Flyer Supplier: Thomas Crone’s Old Crap is St. Louis History
Flyer Supplier: Thomas Crone’s Old Crap is St. Louis History
By Jaime Lees
Thu., Jan. 19 2012 at 11:09 AM
As a long-time member of St. Louis media, Thomas Crone has been it all: author, journalist, photographer, DJ, webmaster, blogger, videographer, producer, director, actor, publisher, panelist and editor. (Including a spell as music editor of this fine publication.)
The dude works on, like, ten projects at a time and seems to have no problem fitting in another job when inspiration strikes him. Crone is always up to something and, luckily, we music fans are frequently the beneficiaries of his hard work.
He’s spent years as a man-about-town, documenting St. Louis history and reporting on local bands. His latest project is a combination of these two interests. As part of his Second Set column at the St. Louis Beacon, he’s been digging out and scanning all of his old show flyers and posting them to a set in his Flickr site.
We did a quick interview with Mr. Crone today and he explained, “As I’m starting a year-long writing project for the stlbeacon.org, I wanted to finally organize my old collection, which has been split up into several, plastic storage boxes. Last night, I hit the mother lode, finding a bunch of pieces that I thought were lost to time. What’s interesting now is figuring out which were outright harvested off of walls by me, which were lent to me for some project or another, and how many will need to be returned. In one case, I have a loan from someone recently accused of murder. Realizing that was a real shocker; but so many of these evoke some type of interesting or unusual emotion. I’m hopeful that they bring the same for others.”
There are over 50 images in the collection now, and Crone plans to post around 25 more per day and promises, “In addition to the flyers, there will also be ticket stubs, zine covers, press photos, bios a few contract riders…. might wind up with a few hundred pieces by the end of the weekend.”
He plans to move all of these images to SilverTrayOnline.com in the near future, but for now there are already flyers posted to Flickr for you to enjoy from Cicero’s, Creepy Crawl, Lo, Tangerine, the Bernard Pub, the Hi-Pointe, the Lemp Brewery, the Mad Art Gallery, Mississippi Nights, Rocket Bar, Side Door, Stages, etc.
Scans and donations of your old flyers will be considered in the future. Keep an eye out for news on this endeavor at ThomasCrone.com and look for future flyers to be posted at SilverTrayOnline.com.
- link: Riverfront Times
Pazz & Jop 2011 – 39th Annual Village Voice Critics’ Poll
I was honored to be asked to contribute to the annual Village Voice critics’ poll- this is my 5th year participating.
Pazz & Jop 2011
39th 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.
link: Village Voice
link: Pazz & Jop
Dana Smith, St. Louis Painter, Celebrates Local Musicians with Southtown Famous
Dana Smith with his painting of Tim Rakel
Dana Smith, St. Louis Painter, Celebrates Local Musicians with Southtown Famous
By Jaime Lees
Thu., Jan. 12 2012 at 6:09 AM
For local painter Dana Smith, art and music have always been intertwined. He can he found in the dark corners of music venues, his face obscured by a large lens, capturing live shots of local bands that he’ll later use as a guide for his paintings. The sounds, sights and people of St. Louis are his muse — Smith finds constant inspiration in the friends, music and buildings that surround him. And though he is, in all respects, a guy who prefers to stay behind the camera, his soft-spoken exterior masks a prolific artistic dynamo.
Smith spent his teen years traveling the country as a sponsored skateboarder. It was during some adventures on the West Coast that he first encountered designers who did graphics for skate companies, artists and photographers. He explains, “I was always interested in art but never knew how to approach it. But on those trips, I met people who would just do it.”
Even though he didn’t have any training or any idea what he was doing, one day when he was about eighteen years old he just started painting. Around this same time Smith began many years a musician the South City music scene, playing in the Wormwood Scrubs, the Baysayboos, Asbestos Sister and Cloister. He found ripe subject material in the bands he frequently watched and shared stages with, and eventually decided to concentrate his efforts on painting the local musicians that he felt compelled to celebrate.
Steve Scariano at the Duck Room, painting by Dana Smith
Over time, this hobby turned into his passion. He now paints for hours nearly every day, sometimes working on three paintings simultaneously. Smith’s love for the music is clearly infused into his alive, vibrant canvases. There’s something about the way that he presents light and movement that allows his paintings radiate energy. He captures not just big rock scenes, but the smaller moments, too — giving the observer the feeling of actually being at the show. This unique quality has put Smith’s work in high demand. In addition to filling requests from individual patrons, Smith has also been commissioned by local businesses, including the Royale on South Kingshighway and the Old Rock House, where he works as a sort-of artist-in-residence, painting many of the national touring acts that have played the venue.
Smith’s talents have been tapped for other music-related projects, as well. He’s illustrated show flyers for friends’ bands (including Gringo Star), provided artwork for Vintage Vinyl’s Record Store Day compilation release, had pieces featured on the music website Daytrotter.com and his painting of Bunnygrunt was used by the band as the cover of its last full length album.
Bunnygrunt at CBCB, painting by Dana Smith
His enthusiasm for capturing local underground bands has resulted in an unexpected consequence: Smith has become an accidental custodian of both the current and past south side scene. Over the years he’s produced paintings of many of the big names that rule the small stages: Mark Early (Glass Teeth), Darin Gray (Dazzling Killmen, Grand Ulena), Dottie Georges (.e), Jerry Green (Potomac Accord), Eric Hall, Fred Friction, JJ Hamon (Magic City), Jason Hutto (Phonocaptors, Warm Jets USA), James Weber Jr. (Julia Sets), Tim Rakel (Bad Folk, Union Electric), Tony Renner, Steve Scariano (Finn’s Motel) and Mark Stephens (Highway Matrons, Accelerando).
Smith’s documenting skills also extend to the venues and spaces that housed these performances. Places like the Duck Room, the Firebird, Frederick’s Music Lounge, the Hi-Pointe, Lemmon’s, Mad Art Gallery, Mississippi Nights, Penny Studios, Radio Cherokee, the Schlafly Tap Room, the Sheldon Ballroom, the Typo Cafe, the Way Out Club and White Flag are all represented in his paintings and illustrations. Details like the diamond-shaped wood wall design at Off Broadway (now hidden behind the red curtain) and the neon beer signs at CBGB fill the background of his pieces, offering familiar clues to the location of the performance and adding extra depth and detail to Smith’s paintings.
Rats and People at Off Broadway, painting by Dana Smith
Smith’s first proper retrospective of his work with local bands is being held this month at Fort Gondo Compound for the Arts on Cherokee Street. The show is called Southtown Famous (a nod to the Bunnygrunt song of the same name) and it will display about 40 pieces of Smith’s work throughout the years. The opening is this Saturday, with music supplied for the evening by .e, of course. The show runs though February 4th, and Fort Gondo is open every Saturday afternoon. Read our interview with the artist and then go check out some paintings of your St. Louis musical heroes and neighbors.
Jason Rook at Radio Penny, painting by Dana Smith
Jaime Lees: Tell me about your upcoming show.
Dana Smith: Well, it’s gonna be a collection of paintings from the last seven or eight years. In 2003 or 2004 I had the idea that I was just going to start focusing on St. Louis businesses and people. So most of the people are musicians because that’s what I’m interested in. The idea for this show was to pull all of these paintings together because they’ve never all been shown together.
How do you choose who you are going to paint?
I don’t know… That’s an interesting question. I guess it has to do with how they play or what they play and if I have an interest in it. Because I am kind of picky sometimes, but I don’t know why. A lot of times I’ll just have a camera with me, and I won’t plan on taking any photos or anything. And then something will just hit me and I think, “I have to photograph that.”
But for me, It’s very important that when I do my own paintings that I work from my own photograph. I know I could just pick anything off of the net, but I went to the show. I stood there all night. I sang along. I was right there. And then the photo that I got was my photo. And no one else got that image or that angle or whatever; it’s all me. I go there and I stand there and I wait and I soak up the atmosphere. And all of that goes into it when you’re painting because you experienced it.
Did you ever want to paint somebody specific but couldn’t get the right picture?
Yes! There are a few people who I want to photograph but the circumstances haven’t worked out or I haven’t put myself in the position to get the photo or anything. I want to do one of Jeff Robtoy. And Chris Powers. And I’d like to get a good one of Jim Utz DJing or something. When I was a kid going to Mississippi Nights I’d see him all the time. And I’d be like “Who is that guy? He’s so cool!”
Is it important to you that you always paint live shots? Most of your paintings are from the audience’s point of view, instead of being backstage with somebody sitting down and you take their photo and then paint it.
Well, yeah, if I had that access then I’d love to do stuff like that, too. And sometimes I do. There’s a lot of stuff going on behind the scenes and I’ll snap a photo of that. But I don’t want anything posed. It would feel fake. I don’t want them to know the photo is being taken. I try hang out in the back and try to be inconspicuous.
The Phonocaptors at CBGB, painting by Dana Smith
That’s how it is in the Phonocaptors painting that you are using for promotion, right? They weren’t playing in that shot.
Yeah, that was the idea. That photo is from 2003 or something, and I didn’t paint it until two years later. Those are the kind of scenes that I was really into capturing. In that painting they’re setting up. And the guy off to the left is Steve Pick and the woman in the middle is Karen [Ried]. But they didn’t know I was taking the photo. They’re just hanging out and talking and setting up and [Jason] Hutto is walking around with a cigarette and getting ready and everything. And I thought that captured perfectly what it’s like to be at CBGB when they’re about to play.
So how has your painting style changed over the years?
I used to do a lot of older paintings just out of my imagination. Just make stuff up, you know? And I liked it but now I prefer to paint from something. It could be a live thing or a photograph. My style is still very rudimentary. Very simple, very rough. But I like to get all the little details in there and make it so that you can recognize that it’s Lemmon’s or the Royale or whatever. And so I pay more attention to details now.
Who buys the paintings? I know bands want to buy their own a lot — does that happen all of the time?
No, and I don’t do the paintings thinking that the band will buy it. It just depends. Sometimes I’ll sell a painting and it will be someone specific in it and I’ll ask, “Oh, do you know the person in the painting?” and the buyer will say “No, I just like it.” And that’s really cool when that happens.
Do you explain to them who is in the painting?
Well, I used to because it, like, meant a lot to me. [laughs] I’d explain who it was and what bands they’d been in. But I realized after I did that a couple of times that the buyer usually doesn’t care. [laughs] So I don’t really do that anymore unless they ask.
N Nomurai at the Way Out Club, painting by Dana Smith
Why are you inspired to paint locals?
When I started out every night I’d be somewhere — at a show or hanging out at a recording session or whatever. This was eight or nine years ago. And there would be awesome stuff going on musically. But it was like “No one is going to know about it.” You’d think, “Who cares what happened nine years ago on a Tuesday night at Frederick’s Music Lounge?” But, like, I cared. Eric Hall would do a show. And I would think “Eric Hall is fucking great. People should know who he is.” And now he’s getting recognition and stuff, but that was kind of the idea back then.
These people that I would hang out with and see perform were doing great stuff. But there was no audience. There was no one there. They weren’t making a living at it or anything. So the idea was to somehow capture this. And sure, you could take a photograph or whatever. And I like photographs, but when you paint it is like you have to spend time painting the nose and getting the light right…
And I love painting pro bands, but at the same time I still want to do local artists and buildings and scenery in St. Louis and paint that and if someone is interested in it, that’s great. But I’m still going to do it. Because the way that you feel when you paint… Well, you paint…
Right.
It’s just a great feeling! And it’s the only thing I know that gives me that feeling.
Tony Renner at Mad Art, painting by Dana Smith
- link: Riverfront Times
- link: Dana Smith’s website
- link: Southtown Famous event info
- link: Fort Gondo Compound for the Arts
Top Three Concerts of 2011, via I Went To A Show
Welcome to our annual Top Shows series. We asked local musicians, media folk, and our fearless readers to submit their top 3 concerts of 2011. The only requirement for these submissions was that the show must have happened in 2011. With this unifying detail you can read about the diverse shows that St. Louisans get to attend.
- I Went To A Show
MY CONTRIBUTION:
Jaime Lees is a music writer.
She likes rock and roll.
And poodles.
Jaimeville.com
HaikuLou.com
RiverfrontTimes.com
Sex Robots, Bunnygrunt, Bassamp & Dano at El Lenador – 10/24/2011
I’ve probably seen Bunnygrunt hundreds of times (like, literally) and I’m always happy about it each dang time. Bunnygrunt is one of my favorite bands ever, but on this night I was at El Lenador to see the Sex Robots. And I’ll tell you what, I was ready to chuck a full can of Stag at the Grunt. Get off the stage, jerks! Me want Sex Bots! I was super excited about the show that whole day. Well, really, that whole month. Like, bring me a fainting couch excited. Beatlemania excited. It was gross.
So, Sex Robots played. And they were great. They were better than ever. Yes, I say that every time, but every time it’s still true. I rarely feel as blissful as I do in the middle of a Sex Robots show. We all sang along all night, my insane level of worship was validated and people who hadn’t seen them before became instant fans. If at all possible, I beg you: see this band. Amazing.
Tennis System at Firebird – 9/25/2011
A friend in DC sent me a link to this DC/LA band who were playing St. Louis because he thought that I’d like them. I almost didn’t even check them out, but then peeped their website and their biography read: “If My Bloody Valentine & Sonic Youth had a baby with The Kinks it would be named Tennis System.” I though, “Pfft! They freakin’ wish!” and then I listened – mostly of out spite – just to prove them wrong in my own mind. But I’ll be damned if that bio wasn’t spot on.
The band was scheduled to play at Pig Slop, but that got all messed up and the Firebird was kind enough to add them to their schedule on the same night as Sleepy Sun. Their sound was thick but inviting. Strong, but pretty. Wide and yet somehow contained. The new record (Teenagers) is great, but the band is even better live. And the more I listen the more I’m convinced that they might be my favorite discovery of 2011.
The LIVERS, Bunnygrunt and DJ Lil’ Daddy Reba McEntire (Eric Hall) at El Lenador – 2/11/2011
This shit was my birthday show! And it really was my favorite show of the year. These three are my favorites (that’s why I asked them to play at my party, duh) and they provided non-stop awesome all night. The lovely Johnny Vegas let me have the show at El Lenador and provided Warm Jets USA’s Jason Hutto as an extra bartender. Thank goodness for that, because my damn birthday show was crowded all night with both friends and strangers. (And they were thirsty. Very, very thirsty.)
I’ve already covered how much I love Bunnygrunt, but they gave this show a little extra: playing all dressed up in their finest sparkles, boas, leather and shorty shorts. And they learned The Cure’s “Just Like Heaven” and played it for me! I might have cried a little. The LIVERS haven’t played out much lately, but when they do it’s always amazing. This A/V combo rock show must be seen to be believed. The guys in the band are my friends and they made me a special birthday video. Heart explosions, I tell ya. And DJ Lil’ Daddy Reba McEntire kept the party bumpin’ between bands and late into the night. His mash-up jammers are mind-blowing and he got all the pretty girls to dance. Many “Oh, shiiiit! This is my cut!” moments happened. I wanted it to go on forever.
- link: I Went To A Show
Sinéad O’Connor’s Marriage Saga Continues: Totally Into Crack, But Not Crack Rock
photo by Kevin Abosch
Sinéad O’Connor’s Marriage Saga Continues: Totally Into Crack, But Not Crack Rock
By Jaime Lees
Mon., Jan. 9 2012 at 6:08 AM
Sinéad O’Connor’s sex life has been a source of endless entertainment recently. A few months ago, we told you about her deviant behavior: she was using her website as her own dating service. Sinéad said that she was horny and looking to get laid. She posted a list of all of the things she was seeking in a potential lover. She also included that she would be “deeply unhappy if doing anal wasn’t on the menu” and advised gentlemen not to even apply to be her lover if they didn’t like “the difficult brown.” Oh, yes. Yes, she did.
