, the audience collectively wakes up and remembers to snap back to the normal concert-attending reality of getting a drink, taking a piss or talking to their friends. Two Gallants are opening for Les Claypool this time around, but we’d bet the next time they come through town they’ll be headlining.

  • 06-06-07 Riverfront Times – article link
  • 06-14-07 reprint in the Dallas observer – article link
  • Two Gallants – website

2007 RFT Music Showcase

May 30, 2007

2007 RFT Music Showcase
Week of May 31, 2007
By Roy Kasten , Paul Friswold , Dean C. Minderman , Andrew Miller , Alison Sieloff , Christian Schaeffer , Brooke Foster , Annie Zaleski , and Jaime Lees
Published: May 30, 2007


Johnette Napolitano

May 30, 2007

Johnette Napolitano
9 p.m. Thursday, May 31. Blueberry Hill’s Duck Room, (6504 Delmar Boulevard, University City)
By Jaime Lees
Published: May 30, 2007

Casual Concrete Blonde fans know two things about the band: It was named by R.E.M.’s Michael Stipe and it had a surprise hit song with “Joey,” a bittersweet ode to an addict. Johnette Napolitano (Concrete Blonde’s main singer and songwriter) has remained prolific both with and without the band. She’s contributed songs to movies, friends’ albums and, most impressively, was even accepted as the lead singer (read: David Byrne’s replacement) for a Talking Heads project. These opportunities likely arrive due to the strength of her voice, a set of powerful pipes that sounds like a glorious combination of Patti Smith and Heart’s Ann Wilson. Napolitano is touring in support of her new solo album Scarred, on which she even makes a cover of Coldplay’s tedious ballad “The Scientist” sound soulful and authentic. Now that’s talent.


The Sterns

April 18, 2007

The Sterns
7 p.m. Tuesday, April 24. Creepy Crawl (3524 Washington Boulevard).
By Jaime Lees
Published: April 18, 2007

The Sterns sound like Belle and Sebastian trying to make laid-back ska music, seeing as how the band makes grown-up pop with just a touch of rocksteady rhythm. Though everything the quintet plays comes out sounding vaguely English, its sound is subtle enough to pass as authentic; listeners would never suspect that these catchy bits come straight outta Boston. At a SXSW showcase last month in Austin, the Sterns sounded thicker (and better) than recordings. Heavy organ (think Murder City Devils) supplemented lighter songs, and the entire band fully threw itself into the performance, punk-style.


VAST

April 4, 2007

VAST
7 p.m. Monday, April 9. Creepy Crawl (3524 Washington Boulevard).
By Jaime Lees
Published: April 4, 2007

VAST (a.k.a. the name under which musician Jon Crosby records) stands for Visual Audio Sensory Theater — and Crosby makes music that’s appropriately epic for the moniker. While a combination of art-rock industrial beats and gothic classical strings is his trademark, a heavy global influence keeps Crosby’s albums interesting; specifically, tribal beats add an extra layer of danger and impending doom to songs that could accompany the creepy vampire change-over scene in a Lost Boys remake. To break it down further, VAST mostly sounds like Failure’s Ken Andrews singing a Pretty Hate Machine song for the Lion King soundtrack. In concert expect building, pressure-filled, atmospheric soundscapes low on humor and heavy on Bauhaus.


SXSW / Thurston Moore / Flosstradamus

March 21, 2007

Still More SXSW Coverage, Part Two
Wed Mar 21, 2007
By Jaime Lees

Local H singer Scott Lucas played a brief (and rare) acoustic set at Momo’s, the most relaxed and groovy venue I entered all during SXSW. (Cheap drinks? Free pizza? Breezy rooftop patio? I’ll take it.) Lucas started off with a new tune, “Them’s Fighting Words,” (introduced as “Flight of Icarus,” an Iron Maiden song), and followed up with Local H stand-outs “All The Kids Are Right,” “Fine and Good” and “Hey, Rita.” Though he ended with an achingly gorgeous cover of Concrete Blonde’s “Joey,” for the most part, Lucas seemed a little stiff. This might be owing to his early time slot or his strange habit of seeming more sincere and soul-bearing when playing a cover song. Still, witnessing these songs stripped of his band’s trademark big riffs and thumping beats makes it easier to hear how beautifully simple a pop song can be.

