My So-Called Soundtrack

Amos Lee - As The Crow Flies EP (Album Review)

2012-02-13T07:58:00.002-06:00

Soulful singer-songwriter Amos Lee is one those artist whose unique sound blurs every genre tag you try to stick on him. Is it folk, blues, Americana, jazz, alt-country, gospel, roots rock? Thankfully his voice and his songs are so good that the labels don't really matter at all. After four amazing full length albums, you can just say the name Amos Lee and you know what kind of rich smoothness you're going to get. This is definitely the case with As The Crow Flies, Amos' new EP that comes out 2/14 on Blue Note Records. Featuring six songs that were recorded during the sessions for last year's critically acclaimed Mission Bell album, As The Crow Flies continues on in the dusty, laid back vibe created my Amos' relaxed songwriting and the sonic touch of producer/multi-instrumentalist Joey Burns (Calexico). Every song is built around the acoustic guitar and is supported by some of the most gorgeously unencumbered playing that perks the ears without ever demanding attention. Add Amos' bluesy, emotive voice on top and you've got a recipe for one of the most layered and textured releases of the year.

As The Crow Flies kicks off with the atmospheric "The Darkness," showcasing Amos' ability to get a little brooding, though still encouraging that "we all fall into the darkness before the dawn." Adding to the beautifully morose feeling are some elegant strings, dense percussion and some great fuzzed out electric guitar, courtesy of Amos himself. "Simple Things" features a finger-plucked acoustic and some simple piano and glockenspiel lines that really allow Amos' voice and note selection to really shine. There's also some great Weissenborn slide guitar on this track, courtesy of veteran studio sideman Greg Leisz. Greg also shows up on electric guitar on the harmony-rich country shuffle of "Say Goodbye" and on Weissenborn again for the folky "May I Remind You." "Mama Sail To Me" is another finger-plucked acoustic ballad where the lush background instrumentation just swells and breathes around Amos' voice, continually reminding you what is so special about it. As The Crow Flies closes out with "There I Go Again," a rousing organ-fueled number that really highlights Amos' ability to combine moods and instruments in a way that creates something wholly and uniquely him. It's folky and funky and never strays into any odd or confusing areas. Many artists try to do this same thing and many artist just create an unfocused, musical mess. Amos really shows how it can and should be done; genuinely, authentically and most of all pleasing to the ears and heart. As The Crow Flies is not only just a great companion EP to Mission Bell, it also stands on it's own as a collection of Amos' particular brand of expressive, soothing songwriting.

"Say Goodbye" - Amos Lee (As The Crow Flies EP)

MxPx - Both Ends Burning (DVD Review)

2012-02-12T12:56:00.010-06:00

Sometimes the term "retrospective" can be used as a finalizing period for a band and sometimes it can be used as a continuing comma. Sometimes it can also start off as one and then gracefully turn into the other. Such is the case with MxPx and their incredible new DVD, Both Ends Burning. It's described by the band as "a film that captures MxPx at a crossroads in their seasoned career" and a "documentary (that) not only follows the band's struggles in the face of the new touring climate, it also looks at the legacy and impact that Mike, Tom, and Yuri have had on the music industry, fellow bands, and their fans." While that may sound like a daunting task, it certainly captures the overall mood of Both Ends Burning perfectly. Part reminiscing, part forecasting and part detailing of what's currently going on smack dab in between the two, Both Ends Burning is a great snapshot of MxPx's stamp on the musical landscape and their continuing pursuits to make good music, have fun and most of all, remain wholly and completely MxPx.

Both Ends Burning starts off back in 2010 with drummer Yuri Riley's decision to quit the band and their subsequent monumental Las Vegas show where they played Life In General in its entirety as their last show with the original touring members. What was meant to serve as an awesome send off show for Yuri ended up provoking him to remain with MxPx and it inspired the guys to start working on a new album (Plans Within Plans set for an April 3 release). From there, Both Ends Burning takes turns looking backwards and forwards with incredible concert/rehearsal footage, awesome interviews and some behind the scenes insights about the ups and downs of life on the road. From awesome international trips to stressful vehicle breakdowns, MxPx endures it all with a small. The interviews are pretty great as well, with some really nice things to say from Stephen Egerton (Descendents, All), Ethan Luck (Dingees, OC Supertones, Relient K) and Mike Shea (Alternative Press), as well as members of Flatfoot 56, Simple Plan, Against Me!, A Day To Remember and others.

As a diehard MxPx fan since I was thirteen years old (way back in the Pokinatcha days of 1993), my absolute favorite part of Both Ends Burning is Mike's guided tour through The Clubhouse, the old MxPx practice and recording space that's currently serving as their office, merchandise and storage facility. As Mike picks through a storage tub of jaw-dropping early MxPx memorabilia, you can hear the interesting mix of wistfulness and excitement in his voice. While Mike's never been content to just sit back and enjoy what has already happened, there is a lot of merit in taking time to remember what you've done to get where you are. Plus, it's just really cool to see him go through the cassettes, vinyl, VHS, pics, posters and shirts, including the very first shirt they ever made. Whether you're a casual fan, a long-timer or brand new to the MxPx fold, Both Ends Burning is an interesting and fun look at where MxPx has been and where they are headed. Or as the closing scroll of Both Ends Burning so eloquently puts it, "celebrate the past, embrace the future."

Both Ends Burning can be ordered directly from MxPx HERE.

The Black Belles @ The End (Concert Review)

2012-02-08T22:15:00.012-06:00

When it comes to The Black Belles, don't let the make-up and heels fool you. This all-girl garage goth foursome mean serious musical business and they came to play. Sure, the spooky aesthetics, black outfits and campy vibe are intentional, but underneath the tongue in cheek exterior are four fierce ladies that can really play their instruments and can command a crowd's attention. Both characteristics were clearly evident last night during their super fun show at The End. Their demure countenance and soft-spoken between song banter quickly gave way to an explosive musical performance that was equal parts mighty, melodic and macabre. Using fuzzed out guitars, bubbling bass lines, ghoulish organ stabs and pounding drums, The Black Belles conjure up creepy, garage rock, surf-tinged singalongs that harken back to the days of Lily Munster, Annette Funicello and Elvira. But make no mistake about it. Lurking beneath the retro-freaky facade are some really good songs and a thirst for a good time. The Black Belles poured out both to an eager audience at The End and I think the enthusiastic response might've even elicited a black-ringed smile or two from underneath those spooky black hats.

Playing mostly songs from their self-titled debut release, The Black Belles tore through their fantastic set with a compelling stage presence, tight musicianship and a surprisingly powerful backbeat. Head Belle Olivia Jean sang and played like a woman scorned and each lyric was barked out over greasy guitar riffs and catchy lead lines. Tina NoGood provided some perfect haunted church organ and Ruby Rogers kept the bass low and groovy. The secret weapon of The Black Belles is behind the drum kit though. Deceptively small Shelby Lynne played as loud and as powerful as any drummer I've ever seen and she propelled the band into each playful groove they played. The standouts moments in the set were definitely the singalong vocals of "What Can I Do?" and "Hey Velda," the walking dead bass line of "Wishing Well," the organ intro of "Honkey Tonk Horror," the deranged carnival drums of "Leave You With A Letter" and my absolute favorite overall song of the night, "The Wrong Door." They even played a couple of awesome new songs that haven't been released yet, including the galloping "Cuddly Toy" and the funky "Ms. Black Boots," which is slated to be the B-side of their next single. The Black Belles sounded great all night and they seemed to have a good time dancing and bobbing up and down while they played. The crowd was dancing and singing along as well, so a great time was had by everyone there. The Black Belles still have some shows left on their current tour and if you check them out, you're guaranteed a night of great music and ominously fun times. Also, you can still pick up their debut full length, The Black Belles, or their "Honkey Tonk Horror" 7" single from the Third Man Records store HERE.