Then, at the beginning of last December, Sinéad announced that she’d found a boyfriend, Barry Herridge, and that they were to be married the next day in Las Vegas.
In theory, that should have been the end of Sinéad’s shenanigans. Happily married, bum satisfied, end of story, right? Thankfully, no. It all just gets even better.
So about two weeks after they were wed, Sinéad announced that they were breaking up because their marriage was causing him problems with his family. Then more details emerged. As it turns out, Sinéad’s new husband is an addiction counselor and didn’t take too kindly to her forcing him to escort her on a weed run in a sketchy neighborhood on their wedding night and accidentally ending up with “a load of crack” in her hand. Yes, crack rock.
But for now, true love has won out. Sinéad and Barry are back together. She announced on Twitter that they had a beautiful evening of lovemaking and that they were going to try again as boyfriend and girlfriend (but stay married) and that they’d get some counseling and maybe move in together “in like a year, like regular people.”
Like regular people? Yeah, good luck with that. You are freaks and it is great. Please, oh please, get a reality show or make a sex tape or something. Your public demands it.
“groove is in the arse” – Sinead O’Connor’s Twitter
- link: Riverfront Times
Why You Should Go See Chuck Berry As Soon As Humanly Possible
photo by Dennis Simmons
Why You Should Go See Chuck Berry As Soon As Humanly Possible
By Jaime Lees
Fri., Dec. 30 2011 at 12:35 PM
One year ago this week Chuck Berry collapsed on stage in Chicago. It was a call to action for many people who had been slacking on seeing his live show at Blueberry Hill.
As residents of this city, it’s hard to get perspective on just how amazing it is that Chuck Berry, the dude who probably invented rock and roll, plays here monthly. And that tickets– while they need to be bought in advance– are mega cheap, relatively.
We don’t want you to miss out on this opportunity so let’s go over some of the reasons that you, St. Louisan, shouldn’t wait any longer to go see the legend in action.
Well, he’s Chuck. Fucking. Berry.
Yes, he’s older now. No, he can’t duck walk for miles at a time. Sure, sometimes he loses his place when playing his songs. But give the dude a break- he’s 85 years old! It’s endearing when he sometimes forgets a line. And chances are that Berry at his worst is still better than you at your best, so put down the Haterade.
Okay, it’s true that he has a sketchy past. He’s been described as scary, intimidating, violent and creepy. He’s been accused of some things that are beyond unsavory. (I’m not even talking about the legendary “sandwich” story, either.)
But he seems to have mellowed. And his musical legacy is still inarguable. As far as history is concerned, he is king. And if Chuck Berry wants to watch me tinkle… well he can, goshdarnit.
He’s an international treasure.
I lived in London for a bit and whenever people asked me where I was from and I said “St. Louis” they immediately said “Chuck Berry!” This happened every time.
The things Europeans knew about St. Louis, in order, were: 1) Chuck Berry 2) East St. Louis and 3) The Gateway Arch.
Kevin O’Connor of STL’s 7 Shot Screamers had a similar experience:
“My singer Mike Leahy and I visited London in fall of 2000. Even though we were both underage by American standards we were of drinking age over there. One night we stumbled upon a place in North London called the Elephant’s Head where, coincidentally, they were having rockabilly/R&B record spin. The local teddy boys in the bar recognized we were from the states and asked us from which part. When we said “St. Louis” they instantly said “Chuck Berry.” That right there was rock and roll diplomacy at its finest. Instant friendship and several pints bought…”
He won’t be around forever.
Music legends are dropping all over the place. Just this month it was Hubert Sumlin. And on the first of this year, we thought Chuck Berry might expire, too.
My sister was at the now infamous Berry show at the Congress Theater in Chicago when he collapsed on stage. She said:
“He was yelling at the other musicians on stage. And then he started slumping over when he was playing his piano. And then people started to assist them and he kept shooing them off, as if they were annoying him. Then it got to the point to where the backup musicians stopped playing the little loop that they were playing. There was a younger lady assistant who came out and she helped him off the stage and he walked off and we call clapped. Then we sat around for about fifteen minutes. My friends and I moved spots to get a better seat because pretty much half of the auditorium left. And then he came back on and basically said thank you for a long time and then he left… I thought he was going to die. I totally thought that I saw the last Chuck Berry show.”
This is something that lots of people wish they could do.
People from all over the world save up for years, spend their life savings or dip into their retirement funds just for the opportunity to travel to the States once to see Chuck Berry play. Each show is full of international travelers and usually more than one celebrity attendee. (I even met Mike Mills of R.E.M. after a Berry show once. He was nice.)
I have a friend who works at Blueberry Hill and has seen Chuck Berry play countless times. One night he bought his dad tickets to the show as a gift. After the show was over, his beaming pops made a declaration that has stuck with him years later: “That was amazing! It was so great to see him real life! Man, John Lennon would have sucked his dick!”
My friend said that it took hearing his dad’s crass remark for him to fully realize what an impact that Chuck Berry has had on everyone, including other legends.
So go see Chuck. And if he asks if you want to share a sandwich, say yes.
- link: Riverfront Times
Esquire’s Luke Dittrich on How He Got the Chuck Berry Feature, in the January Issue
Esquire‘s Luke Dittrich on How He Got the Chuck Berry Feature, in the January Issue
By Jaime Lees
Thu., Dec. 29 2011 at 11:04 AM
Just last week, Esquire published this thorough and fascinating Chuck Berry article. Berry is notoriously wary of the media, so author Luke Dittrich couldn’t take a direct route to his subject. We spoke with Dittrich, a contributing editor at the magazine, last weekend about his super savvy journalistic methods and his thoughts on our hometown hero.
Jaime Lees: I was wondering if you’d ever lived here because there’s your Chuck Berry article, and I also read your Joplin article and it was amazing. So I was wondering if you were from here or if you had family here.
Luke Dittrich: Well, thank you very much. Yeah, the reason I have those two Missouri stories is because I went down to St. Louis to profile Chuck Berry and I arrived the day after Joplin was hit by the tornado. So I spent about a week reporting on Chuck Berry and I had planned to stay working longer on the Chuck story but then eventually just decided that I was going to sort-of put Chuck on hold and go to Joplin. It compelled me to go there.
So, the first thing that I wanted to ask you is pretty simple: how did you get the interview? Because Chuck lives here and he’s around but he’s still kind of a mystery to us.
Right, yeah, I went through a friend of his, Joe Edwards, who owns Blueberry Hill?
Uh-huh.
I contacted him, but before I went to Joe I tried to get to Chuck through his agent, but his long-time agent had just retired and I never heard back from him. He’d been Chuck’s agent for, like, literally 50 plus years — I think since the 1950s — so he’s probably an interesting character himself, but I never connected with him.
Then I went through another person who works sort-of licensing deals out for him, who works on the rights to Chuck Berry’s image and all that. So I contacted that guy and he said “Well, I don’t know. Even when I’m trying to get a hold of Chuck he only communicates through faxes and it’s this long ordeal to get to him and I’ll do my best but I can’t promise anything.”
And so finally, I knew he was friends with Joe Edwards so I called Joe up one day and Joe didn’t promise me anything but Joe said “I can promise you that I’ll get him a letter if you want to write up a letter. And I’ll either fax it to him or hand-deliver it to him.”
So I ended up faxing Joe a letter, addressed to Chuck Berry, laying out what I wanted to do and why I wanted to talk to him. And I guess it worked because about a week later Chuck said he agreed. And to be there at the following Blueberry Hill show.
How did you know to get a hold of Joe?
Joe has been mentioned as a friend of Chuck Berry’s in several other stories that I’d read so I knew that he was close friends with him. And I was kind of grasping at straws to figure out who to talk to, so I figured that he was worth a shot, and now it seems like he’s the perfect person to call if you’re trying to get a hold of Chuck Berry.
So why did you want to write about Chuck?
You know, I can’t honestly say that I’ve grown up listening to him or anything, because it was before my time that he was really at the top of the charts, but I’ve had a fascination with him for quite some time. Ever since I saw — there was a great documentary called Hail! Hail! Rock ‘n Roll?
Yes, sir.
When that came out it painted this fascinating and kind of enigmatic portrait of Chuck Berry as both a great artist and sort of a supremely complicated individual. So I found that very intriguing, and so I’d been intrigued by Chuck Berry. And after seeing that documentary, I bought some CDs of his and became a fan, really, of his music. And then I didn’t really think of doing the story until maybe a few months before the interview, because I’d read somewhere about his shows at Blueberry Hill or I saw some YouTube clips and I saw that it was just this very small venue, not the sort of venue that you would expect somebody to play who has had such a, you know, an amazing effect on American culture in general and world culture. If we are saying that — and I made it clear in the story– that it’s hard to actually say that he invented rock and roll, but he came as close to inventing rock and roll as any single individual has done. And his sound has influenced all of subsequent popular music. And the fact that this person has had this amazing influence…
Basically, he’s had as much of an influence on world culture today as any living person, I’d say, yet so many people aren’t even aware that he’s still alive. And he’s playing these monthly shows at this small place, probably not for huge tons of money. Anyway, that surprised and intrigued me and basically I wanted to see what he’s like in person. It was a treat to get to meet him in person but also to try to figure out what he’s getting out of this. What’s the father of rock and roll doing winding down his days, in a certain sense, playing this small club that’s very much like the small clubs that he launched his career in?
Yeah, I thought that was a good point when I read that in your article, it is like a lot of the places that he used to play. It might even be smaller than the places that he used to play when he was first starting out.
Yeah, have you seen him play there?
Yes, yes, I have. I go at least once a year. But it’s hard because… there’s kind of a weird relationship there. Being a St. Louisan we kind of forget that he’s there because he’s there every month, you know?
It’s amazing. I think it’s very similar to a lot of people who live in New York City who have never gone to see the Statue of Liberty, for example. It’s one of those things you’re so close to it that you kind of take it for granted.
Exactly. It changed a little bit after he collapsed on stage in Chicago. People were sort of like “Oh shit, I really need to go see him before I can’t see him anymore.” I think he still sells out every time, though. Every time I go it’s always interesting to talk to all of the people there. There’s always fans in from Japan, from Australia, from all over the world. And they spend tons of money getting here just to see Chuck and it makes me feel like a jerk for not going every month when it would be so easy for me to do. What’s the general sense that you got from the people at the shows? Do they think that these shows are adding to his legacy or hurting his reputation?
I think, ultimately, what’s important is that he’s doing it for himself at this point. I think he genuinely enjoys playing — it’s such a profound part of his being, his playing music — and I think it has to be. And as you can get a sense from the article, my actual interview with him was a challenge because he didn’t have his hearing aid in, so it was tough to get some of the answers from him that I might have wanted to get, had we been able to have a conversation that wasn’t compromised by a lack of a hearing aid.
And not to put words in his mouth, but I would think that it’s a joy for him to play and it must be a joy for him to play with his kids. And as well as for them. I think it’s something that they love doing. And nobody can expect an 85 year old man to be able do duck walk like he did when he was in his 30s, right? But I think the fact that he’s doing it, and that he still has passion enough to do it, and he does it in a braver way than most younger bands do, in a sense. They still never have a set list, it’s still a bit of a grab bag in terms of even the band members never know what they’re going to get. But obviously his performance or energy is going to change over the years. But no, I wouldn’t say that he’s hurting his reputation.
Whenever people are talking about did Chuck or didn’t he invent rock in roll — you mentioned this in your article — that the argument pretty much comes down to Chuck Berry and Ike Turner. And as a St. Louisan, that makes me super happy because as I see it either way I win — because we claim Ike as ours. I just think those two in particular are very interesting. I was glad to see Ike in there because they are both guys who are known not just for their music but for their possibly-not-so-good personal lives. I just think that they’re both fascinating characters.
Yes, they are. And who know if it’s mellowing with age or whatever, but he [Chuck] certainly was extremely nice and gracious with me. And I had no clue how… I’d obviously read a lot a seen a lot of stuff [laughs] about his previous encounters with journalists.
You brought a knife just in case…
Exactly, yeah! But he was disarming in that sense. He was easy to talk to but he just, unfortunately, couldn’t hear everything I was saying.
On stage he seems like every other sort-of winking dirty old man that I’ve ever met in my life. And I’m into that, that’s fine.
Have you ever gotten up and danced on stage at the end? I assume he does that every show?
Yeah, I haven’t gone up yet, that would make me sort-of nervous to do. But I do intend to freak dance on him one of these days. So did you have any other cool observations that you couldn’t fit into your article?
You know… I do have a feeling that like a lot of people of his level of fame he kind of avoid interviews and he’s very wary and cautious about the press and the media and all that. But I don’t think that he lives a particularly cloistered life. Like, I remember when I was trying to convince him to let me spend a couple of days following him around– and he turned me down eventually flat out– but also he was like “Oh, I’m not going to be doing anything. I’ve got some storm damage on the house” and he was going to go oversee the contractors who were fixing the roof over his garage and stuff like that. [laughs] So while he’s a very private man and still remains an enigma, I don’t think he leads a very diva-ish life when he’s out of the spotlight, you know what I mean?
But do you think he wears the sparkle shirts at home?
[laughs] Yeah.
- link: Riverfront Times
Best St. Louis Shows of 2011: Tower Groove Records Carnival
Tower Groove Records Carnival at Off Broadway, September 4
by Jaime Lees
This event was both an introduction and a fundraiser. Tower Groove Records was a brand new collective and this was its formal introduction into society — it’s débutante ball. This all-day show was hosted at Off Broadway and featured around twenty local bands playing both inside on the stage outside in the courtyard.
The carnival included Warm Jets USA, Catholic Guilt, The City of Takers, Accelerando, Bunnygrunt, Death of Yeti, Peck of Dirt, Doom Town, The Feed, The St. Louis Shuffle, Tone Rodent, Beth Bombarda, Bug Chaser, Ransom Note, The Skekses, Fred Friction, The Hot Liquors, Theodore and Magic City. The bands played abbreviated sets and when it wasn’t their turn to perform, they ran homemade carnival games to raise money. The party was fueled by love and run by volunteers. (As a fan of local music, I volunteered some time that day, too.)
This was a very heart-warming, feel-good, charitable event — the kind of thing that usually happens at the end of the year. It was bustling all day with both volunteers and revelers; families were out with their little kids, dads munched hot dogs while moms helped their kids play a game of ring toss. (Named ‘My Ding a-Ring’ as a nod to STL music legend Chuck Berry.) The weather cooperated with a welcome break in both heat and rain, and people were streaming in all day. There was smiling, laughing, toe-tapping and even a bit of headbanging.
At then end of the (long, long) day, all of the people power had paid off. The group raised enough money to fund it’s second big project: the TGR debut release, a double-vinyl LP featuring all of the bands involved. Look for the record early next year and for more big news from Tower Groove Records to be announced soon.
Oh Shit Moment: Looked to my left, there was Fred Friction dressed like a clown and smiling at the crowd. Looked to my right, there was TGR founder Adam Hesed (of Magic City) dressed as a ringmaster and smiling at the crowd. Both looked delighted and relieved.
Highlight of the Night: During Catholic Guilt’s mid-day set, the unpredictable noise musicians were joined by a bunch of random kids in the crowd who wanted to rock. The kids were provided with instruments and they played along in the gravel in front of the stage. [pictured, video footage here]
- link: Riverfront Times
Best St. Louis Shows of 2011: Rats & People present Go West
Rats & People Motion Picture Orchestra present Go West at El Leñador, September 26, 2011
by Jaime Lees
The Rats & People Motion Picture Orchestra is consistently among the most interesting and talented groups in St. Louis. This tiny orchestra (comprised of former members of the Baysayboos, Whole Sick Crew, etc.) takes old silent films and writes a score to accompany them. Then the group plays the score live as audiences watch the film.