After Momo’s, I headed to the Austin Convention Center (SXSW headquarters) to sit in on a David Fricke interview with the Stooges. My take in another post. But by the end of the Stooges interview, Austin was starting to heat up. After a gloriously refreshing intermission in my hotel bed, I got up and trudged to the Beauty Bar, determined to catch the young Chicago DJ duo who go by the name of Flosstradamus. It’s not that Josh Young (J2K) and Curt Cameruci (DJ Autobot) are technically flawless DJs (two guys, two laptops, four turntables), or even that their sound is inventive and fresh; what makes Flosstradamus an impressive force is their game.

Sporting a fly B-boy fashion sense, wicked smiles and a playful “Can You Rock It Like This?” attitude, they bring the noise. The pair plays a combination of disco rock, old-school hip-hop, booty house and sample-heavy mash-ups that dare the audience to deny the urge to dance. The joint was jumpin’ — no lie. Historic rave essentials from artists such as Daft Punk and Deee-Lite are mixed with samples from the Beatles and LCD Soundsystem. Basically, if you were hosting a house party and you knew Flosstradamus, you’d beg them to rock your basement.

Friday night’s showcase at Mohawk was one of my favorite functions. Hosted by indie record label Ecstatic Peace, it featured a headline performance by label founder Thurston Moore, long-time Sonic Youth guitarist and living mop-topped rock encyclopedia. Forgoing his feedback-heavy, noise-based roots, Moore’s acoustic (!) set was pretty — even delicate. Joined on stage by Sonic Youth drummer Steve Shelley (billed as a “special guest”) Moore debuted new, unreleased songs called “Friend,” “Frozen Guitar,” “The Shape” and “Silver.” By the last song, however, Moore couldn’t resist the urge to jam out, incorporating snippets of favorites such as the Stooges “I Wanna Be Your Dog” into a loud swirling, trippy climax.

Moore’s label-mates, Pagoda, are best known for having actor Michael Pitt as its lead singer. Pitt recently played the lead in Gus Van Sant’s Last Days, a film based on speculation surrounding the last few days in the life of Kurt Cobain, Nirvana’s singer and a God-like cultural icon. I thought the movie was mostly tedious and boring as hell, but Pitt is riveting on-screen and on-stage. Actually, it’s so easy to be distracted by Pitt’s Cobainesque guttural caterwaul that audiences might miss some of the best ingredients in the band’s sound. First of all, they have an amazing cellist who seems to think he’s playing an electric guitar. His hands alternately caress and attack the cello viciously, creating an explosive noise that’s very different than what you would expect from the usually snooze-inducing instrument. Overall, Pagoda sounded a little like the Jon Spencer Blues Explosion, a bit like Sonic Youth and fully like the second coming of grunge. But in the good way, I swear.

In short, I rocked. I rolled. I raved. Mission accomplished.


Stooges: The SXSW Interview

March 21, 2007

Stooges: The SXSW Interview
Wed Mar 21, 2007 at 07:29:08 PM
By Jaime Lees

David Fricke (a veteran writer at Rolling Stone) made no effort to hide his delight and took the opportunity to ask many intense, discussion-provoking questions. Though he made every attempt to contain himself, Iggy Pop commanded 90% of the talking time. When he managed to pass questions on to his bandmates, guitarist Ron Asheton released hilarious antidotes. I fully realized how old the Stooges were when drummer Scott Asheton finally spoke. Though his drumming might just be as hard-hitting and solid as the old days, his speaking voice is the measured, scratchy voice of an old man. Betraying his age once again, Pop spewed forth witty observations about topics such as rock & roll legends (the Velvet Underground’s John Cale “looks like the antagonist from Beyond The Valley Of The Dolls”), his own fashion adventures (he purchased his legendary dog collar from “the bowzer boutique”) and the state of new music (“contemporary tuna melt standard”). Pop also casually deconstructed classic Stooges tunes. For example, in the song “No Fun,” the riff was inspired by belly dancing, the construction is lifted from Johnny Cash’s “Walk The Line,” the “no” is from the Rolling Stone’s “Satisfaction” and the “fun” is from the Beach Boys’ “Fun Fun Fun.” Who knew?