Remaining Tour Shows:
2/9 Durham NC @ The Pinhook*

2/10 Harrisonburg VA @ James Madison University*

2/11 Brooklyn NY @ Knitting Factory*

2/13 Cleveland OH @ Beachland Ballroom*
2/15 Chicago IL @ Empty Bottle*
2/16 Farmington MO @ The Vault
3/18 Houston TX @ Warehouse Live^
3/19 Laredo TX @ Old No. 2^
3/20 Dallas TX @ La Grange
3/21 Hot Springs AR @ Valley of Vapors Festival

* w/ Bleached
^ w/ Strange Boys

"This Head I Hold" - Electric Guest

2012-01-20T05:20:00.002-06:00

A really cool new band to keep your eyes and ears out for is Electric Guest. Their debut album, Mondo, is coming out April 24 on Downtown Records and they’ve just released their fantastic first single, “This Head I Hold.” Currently the duo (Asa Taccone and Matthew Compton) are preparing to start a Monday night residency at Echo in LA through the end of February and then they’re heading out for a run of shows that will involve an appearance or two at South by Southwest. Oh yeah, Mondo just so happens to be produced by the Midas touch of Danger Mouse as well. There’s good reason that Electric Guest are starting to build up such a buzz and a quick listen to “This Head I Hold” proves they’re worth it. Their snappy, soulful vocals dance on top of melodic flourishes, hooky loops and tastefully programmed beats, all defying you not to move along. Whether you find yourself just tapping a toe or having a full on dance party, Electric Guest is ready to provide the soundtrack.

This Head I Hold by ElectricGuest

Show Dates:

2/6-2/27 - Echo – Los Angeles, CA (Monday night residency)

3/10 - The Green Room – Flagstaff, AZ
3/11 - Santa Fe Sol – Santa Fe, NM

3/13 - Club Dada –Dallas, TX
3/14-3/17 - SXSW – Austin, TX
3/19 - The Lowbrow Palace – El Paso, TX
3/20 - Club Congress – Tucson, AZ
3/21 - Sail Inn – Phoenix, AZ

Two EPs from Delta Spirit (I Think I’ve Found It + The Waits Room)

2012-01-19T19:13:00.001-06:00

(Here's another piece I recently wrote for the fine folks at NoiseTrade.)

So-Cal garage folkers Delta Spirit have a new album coming out March 13 and they’ve got two incredible EPs (I Think I’ve Found It and The Waits Room) up on NoiseTrade for your consumption and enjoyment. Blending together a soulful sonic landscape of greasy rock riffs, sing-a-long vocals and raw energy, Delta Spirit seem to just plug in and go for it each time they play. By cleverly offering the bookends of their first release and their most recent, you’ll be able to get a pretty good gauge of just how special Delta Spirit is.

I Think I’ve Found It came out in 2006 and it was the band’s first ever release. They quickly carved out their own unique place with the Stones-swagger of “Streetwalker,” the punk-stomp of “Crippler King” and the saloon-soaked piano of “French Quarter.” As a debut, I Think I’ve Found It does a great job of introducing the band and showcasing some of their musical roots. By allowing their influences to poke through, without ever letting them overstay their welcome, Delta Spirit smartly offers a simultaneous peek into themselves and their record collections.

The Waits Room was released in 2010 and as cheesily-cliched as it sounds for me to say, it undeniably shows a maturity and an expansion of their sound in a way that most bands don’t ever get to experience. By focusing their passion and attitude into a more nuanced palette of songwriting and instrumentation, the tracks on The Waits Room show Delta Spirit unraveling more layers of themselves in both content and approach. They effortlessly create an intimate atmosphere with steady-strummed acoustics, subtle electrics and storyteller vocals, even throwing in some tasty harmonica as a cherry on top. The folky fingerpluck of “Devil Knows You’re Dead” and the romantic reminiscence of “Bushwick Blues” might have you thinking the boys went all coffee shop soft all of a sudden. But make no mistake about it, this EP is just as brash and beautiful as their first and I’m pretty sure the inclusion of “John Henry” was to remind everyone what can happen when the guys let go. The cracking snare, distorted guitars, and bullet-mic vocals evoke a little MC5 flavor and they do an incredible job of amping up the early 1900’s folk song and making it their own.

Both EPs sound incredible and give you a great taste of what Delta Spirit can do. Their self-titled new album will be released on Rounder Records on March 13 and you can hear the first single, “California,” HERE. As a bonus, if you just can’t seem to get enough Delta Spirit, they’ve got 4 amazing sessions up on Daytrotter, including one that’s made up exclusively of Tom Waits covers.

My Part-Time Cover: "The Wurlitzer Prize (I Don't Want To Get Over You"

2012-01-18T18:03:00.001-06:00

Last week I did a giveaway for The Little Willies and I asked the following question:

Name the classic country cover song (and the album it appeared on) that Norah and Richard collaborated on BEFORE The Little Willies was officially a band.

The song that Norah and Richard covered was Waylon Jennings’ “The Wurlitzer Prize (I Don’t Want To Get Over You)” and it appeared on the album Lonesome, On’ry and Mean: A Tribute To Waylon Jennings which was released in 2003. Waylon originally released the song as a single in 1977 and it also appeared on the album Waylon and Willie the very next year. Waylon and Willie is one of those legendary Outlaw Country albums that was released in defiance of the schmaltzy, glitzy music that was coming out of Nashville at the time. The album hit #1 on the charts, went double platinum and was bookended by the great “Mammas Don’t Let Your Babies Grow Up To Be Cowboys” and “The Wurlitzer Prize (I Don’t Want To Get Over You).” I love the audible ache in the music and the honest heartbreak in the lyrics. At a time when machismo and bravado were expected from these rough and tumble “outlaws,” lines like “I’m not here to forget you, I’m here to recall” and “Help me remember you, I don’t want to get over you” show an usually softer, more heartfelt set of emotions. Ones that, if even shown at all, are usually reserved for love songs, not the break-up ones. This one’s a total barroom weeper and it’s a great example of that killer musical time period.

"The Wurlitzer Prize (I Don't Want To Get Over You)" - Waylon Jennings (Waylon & Willie)

Norah’s penchant for classic country music led to her being asked to be on the Waylon tribute album and she just so happened to bring in her friend Richard Julian to help out on harmony vocals. No offense to Waylon or Willie, but hands down I love this smoky version the absolute best. While they decided to keep the vibe pretty true to the original, there’s definitely a little more melancholy and soul to the delivery in Norah’s cover. It’s also a really interesting flip to hear the same lyrics sung from the perspective of a female. There’s just something about “Alone at a table for two” and “A fresh roll of quarters” that’s a little more of a gripping image when it’s a female instead of a male. Most undeniably awesome though is the magical blending that always takes place when Norah and Richard sing together. That’s what struck me the most when I first heard this song. When The Little Willies released their debut album a few years later and I had a full album of them singing together, it was definitely a dream come true for me. With the release of For The Good Times last week, The Little Willies are two for two and I truly hope there’s even more magic to be had from them in the future.

"The Wurlitzer Prize (I Don't Want To Get Over You)" - Norah Jones (Lonesome, On'ry and Mean: A Tribute To Waylon Jennings)

My Part-Time Cover: "Dark As A Dungeon"

2012-01-16T05:35:00.002-06:00

While "Dark As A Dungeon" was originally written by country legend Merle Travis (the same guy who wrote "Sixteen Tons") in the 1940's, there's no question that its popularity should be attributed to Johnny Cash's live version that he recorded for At Folsom Prison in the 1960's. Although it's looked at fondly in retrospect, at the time Cash's decision to perform prison concerts, much less release one as an album, wasn't met with much enthusiasm from his record label. However, not only did At Folsom Prison essentially revitalize Cash's drug-stalled career, it also allowed him to release another prison concert, At San Quentin, in 1969 that turned out to be Cash's first number one album to hit the Billboard Pop Albums chart. There were two performances that were recorded for At Folsom Prison and the setlists were surprisingly packed with songs about prison, death and sadness. Not surprisingly though, the prisoners ate up every note and lyric and the rowdy responses after (and sometimes during) the songs attest to their approvals. "Dark As A Dungeon" was recorded at both shows and during its first show performance, Cash started laughing at one of the prisoner's outbursts and smirkingly had to remind the rambunctious inmates that the show was being recorded.