Aside from providing quality entertainment, the Orchestra also forces an education on younger film fans. The mostly-forgotten silent films of yesteryear are now vital and alive in the minds of anyone who has seen a Rats & People show. The group has done Go West, Die Bergkatze, Nosferatu, Strike and others. As accidental historians and educators, it has brought a bit of classic cinema to all of us fans, and we are thankful. Rats & People Motion Picture Orchetsra performances are beautiful and get a huge positive response from audiences. (Each show I’ve seen has ended with a standing ovation.)
But the group does have one problem: too much talent and not enough money. It’s a common complaint here in town, but in this case it seems especially unfair. The members of R&P MPO are hard-working, ambitious and sweet. They take each task very seriously and wish to do the best job possible. They are diligent to the point of obsession when studying, scoring, editing, practicing and playing a new project. It is their attention to detail and love of their work that makes their performances so special for audiences. They work to the point of exhaustion, and it shows.
The group was very interested in touring (especially after being so well-received among the film community in neighboring Columbia, MO), but the tour van needed work. In order to raise money to go on tour, Rats & People set up a residency at El Leñador (an El Leñadency, as it’s called) and performed a different piece every week, usually presenting one full film with a short or two included.
The last week of the El Leñadency was to feature Go West, but the performance was protested by the copyright holders of the Buster Keaton classic. They wanted $250 for the screening of the film. Already having promised free shows and Go West, in particular, the Orchestra decided that they wouldn’t back out on its fans. The group would, however, accept donations to pay for the Go West screening so that they wouldn’t have to borrow from the van fund just to have the show.
The band set up a website to take donations on a Sunday night, and they had all the money they needed before noon the next day. Donations were made not only by locals, but by fans and friends out of state — ones that wouldn’t even be able to see the performance — just because they wanted to contribute. Upon reaching their goal, the band took down the donation link and sent out a polite update which read: “We’re gonna Go West on the 26th! Thank you so much. We’re… speechless, humbled, so very grateful for your help and support.” And because they are so damn classy, they even mailed hand-written thank you notes to each of the donors.
But the night of the performance wasn’t all smiles and victory at first. The news was bleak that day: St. Louis visionary and rogue developer Bob Cassilly had been found dead that morning at the construction site of his newest project, Cementland. The mood out on the crowded sidewalk pre-show was gloomy. This particular audience seemed to be comprised of tons of young artists — many living in the neighborhood on Cherokee Street — and everybody seemed to be just a little upset. There were whispers, rumors, a few tears.
We were all kind of lost that night until the R&P brought us back together — both as an audience and as humans. The visuals co-mingling with the beautiful strings is, at times, too much for a wee heart to take. Go West can produce quite a swing of emotions in the viewer, and it’s interesting to go from crying to laughing in the span of just a few minutes.
Sitting there watching Go West that night (for the 5th time, I believe), I had one repeating thought: It’s silly that we’re watching this at El Leñador. This should be in a museum. This should be at the Sheldon. This should be at the Fox. I mean, I’m glad that we get to watch it there for free, sipping on cheap drinks at our favorite place, but R&P deserve the grandest of stages. And it deserves more money.
Its members did raise enough money that night to get their van fixed and they went on to play Milwaukee, Madison, Chicago and Farmington, before coming home to begin work on yet another project. Thankfully, Cassilly’s fearless, inventive spirit lives on.
Oh Shit Moment: When Friendless straps deer antlers on Brown Eyes so that she can defend herself against the Bull. (If that reads like code, you’re missing out.) Audiences always gasp. That scene gets us every time, we’re not sure if we’re going to laugh or cry and we end up doing both. ‘Bittersweet’ is a hell of an emotion.
Highlight of the Night: Watching all of the smiling, tear-stained faces after the show. Everyone was just a little lighter and more loving as they left the venue. People who had been closed off and numb earlier were hugging and kissing after the performance. Everyone seemed to have that sort-of magical post It’s a Wonderful Life glow.
- link: Riverfront Times
40 Best St. Louis Releases of 2011
Humanoids | Self titled
by Jaime Lees
We in St. Louis have always known that our pop-punk Humanoids were a first-rate band. With two albums, a few 7″ and tons of touring under their belts, it was only a matter of time before our little treasure received national attention. Word-of-mouth recommendations reached Vinnie Fiorello of Less Than Jake and Fiorello now promotes the Humanoids on his label Paper and Plastick. The self-titled album came out this autumn and it was just in time– we fans have been waiting for far too long to get a copy of songs that we’ve learned and loved from the high-energy live shows. The new album is offered to stream or download for free at freemusicfirst.org, and it’s so good that you’ll feel guilty for not having to pay for it.
Key Track: “Future Perfect”– it’s a song that you hear once and then you know it forever. And the catchy chorus makes it an instant sing-along hit.
Place You’re Most Likely to Hear the Artist: The Silver Ballroom. At this South Side punk rock pinball bar the drinks are cheap, the owners/employees are amazing and the juke box is full of both punk classics and our favorite local bands.
Listen: You can stream (and download) the whole damn album for free here
- link: Riverfront Times
Murphy Lee, 2011 STL Twitter Champ: His Twenty Best Tweets
Murphy Lee, 2011 STL Twitter Champ: His Twenty Best Tweets
By Jaime Lees Wed., Dec. 14 2011
It used to be something that I just did while trapped in my car. Waiting to pick up a friend at the airport? Check Murphy Lee’s Twitter account. Sitting in stopped traffic on the highway? Check Murphy Lee’s Twitter account. Pull up to the crib and see a creeper hanging outside and need to waste some time? Check Murphy Lee’s Twitter account.
But now I do it all the time. And I show it to everybody else. Why? Because I love him. And because Murphy Lee’s Twitter feed can be all things to all people. It offers funny stories, sage advice, cathartic rants and inspiring suggestions. Here, thug stories are mixed with non-preachy praises of veganism. (Murph has been a vegan for thirteen years.) There are also family stories and lots of advice concerning the ladies in his life. It’s equal parts love, wisdom and yo momma.
Still, Murph is a businessman. He also uses twitter to promote his projects (most recently, the Wine, Weed & Women mixtape) and advertise his interests (like his own brand of wine, Freaky Muscato.) He even has his own Twitter catch phrases based off of his ventures. (UCME?)
As a long-time St. Lunatic and St. Louis booster, Murphy Lee often tweets about the city and related news. His Twitter location reads: “STL even when im gone.” And his stream-of-consciousness style and adventurous spelling choices call to mind another St. Louis legend: William S. Burroughs. In other words, don’t take every word too literally. Sometimes if you just keep reading it will all start to make sense.
(Murph Derrty likes Spin Doctors?)
Anyway, because he’s on there so much, I figured I’d use Twitter as the first step to our future romantic relationship. So I tweeted at him early this year, trying to get him to come to my birthday party. I even promised him yummy vegan noms, but I didn’t get a response. Bummer. Still, my constant stalking has paid off for you, because I’ve amassed quite the collection of hilarious and informative Murphy Lee Twitter missives. Here, you can find 20 of my favorites from the past year, and most of them are fairly recent. You’re going to love him, but I still love him more.
- Yo if a mufucka got a job at sprint n used to work at at&t …u would say congrats….dont get mad at PUJOLS for gettin a new n better job [link]
- Niggas wont change til THE QUEENS stop excepting less. if u EXCEPT a man wit brains ONLY then das wut u get. WE DO WUTEVER FOR DA PUSSY [link]
- Fam time..kids been doin good in school..need to reward their errythang n spend time all at once…..i loves mine [link]
- U should treat folks like u like to b treated…its only right holmes [link]
- Wen somebody love yo derrty fuckin draws…u better wake up..cuz aint nobody else gone wash dem shits [link]
- #FunFactAboutMe i like errythang…a lil bit…take me anywwerrr [link]
- #ConfusingThingsGirlsDo like hang wit girls dey dont like [link]
- Wus on yall agenda today my fellow humans…hope its inspirational n motivational n cool [link]
- I told my son he getting big n dis boy say…I KNOW…I SEEN MY SHADOW…IT GOT BIGGER [link]
- #YouWasSexyUntil u farted n lied n said it wasnt u..”its only two of us…farting is cool but lying isnt [link]
- I cant stand wen people want u to sign somtn but b impatient while u reading…..signing your name is a life long sentence muthafucka [link]
- Women should study men more to kno wut we b on. its sex but its a lil more to us den jus gettin some. we like our ego stroked n our johnsons [link]
- So da hardest jobs make da most money….entertainers..lawyers doctors strippers etc [link]
- #NeverTrustAGirlThat walk on da back of her shoes….wut dey dont fit orsome shit…put dem bad shoes on cuz yo heel worst den da shoes [link]
- #YouShouldNot trust bizness folks wit bad shoes…shoes tell u werr a human at in life [link]
- If u get locked up for murder…get a lawyer n let him talk….we dont need to b talkn to dese people [link]
- Aye do yo momma still got dat koolaid stand in front of kmart on new hallsferry n linbergh…shit was fire…dat red [link]
- So did i jus fart at least 50 times or wus it only jus a dream……damn is it gone stop…wut da fuck i eat…. [link]
- I wish i was u. …sike [link]
- #midnightsnack PUSSY [link]
- link: Riverfront Times
- link: Murphy Lee’s Twitter
Moon Duo
Moon Duo
7:30 p.m. Sunday, December 18. Cicero’s, 6691 Delmar Boulevard, University City.
By Jaime Lees Thursday, Dec 15 2011
Moon Duo is the side project of Wooden Shjips guitarist Ripley Johnson. With Johnson on guitar and partner Sanae Yamada on keyboards, the duo mixes up humming, droning psychedelic tunes. It’s the kind of music that makes you want to shut your eyes when you’re listening to it, either because you’re feeling the looping flow or because the drugs just kicked in. The duo might look like harmless hipsters with bangs, beard and leggings, but together they build layers to combine a sexy Royal Trux-y swagger with weird, unsettling loops and just enough bounce to get the scene kids to whip their hair back and forth.
Go to This Show If: You’re a fan of experimental rock, and you’re looking for something new. Or if you’re into hearing colors and seeing sounds.
- link: Riverfront Times
- link: Moon Duo website
Update: Sinéad O’Connor is Getting Laid
Ever since you read our coverage of Sinéad O’Connor’s naughty, horny ways, we know that you’ve been up all night wondering if Sinéad was getting dicked.
Well, worry no longer because poor little Sinéad is finally getting filled out like an application. The Bald One made it our business to know her coochie situation, and now she’d like us to know that she is settling down.
While posts on her official website from a few months ago describe her dong-hunger (in graphic detail), she announced yesterday that she’s marrying her new boyfriend:
With enormous joy myself and my beloved boyfriend Barry Herridge will be getting married tomorrow, December 8th 2011 at ‘an un-disclosed location’ in my absolute dream wedding ceremony. We will post a photo or two here on the site as soon as possible afterward.
Very happy girl. : )
Best wishes to the happy cock– er– couple.
- link: Riverfront Times
100 St. Louis Bands, 100 Drink Pairings: A Comprehensive Guide
100 St. Louis Bands, 100 Drink Pairings: A Comprehensive Guide
By Jaime Lees
Fri., Nov. 11 2011
Oh, the interwebz. You give us so many awesome gifts. You even take things that are already awesome, and then you put a kitten on them and make them even awesomer. For that we thank you.
Today we celebrate Drinkify.org. This site is hot stuff this week — it’s being posted all over social media web sites and linked in emails. Drinkify is an online drinking guide that pairs the music you are listening to with a suggested cocktail. It’s kind of like having your own personal smart, crunk sommelier.
The design is simple: you type in a band name, click a button that reads “What Should I Drink” and then Drinkify sends you back a photo of the band and and ingredient list with instructions. Drinkify’s output is based on a combination of search results, including band biographies, images and top tracks. The drink suggestions are usually cocktails, and many of them are eerily-similar to the fancy-folk drinks that are served up at the Royale.
Because there is so much information available online, the results are sometimes scary-accurate. For example, if a band puts its favorite beer in its bio, that is probably the beer that Drinkify will suggest.
To test out the site and get a representative sample of the responses supplied by Drinkify, I searched for every band and performer who was nominated for our RFT Music Awards this year plus some classic St. Louis performers and a few personal favorites.
The results ranged from W.T.F. (Pokey LaFarge) to SHOCKINGLY ACCURATE (Sex Robots) to YEAH, PROBABLY (Funky Butt Brass Band) to THAT’S RAW (Murphy Lee).
Of course, there were some glitches; it’s not a perfect system. But there were some cool surprises, too. Here’s a few findings of my research:
- Drinkify didn’t offer a suggested cocktail for every band I tried or it returned the wrong result. Which is a shame, really, because I’d like to buy Magic City a drink. (Ed. seconded.)
- Sometimes Drinkify gave cocktail result but with no band picture included to certify that this drink was, indeed, for this band. I decided that these results probably couldn’t be relied upon, until I searched for .e. Drinkify says that when listening to .e, the suggested cocktail is 12 oz. of marijuana, served on the rocks. Yeah, that sounds about right.
- Drinkify is totally postmodern. It is aware of itself and of other memes. For instance, a search for the Jumpstarts resulted with a suggestion of “4 oz. of White whine.”
Bob Gruen Is a Rock & Roll Primary Source
The Clash by Bob Gruen
Bob Gruen Is a Rock & Roll Primary Source
By Jaime Lees
Thursday, Nov 10 2011
New York-based photographer Bob Gruen is a rock & roll icon. From photographing some of the earliest concerts of Ike and Tina Turner to chronicling months on tour with bands such as the Clash and the Sex Pistols, Gruen has done it all. He always seemed to be in the right place at the right time, capturing loving and candid shots of both emerging and established artists including the Rolling Stones, the Ramones, Blondie, Led Zeppelin, Patti Smith and New York Dolls.
Decades of constant documenting yielded many famous photographs and subjects, including John Lennon and Yoko Ono. Gruen befriended the couple in their New York years and shot some of the most iconic, enduring photos of Lennon, among them the one of Lennon wearing the sleeveless New York City ringer T-shirt and the photo where he’s flashing the peace sign in front of the Statue of Liberty.
Gruen’s newest book, Rock Seen, serves as a collection of the photographer’s favorite shots from throughout his 40-year career — he also wrote captions and included behind-the-scenes stories to accompany the photographs. We spoke to Gruen in advance of his appearance this week at the St. Louis Jewish Book Festival and asked him about his work habits, past projects and plans for the future.
Chuck Berry by Bob Gruen
Jaime Lees: Part of what I like about your work is that you seem to be a fan first, and I think that it shows in your photos.
Bob Gruen: Yes, well, that’s because I didn’t choose to have a career. I was a child of the ’60s. You know, “Turn on, tune in and drop out”? And I did. I lived with a rock & roll band because I like rock & roll music, and I tend to be friends with musicians and performers and artists. And when they got a record deal the company used my pictures. And then they hired me to take more pictures, and every time I would go and do that I’d meet more people who would hire me to do more photos. And I just kind of fell into this career of rock photography. It wasn’t something I sought out — I really wasn’t planning to have any career. I was pretty aimless as a kid. I really wasn’t expecting much to happen. [Laughs] I couldn’t really do a nine-to-five. Like, my parents were sort of trying to get me into a nine-to-five office career, which didn’t appeal to me at all, especially the nine o’clock part. [Laughs] So that’s why I was living with a rock band, and it just kind of turned out that that’s what I was suited for and that’s what I ended up doing.
In spite of myself I have a strong work ethic. I figured out what it is: It’s because I really don’t like to work. And until I finish something, I feel that I’m working because I live in my studio. And if I came home at night and the film wasn’t developed, I’d have to do it the next day, and I had other things to do the next day. So I’d tend to go out and spend the night hanging out with friends and drinking and carrying on, and then I’d come home, and it’s four or five o’clock in the morning, and I’d develop the film.