St. Louis nightlife

March 21, 2007

Tired of the same old bars? Try this handy-dandy guide to some new (and not-so-new) nightlife hotspots.
By Annie Zaleski and Jaime Lees
Published: March 21, 2007

Live in St. Louis long enough, and your going-out ritual becomes predictable. For some it’s heading to South Grand for last call (and then some) on weeknights. For others it’s braving a lack of parking to hit the Landing or Soulard on weekends. Still others prefer to guzzle cheap pitchers of beer at Blueberry Hill, or make the scene in the Gayborhood on Manchester.

Whatever the place, we realize that it’s far too easy to fall into a social rut. So in the spirit of the start of spring and impending warmer weather, we’d like to recommend some lesser-known places to check out, places that might not always be on your social calendar. Consider this piece a guide to some newer hotspots in town — and a reminder about some long-standing nights that still deserve your patronage. (click to continue)


BrooklynVegan link + quote / SXSW / Stooges

March 20, 2007

By Jaime Lees
Posted in SXSW | music on March 20, 2007
SXSW – Melvins, Buzzcocks, & Stooges

“Live, the Stooges are exactly as you would imagine. Pop is out front comanding all the attention, and the other band members are in the back, dutifully mixing up the magic.” [River Front Times]


The Stooges / SXSW

March 19, 2007

Shake Appeal: The Stooges at SXSW
Mon Mar 19, 2007 at 04:03:23 PM
Jaime Lees

The Stooges, at Stubb’s

It’s hard to find the line between journalistic appreciation and gushing fan girl. There have been quite a few occasions when I’ve had to put aside my love of Converse-wearing guitarists or cowbell-crushing drummers in order to sound more professional or just to get my point across.

So, here’s my confession: Finding objectivity is especially hard when writing this. Not to be too Rob Gordon in High Fidelity, but the Stooges are one of my all-time, top-five favorite bands. In my heart, this is real rock & roll. It’s dirty. It’s raw. It’s loud. It’s got soul. And I think the riff from “T.V. Eye” might still be the hottest thing I’ve ever heard in my entire life. See? “Hottest”? Forgive me, I can’t stop myself.

I’d been budgeting my energy all week. Since the Stooges were scheduled to take the stage just after midnight on the last official night of SXSW, I planned to combine all of my cries of, “Let’s sit down” and “I really should get back to the hotel” and cash them in for one big “I CAN DO THIS.” When it was time to stand among the crowd, get smashed in one place for hours, push off burly punk-rock guys and survive the slow torture of completely unremarkable opening bands (Kings of Leon, Spoon), I was ready.

Through the miracle of text messaging, I met up with a friend and we cruised down to the very middle of the crowd, about 30 feet from the stage. We sat down on the gravel and made plans to stick together when times got tough. Just like all girlfriends, we promised to never to let a man get between us; and if he did, we’d elbow him. We had three-and-a-half hours to wait.

After each band ended and their fans left, we’d jump up and claim new ground. During their sets, we’d worm our way even closer. Finally, after we’d been standing for more than two hours pressed against old friends and new comrades, we were about four feet from the stage barrier. Then the lights went down and the crowd went crazy. Instantly, I knew we were dead. There was no way we were going to survive the full show in this pit. We’ve both been through things like this plenty of times before, but this time the feeling was different. It wasn’t just aggro, testosterone-fueled raging; it was full-on insane fandom — which is way more dangerous and unpredictable.

Scott and Ron Asheton came strolling out on stage with honorary Stooge (and fellow rock royalty) Mike Watt (The Minutemen, fIREHOSE) on bass. Iggy Pop waited for the beginning drum hits of “Loose” before he came jumping out, already shaking and gyrating to the thump of the bass. There’s no way of knowing how this lean, muscular 59-year-old gets his endless spastic energy, but I like to think it’s from a deal with the devil. Pop’s senior serpentine is more genuine and sexy than Axl Rose’s ever was.

Live, the Stooges are exactly as you would imagine. Pop is out front comanding all the attention, and the other band members are in the back, dutifully mixing up the magic. After “Loose” came a string of Stooges classics, among them “I Wanna Be Your Dog,” “T.V. Eye” and “1970.” It was about this time that we knew we had to get out of the pit for fear of grievous bodily injury. We moved off to the left where it was still crowded, but no longer a battlefield. From here we watched Pop jump into the audience quite a few times and cause a crowd-crushing wave of bodies whenever he was near. For the majority of the show, he sang with his tight jeans hanging half off, threatening to expose Little Iggy at any moment. His sweaty performance is as fearless and wreckless as it was 35 years ago. And Pop’s full-bodied entertainment made newer Stooges songs much easier for the crowd to get into. They surged and slammed to “Trollin’,” “ATM,” “My Idea Of Fun” and “She Took My Money” just like they were proven classics.