"Dark As A Dungeon" - Johnny Cash (At Folsom Prison)

Wall of Voodoo is a band that I've got quite a soft spot for. But like all band-fan relationships, its got its touchy moments. In the early 1980's, they released three albums and an EP fronted by Stan Ridgway, a guy that I think has one of the most unique voices and most adventurous musical spirits in all of the New Wave/Alternative genre. Unfortunately, due to drug use and behavioral problems, Stan and two other members left Wall of Voodoo after their performance at the second US Festival in 1983. The remaining members continued on with a new lead singer, Andy Preiboy, but kept the Wall of Voodoo name. Without Ridgway, the totally unique sound of the band, both vocally and musically, was forced to change and it was nowhere near as magical for me. While I don't really care for the Preiboy-fronted version of the band, there is one song I can pluck from that period that I really enjoy. Their cover of "Dark As A Dungeon" from their 1985 release, Seven Days in Sammytown, is pretty awesome. The monotone vocals, synthesizer and industrial flavored electronic drumbeat combine perfectly to at least hint at the coolness of what the Wall of Voodoo name was known for. I could certainly do without the creepy clown artwork though.

"Dark As A Dungeon" - Wall of Voodoo (Seven Days in Sammytown)

Rosie Thomas - These Friends of Mine + "Where Was I"

2012-01-14T09:18:00.000-06:00

(Here's another piece I recently wrote for NoiseTrade.)

For Rosie Thomas, an album title like These Friends of Mine is far more than just a cutesy, homespun ideal. When it came time to put together her fourth release, she enlisted the help of some pretty impressive friends and the results are as warm and welcoming as any late night hang-out should be. These Friends of Mine is a beautiful collection of Rosie’s songs that showcases a unique mix of uncluttered instrumentation, bittersweet lyrics and her crystal clear vocals. Add in a list of contributing friends that includes players/singers/producers like Sufjan Stevens, Denison Witmer, Dave Bazan (Pedro The Lion, Headphones), Damien Jurado and Jeremy Enigk (Sunny Day Real Estate, The Fire Theft) and you’ve got the ingredients for an overwhelmingly awesome album. The songwriting is inviting and moving, the vocals are expressive and soothing and the overall vibe is cozy and relaxed. Even the banter and laughter that bookends some of the songs feels comfortable and genuine. One of an artist’s main goals is to make a connection with the listener and Rosie does an incredible job of getting her songs across with an engaging invitation and a quiet confidence. Her fragile, breathy vocals are the perfect vehicle for her lyrics and really help to convey the romantic daydreaming of “All The Way To New York City,” the wistful rememberance of “Much Farther To Go” and the wanderlust of “Kite Song.” When she duets with Sufjan on “Say Hello,” the matched delicateness of their deliveries resonate in a really cool way most that duets never achieve. Even when she’s not singing her own songs, she manages to put her own stamp on some great covers from Fleetwood Mac (“Songbird”), R.E.M. (“The One I Love”) and Denison Witmer (“Paper Doll”). These Friends of Mine is an incredible slice of laid-back indie-folk that’s best listened to while hanging out with your closest friends and holding hands with your special someone. Don’t worry though, it sounds just as amazing when you’re by yourself.

These Friends of Mine was originally released in 2006 on Seattle’s legendary Sub Pop Records and the fact that it’s currently being offered on NoiseTrade for free (or hopefully for a generous tip!) is just plain cool. But if downloading such a great album wasn’t enough for you, Rosie has also included “Where Was I,” a new song from her forthcoming album, With Love. The soft shuffle of “Where Was I” finds Rosie backed by a full band and singing in a richer register of her voice. The cool contrast between the songs on These Friends of Mine and “Where Was I” really spotlights Rosie’s talent, versatility and progression as an artist. With Love will be released on February 14 on Sing-A-Long Records and continues the “friendly” aesthetic as it was produced by Dave Bazan and boasts appearances from Sam Beam (Iron & Wine), Blake Wescott (The Posies) and many more. Rosie is also hitting the road in March for a small tour to support With Love and you can catch her at the following shows:

3/15 – Philadelphia, Pa. @ World Cafe Live
3/16 – Vienna, Va. @ Jammin’ Java
3/17 – Chapel Hill, N.C. @ Nightlight
3/18 – Atlanta, Ga. @ Red Light Cafe
3/20 – Nashville, Tenn. @ 12th and Porter
3/21 – St. Louis, Mo. @ Old Rock House
3/23 – St. Paul, Minn. @ Turf Club
3/24 – Madison, Wis. @ University of Wisconsin
3/25 – Chicago, Ill. @ Schuba’s
3/26 – Ann Arbor, Mich. @ The Ark
3/27 – Grand Rapids, Mich. @ Covenant Fine Arts Center
3/28 – Akron, Ohio @ Musica
3/30 – Boston, Mass. @ Cafe 939 at Berklee College of Music
3/31 – New York, N.Y. @ Joe’s Pub

The Little Willies - For The Good Times (Album Review)

2012-01-09T06:30:00.001-06:00

When talking about The Little Willies, the term “classic country cover band” is an accurate, yet sorely understated, description. Comprised of five friends (Norah Jones, Richard Julian, Jim Campilongo, Lee Alexander and Dan Rieser) who just so happen to all have successful music careers on their own, The Little Willies is definitely one of the most talented and fun-loving group of musicians who ever got together to play other people’s songs. They released their self-titled debut album in 2006 and for their recently released second album, For The Good Times, The Little Willies once again draw deep from the well of the mid-century classic country songbook. As they reinterpret songs made famous by such “legends on a first name basis” as Hank, Johnny, Loretta, Kris, Dolly, Lefty and their namesake Willie, they also sprinkle in a few lesser know gems that easily manage to hold their own beside the bigger hits. There’s even an original Campilongo-penned instrumental (save for a lyrical shout out) that reminds everyone that they could certainly write an album of twangy tearjerkers if they wanted to. But creating those brand new songs isn’t the main focus of The Little Willies. What was originally supposed to be just a Willie Nelson cover band (hence the name) eventually turned into the more expansive catalog version of The Little Willies we know today. But what didn’t change was their reason for getting together in the first place; to have fun while playing some of their favorites of the songs they grew up on. As a listen through For The Good Times will attest to, they’ve successfully blended nostalgia and now for an incredible album of reimagined classics.

For The Good Times kicks things off with a raucous romp through Ralph Stanley’s “I Worship You” that cleverly alternates between a burlesque-drum chorus and a Texas two-step verse. Jim’s slinky guitar picking, Lee’s walking double bass and Dan’s versatile drumming create a fluid foundation for Norah and Richard to beautifully harmonize over. “I Worship You” is a great choice for the opener as it showcases both the upbeat energies and the quieter powers of The Little Willies, all contained within one song. The feisty spirit that’s found in the verses is one of my favorite characteristics of The Little Willies and it’s perfectly repeated throughout the album on songs like Loretta Lynn’s “Fist City,” Lefty Frizzell’s “If You’ve Got The Money I’ve Got The Time” and Johnny Cash’s “Wide Open Road.” In fact, Norah’s flawless channeling on “Fist City” and Richard’s attitude on “Wide Open Road” are two of my most favorite moments on the album. Luckily though, as great as they are on the stompers, they are equally as note-perfect on the weepers. They handle the titular “For The Good Times” as tenderly as the Kristofferson original and Willie Nelson’s “Permanently Lonely” contains a heartbreakingly smooth vocal from Richard, a little barroom tinkling piano from Norah and some beautiful acoustic guitar work from Jim. The hands-down showstopper of the album though is their take on Dolly Parton’s “Jolene.” With a brooding undercurrent bubbling below Norah’s pleading vocal, all five members skillfully match the fragility and emotion found in the lyrics. With all of these amazing standards, plus a few welcomed surprises like “Fowl Owl On The Prowl” and “Diesel Smoke, Dangerous Curves,” For The Good Times ends up blending memories with freshness and the comfortable with the unconventional, all to outstanding results. If your flavor of country music is more AM than FM, you’d be well served to check out For The Good Times and also keep your eyes and ears peeled for The Little Willies. They’re not always on the road, but like all good music, they’re always around.

For The Good Times will be released on Tuesday, January 10 and can be pre-ordered on CD or vinyl directly from The Little Willies HERE.