How do you decide where you’re going to go shoot if you’re not on assignment?
Oh, if I’m not on assignment, I go to see friends or bands that friends recommend, pretty much. I’m not really looking for the next big thing. I never was. Usually the bands that I like don’t make it. [Laughs]
I still go out all the time, but I don’t work as much as I used to. Photography has changed nowadays; it’s much more accessible, so a lot more people are involved in photography. A lot more groups are doing their own work; a lot of groups are much more restrictive. Record companies got much more corporate, and they want to own the images.
And you have less access now.
Yeah, they control the access a lot more, and it’s not as interesting for me. They came up with a three-song rule, where you’re only allowed to take pictures for the first three songs of a group, and I was never into it in that sense of just being on assignment to take a picture of a guy onstage to show what color shirt he’s wearing. To me, I was always more involved as a fan, as somebody who really likes the music, and I wanted to capture the feeling and the passion of what’s going on. And a lot of times that doesn’t happen in the first three songs. Usually in the last three songs, not the first ones. [Laughs] When all of the lights are on, and all of the effects that the band has brought with them are on, and the band is really putting it all out, and the audience is really pumped up, and you have much more excitement and much more feeling — that’s what I’d rather photograph.
I do tend to think of myself as a photojournalist, but I didn’t visit this lifestyle as a journalist. I live this lifestyle, I’ve always been friends with musicians and artists; I feel very comfortable there. So that many times if I had an assignment to go to Madison Square Garden and shoot a band, I’d do that, but after that on my own, as a person, I’d go down to CBGB or Max’s just to hang out. And, you know, I like staying up late. I like going to clubs and hanging out with people, so that wasn’t really an assignment, it was just something I did in my life.
Yeah, you were just kickin’ it. So what’s your next big project?
Well, in December I have to go do an exhibition that we’re putting on in Buenos Aires, sponsored by the American Embassy down there.
Wow! Does it get any bigger than that? I mean, that’s huge!
I don’t know; it’s pretty big. They’ve done more and more events, but not many people in rock & roll are sponsored by the embassy, that’s for sure! But they’re starting to come around. I mean, rock & roll is not teenage music. When Bob Dylan played at Newport, I got my first photo pass there, so I was down front when he played with a rock & roll band, so a lot of people were very upset about that. But over the years I’ve thought about it, and I think what Bob Dylan was doing was kind of making the statement that rock & roll is the folk music of America.
Now we have people like the New York Times recognizing rock & roll; it’s part of our culture. A lot of the magazines did not cover rock & roll or rock stars. There were music magazines, but Life magazine or the New York Times didn’t really review rock & roll at all. Nowadays, you’ll see a review of the Lollapalooza tour or Bonnaroo. We just had the CMJ festival in New York, and there was a big story in the Times about that. It’s becoming more and more regular, but I’m old enough to recognize that it didn’t happen 20 years ago, 30 years ago. Rock & roll was not a part of mainstream culture.
I just met a CEO of a major corporation the other day, and he was telling me about going out just about every night of the week to some different rock show, and he had this big smile like a teenager. And people who are into rock & roll tend to stay young in feeling. It keeps you excited and alive in a sense.
Well, I was at a rock show until 2:30 a.m. last night, and I can’t say that I feel all that excited or alive today…
[Laughs] Well, the next morning is a little difficult, but it is fun at night. I mean, for me rock & roll is about the freedom to express your feelings…loudly. I think that’s what people really like about it.
LINK: Bonus interview outtakes
- link: Riverfront Times
- link: Bob Gruen
- link: Rock Seen
Kim Gordon, Thurston Moore And The Four Biggest Rock And Roll Breakups
Kim Gordon, Thurston Moore And The Four Biggest Rock And Roll Breakups
By Jaime Lees
Wed., Oct. 19 2011 at 10:33 AM
Kim Gordon and Thurston Moore of Sonic Youth have separated after 27 years of marriage and now the future of the band is unknown. Their record label released this statement last Friday:
Musicians Kim Gordon and Thurston Moore, married in 1984, are announcing they have separated. Sonic Youth, with both Kim and Thurston involved, will proceed with its South American tour dates in November. Plans beyond that tour are uncertain. The couple has requested respect for their personal privacy and does not wish to issue further comment.
It feels kind of gross to discuss this news. (And not just because the couple requested privacy.) It’s weird to think about their separation because Gordon/Moore were not just the biggest couple of the alternative generation but because they were also the most respected. To the outside world, they had the perfect relationship. They were in love, married with a talented daughter, and together they were one half of the greatest indie rock band in history.
But they never flaunted their bond. They weren’t always holding hands in band photographs or anything like that. In fact, in the beginning of the band, they seemed to make a point to stand apart from one another. Because of the careful, private way they carried their love, they seemed untouchable. And strong. They were held up by admirers as the perfect rock and roll couple, an example of how cool love and marriage could be.
Fans and journalists alike were respectful of their relationship. I’ve interviewed both of them, and I never had the balls to ask either of them about the other. In our conversation a couple of summers ago, Gordon brought up Moore and was very complimentary about him. She also spoke about her daughter, but it still felt inappropriate to ask her too much about her home life. It felt like prying — like if I got her to talk about it that I would be tricking her into doing something that I knew she didn’t want to do.
And, really, there was no reason to ask about her home life. Both Gordon and Moore are prolific musicians, writers, poets and artists. There’s plenty of interesting ground to cover. Together and separately, they are both workaholics, releasing a staggering amount of art in various formats. One of their accomplishments together is the release of seventeen studio albums in the bands 30-year career.
And any fan who has listened to the last few albums could have made predictions of this breakup. It would be a mistake for any outsider to claim that that these songs are autobiographical, but there is a definite story arc from “I Love You, Golden Blue” through to “Turquoise Boy” then “Antenna” and “Massage the History” on the bands last release, The Eternal. The last few albums seemed more somber, more contemplative.
Combine that with the fact that the other Sonic Youth band members, Steve Shelley and Lee Ranaldo, seemed to be actively building other lives for themselves outside of the band, and the potential demise of Sonic Youth doesn’t seem too shocking. Shelley is all set up as the drummer for Chicago-based band Disappears, and he’s been touring with them for a while. It would be easy to change the category on the Disappears from “other” band to “primary” band. And Ranaldo is suddenly everywhere. He’s started an official Facebook page, he’s making music and his website has become increasingly active- most notably with his photojournalistic endeavors. Ranaldo’s posts his photos on his website and it has become one of the best sources for his on-the-street documentation of the Occupy Wall Street movement.
Gordon has been absent lately. Laying low, one would suppose. Moore had a personal blog where he would post his writings, photos of his daughter, tributes to poets he admired, etc, but the blog was deleted over the weekend. Moore is still active publicly, even conducting a thoughtful, funny interview with Henry Rollins about his new book on the day of the announcement.
Yes, the separation is hard on the fans, too. And that’s unfair to Gordon and Moore, but it’s the truth. It’s a lot of weight to put on one couple. Before, fans would think to themselves: Maybe my parents got divorced, maybe I just got dumped, maybe my marriage is a disaster, but Kim and Thurston were still together- so true love exists! Now admirers must accept that Gordon and Moore are just like us. Not an infallible supercouple, but two people who also have to deal with the consequences of unraveling love. (And if you think your ex won’t go away, try being together for 30 years, being known world-wide and having to deal with nosy journalists and fans.)
But perhaps Gordon and Moore can still be our role models. But instead of being part of the relationship that we most glorify, they can be an example to show us how to handle even the biggest, messiest, most heart-breaking of breakups with dignity.
And while they are unique in their place in fans’ hearts, but there have been quite a few other separations between couples who made music together. Below we explore some other famous inter-band rock and roll relationships with breakups and the outcome of each.
4. Jack White and Meg White of the White Stripes
These peppermint-colored cuties hit the scene in the late ’90s as a catchy throw-back garage duo. Back then they claimed that they were brother and sister, which was believable enough given their shared look — alabaster skin and black hair. As it turns out, they were husband and wife. They’d been married for a few years and actually divorced in early 2000, just as the White Stripes were getting super-popular. Jack later said that he invented the sibling story (and a few other fake back-stories) so that the press would focus on their music rather than their relationship. It was the opposite of Fleetwood Mac. Instead of exploiting their relationship, they denied it altogether. This, of course, just made fans all the more curious and throughout their career their exact relationship was the source of much speculation. The White Stripes officially disbanded early this year, but the Whites seem to have an okay relationship. Both had remarried and Meg even had her wedding ceremony in Jack’s backyard. Just this summer Jack announced his divorce from his second wife, model Karen Elson, but relationship downers don’t seem to put a dent his productivity. Jack’s latest band is alt-rock supergroup the Dead Weather and he continues to play with the jaw-droppingly talented Brendan Benson in the Raconteurs.
3. Stevie Nicks and Lindsey Buckingham of Fleetwood Mac
This is easily the most famous rock and roll breakup in classic rock. Fleetwood Mac, as a band, built its whole career on relationship turmoil. The classic album Rumours is a product of that turmoil, and in this case the lyrics were certainly autobiographical. In the band, there were two couples breaking up — not just Nicks and Buckingham, but also Christine McVie and John McVie. This charged atmosphere created some of the best SoCal tunes of the decade. It also resonated with listeners: Rumours has sold 40 million units worldwide. Back in the day, those songs really held a lot of meaning — both sadness and contempt. Buckingham’s “Go Your Own Way” was particularly harsh on his former lover — it basically called her a slut (Which is debatable, honestly, since she slept with drummer Mick Fleetwood after the breakup with Buckingham). In any case, it was a scathing song that accused her of being a heartless skank. But it was a hit, so Nicks had to sing it on stage with Buckingham every night. Still, once the bitterness blew over, this is the one case where a serious breakup actually aided the longevity of the band. Now, whenever they’ve come together as Fleetwood Mac, they take every opportunity to play-up their former relationship, knowing that their old lady fans just love the sexual tension. Just watch the second half of the video for “Silver Springs” from 1997′s The Dance. The on-stage theatrics are out of control. And the fans love it. Since their heyday, all parties have had varying degrees of success in their solo careers. And if it’s broken down into a competition between Nicks and Buckingham, it’s hard to say who would win. Nicks is more well known but Buckingham is still mighty handsome and talented.
2. Ike and Tina Turner of the Ike & Tina Turner Revue
Ike Turner is credited as one of the inventors of rock and roll. In fact, he’s included in the short list as one of the dudes who (possibly) released the first rock and roll record. Yes, he was also a major jerkburger, but his musical pedigree cannot be stepped to. Ike met and hired a teenage Anna Mae Bullock as a background singer in the late 1950s. He gave her the stage name of Tina and the two began both a very successful career and a shit-tastic marriage. Ike was widely reported to be a controlling, easily angered woman-beater. Tina finally left him in 1976 and the divorce was finalized two years later. Ike got to keep all of the money, and Tina famously asked the court for one thing only: her name. They didn’t make music together again. Following their separation, Ike didn’t really exercise his talent. He spent some time in prison as a result of his drug addictions, and died in 2007 of a cocaine overdose. Tina, however, went on to build an impressive solo career on the merit of her distinctive voice, sexy legs and survivor status.
1. John Lennon and Yoko Ono
Even though everyone always hated on Ono, she was Lennon’s main musical partner in his life after the Beatles. She was also his partner in life. Like it or not, the two of them had one of the biggest, most well-documented romances in rock and roll history. She was an artist before she was even with Lennon, and she brought her vision to what they produced together. Against all odds, their partnership and love flourished. They lived as two halves of one whole, and Lennon wouldn’t do much without her by his side. What people forget, though, is that they separated for a while in late 1973. The couple had been under a lot of stress. Lennon was being skewered in the press for abandoning his nice, blonde, white wife and child for his weird, yelping Japanese artist. He was also facing deportation from a McCarthyist American government, who despised him for having a voice. When he spoke out against injustices or war, people listened, and he was considered a threat to national security. Also, Lennon had fidelity issues.
Faced with all of this pressure, the couple needed a break and Ono requested a separation. Lennon historians call this time period “The Lost Weekend,” but the separation really lasted for nearly a year and a half. During this time Lennon spent some months living in Los Angeles, hanging out with scenesters at the Troubadour and drinking far too much. When he was in LA, he was, by all accounts, a hot mess. Eventually Ono took him back, after which he seemed slightly broken, but happy in his relief. He had shed some of that famous Lennon ego and become a more humble, sensitive man. They were older, calmer, and they finally settled down together. And just when it seemed as though Lennon and Ono would live happily forever together in the Dakota, their time together was ended forever by Mark David Chapman and four bullets. The legacy of this relationship will live on in perpetuum as the rock and roll Romeo and Juliet. Ono has continued her own music career, and was recording an album with Kim Gordon and Thurston Moore just earlier this year.
- link: Riverfront Times
CBGB’s Final Show With Patti Smith (A.K.A. The Day I Got Covered in Brian Eno’s Sweat)
Iggy Pop and Patti Smith, 1970s
CBGB’s Final Show With Patti Smith (A.K.A. The Day I Got Covered in Brian Eno’s Sweat)
By Jaime Lees
Fri., Oct. 14 2011
Legendary punk club CBGB closed five years ago tomorrow. In its final week, the venue hosted a string of shows paying tribute its storied thirty year run, and it all culminated with a headlining set from Patti Smith. There were only a couple hundred people lucky enough to get tickets to that last hurrah, and one of them was me.
I don’t really romanticize New York City. I know a lot of people do, but I’m a Midwesterner who likes to drive, hates crowds and has a mild case of germaphobia. Mostly, I’m resentful on principle. I don’t like that one little place gets so much attention when there are plenty of other cool places and people outside of NYC that are rarely recognized.
That said, if I could live in any place and time, the Lower East Side in the 1970s would be a top contender. Maybe I’m a victim of selective history, but I’ve been led to believe that it was a vibrant place full of magic and creativity. And the music! Mercy. Most of my favorite music from that time came out of that little pocket of the world, and at the center of it all was CBGB.
Founded by the Hilly Kristal in 1973, CBGB was originally opened as a country and bluegrass club, but quickly morphed into a place where the mohawked were welcomed. Kristal only had one rule for the club: no cover bands, and bands were encouraged to play music that they wrote. This was intended as a precaution against ASCAP fines, but the rule unintentionally made the venue a receptive to original music. Known mostly as the venue that hosted early gigs by the Ramones (Who I never gave a crap about it. I know, I know. Save it. It’s too late for me.), CB’s also launched Blondie, Television, Talking Heads, the Dead Boys, the Cramps and countless other legendary punk and new wave bands.
Sometimes all it takes is one little building to change the world. CBGB stayed open for 33 years as a functioning little rock venue, continuing an open policy and giving hundreds of bands a place to play their first shows. And because of all of the greats that had played the space over the years, touring bands considered it an honor to play the tiny diagonal stage at CB’s and made the venue a priority on tours.
In 2006 some news came that saddened punx the world over: CBGB was going to close. As a result some sort of gentrification disaster and a rent dispute, the club that had helped to build the neighborhood for the past 30-plus years had also built its own displacement. The management at CBGB could no longer afford the rent for its home at 315 Bowery. Kristal hosted various fundraisers, but to no avail. Kristal had cut a deal with his landlord to be able to afford rent during the last year that the club was open, and as a condition of that legal battle he could not attempt to have the venue registered as a historic landmark. Kristal died of lung cancer less than a year later in 2007, prompting many to conclude that he was simply too weak to fight for the place.
CBGB announced a series of shows in the week leading up to the closing night on October 15, 2006. Bands like Bad Brains, the Dictators and Blondie would come out and play to celebrate the place that gave them their start. The headliner for the last night was Patti Smith, one of my all-time favorites. I’d been keeping up with all of the press covering the closure, and I read an article that said that tickets were going on sale the next day. I figured, “Hey, I’ll give it a shot. I mean, somebody has to win the tickets, right?”