After at least an hour of non-stop… uh… rawk… they took the customary pre-encore break. We prepared ourselves for all hell to break loose. When they came back out on stage, Pop asked for dancers to come to the front and “dance with the asshole Stooges.” We all looked at eachother in confusion. What does he mean? Push forward? Is he asking us to hop the barrier? Should we hop the barrier? Just then he made it more clear by saying: “Come up here!” We needed no more words of encouragement. My friend and I were up and over the speaker stack before security could move to stop us. Suddenly, we were dancing with about 30 other people on stage to “No Fun,” jumping up and down, screaming and shaking a little ass. We got close enough to sing in the microphone and wrap our hungry hands around Iggy himself. All too soon the song was over and we dancers were all standing on stage staring at each other, fully in shock. There was nothing else to do — we licked Iggy’s sweat off of our hands. How’s that for commitment to an article?


The Dials

March 14, 2007

The Dials
9 p.m. Friday, March 16. Lemmons (5800 Gravois Avenue).
By Jaime Lees
Published: March 14, 2007

The Dials are little balls of fury masquerading as a bitchin’ Chicago quartet. On their latest release, Flex Time, these three girls and one boy manage to find the middle ground between power-pop royalty and frenzied garage blasting. Live, the Dials feed audiences a sound that’s like dirty gravel disguised beneath layers of glazed pastry: Emily Dennison’s fingers skip happily across the Farfisa, balancing the straight shredding by guitarist Patti Gran, as candy-coated sing-along verses explode into fuzz-covered choruses. In other words, the band plays as though it’s been wound-up tight and waiting to unfurl. As always, a spoonful of sugar helps the big-blasting medicine go down. Local girl-pop outfit That’s My Daughter opens.


The Stooges – The Weirdness

February 28, 2007

The Stooges
The Weirdness (Virgin)
By Jaime Lees
Published: February 28, 2007

The Weirdness is the first new studio album released by the Stooges in 34 years. Not surprisingly, there was considerable doubt as to whether the Detroit legends could pull off a new album. But rest assured: They have. The Weirdness manages to capture that distinctive Stooges swagger while still sounding appropriately evolved. Original members Iggy Pop, Ron Asheton and Scott Asheton (with help from Mike Watt of the Minutemen) manage to mix the loose, intoxicating thump of Fun House with all the shake appeal of Raw Power to create music that still sounds vintage — yet undeniably fresh. This is in large part due to the inclusion of production genius Steve Albini, who engineered impeccably clear drum and guitar sounds that work perfectly as the foundation for the Asheton brothers’ dirty sonic fuzz. The lyrics are loaded with classic bored Iggyisms such as “I can’t tell if I’m dead or having fun” and peppered with Pop’s trademark yelps, hoots, wooos and praises of the female figure. On standout tracks such as the raucous “Mexican Guy” and “I’m Fried,” listeners can feel the same guitar-fueled, gyrating stomp that keeps the Stooges so sexalicious all these years later.


The Heart Attacks / The Queers

January 31, 2007

The Heart Attacks / The Queers
7 p.m. Wednesday, February 7. Creepy Crawl (3524 Washington Boulevard).
By Jaime Lees
Published: January 31, 2007

Punk and rock are like mac ‘n’ cheese: While both hold up on their own, mixing them together is even more delicious. Hotlanta punkers the Heart Attacks bring the heat, blasting out their genre-mixing sound with the energy of true old-school rock and the bravado of Van Halen. The Heart Attacks were discovered and signed by Rancid’s Tim Armstrong (the founder of Hellcat Records), while the band’s latest album, Hellbound and Heartless, was produced by another Rancid alumni, Lars Frederiksen; unsurprisingly, the disc has the potential to trigger both a violent pogo-pit and an audience sing-along. There’s also a pretty pop duet with Joan Jett sandwiched between the high-energy title track and a song that lifts the guitar riff straight from “Hot for Teacher.” (Oh, shut up, you love it.) Lou faves the Queers headline.