"Wide Open Road" - The Little Willies (For The Good Times)

***FREE GIVEAWAY CONTEST: Answer the trivia question correctly and you could win a copy of The Little Willies self-titled debut album on CD.***

Name the classic country cover song (and the album it appeared on) that Norah and Richard collaborated on BEFORE The Little Willies was officially a band.

Once you've got the answer, email me at mysocalledsoundtrack@gmail.com with your answer, your name and your address. Don't worry, I promise not to sell your info to any magazine subscription services unless the price is just too good to pass up. Just kidding of course! My So-Called Soundtrack promises not to sell or give your info to any third party, blah, blah, blah.

***Deadline for entry is Tuesday, January 17***

Personal Favorites of 2011

2012-01-06T06:45:00.002-06:00

I’ve ranted before about my distaste for the plethora of “Year End Top 10” lists and the pretentious haughtiness they seem to carry when they use the “most important” and “must have” verbiage. Someone’s “best of” is rarely the exact same as another’s “best of,” but that never stops us from dissecting and discoursing about the albums that seemed to touch us the most throughout the year. Some lists are based on sales, some lists are based on cool points and some lists just try to be as contrarian as possible. At the end of the day though, it sure is fun just to talk about music that’s meaningful to you. Lists don’t matter at all, but the music absolutely does. So once again on behalf of unnecessary lists everywhere, here’s my “Personal Favorites” list of albums that grabbed me the most last year.

The Horrible Crowes – Elsie: Comprised of Brian Fallon of The Gaslight Anthem and his friend/guitar tech Ian Perkins, The Horrible Crowes is a moody, atmospheric outfit that begs to be listened to in the low light of evening. Each cinematic song is a beautifully unsettled mix of serenity and agony, catharsis and meditation, rumbling with a restrained energy that never bubbles over into excess.

The Civil Wars – Barton Hollow: This Southern gothic folk duo gorgeously combines heart heavy lyrics with harmonious vocals courtesy of Joy Williams and John Paul White. The beauty of The Civil Wars is what they do with so few ingredients. Their two voice, one or two instrument approach gives their songs the illusion of a fragile veneer that gently cloaks their rock solid songwriting.

R.E.M. – Collapse Into Now: When this album released back in March, no one knew that the Athens-based alt-legends would eventually announce their demise later in the year. What initially seemed like a passionate, cranked-up return to the early days quickly turned into a send-off love letter to the masses. For a decades-long fan like myself that hated to see them call it quits, it was nice to see them go out with such power and gusto.

Wilco – The Whole Love: After Wilco caught a little heat for the perceived safeness of their last album, Jeff Tweedy and the boy returned with an album as inspired and ambitious as their Yankee Hotel Foxtrot days. The Whole Love finds Wilco firing on all cylinders and doing what few, if any, other bands could. Whether thumbing gentle acoustic ballads or mixing searing electrics with danceable synth loops, Wilco proves that they are still as uncontainable and untouchable as ever.

Sandra McCracken and Derek Webb – TN EP: As a follow up to 2008’s Ampersand EP, Derek and Sandra combined their songwriting and instrumental talents again for their second joint collaboration, TN EP. When two incredibly strong musical forces try to merge, the results can be oil and water. However, the cohesion found on TN EP is more akin to a chemical reaction where the ingredients transform into something completely new and inseparable. Each track is melodically lush and layered, built on a foundation of solid songwriting and complemented by a variety of organic and non-organic musical elements.

Danger Mouse and Daniele Luppi – ROME: Take two innovative producers, a sprawling sonic landscape and a cast of musicians from vintage spaghetti western soundtracks. Then splash in a little Jack White and Norah Jones into the mix and you’ve got the brooding strains of the ROME project. With 9 instrumental tracks and 3 songs a piece for each guest vocalists, each song blends seamlessly into the next for a trippy 60’s vibe that makes this one of the coolest and most unique albums of 2011.

The Hawk In Paris – HIS + HERS EP: Three college friends (Dan Haseltine, Matt Brownleewe and Jeremy Bose) separately traversed their own successful paths in the music industry and then reconnected to form an amazing electronic trio called The Hawk In Paris. Their debut EP pulls from the synthpop and new wave gurus of their 80’s upbringing and adds in the dance beats and modern advancements of those carrying the electro-torch today. HIS + HERS is a tasty seven song EP and the guys are currently in the studio working on a full-length release for 2012.

Social Distortion – Hard Times and Nursery Rhymes: For us Social Distortion fans, Hard Times and Nursery Rhymes was both a long time coming and well worth the wait. Not only does Hard Times and Nursery Rhymes contain some of Social Distortion’s loudest guitars and finest vocal performances to date, but they even threw in a couple of new sonic twists and turns not usually found on their records. But don’t worry, their calling card of huge guitars, snarling vocals and a pounding rhythm section are all over this bombastic and diverse album.

Foo Fighters – Wasting Light: For Foo Fighters’ seventh studio release, Dave Grohl did his darndest to obliterate any final dividing lines between his current and former band. Not only was Wasting Light an incredibly heavy, band-oriented album, but Grohl employed some pretty Nirvana-friendly personnel as well. Butch Vig produced the album, Krist Novoselic played bass and accordion on “I Should Have Known” and Pat Smear officially returned to the fold for his first Foo’s album since The Colour and the Shape. Catchy, anthemic and slathered in guitars, Wasting Light reminded everyone why Foo Fighters has been able to stay on top through the 90’s and 00’s and why they are still going strong.

Various Artists – Rave On Buddy Holly: Tribute albums are notorious for being hit or miss affairs, but this one certainly has more shining moments than duds. Having some of Buddy Holly’s best-known songs interpreted through a variety of voices and genres really highlights the power and originality of his songwriting. While there are some pretty big name artists on here like Paul McCartney, Patti Smith and Nick Lowe, I really enjoyed the offerings from the younger crowd of Justin Townes Earle, Karen Elson and Florence + The Machine.

Christmasongs: Auld Lang Syne

2011-12-31T08:27:00.000-06:00

What a minute, you say! Isn’t “Auld Lang Syne” a New Year’s song? Technically, yes but it’s no secret that New Year’s songs always get lumped in with Christmas songs. This one even shows up in Elf. But Scottish poet Robert Burns’ ode to fondly looking back perfectly fits the New Year’s ideals of remembering the past and hoping for the future. Every New Year’s Eve party, television countdown special, gigantic inanimate object drop, and movie scene that takes place on December 31st uses “Auld Lang Syne” to immediately transport us to that place. Don’t believe me? Cue up the New Year’s scene from When Harry Met Sally and tell me it doesn’t get you. It usually only takes the first note or two to be swept up in the grandiose moment of one year giving way to the next. There’s probably a version for every imaginable genre, but here’s my two refined and rowdy favorites:

“Auld Lang Syne” – Guy Lombardo: For the nostalgic, romantic, 1930’s Big Band sound, Guy Lombardo is golden. The first minute is perfectly instrumental and begs to be danced to. Once the voices come in, the vintage feel is solidified and makes you wish for a few more verses. This is the version for your “just the two of us” New Year’s Eve party or for the family gathering where your grandparents have a few more years to look back on than everyone else.

"Auld Lang Syne" - Guy Lombardo

“Auld Lang Syne” – MxPx: However, if you’re headed to a friends’ party and want to have a really good time, MxPx has you covered. Loud, raucous, and as celebratory as they come, this is my idea of ringing in the new year. A word of caution though, this version could cause something in the house to get smashed. So hide your breakables, kiss your sweetheart at midnight and sing a long!