So on Sunday, October 1, I woke up and shuffled over to my laptop. As the clock hit selling hour, I was there hitting “reload” on Safari. Just then, the crap internet connection that I was pirating from my neighbor went out. I got back online and tried again. The site crashed. I tried one last time. It was already seven minutes past sale time, but the ticket gods were on my side and a few short minutes later I got a confirmation email. It took a minute to sink in. Wait — did I really just get two of only a couple hundred tickets to the concert event of the decade? I mean, sometimes dreams come true, but this was akin to winning the lottery. I called the ticketing agency to confirm. The guy I got on the phone at customer service laughed at me and asked me to hold while he checked my transaction number. I heard him tap tap tap on his keyboard and then he said, “Holy shit. You got ‘em!” followed by “Do you need a date to the show?” I didn’t. I called my friend in NY and passed on the good news: two weeks from this day we were going to see Patti Smith at the last show ever at CBGB. Ten minutes later I had my flight booked to NYC and it was all set. Holy shit is right, my friend.
That night outside CB’s was a madhouse. Though we arrived hours early, the line snaked down around the block. As it turns out, most of these people didn’t have tickets, they were just hoping to get in. From our spot in line at the corner of Bowery and E 1st, we had a good view of the circus under the famous CBCB awning while we waited. There were news trucks everywhere, photographers documenting the scene, journalists with tape recorders interviewing people in line and fans hanging out on the sidewalk just looking for a street party. Details were scarce and the line would take a while. In an attempt to cut off scalpers, the ticketing rules were strict. Two tickets only and no paper tickets at all. If you “got tickets”, your name went on a list at the door and you had to show an ID to gain entry. And because of sound check and photographs that had to be taken, they weren’t going to let the audience in until right before the show started.
Faces I recognized were streaming past, but I couldn’t place most of them. Most of them were older men who were probably in punk bands. Chloe Sevigny (fresh off of her heels-with-rubber-bands fashion statement) was about ten people behind me in line for a bit before she was whisked inside, not to be seen again. It was bitterly cold outside. So cold, in fact, that this night marks the one time in my life that I deigned to wear fleece. And right in front of Chloe, no less! The horror.
Finally, they let us in. We all thawed out quickly; it was already about a million and two degrees inside the venue. We made it to the floor in front, about seven feet from the stage. The music was already starting. We were quickly surrounded by the rest of the crowd. This would be our spot. We would not be able to get a cocktail. We would not be able to visit the bathroom. Not for fear of losing our place, but because it was so packed that we couldn’t move even if we wanted to. I took a deep breath and removed any extra clothing. It was going to be a long night.
I looked around and tried to take in the scene as the show started. Also, I was trying to peep out Michael Stipe of R.E.M. I couldn’t find him, but about five feet to my right was David Fricke of Rolling Stone. He’s tall and his hair is easy to spot. And in front of him was Elijah Wood. This would mark the third out of maybe eight times that I’ve found myself standing next to Elijah Wood at various musical events. Lollapalooza, Pitchfork, SXSW, he’s at all of them. (And I’m taller than him. This is rare.) Also in the house was music industry insider Danny Fields, photographer Bob Gruen, writer Jim Carroll and Chris Frantz and Tina Weymouth of Talking Heads.
Then I saw him. Standing directly behind me was Brian. Motherfucking. Eno. I nearly fainted. I told myself that my eyes were playing tricks on me. I had nearly convinced myself of this, too, until I heard him speak and I took another peek. He was wearing intimidating, industrial strength earplugs. Of course he was! Those ears are like Tiny Turner’s legs or Dolly Parton’s rack — they are his finest and most bankable quality. (Hopefully, they’re also insured.) And when I say that he was right behind me, I mean really right behind me. He was breathing on the back of my neck and the convex curve of his belly was arching perfectly into the small of my back. (Does this read like pornography yet?) We’d only been inside for a few minutes, but everybody in the place was hot, Eno included, and it didn’t take long for his sweat to get all up in my biznass. It was so dreamy…but I must say, Eno’s presence was a point of distraction all night. He was super quiet and low profile, but people kept whispering and pointing at him. But I was in heaven. I was all, “CBGB who? Patti Smith what? I don’t care, I just want Brian Eno to stay pressed against me.”
And then I looked up, and there she was. Patti Smith is an interesting creature. She’s half wise old lady and half wide-eyed little girl, and she’s been like this all of her life. She dresses like a boy, but has always had the strength of a woman. She uses at least five different voices: 1. the sweet, child-like talking voice, 2. the monotone poetry-reading voice, 3. the Dylan-esqe singing voice, 4. the soulful, robust singing voice, 5. the angry, barking rebel voice. She’s both a goddess and a hobo. A wild-haired rock star and an introspective bespectacled poet. Worldly but down-home.
She came on stage with Lenny Kaye, Jay Dee Daugherty, Tony Shanahan and a big smile and started with an impassioned reading of Piss Factory. Her singing started out a little shaky, with a few false starts. It seemed like nerves had gotten the best of Ms. Smith. She apologized, bashfully, and made a joke out of it. (“We’re here to prove that we have not improved”) And then she got back to work. It seemed like she knew that she had a big job to do there that night and she was a little intimidated. But with every song she gained more confidence and soon both she and the crowd were having a good time.
Smith’s personality shown through when she spoke in between songs. She’s all love and praise when she’s telling stories and she has a sweet kind of old timey way of speaking. She says “piana” instead of “piano” and she never, ever pronounces the “g” on anythin’. Sometimes it’s jarring when she goes back to singing because it’s hard to reconcile the difference between the sweet little story-teller and the powerful woman-goddess singer.
Smith was careful to make sure that everyone possible was acknowledged. On top of the cover songs that she and her band played, she read lists and lists of names from the heyday of CBGB. Some on the lists had passed, some were in the audience, some were on the stage. She gave shout-outs to people from both the music and writing world like Richard Sohl, Deborah Harry, Blondie, Lou Reed, the Velvet Underground, Richard Lloyd, Tom Verlaine, Television, William Burroughs, Nick Tosches, her manager Jane Friedman and tons of others. Smith has always been very concerned with respecting her elders. (And personally, I think she’s a little obsessed with dead guys.)
Once it seemed like her acknowledgment duties were over, she loosened up and the gig turned perfect — even transcendent. During the show, she was joined on stage by both Richard Lloyd from Television and Flea of the Red Hot Chili Peppers. I don’t even like RHCP, but Flea is such a lovable character. I was thoroughly entertained watching him try to restrain himself and not to “Flea-out” and do that full spine roll head bobbing thing that he is known for. Flea was particularly impressive during the always-creepy “Birdland” where his bass led the band into a crazy, frantic jazz-like ending. Smith repaid him by leading the crowd into singing “Happy Birthday to You” to him on stage — it was his 44th.
Her set included both rarely played older songs and covers of classics from the Velvet Underground’s “Pale Blue Eyes” to Television’s “Marquee Moon” to Blondie’s “The Tide is High” to the Dead Boys’ “Sonic Reducer” to the Yardbirds’ “For Your Love” and the Who’s “My Generation.” She and the band also did a Ramones medley near the end of the set that the crowd loved. Still, the high point of the night for me had to be when she unleashed the musical trifecta of “Free Money” then “Pissing in a River” followed by the Rolling Stone’s “Gimme Shelter.” It was absolutely amazing. Even Brian Eno had to bop around a bit.
Looking back, it’s probably the best show I’ve ever seen. It would have been even if it wasn’t at CBGB, and even if it wasn’t the last ever show at CBGB. I’ve seen Patti Smith quite a few times, and this was the best show that I’ve ever seen her play. It was certainly the most important. I witnessed rock and roll history. Smith was on the cover of the New York Times that I picked up at the airport on the way home the next afternoon — it was a photograph of her taking a photograph of the famous awning.
When I think back on the show, I remember a lot of details (and a lot of Eno), but one thing really stuck with me. Thankfully, recordings from the night allow me to transcribe it here exactly. Smith had told stories of the first time she went to CBGB (Easter night, 1974, to see the third ever Television gig) and about some of her favorite nights at the club. Then she said:
“Now, you know, kids will find some other club. They’ll need some place to play. (boos from audience) Yeah, no! Yeah! Cause that’s what’s supposed to happen! This place is not a fuckin’ temple. It’s just what it is. And the greatest thing about it, and the best way that it can serve the people, is just show an example of what you can do. You just gotta place, just some crappy place, that nobody wants. And you got one guy who believes in you. And you just do your thing. And anybody can do that. Anywhere in the world. Anywhere. Anytime.”
- link: Riverfront Times
Yuck Kind Of Broke My Heart Last Night
Yuck Kind Of Broke My Heart Last Night
By Jaime Lees
Wed., Oct. 5 2011 at 11:32 AM
This is not the review I expected to write. It pains me to say it, but the Yuck show was kind of, well, meh. Now, I’ve spent the better part of this year talking up this band. Yuck’s self-titled debut is absolutely my favorite album of the year. I’ve rocked that album on the daily since about February. If you know me, and we like the same tunes, it’s likely that I burned you a copy of that album. In fact, I probably owe Yuck about $300 considering how many copies of that album that I’ve given out in the Midwest area. But I get excited about good bands. And when I think you might like it, too, I get really excited.
Sadly, the Yuck show was a disappointment. As much as I hoped that the live show would be as beautiful and life enriching as the album, there were some causes for concern. I’d seen some videos of live performances, and they seemed kind of lackluster. I’d sent friends in other cities to see the band, and they reported that they were sub par. Undeterred, I rolled out a whole range of excuses. I told myself that the band members are young, they’ve barely toured, and they’re under a lot of pressure as an up-and-coming “it” band.
But after seeing them last night I can report this: Yuck is the Lloyd Dobler of bands. Totally dreamy in theory, but weird in real life. (I mean, seriously, Lloyd Dobler was kind of a stalker. The hottest stalker ever, but a stalker nonetheless.) The songs ware still there, but the execution was all off. The Firebird probably has the one of the best sound systems of any venue in St. Louis, but you wouldn’t know it. It was all drums, the whole set. The sweet guitar melodies and the harmonizing vocals were all there, but they were totally drowned out by snare crash and cymbal clang. I walked around the decently crowded room, trying to find a place where the sound was less harsh, but there was no sweet spot to be found.
The sound got shockingly better at the end of the set with “Operation” and extendo-jam closer “Rubber.” The only difference between these songs and the others was volume. The band members had turned around and cranked up the amps in preparation for rockitude. They were suddenly louder and more loose, clearly feeling what they were playing for the first time all night.
Still, I’m full of excuses. Maybe Yuck was just having an off night? The members seemed sweet enough when they spoke between songs, taking care to ask the crowd the final score of the all-important Cardinals game. During one of the set breaks, they mentioned that they were bummed because their van had just been broken into. My heart sank. Was Yuck going to be added to the long list of touring bands who have had their property stolen while in town? A quick check of the band’s Twitter account revealed Chicago thugs as the culprits. Booya.
So conditions might not have been the best. Morale might have been low. Spirits dampened. It wasn’t a bad show, it just wasn’t the best show ever — and I thought it would be. And maybe my expectations were too high, but I think Yuck can do better. I will not waiver in my devotion. The album is still freakin’ perfect, and I’ll probably listen to it again today. Though our first date kind of sucked, we are still meant for each other. I still wanna have Yuck’s babies. I hope they come back to town so we can try again.
- link: Riverfront Times
Why You Should Go See Yuck
Why You Should Go See Yuck On Tuesday
By Jaime Lees
Fri., Sep. 30 2011 at 3:57 PM
Yuck released one of the best albums of 2011. The London band’s self-titled debut encompasses everything great about ’90s indie rock all squished into one album. It contains melody, distortion and a tons of volume. Unfortunately, these distinctive qualities have earned Yuck a reputation in the music media as grunge revivalists. This label has divided the press, with authors either claiming that Yuck is recycled and derivative or ambassadors of the next alternative generation.
Either way, there’s no getting around it: Yuck sounds like ’90s rock — but only the best parts of really, really good ’90s rock. Shit, it’s not like the band is being constantly compared to Limp Bizkit or Matchbox 20 or even Bush. Yuck only gets compared to legendary, groundbreaking bands like friggin’ Teenage Fanclub and GD Dinosaur Jr and Sonic MFing Youth. It’s a compliment, really.
Still, the group’s sound extends beyond these comparisons. It also balances My Bloody Valentine-esque scorchers with a whole host of sweeter sounds, like that of Pavement or Neil Young or bits of the great C86 bands. These comparisons are especially impressive considering that all of the band members in Yuck are in their early 20s. They didn’t witness the rise and fall of alternative rock — they were still toddlers when Nevermind came out. Still, the kids in Yuck reference their indie forefathers with great maturity and skill.
Part of this competence comes from experience. Yuck’s two main songwriters, Daniel Blumberg and Max Bloom, have been in bands together since they were teenagers. A couple of years ago, Blumberg and Bloom quit the (relatively successful) Brit band Cajun Dance Party to form Yuck. With the addition of bass player Mariko Doi (of London via Hiroshima) and American drummer Jonny Rogoff, the lineup was complete. And the band wasted no time making their mark: it’s already played SXSW, recorded a Daytrotter session and toured with Times New Viking, Tame Impala and its heroes, Teenage Fanclub. Yuck is even scheduled to perform on the much anticipated Weezer cruise.
Despite a few disparaging reviews by out-of-touch rock critics, the band has been entirely embraced by audiences. They dig it. And it’s the fans who have pushed the band to the top of the indie underground. Yuck’s debut was released early this year on the righteous Fat Possum label and it’s been so well-received by the public that it’s being re-issued this month with six bonus tracks.
Check out Yuck for yourself this Tuesday at the Firebird with White Denim and Porcelain Raft.
- Riverfront Times – link
Tennis System, Sleepy Sun and Death of Yeti at the Firebird, 08/26/11
Tennis System, Sleepy Sun And Death Of Yeti At The Firebird, 8/26/11
By Jaime Lees
Mon., Sep. 26 2011 at 2:06 PM
Sometimes it’s fun to go to a show with a small crowd. Your friends are easier to find. There’s no wait at the bar. And you seem to talk to people more because it’s like, Hey, we’re all in this together. Let’s make somethin’ happen. There is a kind of easy, community feeling that you can’t get when you’re crammed in a crowded room, covered in other people’s sweat and wondering who in the hell is touching your ass.
Surely, there is a place for both kinds of shows. But if there is a young band from out of state on the bill, it’s always nice to hope for too crowded. Touring dudes/dudettes gotta get paid. They need money for fuel and van repairs and gas station Slim Jims. So the more people who are there and buy their record, the better.
The Tennis System didn’t get to play to a lot of people, but these kids killed it to a crowd of about 30 last night at the Firebird. It’s rare that you see a band and think I will now see this band every dang time it comes to town, but the Tennis System is that band. Live, the band is even more vibrant and alive than on recordings. All of the shoegaze haze is still there, but the big drum beat bursts through, propelling the band into something much more tough than ordinary fuzz and distortion. Looking much more like Black Rebel Motorcycle Club than Euro cuties like Slowdive or Ride, the band members wore all black clothes, leather jackets and smiles. It was great. This band might have invented a new genre: bootgaze. We want more.
Opener Death of Yeti was psychedelic without any kind of noodling. There didn’t seem to be a lot of unnecessary straying, no so-called “freak outs.” Just straight ahead, trippy tunes fronted by a singer with a very Morrisey-esque voice — it sounded like Bona Drag on mushrooms.