Cheap Trick

January 24, 2007

Cheap Trick
8 p.m. Saturday, January 27. Family Arena (2002 Arena Parkway, St. Charles).
By Jaime Lees
Published: January 24, 2007

The members of Cheap Trick have been recognized as the patron saints of power pop for the past 30 years. On album after album, they’ve engaged listeners with a unique brand of amplified sing-along melodies. This year they return to the black-and-white-checkered road in support of a new album, Rockford (named after Rockford, Illinois, the band’s beloved home town). With help from songwriter extraordinaire Linda Perry, this album is one of Cheap Trick’s best yet, one that displays all the catchiness that made classics such as “Surrender” and “I Want You To Want Me” so irresistible. Live, the energy of the boys out front — added to the infectious beats of drummer Bun E. Carlos — implores even the most inactive audience to surrender, surrender to their little nuggets of pop perfection.


Turbo Fruits

January 17, 2007

Turbo Fruits
7:30 p.m. Friday, January 19. The Acoustic Café at the West County YMCA (16464 Burkhardt Place, Chesterfield).
By Jaime Lees
Published: January 17, 2007

Indie darlings Be Your Own Pet received a lot of attention after Thurston Moore signed them to his record label, Ecstatic Peace — but they backed up his vote of confidence with hard work, constant touring and appearances at nearly every major music gathering in the country (Lollapalooza, SXSW, CMJ). However, band members Jonas Stein and John Eatherly haven’t yet run out of steam or forgotten their roots: The pair still tours as their pre-BYOP garage-pop band, Turbo Fruits (www.myspace.com/78236428). This two-man band kicks up a lot of noise and caustic boogie, and sounds a little like the Jon Spencer Blues Explosion or a punkier T. Rex.


Clownvis Presley

January 17, 2007

Local Motion: Clownvis Presley
10 p.m. Wednesday, January 24. Way Out Club (2525 South Jefferson Avenue).
By Jaime Lees
Published: January 17, 2007

Elvis Presley is dead, but his ghost is alive and shakin’ his polyester-covered ass all over town in the form of Clownvis Presley, the side project and alter-ego of 7 Shot Screamers frontman Mike Leahy (who, naturally, dresses and acts like Elvis, but has the painted face and sly demeanor of a circus clown). Clownvis is an old-time “song-and-dance guy,” a true performer who will do anything for a laugh; he’s just as likely to sing as he is to pull a string of handkerchiefs out of his nose. This week he’s debuting a vaudeville-type show at the Way Out Club: In addition to performing impressive Elvis covers in a bedazzled white jumper, Clownvis will play host to a variety of guests, including burlesque dancers, bands, singers and comedians.


The Dempseys

January 3, 2007

The Dempseys
9 p.m. Saturday, January 6. The Way Out Club (2525 South Jefferson Avenue).
By Jaime Lees
Published: January 3, 2007

George W. Bush rocked out to The Dempseys over the summer, but don’t hold that against them. In fact, this three-piece rockabilly band from Memphis has a gaggle of famous fans. Japan’s former Prime Minister Junichiro Koizum sparked an international news sensation when he sang an Elvis Presley song with the group, mere months after it was featured in the Johnny Cash biopic Walk the Line. But a little band from Tennessee doesn’t receive opportunities like this overnight. The Dempseys have proven themselves through constant touring and a notoriously high-energy stage show. While most other swing-style rockabilly troupes are content to stand and croon to the ladies in polka-dot dresses, the Dempseys are all up in your face, rocking you like a punk band.


Lithium: A Tribute to Nirvana

November 22, 2006

Local Motion: Lithium: A Tribute to Nirvana
7 p.m. Thursday, November 23. Pop’s (1403 Mississippi Avenue Sauget, Illinois).
By Jaime Lees
Published: November 22, 2006

A cover-band concert is like a drag queen: The show is familiar, predictable and includes the performer’s personal flair. But a tribute-band gig is more like a tranny, in that it’s trying to “pass” and mimic the features that would identify it as the band it’s honoring. In all cases, the illusion usually works best when seen across a smoky bar. Lithium: A Tribute to Nirvana plays convincing covers that span the length of Nirvana’s career — from the sludge of Bleach to the glorious chaos of In Utero. The band members themselves don’t much look like Nirvana, but their clothing, stage setup and attempts to stay in character more than make up for it. Lithium’s bassist bounds around barefoot, and the singer sports Cobain’s shoulder-length blond bob and iconic green grandpa sweater.