"Auld Lang Syne" - MxPx

Christmasongs: 'Twas The Night Before Christmas

2011-12-24T09:15:00.001-06:00

“A Visit From St. Nicholas,” or “'Twas The Night Before Christmas” as it is more commonly referred to, is a poem from the 1820’s that is usually ascribed to author Clement C. Moore. Our modern image of Santa Claus, the one found on wrapping paper and Coke packaging everywhere, draws almost exclusively from this poem. It’s hard to hear these classic verses and not get even a little holiday spark in your spirit. Growing up, one of our Christmas Eve traditions was to read this after we read the story of Jesus’ birth from the Bible. Wrapped up in some brand new pajamas we had just opened and sipping some hot apple cider my dad had just made, we would sit back and try to somehow keep our cool on in anticipation of the night of excited sleeplessness that lay ahead. I've still got the book my dad read from and you can bet I'll be reading from it one day too. Maybe that’s why this poem always stirs up something in me no matter who’s reading it. Besides, name me another poem or song that has been able to wrangle the following cast of interpreters:

“The Night Before Christmas” – Bob Dylan: For the Season One “Christmas & New Year’s” episode of Bob Dylan’s Theme Time Radio Hour show, Bob warmly read the poem over a nice acoustic guitar backdrop. His unique delivery and creaky voice fit the reading perfectly and he balances the festive reverence of the well-worn lines with a sly smirk in his voice. I could listen to this version a thousand times over.

"The Night Before Christmas" - Bob Dylan

“The Night Before Christmas“– Louis Armstrong: Satchmo’s infectiously jolly rendition makes you feel like it’s being read by Santa Claus himself. His booming voice, boisterous chuckle and playful inflections create a distinct version all his own. He almost sounds like he’s hearing it for the first time while he’s reading it and there’s no question that he’s thoroughly enjoying himself. Just like with Bob’s version, I never get tired of hearing this one either.

"The Night Before Christmas" - Louis Armstrong

“'Twas The Night Before Christmas” – Henry Rollins: Leave it to punk’s renaissance man Henry Rollins to whip up the most off-kilter arrangement. He kept the original lyrics but fashioned a backing track of air raid sirens, helicopter blades, gunshots and a bomb drop. It’s not quite as “yuletide fuzzy” as the other two, but for a teenager in the 90’s looking for all things irregular, unconventional, sarcastic and ironic, this one fit the bill like few else. This one is a matter of quality over quantity for me because eventhough I don’t listen to it as much as the other two, it hits me just the same.

"'Twas The Night Before Christmas" - Henry Rollins

Christmasongs: Happy Hanukkah!

2011-12-20T06:10:00.000-06:00

According to the Hebrew calendar, today is the 25th day of Kislev, more commonly observed as the kick off to Hanukkah. Don’t feel bad if the eight-day Festival of Lights snuck up on you again this year. Since Jewish holidays aren’t based on the internationalized Gregorian calendar, they seemingly fall on different days each year. Due to the differences in marking the passage of time and days, Hanukkah can actually be celebrated as early as late November or as late as the end of December. While Hanukkah in 2013 is set to be observed just a few days after Thanksgiving (November 27), this year’s celebration starts about as close to Christmas as you can hope for. So I say we all do our own part to demystify the aura of the menorah and I’ll start with a “Hanukkah Crash Course” and some awesome Hanukkah-inspired tunes.

While I’m no scholar, here’s goes… In 175 BCE, Greek ruler Antiochus IV invaded Judea, recaptured Jerusalem, outlawed Judaism and desecrated the Holy Temple. Not only could Jews no longer openly practice their beliefs and customs, but Antiochus IV went so far as to ransack the Holy Temple and to sacrifice pigs on the altar. This caused a giant backlash of uprising and guerilla warfare (commonly referred to as the Maccabean Revolt, “maccabean” being taken from the Jewish word for “hammer”) that allowed the Jewish people to reclaim the city and the Holy Temple. They had to repurify the temple by creating new holy vessels and by building a brand new altar. They were only able to find one undefiled container of oil for the temple’s menorah and it was only enough to last through one night’s burning. However, the oil burned for eight days straight, which was the exact time it took for the priests to prepare more oil for the menorah. Hanukkah was established to celebrate, among other things, the rededication of the temple and the miracle of the oil.

While there certainly aren’t a plethora of rocking songs about Hanukkah (punk covers of “Dreidel, Dreidel, Dreidel” nonwithstanding), there are a few out there that find themselves right at home in my annual holiday festivities. Here are a few of my favorites:

Adam Sandler first introduced “The Chanukah Song” in 1994 on Saturday Night Live during an episode of “Weekend Update.” They played it a ton on the radio stations where I lived and I learned the simple chords and lyrics to earn some cool points with my school and church friends. Adam’s currently released three different versions of the song with an ever-revolving cast of Jewish and non-Jewish celebrities. Although they are all hilarious, the first version will always hold a special place for it’s sheer out-of-nowhere awesomeness.
"The Chanukah Song" - Adam Sandler

Stephen Colbert released his holiday special, A Colbert Christmas: The Greatest Gift of All! in 2008 and it is filled with ridiculously funny songs and guest stars. Among them is the holiday invitational duet, “Can I Interest You In Hannukah?” sung with Jon Stewart. Much like Sandler’s song, this one is incredibly clever and the first few times you hear it you’re guaranteed to miss a line or two from laughter.
"Can I Interest You In Hannukah?" - Stephen Colbert and Jon Stewart

Save Ferris was one of those third wave ska bands from the 90’s that I thought should’ve gotten more recognition. I loved their It Means Everything album from 1997 and it’s a shame that there was apparently only room for No Doubt in the “girl-fronted ska band” category. Save Ferris’ “Christmas Wrapping” is a fun take on The Waitresses’ song that changes all the lyrics by subbing in Hanukkah references.
"Christmas Wrapping" - Save Ferris

When members of Guster and The Zambonies got together to form The LeeVees, they had only one goal in mind; write an entire album’s worth of Hanukkah songs. They succeeded and Hanukkah Rocks was released in 2005. The album has a great sonic sound to it and songs titles like “Jewish Girls (at the Matzoh Ball)” and “Gelt Melts” should tell you all you need to know. May favorite song takes on the spelling dilemma that surrounds Hanukkah and is appropriately titled “How Do You Spell Channukkahh?” to help confuse things even further.
"How Do You Spell Channukkahh?" - The LeeVees

Christmasongs: Stink, Stank, Stunk!

2011-12-15T23:32:00.000-06:00

For all the classic, engrained in our upbringing holiday television specials of yesteryear (i.e., before the 80’s), not many of them contain an actual villain. Sure, Hermey and Rudolph had to watch out for the Abominable Snow Monster and Frosty was always looking over his shoulder for the sun. But for the most part, everywhere was pretty peachy keen in Christmas cartoonland. Everywhere that is, except Whoville! How The Grinch Stole Christmas! was always fascinating to me as a kid because of the dread and terror from the Grinch that balanced out all the syrupy sweetness of the Whos. I mean the guy has yellow eyes and has termites running through his teeth! It’s no surprise that everything ends well for all parties involved, but the first two-thirds of the story is a one-man maniacal reign of terror that keeps me coming back year after year. Eventhough Dr. Suess wrote How The Grinch Stole Christmas! all the way back in 1957 and the televised special came out in 1966, the Grinch still seems as popular as ever. I believe it's because to be truly memorable, a villain needs a really good theme song and “You’re A Mean One, Mr. Grinch” fits the bill perfectly. The song was originally sung in the animated special, not by the narrator Boris Karloff as many believe, but by the equally gravelly-throated and equally devilishly-named Thurl Ravenscroft. It’s a 6-verse, no chorus, occasional speaking part romp of stink, stank, stunk goodness.

"You’re A Mean One, Mr. Grinch” - Thurl Ravenscroft

Throughout the years, everyone from Mojo Nixon to RuPaul has tried their hand at covering “You’re A Mean One, Mr. Grinch” to varying degrees of success. Some really rock and some are pretty ho-hum, but here are a few of my most favorite versions:

"You're A Mean One, Mr. Grinch" - Whirling Dervishes

"You're A Mean One, Mr. Grinch" - Tracy Bonham

"You're A Mean One, Mr. Grinch" - Sixpence None The Richer

As a Grinch-related bonus, here’s a version of “Little Drummer Boy” by Jars of Clay dubbed the “Grinch Mix” from their 1995 EP, Little Drummer Boy. Colder and more abrasive than their straight version of “Little Drummer Boy” from the same EP, this one is definitely a 3 Decker sauerkraut and toadstool sandwich with arsenic sauce compared to the other one.