Sleepy Sun started out a little too sleepy. It was late in the night, the room was still wide open and hardly anybody was drunk. The younger people in the audience seemed a little worn out from bopping to Tennis System and the crowd really needed some fire to get warmed up. Sleepy Sun delivered the goods, but the band made the crowd wait for it. It was a slow build, but this group can certainly keep your attention, even if it’s keeping you guessing about what kind of sound it might come out with next. From the Black Angels to Muse to ’70s rock to even a little bit of alt-country, Sleepy Sun’s sound is confusing, schizophrenic and kinda cool. Truly a band for all weather: if you don’t like it, you can wait five minutes and it will change.
- Riverfront Times – link
R.E.M. Says Goodbye: The Great Beyond
R.E.M Says Goodbye: The Great Beyond
By Jaime Lees
Thu., Sep. 22 2011 at 2:25 PM
One of the most important bands in rock music has broken up. After 31 years together, R.E.M. has announced its retirement on its website with a humble, thankful note. The declaration shocked fans, who immediately bombarded social networks and entertainment news stories with a flurry of bittersweet comments and links to favorite music videos.
There is a reason for all of this upset: R.E.M is special. Not just to fans, but to history. It is impossible to overstate the significance of this band. R.E.M. has influenced the very fabric of American culture, including music, morality and politics. From its meager beginnings in small town Georgia to playing the biggest stages in the world, R.E.M. pulled off something nearly unthinkable: it maintained its integrity and kept making great music.
Since 1980, the band has been a constant. That’s not to say that it never evolved. Both the band members and the music grew with grace, never repeating a proven formula, always claiming new ground. From the mid-tempo jangle on Murmur to the rock blast of Monster and on through the sun-soaked twinkling in Reveal, the band exhibited a remarkable ability to morph its sound while still retaining its essence.
Individually, the band members each play a fundamental role in creating the R.E.M. magic. A shy poet and photographer, singer Michael Stipe seemed frequently uncomfortable in his roll on stage. At the band’s early shows, he spent much of his time on stage hiding behind a big curtain of curly hair, but he now ends his tenure as a dancing, eyeliner-wearing, confident front man. Mr. Mike Mills is on the bass and keyboards and adds the absolutely essential R.E.M. backing vocals. His distinctive voice is one of the main pillars of the R.E.M. sound. And then, of course, there is the great Peter Buck. Buck is one of the most important rock guitarists in history and he’s also the man who plays that instantly recognizable mandolin.
Hard times befell the band in 1997 with the departure of original drummer Bill Berry. He had suffered a brain aneurysm on stage a couple of years before, and he was ready to move on. This was a crucial, emotional time for the band. Still, its members remained like brothers. Berry said that he would not quit unless the other three would continue on without him. After seventeen years with Berry behind them, the other members of R.E.M. soldiered on. Stipe compared this time to a three-legged dog that is learning to run again.
But through every change, audiences followed. People react to this band. Millions of people. Worldwide. It’s hard to wrap your head around the idea that multitudes of people can have the same intense connection to a song that seems so personal to you individually. And, unfortunately, it is impossible to hear hits like “Losing My Religion,” “The One I Love” and “Everybody Hurts” with fresh ears. These songs are so much a part of our lives that they’ve been unfairly relegated to the land of boring, played-put FM schmaltz, instead of standing as strong, statement-making singles as they were intended.
But even with these internationally known hits, fans have vastly different opinions of the song’s meanings. Main lyricist Stipe has always steadfastly refused to explain the meaning of any of his lyrics, but you don’t even have to understand English to feel the gut-wrenching weight of “Country Feedback” or the sexy swagger of “Lotus.” In this respect, R.E.M. songs have a unique quality: they can be both specific or universal, depending on the interpretation. And while every listener has a slightly different take on the band, there is an authenticity there, a sincerity, that hordes of people respond to favorably.
R.E.M. members and management put this unparalleled popularity to good use. They recognized their position and decided to use their powers for good. Those thousands and thousands of people who attended any one night of an R.E.M. concert were encouraged to participate not just as a cheering audience member, but as a mindful member of society. Always politically aware, the band used these events as opportunities to enlighten audiences and ignite personal passions. Whether it was encouraging fans to donate to disaster relief, to rally for gay rights, to sign petitions in support a free Tibet or just to register to vote, there always seemed to be volunteers present to facilitate positive action.
This philanthropic trait also applied to other areas. The business side of R.E.M. keeps its headquarters in the bands hometown of Athens, Ga. Thanks in no small part to the guiding hand of the bands long-time manager, Bertis Downs, the band has always found ways to reach out and keep the city intact. R.E.M. as a unit is one of Athens biggest preservationists — and the band members are among the first people to buy a historical property for renovation or to speak to the press in an attempt shine a light on endangered local buildings and landmarks.
This awareness of their position was also extended to help other bands. R.E.M. members served as mentors and wise elders to a whole generation of younger bands, including big names like Radiohead, Nirvana and Pearl Jam. And up until the very end, the band invited scores of newer bands to be its supporting acts, handing over a staggering amount of prime exposure for any group that it believed in.
For all of these reasons, the members of R.E.M. are our heroes. As fans, we believed in them. We trusted them. We grew up with them. The music was there during our first kiss and it floated around when we were falling in love. It soothed our broken hearts and it played at our wedding receptions. We’ve seen this band through its ups and downs, and it has done the same with us. These guys are the soundtrack of our lives. Maybe that’s why it’s so hard to imagine life without them.
The Year Punk Broke Finally Gets Reissued: Where The Featured Bands Are Today
The Year Punk Broke Finally Gets Reissued: Where The Featured Bands Are Today
By Jaime Lees
Wed., Sep. 21 2011 at 10:14 AM
About twenty years ago, Sonic Youth’s Thurston Moore asked his friend, filmmaker Dave Markey, to document the band’s short European tour, including its performance at the massive Reading Festival.
Markey (best known for his underground classic Desperate Teenage Lovedolls) left with his passport, a camera and a suitcase full of Super 8 film. When he returned he had nine hours of raw footage and the makings of the best visual documentary of 1990s indie rock before the grunge explosion. The film features many indie bands in their prime, including Nirvana, Dinosaur Jr and Babes in Toyland. It’s sort of the video companion to Michael Azerrad’s Our Band Could Be Your Life.
1991: The Year Punk Broke existed for years as an out-of-print VHS with a cult following, but it was finally released on DVD last week. The DVD release contains the original documentary and a shit-load of extra features, including more than an hour of interviews, bonus footage and rough edits.
Lovingly described by Moore as a “home movie,” TYPB is gritty, shaky and absolutely perfect. Live concert footage is spliced with scenes of the bands shopping, eating, exploring various cities and just kind of hanging out. Sonic Youth serves as the main subject of the documentary, with Moore emerging as particularly hammy and entertaining. (See: Thurstonitis)
To truly understand TYPB, viewers must first watch Madonna’s Truth or Dare. Madge’s classic black and white tour doc had just been released at the time and it was a major moment in pop culture. There are many skits and inside jokes included in TYPB that reference Truth or Dare. (Including a brilliant scene where Kurt Cobain plays the role of Kevin Costner.)
In the two decades that have passed since 1991, grunge took over and indie stopped meaning anything. But what has all this change wrought on the specific bands featured in 1991: The Year Punk Broke? We check in on some of the featured personalities below:
Sonic Youth
The doc was filmed one year after the release of Goo, but still before the release of Dirty. In the film, the members of Sonic Youth come off as just a little bit older, cooler and more harder-working than their peers. This has never changed. Sonic Youth will forever be populated with people that seem like cool older brother/sister-types. And they’ve become even more prolific: the band has released nine studio albums since the documentary, and the members have embarked on countless solo projects ranging from music to books to photography to art to fashion. Sonic Youth has always been a band that stood on a well-earned mountain of cred, and this has only become more true over time. Still, it is totally shocking that the band is still as well-respected and, well, as good as it was twenty years ago.
Babes in Toyland
The Babes were fresh off of a tour with Sonic Youth and seemed to be extra feisty. The band only had one song featured on the video, but it was the tribal and violent “Dustcake Boy.” This song is one of the better examples of singer Kat Bjelland’s trademark angry leopard-like yelps. Babes released its biggest album, Fontanelle, in 1992 and had a couple more albums after that before calling it quits. There have been a few reunion shows, but the most interesting story to come out of the demise of Babes in Toyland is what happened to Kat Bjelland. Anyone familiar with Bjelland’s work would should not be surprised to find out that she began to suffer from multiple personalities and was diagnosed as schizophrenic in 2007. She spent a year under medical mental care and came out just as stubborn and creative and badass, releasing albums with her new band, Katastrophy Wife.
Joe Cole
Mr. Cole was not in a band included in TYPB, but it is fitting that he was included in the film. Cole was known as a roadie for Black Flag, the best friend of Henry Rollins and was a cheerleader for seemingly every band on the SST roster. He can be seen in the background many times, and there is one long shot of his face, watching a band from the side of the stage, radiantly happy with his arms around his girlfriend, Michelle Leon of Babes in Toyland. Tragically, Cole was shot and killed just a few months after this summer in a random act of violence in Los Angeles. Sonic Youth, Henry Rollins and Hole all dedicated future works to his memory.
Nirvana
We all know what happened with Nirvana. Mere milliseconds after Markey wrapped filming, the whole world fell into Nirvanamania. The little band would soon eclipse its heroes, becoming the biggest thing that happened to popular music that decade. Amazingly, Markey manages to capture a side of Nirvana that the general public would never know: the happy side. In TYPB, the band members are still relatively unknown. They are wide-eyed and playful, with frequent smiles and passionate stage show. But that levity was lost when the fame came along. The band would only release one more studio album, In Utero, before singer Kurt Cobain committed suicide. Drummer Dave Grohl went on to form the ultra-successful Foo Fighters and bassist Krist Novoselic expanded his interests from music to politics, even running for office in his home state of Washington.
Courtney Love
Miss Love can be seen in the original doc (and in the extra footage) trying to get the attention of cameraman Markey. Her role in the video is very small- she wasn’t performing, she was in England to hang out with Billy Corgan of Smashing Pumpkins. Of course, she went on to marry Cobain of Nirvana and the two became the Sid & Nancy of the ’90s. Love’s band Hole was also on the verge of fame, having released its debut album, Pretty on the Inside, in August of ’91. Hole went on to release a few more albums, including the highly successful Live Through This in 1994. Love went on to become a famous disaster and the topic of much tabloid speculation.
Dinosaur Jr
Dinosaur Jr was always bigger in Europe, due to constantly touring of the Continent. This is most apparent during on of the most beautiful, chill-inducing moments of the film. The band is playing “Freak Scene” and at the very end of the song, the whole dang audience sings along to the all-important line “Cause when I need a friend it’s still you.” Dino went on to release five more studio albums and the band is still active today (with years of breaks in between). The members have also put out solo albums and they remain some of the mostly highly respected individuals in indie rock.
Mark Arm
Though his band, Mudhoney, wasn’t featured in the film, Mark Arm can be seen in several scenes in TYPB. His little blond mop is always bopping around, accenting a goofy smile. Mudhoney was kind of Nirvana before Nirvana was Nirvana, and it certainly had a longer career. The band has put out ten studio albums in its career and is still active (and awesome) today, mostly playing large international festivals.
The Ramones
The Ramones were included in The Year Punk Broke, but the band’s time in the film was so short and so stiff that it seemed like the Ramones were more included as a tribute to punk elders than as a viable band. Still, the Ramones had one of the most interesting careers in music history. In 1991 the band was already 27 years into its career and it would be another five years before it officially disbanded. After TYPB the band put out three more studio albums, but it didn’t much matter. The Ramones were already considered the greatest American punk band.
Gumball
Gumball is the only band included in TYPB that never quite achieved any level of mainstream success. Despite releasing 1991′s Special Kiss (featuring both Thurston Moore and members of Teenage Fanclub), Gumball never really caught on with indie audiences and was dropped from its label in 1994 due to disappointing sales. Gumball disbanded shortly after that, but the band members went on to have very successful individual careers. For example, frontman Don Fleming is a noted producer and participated in many other musical indie ventures, including Half Japanese, Dim Stars and The Backbeat Band.
Tennis System: Critic’s Pick
UPDATE: This show has been moved to the Firebird.
Tennis System
Sun., September 25, 8:00pm
Pig Slop Studios The Firebird
By Jaime Lees
Shoegaze is one of the few music genres where being a weak little pussy is actually sought after. Many shoegaze bands fall flat because of mumbly vocals and feeble beats; resulting in songs that just drift off into sprawling, boring nothingness. Tennis System ain’t tryin’ to roll like that. The Los Angeles based band takes the genre and blows it up, expanding on the customary wall of guitars with gorgeous vocals and a proper beat. It creates loud, structured-yet-psychedelic dream-pop compositions that sound like the ringing reverb of My Bloody Valentine mixed with thumping, Evol-era Sonic Youth. Watch for its sophomore release, Teenagers, due out this fall.
A Prediction: This show will be criminally underpopulated. Did we mention that the band members are floppy-haired and adorable? Just sayin’.
- Riverfront Times: link
- Tennis System
Foo Fighters: Critic’s Pick
Foo Fighters
Sat., September 17, 7:00pm
Scottrade Center
Price: $29.50-49.50
Foo Fighters
Jaime Lees
Nobody really hates the Foo Fighters. That might seem like an odd distinction, but this is a rarity for a modern rock band. For how highly anticipated a Dave Grohl project was in the wake of Nirvana-cide, the Foos has really been a sleeper of a band. Though it has always been high profile, the FFs went from being those dudes who made funny music videos to one of the most solid rock bands in the States. The bands reputation has been building, along with its fan base, for over fifteen years, making the Foo Fighters genuine stadium rockers at this point. Sometimes good guys win.
After The Show: Expect a near-religious conversion into full fandom. You’ll be telling your friends to call upon the name Foo and ye shall be saved.
- Riverfront Times – link
Sinéad O’Connor: Queen of Deviant Behavior
Sinéad O’Connor: Queen of Deviant Behavior. Her Four Greatest Conflicts
By Jaime Lees
Fri., Sep. 2. 2011
Sinéad O’Connor has been back in the news lately, but it might not be for what you’d expect. Throughout her entire career, O’Connor has been fighting for one good cause after the last. She’s always outspoken against racism and censorship and she stresses the importance of the rights of children and women. She’s known for being brash, shocking and a little confusing. Here, we celebrate her rebellious streak with the some of top acts of deviant behavior committed by Miss O’Connor. Don’t worry, we’ll get to “the difficult brown.”
4. Sinéad vs. the Roman Catholic Church
Chances are that you know that Sinéad O’Connor was “the bald one.” If you remember anything else about her, it’s probably that she’s the bald one who ripped up a picture of Pope John Paul II on Saturday Night Live. In 1992, O’Connor was performing on the show as the musical guest, doing a cover of Bob Marley’s “War.” Instead of performing the song in the same hiccupy Jamaican style as the original, O’Connor’s version was a cappella, more like a solo spoken word poetry reading of the lyrics. At the end of the song (while singing the world “evil”) she held up a picture of JP2, ripped it up and said “fight the real enemy.” Yeah, that didn’t go over well. She later said that she intended the performance as a protest against the Catholic Church because she felt like the Vatican was responsible for covering up child sex scandals. Meanwhile, O’Connor claimed that she would want to be a priest if she wasn’t a singer, and was ordained in an independent church in 1999.
3. Sinéad vs. her audience
Sinéad was crucified in the media after her SNL performance. People were pissed. Sinéad also could not successfully explain her actions. This was a time before instant internet tabloids or Twitter feeds and the news moved much slower. And what were people to do, read her mind? All most of America heard was that she ripped up a picture of the Pope, which meant that, clearly, she was a horrible bitch. So, two short weeks later, she was scheduled to sing at a Bob Dylan tribute concert. As she took the stage, she was met with boos from the crowd. Lots of boos. Like, thousands of people booing her for more than two minutes, which is a hell of a long time to just calmly stand there on stage and take it. Still, she stood, with her hands clasped behind her and let them get it all out. Finally, there was a twinkle in her eye. She hushed her bandmates who were trying to start the song, asked for her microphone to be turned up, and jumped into an angry repeat performance of “War,” the same song she’d sang on SNL. Oh, snap! Sinéad has some serious balls, man.
