www.JAIMEVILLE.com

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.

• article - link
• Motley Crue - website

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

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

• article - link
• Snoop Dogg - website
• 07-09-08 reprint in the Pitch (Kansas City) - article link

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, 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
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.

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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.

• article - link
• Wooden Kites - MySpace

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

• article - link
• Head On Collision - MySpace
• Humanoids - MySpace
• The Livers - MySpace
• Kim Massie - website
• Rats & People - MySpace
• Rum Drum Ramblers - MySpace
• Sex Robots - MySpace
• Wooden Kites - MySpace

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.

• article - link
• Sea Wolf - website
• Sea Wolf - MySpace
• photo credit - Mia Kirby

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

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

• article - link
• The Devil Baby Freakshow - MySpace

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

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

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

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

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

I couldn’t have said it better myself.

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

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

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

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

• article - link
• The Breeders - website

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

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

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

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!

• article - link
• interview outtakes - link
• The Livers - videos
• The Livers - MySpace
• Lo-Fi St. Louis - video link

• link

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

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

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

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

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

• article link
• also, article in Village Voice blog - link
• AA Bondy - MySpace
• Autolux - website
• Breeders - website
• Dead Confederate - MySpace
• Dinosaur Jr - website
• Flosstradamus - MySpace
• J Mascis - website
• Kid Sister - MySpace
• Thurston Moore - website
• Sonic Youth - website

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

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
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.

• article link
• Von Bondies - MySpace

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.

• article link
• Felice Brothers - MySpace

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

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

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

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

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

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

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

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

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

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

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

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

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

AA Bondy reinvents himself as an indie-folk artist
By Jaime Lees
Published: February 6, 2008

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

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

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

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

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

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

AA Bondy: Yeah, I could.

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

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

Is it scary for you to stand up there alone?

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

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

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

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

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

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

[FOR EXTENDED INTERVIEW CLICK HERE]

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

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.

• article link
• Vince Neil - website

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 â