Gringo Star

November 1, 2006

Gringo Star
9 p.m. Friday, November 3. The Tin Ceiling (3159 Cherokee Street).
By Jaime Lees
Published: November 1, 2006

A Fir-Ju Well was a horrible band name. What did it mean? How was it spelled? How did you even pronounce it? Well, forget it, because A Fir-Ju Well has recently changed its name to the equally confusing (but easily spelled) Gringo Star (www.myspace.com/thegringostars). These Atlanta boys make frequent stops in our section of the Big Muddy, and those who have seen them play haven’t forgotten them: The mop-headed rockers draw a bigger crowd every time they hit town. Gringo Star describe their sound as “big beat psychedelic Southern rock & roll,” and their deep, trippy style has indeed drawn favorable comparisons to the Flaming Lips and the Beatles — but their thick sound and liberal use of the cowbell pushes them far into the rock & roll category.


Joan Jett

October 25, 2006

Jett Fighter
by Jaime Lees
Published: October 25, 2006

Who gives a crap about Lita Ford? Everybody knows Joan Jett was always the coolest member of the Runaways. She wrote the band’s signature song, “Cherry Bomb,” when she was just a teenager — now that’s talent. Jett also happened to be hottest member of the group, defining the ’70s rocker-chick look with her leather jacket, black mullet and perpetual snarl.

While her contributions to the history of rock & roll fashion are notable, Jett should be most praised for her involvement in changing perceptions of women in rock. She helped elevate the status of females in the simplest of ways: She wasn’t preaching, she wasn’t bitching — she was simply rocking. Joan Jett led by example.

Jett still seems to inspire, if not mentor, the younger ladies. She’s worked with other female rockers and riot grrrl bands including Peaches, L7, Bikini Kill, the Gits and Bratmobile. Jett also gets cred for collaborating with men who are notoriously difficult to work with, such as members of the Sex Pistols and genius perfectionist Ian MacKaye of Fugazi.

Jett’s new music (and specifically her latest album, Sinner) sounds a lot like the music the Distillers have been trying to pull off for years. As an album, Sinner’s topics revolve around politics, love, gender and sex — heck, it even contains a dirty little ditty called “Fetish,” with porn-style lyrics that seems to be a response to the Stooges’ “I Wanna Be Your Dog.” Jett also included recordings of a number of cover songs that seem to be unlikely selections, such as an impressive and sincere version of the Replacements’ “Androgynous.”

Though some might say that her glory days have passed, Jett still hasn’t given up the rock or the roll. Not only is she still putting out albums, she’s been involved in a number of other ventures in the entertainment field, including work in quite a few independent movies.

Jett is touring this fall with dirty swagger-rock kings the Eagles of Death Metal, who are most recognizable for their cocky attitude, power-drummer Josh Homme (of Queens of the Stone Age fame) and their mustache-mouth shout-outs to the “ladies” of the audience. They open for Jett this Friday at Mississippi Nights. And don’t worry — Lita Ford won’t be there. — Jamie Lees

8 p.m. Friday, October 27. Mississippi Nights, 914 North First Street. $25. 314-421-3853.


Twilight Singers

October 25, 2006

Twilight Singers
8 p.m. Tuesday, October 31. Mississippi Nights (914 North First Street).
By Jaime Lees
Published: October 25, 2006

It’s just a fact that Mark Lanegan makes every song sound better. A few years ago, the former Screaming Trees frontman was a surprise hit when he lent his signature sandpaper croon to Queens of the Stone Age; now he has the same kind of guest-vocalist gig with the Greg Dulli-led Twilight Singers, a band that specializes in gorgeous layers of dark, melodic pop strung together with dense and creative song structures. Although ex-Afghan Whig Dulli’s talents have long been overshadowed by his reputation as a weird genius who’s just a little too obsessed with the dark side of life and love, his skills — combined with Lanegan’s presence — make the Twilight Singers an unstoppable force.