"Little Drummer Boy" (Grinch Mix) - Jars of Clay

Music City Unsigned Family Christmas Volume 2 (Album Review)

2011-12-14T05:19:00.002-06:00

If the same old Christmas music has you feeling like you don’t want to hear another thing from Bing or has you saying no mo’ to Como, then the fine folks at Music City Unsigned have got the holiday album for you! Following the success of last year’s Family Christmas release (which technically makes this a “tradition” now right?), Music City Unsigned has released Family Christmas Volume 2 to help you soundtrack your yuletide festivities. With 10 diverse tracks of Christmas covers and holiday-flavored originals, there’s a lot to love about Family Christmas Volume 2. Each song on the album has a unique tone and spirit to it, and the album also achieves an overall continuity that makes it great for just throwing it on and letting it spin. No matter if it’s a holiday party or your morning commute, Family Christmas Volume 2 will put you and yours into the Christmas spirit in no time! There are enough musical stylings and lyrical themes to pick from to please even the most pickiest of music fans on your shopping list as well. Looking for a nostalgic longing for home, a peaceful hymn or a bluesy carol? Check, check, check and much, much more.

Family Christmas Volume 2 opens with “Winter Dress” from Justin Wade Tam’s outfit Humming House. This bouncy, bluegrass-flavored tune overflows with guitars, ukelele and beautiful harmonies. It’s a really fun song and an interesting take on the personification of Winter. For more eggnog-swilling, upbeat numbers, Family Christmas Volume 2 also features “Away In A Manger” from Carolina Story, “I’m Coming Home” from Robert Kelly and a Sufjan-inspired “Once In Royal David’s City” from The Vespers. If you’re looking for a little cozier vibe to snuggle up with, check out the slow burn blues of “Ain’t No Christmas Blues” from Jeffrey James or the gorgeous piano-cello duet of “Home” from Marie Hines. However, if mistletoe is the last thing on your mind right now, Emily DeLoach’s fantastic “If I Can’t Have You” is one of the best holiday “missing you” songs this side of “Blue Christmas.” This wistful, acoustic folk song is backed with some sparse piano and some of the saddest sounding “fa la la’s” you’ll ever hear. On an album of great songs, this one and Robert Kelly’s “I’m Coming Home” are definitely the standouts for me. Also sprinkled throughout the album are a super calming “Silent Night” from The CO, a surprisingly emotional “Jingle Bells” from Andrew Ripp and album closer “O Holy Night” from Jessica Breanne & The Electric Hearts. This organ-fueled, vintage R&B throwback features Jessica doing her best Janis Joplin and The Electric Hearts channeling Booker T. and The M.G.’s to stunning results. With a $10 price for the physical CD (only $5.99 digital), not only are you getting more than your money’s worth for Family Christmas Volume 2, but you’re also helping to support the awesome work that Music City Unsigned does for independent artists and musicians. It’s a great album, for a great price, representing a great collective and it’s definitely worth your time and money to pick it up.

You can order physical or digital copies of Family Christmas Volume 2 or a combo pack that includes Family Christmas Volume One directly from Music City Unsigned HERE.

"If I Can't Have You" - Emily DeLoach

"I'm Coming Home" - Robert Kelly

Christmasongs: A Totally Rad 80's Christmas

2011-12-13T20:13:00.000-06:00

Can we all agree that there seemed to be something extra special about the Christmases of the 1980’s? Whether it was due to my age (born in 1980), the special marketing relationship between TV and toys, the rise of video game systems, the plethora of McDonald’s holiday commercials or the awesome toys that were created under the Cold War climate (G.I. Joe, Rambo, Hulk Hogan vs. Nikolai Volkoff action figures), it seemed to always be a ‘roided out version of Christmas, at least for us kids. Luckily there was also some great music to go along with all of the Cabbage Patch Kid stampedes and claymation California Raisins. A bunch of 80’s Christmas songs have appeared in my previous “Christmasongs” posts and they are more to come after this, but here's a nice chunk of goods ones to mention. Let’s jump in the DeLorean and take a trip shall we…

“Do They Know It’s Christmas?” – Band Aid: You can’t talk about Christmas music from the 80’s without starting here. In 1984, Bob Geldof and Midge Ure gathered together a huge collection of some the biggest musical acts of the time to record a single that would raise money for the Ethiopian Famine. Leading the way for other charitable efforts like Live Aid and the “We Are The World” single, “Do They Know It’s Christmas?” serves as an important milestone in the ongoing relationship between music and relief efforts. Watching the video for this one is like a “Where’s Waldo” of the musical landscape of the 80’s.

"Do They Know It's Christmas?" - Band Aid

“Christmas (Baby Please Come Home)” – U2: It’s hard to believe that only one of the A Very Special Christmas compilations were released in the 80’s, but it was at least a really good one. Bruce Springsteen, Sting, Run DMC, Madonna and Bon Jovi all appeared on it and U2 performed one of the best loved covers of Darlene Love’s classic “Christmas (Baby Please Come Home).” It was recorded during a soundcheck on one of the stops on The Joshua Tree tour, so it has that iconic mid-80’s U2 sound. This one shows up every year on radio playlists and retail store overhead speaker, but for very good reason.

"Christmas (Baby Please Come Home)" - U2

“Thanks For Christmas” – XTC: Under the moniker “The Three Wise Men,” XTC released “Thanks For Christmas” as a non-album holiday single in 1983. XTC has always been one of the better bands to emerge from the New Wave/Alternative genre and it speaks a lot about them that they can even pump out an original Christmas tune as well. This one feels super upbeat and festive and I really love the overall musical tone of the song. As a side note, the appearance of this song (along with “Christmas Wrapping” by The Waitresses) in the first season Christmas episode of Gilmore Girls helped Amanda get me hooked on the show. I’m totally down with any show the exhibits such incredible musical taste. I’ve said too much…

"Thanks For Christmas" - The Three Wise Men (XTC)

“All I Want For Christmas” – Timbuk 3: Timbuk 3 is a unique band that is mostly categorized as a one-hit wonder for their irony laced “The Future’s So Bright, I Gotta Wear Shades” single. However, my favorite song of theirs is “All I Want For Christmas” from 1987. Written as somewhat of a protest song against the vast array of “war toys” that were available to kids, the chorus of “All I want for Christmas is world peace” sums up the song pretty well. The verses name drop a lot of toys like Transformers, G.I. Joes, Rambo and Thundercats and there’s also a reference to Stars Wars 1, 2, and 3 and VCRs. Add in a drum machine and a “We Three Kings” harmonica solo and you’ve got one decidedly 80’s socio-political Cold War Christmas song.

"All I Want For Christmas" - Timbuk 3

“Merry Christmas Santa Claus (You’re A Lovely Guy)” – Max Headroom: 80’s icon and “New Coke” spokesman Max Headroom’s voice causes an instant flashback for folks like me. His humor, sarcasm, electronic voice and stuttering delivery brought an erratic vibe to everything he was involved in. Hearing him sing this song takes me right back to a childhood Christmas playing Super Mario Brothers in my Karate Kid-esque pajamas that oddly enough had a Ghostbusters logo on them.

"Merry Christmas Santa Claus (You're A Lovely Guy) - Max Headroom

“Christmas Is The Time To Say I Love You” – Billy Squier: Man, this pop-rock holiday gem from 1981 is so over the top cheesy that I can’t decide if it’s genius or just ironic. Either way it’s a guaranteed spirit lifter and it’s pretty much impossible not to sing along with a goofy grin on your face. I’ve got such a special spot for this one and I have no idea why. If you really want the full affect of this song though, you’ve got to watch the studio video from MTV’s first Christmas on the air. All 5 original VJs can be seen and the clothing and haircuts are priceless!

"Christmas Is The Time To Say I Love You" - Billy Squier

Bonus: UK post-punk band The Futureheads seem to agree with me that there was something special going on with the Christmases during the Reagan Administration. They’ve just released “Christmas Was Better In The 80’s” as a holiday single and I love it! While there aren’t any lyrical references to anything specific to the 80’s, I absolutely agree with the sentiment and the music is awesome. They came up with some pretty killer artwork too!

Zach Williams and The Bellow - A Little Christmas Cheer [EP]

2011-12-10T10:00:00.005-06:00

(Here's a piece I recently wrote for NoiseTrade.)