2. Sinéad vs. Prince
O’Connor’s biggest hit was 1990′s “Nothing Compares 2 U.” If the spelling doesn’t already give it away, this song was written and performed by Prince. O’Connor’s version became an international hit, spending weeks atop the charts of multiple countries. Despite handing out his songs to many pop stars, Prince was reportedly resentful of Sinéad’s success with his song. (There have been rumors that he acted the same way with Cyndi Lauper after she bested his version of “When You Were Mine.”) It is not wise to mess with The Purple One; and Sinéad reported that the two came to blows over it. Sounds totally scary.
In another odd bit of Sinéad vs. Prince news, doesn’t the drawing shown at the very end of Prince’s 1984 video for “When Doves Cry” look just like Sinéad in the 1990 “Nothing Compares 2 U” video? Is Prince a psychic? Was Sinéad ripping him off? Does anybody else think this is weird?
1. Sinéad vs. her libido
Holy crap, Sinéad O’Connor is one dirty lady. Damn. She is really horny for some man weiner (well, she is a priest). She’s taken to updating her official web site with the things she is looking for in a lover. She is announcing that she is “desperate for sex” and that she’s not turning to a match-making service because she feels that word would get out anyway. She even threatens to hump on produce if she is not serviced soon.
My shit-uation sexually/affectionately speaking is so dire that inanimate objects are starting to look good as are inappropriate and/or unavailable men and/or inappropriate and/or unavailable fruits and vegetables. I tell you yams are looking like the winners.
Some examples of what Sinéad’s is looking for:
- He must be no younger than 44.
- Must be living in Ireland but I don’t care if he is from the planet Zog.
- Must be blind enough to think I’m gorgeous.
- Leather trouser- wearing gardai, fire-men, rugby players, and Robert Downey-Junior will be given special consideration. As will literally anyone who applies.
- I like me a hairy man so buffed and/or waxed need not apply.
- No hair gel.
- No hair dryer use.
- No hair dye
- Stubble is a non-negotiable must. Any removal of stubble would be upsetting for me.
- No after shave.
- Must be very ‘snuggly’. Not just wham-bam.
- Must be wham-bam.
- Has to live in own place.
She concluded this list with, “I must end now as I have a hot date with a banana.” Shit, girl! Calm yourself! Since this first post, she’s updated her website to say that she would also have sex with women and that she will not consider any man who is not into anal sex. Sinéad wrote, “I’ve been repeatedly asked will I ‘do anal sex’. Let me make it very clear.. Any man I contemplate has to be into anal sex… I ‘do anal’ and in fact would be deeply unhappy if ‘doing anal’ wasn’t on the menu… So if u don’t like ‘the difficult brown’.. Don’t apply.”
The Difficult Brown?!? DAYUMN! That is deviant as hell! Sinéad, we salute you. We never know what deviant thing you’ll do next. Maybe you’ll do a show where you have anal sex with Prince and the Pope? Fingers crossed.
- Riverfront Times – link
Frances Bean Cobain And The Other Nine Hottest Offspring Of Musicians
Frances Bean Cobain And The Other Nine Hottest Offspring Of Musicians
By Jaime Lees
Thu., Aug. 18 2011
Today is Frances Bean Cobain’s 19th birthday. Time flies, right? In celebration of Miss Frannie, we’ve compiled a list of hot rock ‘n’ roll spawn. These people have at least one rock star parent and their moms are frequently models. (Figures.) They are all totally bangable, and many of them have their own interesting careers. Who do you think should be added to the list?
Frances Bean Cobain
Daughter of musicians Kurt Cobain of Nirvana and Courtney Love of Hole
Frances was on the “countdown to legal” list for many grunge fans. Now, at age 19 FBC has just posed for a collection of photographs that show that she’s all grown up. Eyes! Lips! Midriff! Décolletage! Tattoos! It’s all there, in this frequently topless but never outright scandalous set of photographs. Captured in dramatic black and white, “The Bean” looks absolutely smokin’. She’s sultry, she’s sassy and she looks like she’s either going to scream at you or make out with you or both. HOT.
Liv Tyler
Daughter of musician Steven Tyler of Aerosmith and scenester / groupie Bebe Buell
The quintessential foxy rock ‘n’ roll daughter, Liv first came to attention starring in Aerosmith’s video for “Crazy.” In the video, she played a pouty-lipped Catholic school girl who skipped school do naughty pseudo-sapphic stuff with co-star Alicia Silverstone. She’s since put her big lips on the big screen, with major roles in films like Empire Records, Armageddon and Lord of the Rings.
Sean Lennon
Son of Beatle John Lennon and artist / musician Yoko Ono
Sean is probably the most famous son of rock. Lookin’ like exactly half of each of his parents, the bespectacled musician doesn’t have push his pedigree, it is already obvious in his pretty eyes and cute little mouth. Bonus: Sean seems nice, his music is good and he doesn’t disrespect his father’s legacy (unlike Lennon’s other son, jerk-ass Julian). And like a proper second generation famous kid, he has dated Mick Jagger’s daughter Elizabeth and also…
Bijou Phillips
Daughter of John Phillips of the Mamas & the Papas and model Geneviève Waïte
Young Bijou is a looker, but not really in a classic way. Her teeth are kinda weird and her vibe is kinda dirty, but these things somehow just make her damn sexy. She famously lost her virginity to Evan Dando and the hot little hippie has been banging famous dudes ever since. She was with Elijah Wood, then she dated Sean Lennon for years and now she’s engaged to Danny Masterson (aka “Hyde” from That ’70s show).
Zoë Kravitz
Daughter of musician Lenny Kravitz and actress Lisa Bonet
It’s absolutely shocking that Zoë Kravitz is good looking. Both of her parents are so. damn. hot. that it only makes sense that their individual hot qualities would get canceled out in war for gene dominance, leaving just a sad little unremarkable, unhot blob baby. Instead, the biology lottery resulted in Zoë becoming mega hot broad with a tight little body, her dad’s sense of style and her mom’s creamy skin. Yowza.
Jackson Smith
Son of musicians Patti Smith and Fred “Sonic” Smith of the MC5
Jackson looks sweetly disheveled in that slightly scruffy post-hipster way. He plays guitar for his mom on tour and his good looks are a little distracting on stage- he has bright eyes and the same kind of quiet intensity that both of his parents pulled off in photographs. Also, he was cool enough to score Meg White of the White Stripes as his wife, which means the world might get a third generation of Detroit hotties.
Nicole Richie
Daughter of musician Lionel Richie and Brenda Harvey
Nicole was adopted, so she can’t claim her good looks from Lionel or Brenda. But she was adopted from the famous musical Escovedo family, and can count Sheila E. and Alejandro Escovedo as some of her close biological relatives. The doe-eyed former party girl has had public struggles with her weight and the law, but nothing obscures her natural good looks and funny personality. In the grand tradition of celeb spawn, Nicole dated DJ AM (Adam Goldstein) and is now married to Good Charlotte’s Joel Madden.
Dweezil Zappa
Son of musician Frank Zappa and Adelaide Gail Sloatman
Just like his father, Dweezil is an acquired taste. His bright eyes are intense and surely one of the features that won over former girlfriend (and librarian glasses enthusiast) Lisa Loeb. Yeah, he seems like he can be kind of a douche, but that doesn’t cancel out his dark, almost John Stamos-y sexiness. Fun facts: Dweezil was an MTV VJ for a minute and has many musical credits to his name (including playing lead guitar on the the Fat Boys’ “Wipe Out”). He also had a bit part in Pretty in Pink as Andie’s friend Simon- this lil’ cameo automatically puts him in the Forever Hot Club.
Nicholas Des Barres
Son of musician Michael Des Barres and original groupie Pamela Des Barres
Best known as Murdoc on MacGuyver and the dude who replaced Robert Palmer in Power Station, Michael Des Barres has an interesting career as both an actor and a rock singer. His former wife, the beautiful Pamela Des Barres, is an author, a ginger and legendary groupie. Together they made Nick, who is tall and handsome with a striking blend of features from both of his parents. He’s also probably the most talented person on this list, finding success an actor, a writer and a designer.
Ione Skye
Daughter of musician Donovan and model Enid Karl
Best known as Diane Court from Say Anything, the object of Lloyd Dobler’s affection won over teen audiences with her fresh face, crooked smile and quirky mannerisms. Basically, all straight men of a certain generation will always think that Ione Skye is just the hottest shit ever. She could have pretty much any dude she wants, but Ione keeps up the tradition of inter-industry dating: she dated Anthony Kiedis of the Red Hot Chili Peppers, she was married to Adam Horovitz of the Beastie Boys for a few years and she’s now married to musician Ben Lee.
Honorable mentions:
Daisy Lowe – Daughter of Gavin Rossdale of Bush and Pearl Lowe
Sally Taylor – Daughter of musicians / songwriters James Taylor and Carly Simon
Amber Le Bon – Daughter of Simon Le Bon of Duran Duran and model Yasmin Le Bon
Elizabeth Jagger – Daughter of musician Mick Jagger and model Jerry Hall, dated Sean Lennon
Riley Keough – Granddaughter of Elvis Presley, Daughter of Lisa Marie Presley
Rufus and Martha Wainwright – Musician children of Loudon Wainwright III, songwriter / singer
Peaches Geldof – Daughter of Bob Geldof, musician, and Paula Yates, Brit television presenter
Alexa Ray Joel – Daughter of musician Billy Joel and model Christie Brinkley
Elijah Blue Allman – Son of musicians Cher and Gregg Allmann
Stella McCartney – Daughter of Beatle Paul McCartney and photographer Linda McCartney
Taylor Swift Is Saving America
Communing with fans: One of many ways Taylor Swift is a superior pop star.
Taylor Swift Is Saving America
By Jaime Lees Fri., Aug. 12 2011
Categories: Haters Gon’ Hate
Let’s get one thing out of the way: I am not a teenybopper. Never was. As a kid I never liked Grease or New Kids on the Block or Dirty Dancing. Even now, I can’t give a crap about your Biebers or your Mileys. And how in the hell anybody likes Glee is beyond my comprehension. But, OMG, I totes hearts Taylor Swift, y’all.
Her whole damn thing is fabulous: She writes her own songs, she’s super-involved with her fans, she’s hilarious in the press, she never uses her sexuality to sell herself, she’s only 21 years old and she’s holding down a massive tour all by herself. (Eat shit, U2.)
And though her squeaky-clean image is a selling point for many a parent, it’s a turn-off for tons of potential fans. If you’re not used to dealing with cutesy pop stars, it can be kinda hard to get past her pretty, pretty princess act. Yes, she’s a product, but Superstar Swift is more than just a money-making business construct. I have no doubt that talent and ambition were key factors in getting her where she is today.
Because she is a hard working, song-writing, Grammy-award-winning, powerful young woman, Swift absolutely qualifies as a strong female role model. Yes, she’s a totally “safe” option when it comes to female empowerment, but hey, I’ll take it. I have little sisters and I’m stoked whenever there is any girl for them to look up to who is not a total trash whore.
So gag on her vanilla-ness all you want, but they can’t all be shit-disturbers. That isn’t something we look for in a tween idol and there haven’t been many popular options for this generation. Madonna is the longest standing icon, but she’s always been too wrapped up in controversy to get a parental pass. It wasn’t so long ago that the Spice girls were pushing prepackaged Girl Power, but they all had their tits out.
And the Riot Grrrls, though I loved them, were total potty mouths. Sure, I would prefer if it your young daughters were into Heart or Babes in Toyland or Patti Smith, but there’s plenty of time for that later when these kids enter their black eyeliner years. So for now, give the li’l princesses what they want. It’s totally okay this time.
(Read about why Taylor Swift is destroying America here.)
- Riverfront Times - link
Taylor Swift: Critic’s Pick
Taylor Swift: Critic’s Pick
Sat., August 13, 7:00pm, Sun., August 14, 7:00pm, Scottrade Center
Jaime Lees
Taylor Swift is a pop powerhouse masquerading as a young country music heroine. With Grammys, American Music Awards and countless other accolades behind her, Swift has experienced unprecedented crossover success, conquering multiple genres and enchanting both tweens and their parents. And while her image is sweet and lovable and parent-approved, Swift’s songwriting is the main reason that she has sold more than twenty million albums. She was hired by Sony/ATV publishing as a staff songwriter at age fourteen, and she’s been writing hits ever since. Her music ranges from simple folk songs to dark, orchestral ballads, but her lyrics concentrate on the universal subjects of love and heartbreak. And if there’s one thing that unites her young fan base, it’s boy problems. Preach on, sister Swift.
- Riverfront Times – link
JAIMEVILLE: On the scene
Best video machine trivia question EVER.
Pazz & Jop 2010 – 38th Annual Village Voice Critics’ Poll
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 2010
38th 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.
Underground sound: An Interview with Jason Hutto
Jason Hutto is a details man. He notices, and appreciates, the tiniest things. Whether it’s an ornate button on a shirt, the quiet plinking of a music box, or just a friend’s new haircut, Hutto always notices.
It’s because of this personality trait that he’s one of the most coveted underground recording engineers in St. Louis. And I mean “underground” quite literally; Hutto records a range of bands in an analog studio he has built in his low-ceilinged South City basement. He is notoriously bad at self-promotion; this small business thrives on reputation and word of mouth only. Still, he seems to have no problem getting gigs, with scores of bands lined up to do business in his home studio.
Part of this reputation has been earned from his years as a singer, guitarist and songwriter. From Sexicolor to the Phonocaptors to Walkie Talkie USA, Hutto has fronted some of the best rock bands in town. His current band, Warm Jets USA, features Christopher Keith on bass and Evan Bequette on drums. And in addition to his own band, Hutto also lends his talents to local acts like Bunnygrunt, the Incurables and I’d'ven’t with Eric Hall.
Despite these many projects, Hutto always finds time to devote to the studio. His analog style of tracking hasn’t translated into a lack of clients or a compromise in quality. In fact, just the opposite seems to be true. It’s almost weird how he can capture such clean sounds in that dusty little basement of his, and many musicians seek him out for this special feature alone.
He recently wrapped a session with Sleepy Kitty, a local art and pop music duo. With Hutto’s help, drummer Evan Sult and guitarist/keyboardist Paige Brubeck’s layered Spector-esque tracks sound nothing short of magical.
I asked Brubeck to describe their time with him and she gave this glowing review:
“We really wanted to work with someone who could bring out a wide range of sounds, and who was interested in working with analog instruments. After talking with Jason about what we were going for, hearing his bands, and long conversations about other recordings we all liked, it seemed like a good match for us to work together. I feel like the limitation of not having a screen quickly became a freedom, in that it let Jason and us take a lot more chances and get more creative. Because of working in the linear format, a lot of the added sounds had to be done in real time, and we had to find ways to pull it off. Sleepy Kitty’s other gig is screenprinting, so there was a lot of talk about how similar recording sound analog and screenprinting layers of colors are. Jason is so open-minded and easy to work with in the recording process. He doesn’t have any of that ‘over it’ vibe that happens to a lot of people who have recorded music for a while.”
I met with Hutto a while back in his studio, where he played some recent recordings and we talked for hours about his process, views and assets. He was relaxed and quick to smile or laugh; it was immediately clear how he puts his clients at ease. Here is part of our conversation:
Jaime Lees: Will you tell me about your studio and recording methods?
Jason Hutto: It’s literally wires, string and duct tape. And I just keep piecing it back together. It’s really bizarre. Sometimes I’ll look at it and think, “Wow. This is ridiculous. Most people do this on a laptop.” What I do– it’s funny– but all the things that you need are still here. When Paige and Evan first came down here, Paige said, “It’s so nice to go into a studio and not see a computer screen.” And that was nice to hear. Because I’m not against all of that, I just don’t have it. But I still know how to make sounds.