Two Gallants

October 11, 2006

Two Gallants
9 p.m. Thursday, October 12. Off Broadway (3509 Lemp Avenue).
By Jaime Lees
Published: October 11, 2006

San Francisco’s latest indie-blues phenomenon, Two Gallants, is a study in contrasts. Bandmates Adam Stephens and Tyson Vogel, both only in their early twenties, perform with the passion of a full orchestra. Ballads might begin weighed down with heavy beats, only to suddenly lift and shift into the sparse skeleton of a folk song. And while melodic, bittersweet compositions are the hallmark of Two Gallants’ record company, Saddle Creek, the band’s sound is considerably closer to the Pogues than Bright Eyes. The lyrics on their newest album, What the Toll Tells, weave dark, whiskey-laced tales of heartbreak, jail and life on the road; the songs often draw comparisons to the early works of Johnny Cash. Live, Two Gallants play an emotionally dense set that is guaranteed to impress any listener with a little hurt in his heart or a little booze in his belly.


Shiny Toy Guns

October 4, 2006

Shiny Toy Guns
7 p.m. Sunday, October 8. Creepy Crawl (3524 Washington Boulevard).
By Jaime Lees
Published: October 4, 2006

Don’t be put off by their tragic asymmetrical haircuts — Shiny Toy Guns are one of the most promising electronic dance bands to transcend the played-out electroclash scene. The so-called “Shinys” are receiving attention for creating complex dance music with a lush indie-rock core, although ’80s goth tunes seem to be their greatest influence: Their mix of powerful female-centered vocals and big beats results in an electro-paradise that sounds a little like Peaches singing New Order. But wherever they go, the dance party follows; just check the Tommie Sunshine remix of their catchiest song, “Le Disko.” Oh, and as an added bonus, they do the best live cover of Depeche Mode’s “Stripped” — ever.


MLD

September 27, 2006

Local Motion: Marcheski, Lenarsky and DaBreezy
Tuesday, October 3. Creepy Crawl, (3524 Washington Boulevard)
By Jaime Lees
Published: September 27, 2006

Marcheski, Lenarsky and Dabreezy (MLD) is a hilarious rap group composed of white boys from Creve Coeur. Though they’re more like a comedy troupe than Eminem, they tout “rhymes as addictive as crystal meth sold in Pacific.” Nearly all of their tracks proclaim their love for Nellyville, and most of their topics are St. Louis-specific: Pujols, BBQ, the perils of living in the county and how to roll on the east side. MLD have even invented their own word: “stunk,” a new way to describe getting drunk in the STL. (Use it like this: “Man, I was so stunk on South Grand last night, even chicks at the gothic coffee shop looked good!”) For a further good time, check them out at www.myspace.com/mldprdvv.


RFT – Music Showcase Schedule

September 6, 2006

Music Showcase Schedule
The complete low-down on this year’s nominated acts
Published: September 06, 2006


Walkie Talkie U.S.A.

August 9, 2006

Local Motion: Walkie Talkie U.S.A.
9 p.m. Tuesday, August 15. Off Broadway (3509 Lemp Avenue).
By Jaime Lees
Published: August 09, 2006

St. Louis finally has a south-side supergroup. Jason Hutto (formerly of Midwest indie-rock favorites the Phonocaptors and Sexicolor) recently formed Walkie Talkie U.S.A. (www.myspace.com /walkietalkieusa) with members of Red Eyed Driver and two former members of Nadine. Walkie Talkie U.S.A. is making new, refreshing rock music while welcoming collaborations with friends in Bunnygrunt and the Sex Robots. This collision of talent results in songs that are as diverse as they are textured. Main songwriter Hutto mixes the cocksure swagger of the Phonocaptors with the catchy choruses of Sexicolor to create radiant, powerfully addictive pop songs. Their sound incorporates layers of bold power guitar, arresting harmonies, glam posturing and even twinkling, trippy Flaming Lips-ish delicacies. Don’t miss this one.


X / Rollins Band

August 2, 2006

X / Rollins Band
7 p.m. Monday, August 7. Pop’s (1403 Mississippi Avenue, Sauget, Illinois).
By Jaime Lees
Published: August 02, 2006

Fronted by feminist hero Exene Cervenka, X have been playing their own style of shaky punk rock since the late ’70s. While their lyrics describe horrors such as rape, abuse and Los Angeles, their surprisingly thick and melodic song structures are ripe with riffs that honor our rock & roll daddy, Chuck Berry. Henry Rollins will take a break from his main gig as witty cultural commentator to once again lead the Rollins Band in displays of sweating, gritty speed-rock. Don’t let his new status as a man of words and wisdom fool you, though — on stage he’s still the same blasting force we first encountered in Black Flag. Get to the east side early to catch Texas’ the Riverboat Gamblers and The Lou’s own 7 Shot Screamers.