If you’re not a fan of Christmas music, this is probably going to be a tough month for you around these parts. This time of year, Christmas music floods our senses from every imaginable angle. TV commercials, stores, restaurants, movie trailers, that certain co-worker’s crappy desk radio and at least 85% of the cars on the road are bubbling over with peace on earth, goodwill to men and far too many creepy covers of “Baby, It’s Cold Outside.” Therefore, NoiseTrade would like to help out by sifting through all the lousy socks and underwear for you and help you find your very own Red Ryder carbine-action, two hundred shot Range Model air rifle with a compass in the stock and a thing which tells time. You can trust us. We’re certified Christmas music professionals here and we’ve got all the classics, all the Advent hymns, all the A Very Special Christmas compilations and Christmas In The Stars: A Star Wars Christmas Album to prove it. We promise to do our best not to lead you astray. However, if we recommend something you don’t end up liking, as always we’ll refund your mouse click, no questions asked. So, let’s kick off the “Christmas at NoiseTrade” season right, shall we?

NoiseTrade favorites Zach Williams and The Bellow have just released a great holiday EP called A Little Christmas Cheer. Zach’s powerful voice and The Bellow’s unique brand of Brooklyn country combine to create a really cool vibe throughout the 4 tracks. For a Christmas album, their song selection is refreshingly varied as well. They kick things off with the cheerful shuffle of “Marshmallow World.” This song’s been around since the 1940’s, but most folks know the Darlene Love version from A Christmas Gift for You from Phillies Records (or from Phil Spector, depending on who you ask). Zach’s easy, folksy take on it will have your toes tapping in no time. Their holiday hoedown covers of Red Simpson’s “Trucking Trees For Christmas” and the Dolly Parton/Kenny Rogers duet “I Believe In Santa Claus” show that these guys are serious about the country side of Brooklyn country. Acoustic guitar, banjo and three part harmonies create a sound that just begs you to sing along. They also have a gorgeous version of the hymn “It Came Upon A Midnight Clear” with Kanene Pipkin taking the lead. Kanene’s smoky vocal blends with a smooth pedal steel in a way that really captures the peaceful mood of the lyrics perfectly. A Little Christmas Cheer is fun, festive and reflective and it will definitely nudge you into the Christmas spirit if you’re not there already.

"Trucking Trees For Christmas" - Zach Williams and The Bellow

Christmasongs: Merry Punksmas!

2011-12-09T21:44:00.000-06:00

For me, Christmas and punk music are a combination straight from heaven. Mixing together two of my all-time favorite ingredients, punk rock Christmas songs get me in the spirit as much as A Christmas Story and a real tree do. Being that they hold such an important place, I’m pretty discerning of which ones I hold in high regard. There are some definite duds out there, but there are plenty of amped up chestnuts that float to the top of the holiday punch bowl. It’s always fun to hear an old classic sped up and shouted out, but I really like the originals the most. Here are a few of the keepers:

“Merry Christmas (I Don’t Want To Fight Tonight)” – Ramones: You can’t talk about Christmas punk rock without starting here. Opening with Joey’s nasally snarl and immediately kicking into that iconic Ramones sound, “Merry Christmas (I Don’t Want to Fight Tonight)” is so awesome on so many levels. Johnny’s down-stroked guitar leads the holiday charge and Joey’s somewhat confident/somewhat pleading vocals ring out over Dee Dee’s bass and Marky’s drums. This song was released at the end of the 80’s and if VH1’s “Pop-Up Video” is to be believed, a young Liv Tyler appears in the music video for it.

"Merry Christmas (I Don't Want To Fight Tonight)" - Ramones

“Punk Rawk Christmas” - MxPx: Last year MxPx compiled all of their fan club Christmas singles and added a few new tracks to release the incredibly awesome Punk Rawk Christmas. The title track was a new recording and perfectly captures the desire to have a good Christmas in the midst of whatever issues, financial or otherwise, that may be going on. One of my favorite bands plus my favorite holiday equals an album that pumps even more yuletide awesomeness into the season.

"Punk Rawk Christmas" - MxPx

“It’s Always Christmas At My House” – Huntingtons: It’s no secret that the Huntingtons are deeply in love with, and are masters at paying homage to, the Ramones. They were even lucky enough to be Joey Ramone’s backing band for a couple of shows at CBGB’s before he passed away. They wrote “It’s Always Christmas At My House” for Tooth and Nail Records’ first Happy Christmas compilation and it’s definitely a crowd pleaser. The lyrics playfully reference National Lampoon’s Christmas Vacation and describe that crazy Christmas over-the-topness in all of us. Okay, most of us…some of us…just a few of us? Well, at least we have an anthem!

"It's Always Christmas At My House" - Huntingtons

“Christmas Eve (She Got Up And Left Me)” – Rancid: After wearing out my copy of …And Out Come The Wolves my sophomore year of high school, I’ve always had a soft spot for Rancid. Their unique mixture of punk, reggae and ska has always stood out to me and they always get me moving. The Christmas part of this song pretty much boils down to just being the date the girl left, but I still count it as a Christmas song.

"Christmas Eve (She Got Up And Left Me)" - Rancid

“This Time Of Year” – The Mighty Mighty Bosstones: Great punk rock usually carries a message right? With “This Time Of Year,” The Mighty Mighty Bosstones remind us that all the “stuff” associated with Christmas is nice, but the real meaningful things are spending time with friends and family and letting all the peace and goodwill towards men come out in your attitude. I love, love, love this song and the bouncy rhythm and lyrical focus always put a huge smile on my face.

"This Time Of Year" - The Mighty Mighty Bosstones

“Oi To The World” - No Doubt: I included The Vandals’ original version of “Oi To The World” in my personal favorites post and I really like No Doubt’s cover too. Gwen does a good job handling such a rowdy vocal and I love the dancehall “Frosty The Snowman” breakdown in the middle as well. Besides adding that and a few horns, they keep it pretty much the same. Why mess with a good thing right?

"Oi To The World" - No Doubt

“Santa Claus Is Thumbing To Town” – Relient K: I first heard this song on Tooth and Nail Records’ Happy Christmas Volume 3, but it can also be found on Relient K’s two Christmas releases, Deck The Halls, Bruise Your Hand and Let It Snow Baby…Let It Reindeer. I love the humor and chaos in the lyrics and the image of Santa trying to hitchhike after his sleigh breaks down is great. Funny, boisterous and still so festive, it should be on as many Christmas albums as it can.

"Santa Claus Is Thumbing To Town" - Relient K

Mindy Smith @ 3rd & Lindsley (Concert Review)

2011-12-07T06:02:00.002-06:00

There are all types of Christmas songs, but there’s something special about a sad Christmas song done really well. Nashville singer/songwriter Mindy Smith knows exactly how to strike the balance between merriment and melancholy, as proven first with her 2007 release My Holiday and more recently with “ A Holiday Evening with Mindy Smith” last Friday night at 3^rd and Lindsley. Showing there’s more holiday sentiments than just warm and fuzzy, Mindy and her band (cleverly dubbed the Wisemen for this show) played a gorgeous set of songs that was relaxed, wistful and yes, even sad at moments. Don’t get me wrong, there were plenty of laughs and some upbeat songs as well. Not to mention Mindy’s hilarious monologues between almost every song. But she’s at her absolute best when she’s channeling an ache that spills over into every note she sings. She strikes that emotional chord with an honesty and musicality that many artists can never seem to find. It’s a perfect mixture of pain for the heart and pleasure for the ears.

To compliment the feel of her full band set, Mindy chose an excellent opener in kindred spirit Kate York. Even though she only played six songs, Kate’s set was jammed packed with stunning songs and special guests. For her reflective brand of balladering, Kate quietly strummed an acoustic and was tastefully backed by Ian Fitchuk on keys. She opened with an original, “For You,” and was joined by Daniel Tashian on back-up bgv’s. She then bravely played two brand new songs, “I’ll Wait For Your Love” and “Nothing In This World Will Ever Break My Heart Again.” (Being new songs, I’m totally guessing on those names.) Next, she played a couple of covers, including an amazing version of Courtney Jaye’s “Don’t Tell A Girl” with Thad Cockrell and a piano only version of Marc Cohn’s “True Companion.” Kate closed her set out right with a heavenly duet of “Eternal Gifts” with Leigh Nash. Between the excellent song selection and the top shelf guest singers, Kate set the room up perfectly.