And what’s been interesting– especially about working with them– is because everything is linear, we had to focus on things in a different way. We couldn’t just snip and cut things out and paste and edit things in, so we listened to stuff and by literally listening through and getting into that song so much that you create other solutions for solving problems that you wouldn’t have made it to if you hadn’t focused so hard. A lot of times they go in to studios these days and you’ll have a chorus and it’s like, “OK, you couldn’t hit that second chorus as well as the first one. We’ll just cut it in.” But this is something where everybody has to, like, do their work. We have to do it again and I have to work harder to solve things. If people can’t necessarily sing a part that well or if they can’t play it what well, you notice it in the studio. Whereas live you don’t have to worry about that part because it passes by in 2 to 3 seconds, and here you have to remember those 2 or 3 seconds every time you listen through. So it’s just a different way of approaching how music is made. And it’s by no means organic. A lot of people are like, “That’s so cool. There are no computers, it’s so organic.” But it’s not because it’s still a bunch of trickery, it’s just a different approach to doing it.
But it’s a lot more work, isn’t it?
It is! [Laughs] It’s a lot more work. That’s why I do it this way. And again, it’s not because I have a certain allegiance to it, it’s just that for the bands that I work with, what happens is something kind of cooler than if we were to just go in and chop and edit everything together. And I’m not against that. I mean, it’s all tools to me. But instead of being a computer user, I’m more focused on being an engineer and a producer– if they want it. So I’m kind of content. And when I do convert to that other side, you don’t ever want to lose focus of what is is to go though this process of thinking in, like, a linear way.
Because you play music, too, do you think it’s easier for you as an engineer because you know what they are going through and can suggest solutions?
Yeah, I think because of that familiarity I get it when people are hung up on a certain thing that they’re maybe not able to perform all the time, or a part that they want to do right. I get that so much. You know, I’ve been sitting in these holes for the last 15 to 20 years… Wow! [sarcastically] “I started when I was six years old.” No, I’ve done it so many times, you know, and I’ve struggled with those same moments of trying to nail that part and having to do it over and over. Like, I get the frustration and the fact that you know you can do it, because you’ve done it, you do it all the time. But maybe that one day you can’t do it.
But, like, everyone’s job — including mine — is to get to that place and figure out how to approach it. There’s all sorts of things you have to do to get people to calm it down and get back to their original idea. A lot of people [producers] choose to be really driving, but I don’t find that effective. I don’t necessarily respect that approach because I just feel like there’s too many variables that the musicians are already dealing with that you can’t go in and impose “This is how we do it here” because you don’t know if they’re having a bad day, tired form loading shit around, or if they’re frustrated because their guitar sucks or they’re a crappy drummer or any of those things. So every time a new group comes in– it’s like any relationship– you can’t just go judging them right out of the gate – you won’t have any friends or family! [Laughs] I approach it like that. I wouldn’t go judging anybody or how they act. Sometimes it’s hard for people in the beginning- they have to warm up. And it’s not because they are being rude, it’s just their nature. And then the next thing you know, they’re like, “This is the best time I’ve ever had! It’s so great!” You hear those things from people and you realize, however I’m doing these things, I’m doing it right.
How does it work when you’re recording your own music? And do you have to hit a button out here [near the mixing console] and then run into the recording room?
Well, that’s when I’m a dick. [Laughs] “Do it again. You suck. How long does it take you to play a part? The song is only three minutes, you idiot.” But yeah, I do that. I run back and forth a lot. But it all depends. Sometimes I’ll track in here and then get everybody else in there and have them do their parts. And once they get their part done if I can keep my tracks, I’ll keep them. It all depends.
I know there’s a lot of psychology involved in these situations. How do you keep everything flowing?
With the bands I record… It’s funny because when you’re in studios, you forget what the true… It’s still just music and I try to get that point across to people. It’s still music. That’s all it is, in its most basic form. There are too many people that have made it out to be this magical, mystical thing that doesn’t really exist. Anyone can do it. Anyone can do this. [Gestures around room] What you’ve got do is just continue to practice and do whatever it is that makes you feel confident in what you have created. And you can create some really fun moments out of it because it’s just music. And I love production, I love embellishment, I love making something that represents what you perceive when you’re watching a band and you kind of perceive this thing that’s larger than life on a stage. I love that idea of taking it down here and doing something that is larger than what the band thinks they can do.
By the same token, it’s just music. There’s nothing to me that’s, I guess, incredible about it. It always cracks me up when people are like, “Oh, I can’t do that.” Yeah. Yeah you can. I do it every night. The thing is: anyone can do it. Granted, you might not make any money at it [Laughs] and I think, hopefully we’re all over that idea of making money at this thing because it’s not going to happen. You don’t do it for that, you do it because of what it is. And to me, it’s, even when I go see a band, is your folks playing music to to folks like you. And I love that. You know, I’m absolutely nothing in a basement. And I love that when I play, I’m this person that these people have allowed me to be on stage, and none of us exist without each other. And hopefully you create– as a performer– a really fun moment for those people who are watching. But you know, at the end of it, it’s just music.
I think, fortunately, people that are down here actually kind of invite me into their world, which is cool. Because to throw in an extra variable– meaning me– you know, sometimes they clam up or they get all nervous. You know, just basic insecurities about what they’re doing. Studios are already unnerving already for people that the less I can be in their way, yet be totally in their band, I’m kind of like their extra member for that time. And as long as they can have that trust with me– it seems like most people do– they realize that I’m not here to make them into anything that they don’t want to be. And again, that’s why I go back to that idea: why it’s not organic, it’s all a bunch of trickery and, you know, bullshit at the end of it. Because you’re just trying to make something really cool come out of two speakers, as opposed to when you see that band live. That cool thing that happens when you see a band live? It’s made with all kinds of variables: the crowd, their performance, the room, all the stuff swirling around the room, the things that come out because of the room, or don’t come out because of the room and that… that… thing…
The booze?
Booze! The Booze! [Laughs] Yeah! Not every CD comes with a 12 pack…
You can catch Jason Hutto and his band Warm Jets USA, along with the Livers and the Breaks, at the Firebird on January 22, 2011.
Clownvis Presley – website biography
Hailing from the mean streets of St. Louis, MO, Clownvis Presley has accomplished more in the past few years than most entertainers achieve in their whole careers. In addition to hosting his own monthly variety show and MCing countless events, his charisma and superior singing voice have earned him opening slots on quite a few high-profile shows. He has toured extensively and performed with superstars such as Little Richard, Neil Hamburger, the Dresden Dolls, and Tim Heidecker (of Tim and Eric fame) — all of which has earned him the title “King of Clowns.”
Thanks to a controversial appearance on NBC’s America’s Got Talent, Clownvis is now familiar to millions of people around the planet. His phenomenal audition must be seen to be believed (maybe even more than once). Haven’t seen it? Check out the videos section of this site.
Now based in Los Angeles, Clownvis is ready to rock the entertainment world. Much more than just a party clown, this showman does it all. In addition to hosting music awards, festivals, fundraisers and burlesque revues, Clownvis is also a good guy, donating his talents to charity events and non-profit organizations.
Mr. Presley’s diverse show is loved by a variety of audiences, which has allowed him to perform at theaters, bars, kids parties, biker rallies, store openings and nursing homes. Audiences of all ages appreciate the core of his show — his singing. Clownvis croons both classic covers and originals, including audience favorites like “Barack O’s Tacos” and the Golden Girls theme song, “Thank You For Being a Friend.”
Clownvis is a natural daredevil on stage, using dangerous items like fireworks, topless girls and his own invention, the Anti-Gravity Freedom Rocket ™. He hosts a true variety show. He might take a phone call from Chubby Checker, perform magic or host his own commercial break. On stage, he is flanked by members of the Clownvis Mafia, including his business manager, Narvel P. Tuffnuts and his musical director, Teddy Longsworth. You never know what to expect, but you know you will be a lifelong Clownvis fan by the curtain call.
Clownvis’ legendary stage show is more in demand than ever. Clownvis shines brightest when he’s in the spotlight, and in addition to scheduling live shows in Los Angeles and Las Vegas, he is busy booking a North American tour. The King of Clowns is also producing a comic book and a series of video shorts. He plans to host a television show and headline Las Vegas. Viva Clownvis!
from ClownvisPresley.com
(Clownvis and I wrote this bio together for his website.)
Pilgrimage: Complete
Pazz & Jop 2009 – 37th Annual Village Voice Critics’ Poll
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 2009
37th 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.
The Cure Can Has Cheezburger
The Cure Can Has Cheezburger
Our Song: In Defense of Taylor Swift
Taylor Swift = ♥
Our Song: In Defense of Taylor Swift
My favorite thing in 2009 has been teenage country cutie Taylor Swift. Normally my music radar sweeps shamefully closer to the underground, but it only took one encounter for me to fall in love with Swift’s undeniably hooky, magnetically charged songs.
Swift was hired by Sony/ATV at age fourteen as a staff songwriter, and since then her accomplishments and accolades have just kept on multiplying. The willowy powerhouse with blond tendrils has become the hottest thing to hit country music since Garth Brooks. True, the majority of Swift’s songs are hardly “traditional” country: Except for the occasional fiddle or lilt in her singing, she almost exclusively plays pop songs. And although her image is that of a young Faith Hill or Shania Twain, her talent is on par with classic artists such as Lucinda, Reba and Dolly.
Her stadium tours sell out months in advance, and she’s been nominated (and won) pretty much every music award possible. But don’t hate the playa, children. Just because it’s popular doesn’t mean it’s bad. (See: Nirvana, the Beatles.) Homegirl’s self-titled debut is the longest-charting record of this decade, and to date she’s sold more than 10 million albums. (Swifty even outsold Michael Jackson this year. Dang.) Songs such as “You Belong With Me,” “White Horse,” “Love Story,” “Teardrops on My Guitar” and “Our Song” are freakin’ scary-good. Not good for a country star. Not good for a girl. Not good for someone her age. Just plain good.
Swift is also at least partially responsible for the greatest pop-culture moment of 2009: the Kanye West Interruption Incident from the MTV Video Music Awards. This misdirected outburst of attention-whoring introduced Taylor to a whole new group of fans she wouldn’t have reached otherwise. Miss Swift’s composure, grace and subsequent roof-blowing song performance was more than enough to silence any haters. Oh, snap. Don’t mess with her; I think she’s in it for the long haul. — Jaime Lees
Greatest Taylor Swift pop culture moments captured on video:
— TS and T-Pain, “Thug Story” – link
— TS speech, hugging Dave Grohl (start at 5:45) – link
— TS SNL musical monologue (La La La) – link
— TS pranked by Ellen DeGeneres – link
— TS being awesome (see 1:30) – link
— TS as Ace Frehley from KISS – link and link
— TS with Def Leppard, “Pour Some Sugar on Me” – link
— TS music video, “You Belong With Me” – link
— TS vs. Kanye West on MTV – link
Interview with A.A. Bondy, Playing Tonight at the Gargoyle
A.A. Bondy
Interview : A.A. Bondy, Playing Tonight at the Gargoyle
By Jaime Lees
Fri., Nov. 20 2009
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.
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.
Team Taylor
—>>> CLICK <<<—
The Breeders in St. Louis
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<<
The So-Cal Punk Invasion Tour
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
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.
- article – link
- Sybris – website
- Sybris – MySpace
- photo by Heather Stumpf
Interview with Kim Gordon of Sonic Youth
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.
The Phonocaptors
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.
- article – link
- Jason Hutto – website
- Phonocaptors videos at LoFiSTL.com
- Sex Robots – MySpace
- Dana Smith – website
Interview with Kelley Deal of the Breeders (STL)
Interview with Kelley Deal of the Breeders
Kelley Deal, Amy Whited in 2009 looking out over Skatium Rink (photo by Jennifer Hylton)
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, Amy Whited, Kim Deal in 1994
KELLEY DEAL: Oh, me too. Do you know the story of how we met her?
Yes, but please tell me all of it.
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…”
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!
———————————–
- VIDEO HERE
- Breeders – website
- No Aloha – Breeders fansite
- Amy Whited – website
- Lauren Busiere’s art here
Interview with Lee Ving of FEAR
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
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
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
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
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 – 36th Annual Village Voice Critics’ Poll
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
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.
Rum Drum Ramblers
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.
- article – link
- Rum Drum Ramblers – MySpace
- Big Muddy Records – website
- photo credit – Tiffany Sutton
An Open Letter to Kid Sister
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
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
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.
The One I Love
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]
2008: My Favorites
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]
- article – link
Rats and People Motion Picture Orchestra
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
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 still 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 <<
- article – link
- show review – link
- Henry Rollins – interview outtakes
- Henry Rollins – website
- PunkNews.org – link
Henry Rollins – interview outtakes
-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
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
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.
- article – link
- Man Man – website
- photo credit – Mike Persico
Nick Oliveri
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
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 <
- article – link
- Felice Brothers – MySpace
- AA Bondy – MySpace
- photo credit – Johnathan Purvis
OFFICE – concert preview
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
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
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
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
’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
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
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.
- article – link
- Dr. Dog – website
- Dr. Dog – MySpace
- photo credit – Ryan Collerd
Mötley Crüe
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
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.
The Dials
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.
- article – link
- The Dials – MySpace
- The Dials – website
- photo credit – Jim Newberry
Show Review: Stevie Nicks at the Chaifetz Arena
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.
- article – link
Stevie Nicks
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.
- article – link
Wooden Kites
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
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
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
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.
Concert Review: The Breeders in St. Louis
Concert Review: The Breeders in St. Louis
Saturday, May 10, 2008 – Pop’s
(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
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.
- article – link
- interview outtakes – link
- The Breeders – website
- The Breeders – MySpace
- photo credit – Chris Glass
The Hood Internet
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.
Interview with Thurston Moore of Sonic Youth
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: So, 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.
- article – link
- Estatic Peace! – website
- Thurston Moore solo – website
- Sonic Youth – website
- photo credit – Dave Markey
Interview with The Livers
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
The Safes
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.
The 1900s
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.
- article – link
- interview outtakes – link
- 1900s – website
- 1900s – MySpace
- photo credit: Rebecca Uhle
SXSW: The Random Picture Post
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
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.)
- article link
- also, article in the Village Voice blog – link
- The Breeders – website
Shame Club at SXSW
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
- article link
- also, article on the Village Voice blog – link
- Shame Club – website
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
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
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.
Interview with A.A. Bondy
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 August 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.
>> EXTENDED INTERVIEW HERE <<
Pazz & Jop 2007 – 35th Annual Village Voice Critics’ Poll
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.
- Village Voice – website
- iVoice Exclusive: Thom Yorke Responds to Radiohead’s Pazz & Jop Loss! – link
Vince Neil
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.
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
2007: My Favorites
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
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
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
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
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
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
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
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
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]
Meat Puppets
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
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
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.
Henry Rollins
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
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.
Melvins / Big Business
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
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
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
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
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
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
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
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
Tool in Cape Girardeau: A Photo Essay
Sun Jun 17, 2007
Rock the Vote
Rock the Vote
The 2007 RFT Music Awards winners are here!
Published: June 13, 2007
Ted Nugent
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
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.
2007 RFT Music Showcase
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
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
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
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
Still More SXSW Coverage, Part Two
Wed Mar 21, 2007
By Jaime Lees
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.
Stooges: The SXSW Interview
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
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
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
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
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.
The Stooges – The Weirdness
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
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
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
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
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
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
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
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
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
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
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
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
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
Music Showcase Schedule
The complete low-down on this year’s nominated acts
Published: September 06, 2006
Walkie Talkie U.S.A.
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
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.
Jaime Lees is a music writer.
She is also extra cute.
This is a collection of her published work.
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