When Mindy hit the stage, you could genuinely feel the excitement and anticipation in the room. Her crystal clear voice and engaging stage presence were on display all night, tugging heartstrings and cracking jokes. She started off with a strong four song set from her Christmas album, My Holiday, that included “Come Around,” “My Holiday,” “Follow The Shepherd Home” and “Santa Will Find You.” She returned to My Holiday a few times throughout the night with “The Christmas Song,” “I’ll Be Home For Christmas” and my personal favorite moment of the night, “I Know The Reason” with Thad Cockrell. Thad also joined her for a heartbreaking “Fall For Nothing” that really shined. Speaking of guest vocalists, she also brought up Daniel Tashian for the bouncy duet, “Taking You With Me.” Both of their voices blended perfectly on this folksy love song and the enthusiastic applause from the crowd made it one of the many highlights of the night. For most of the set, Mindy was backed by a tight band that featured Casey Pollock on guitar, Ian Fitchuk on drums, Michael Rinne on bass and John Deaderick on keys. Apart from creating the sheer festiveness of the Christmas songs, they also really showed up really well on Mindy’s cover of Dolly Parton’s “Jolene” and on a powerful “Come To Jesus.” The guys played incredibly well and added a nice sonic depth to Mindy’s songs when they joined her. She did play a few songs solo or with only one or two band members though and for an artist like Mindy, these are the moments that make you a lifetime fan. “Tennessee,” “Raggedy Ann” and a touching “One Moment More” were somehow heartbreaking and soul filling at the same when filtered through just her voice and her guitar. To close the show out, Mindy called up Leigh Nash and they traded off verses for a tender take on “Away In A Manger.” Ending with this beautifully appropriate Christmas carol put a nice little bow on the night and sent everyone back out into the cold with a little more warmth in our hearts. My fingers are crossed that we’ll be hearing some new music from Mindy next year, but her awesome Christmas show was more than enough to get the season kicked off right and to tide me over until then!

Setlist:

- Come Around

- My Holiday

- Follow the Shepherd Home

- Santa Will Find You

- Tennessee

- Taking You With Me

- The Christmas Song

- I Know The Reason

- Fall For Nothing

- I’ll Be Home For Christmas

- Come To Jesus

Encore:

- Jolene

-One Moment More

- Raggedy Ann

- Away In A Manger

Christmasongs: Personal Favorites

2011-12-05T23:07:00.001-06:00

It's that time of year again, Christmasongs is back! I'm a bit of a freakshow when it comes to Christmas music, so I’m devoting the next couple of weeks to all the holly, jolly, ho ho hoing songs of the season. Whether it be tried and true classics, songs that just came out this year, rap, rock, punk or hymns, we are an equal opportunity Christmas jukebox here. There is a metric ton of good Christmas music out there and only having a month or so to celebrate seems too short! Hopefully the upcoming posts will include some of your favorites, remind you of some good ones you’ve forgotten and introduce you to some you didn’t know existed. Instead of just posting random musical chunks everyday, I’m going to have them somewhat themed to keep it interesting and to satisfy my aimless organizational needs. As an introduction, I thought I’d start off with some of my personal favorites. This list is by no means a desert island or top ten list (especially since there's eleven tracks), but it’s a good sampling of my own musical melting pot.

“Happy Xmas (War Is Over)” – John Lennon: I’ll stop just shy of calling this my favorite Christmas song (because who can really quantify such a definitive label anyway), but you combine John Lennon with Christmas and truthful lyrics that actually say something and you’ve got my undivided attention. Where do you begin with such greatness? The sound; the whimsy of the whispered intro, the moving tone of his unaccompanied voice for the first line, the elevated shift from acoustic sing-a-long to sleigh bells and children’s choir, all sheer perfection. The lyrics; from gripping opener “So this is Christmas and what have you done?” to the simplisticly huge refrain of “War is over if you want it” this song is packed with substance. Every musician takes a shot at covering it and no one comes close to the original. Come to think of it, maybe I shouldn’t stop shy of calling this my favorite Christmas song.

"Happy Xmas (War Is Over)" - John Lennon

“Christmas In Hollis” – Run DMC: If there’s a song that has a fighting chance against John Lennon for my Christmas #1, it’s this one. “Christmas In Hollis” by Run DMC will forever and always be my kick-off to the Christmas season every year. I was seven when the song came out and I remember getting the first A Very Special Christmas cassette and playing/stopping/rewinding this song to learn all the lyrics. Darryl’s verse has always been my favorite due to how smooth his voice and rhythm sound and because “It’s Christmas time in Hollis, Queens, Mom’s cookin’ chicken and collard greens” is as much a classic line to me as “Jingle bells, jingle bells, jingle all the way” is. I’ll never forget the rush of performing it at my 2nd grade Christmas party and instantly transforming from the pudgy, white kid with glasses to the pudgy, white kid with glasses who can rap. I still try to bust it out each year at any opportunity I get because it’s fun to be the pudgy, white adult with glasses who can rap. As a bonus, “Christmas In Hollis” also has a gloriously cheesy music video that would be cool to see on TV this time of year…if only there was a channel that played music videos….

"Christmas In Hollis" - Run DMC

“Labor of Love” – Andrew Peterson: Andrew Peterson is a singer/songwriter based in Nashville that knows how to pack a punch in practically every lyric. Instead of just writing a good Christmas song, he wrote an entire conceptual Christmas album called Behold the Lamb of God that is just stunning from beginning to end. “Labor of Love” tells the story of Jesus’ birth in a manner that’s more in line with what was actually going on at the time. “Away In A Manger” is a beautiful song and all, but the inherent sweetness of it can cloud the reality of a young girl delivering a baby in a barn full of animals on a cold night with only Joseph there to help her. The fact that Jesus’ birth was instrumental in Him living as entirely human and entirely God is a cornerstone of the Christian faith and “Labor of Love” really helps you understand what that birth entailed. This song is raw and gorgeous and destroys me every time I hear it. "Labor Of Love" is beautifully sung by fellow Nashville singer/songwriter Jill Phillips.

"Labor Of Love" - Andrew Peterson

“What Can You Get A Wookie For Christmas (When He Already Owns A Comb?)” – Meco: Yes Virginia, there is a Star Wars Christmas album and it is as glorious as it sounds. Christmas In The Stars: Star Wars Christmas Album was released in 1980 and features C-3PO, R2-D2, Chewbacca and a host of other characters ringing in the intergalactic holidays as only they can. Like all kid’s programs in the 80’s, there are lessons to be learned and they aren’t afraid to ask the hard questions like “What Can You Get A Wookie For Christmas (When He Already Owns A Comb?)” While the song gives a few options, the perfect gift they decide on isn’t revealed until later in the album on the song “Merry, Merry Christmas.” You don’t get that kind of plot development and story resolution from just any old space-based holiday album. Christmas In The Stars is a treasure for sure and it should be added to everyone’s collection.

"What Can You Get A Wookie For Christmas (When He Already Owns A Comb?)" - Meco

"Christmas Day" - MxPx: Along with other cool bands like R.E.M. and Pearl Jam, MxPx records a single every Christmas for their fan club. “Christmas Day” was released for Christmas of 1998 and it’s still one of my favorites out of their batch of holiday releases. It’s got a great punk vibe and is easy to sing a long with at the top of your lungs. I recommend listening to it while decorating the house or driving around during the dark winter nights. In fact, it could make any experience better this time of year, so just keep it cued up. “Christmas Day” can also be found on Tooth and Nail Records’ Happy Christmas, Volume 2 and MxPx’s Punk Rawk Christmas.

"Christmas Day" - MxPx

“Christmas Wrapping” – The Waitresses: I know, I know…people either love the 80’s New Wavey awesomeness of this song or they hate that it’s played so much. I am absolutely in the former camp because this song is really, really good and it’s possibly the only Christmas song to reference one time grocery giant A&P. The song is super festive and relays a bunch of missed connections that tie together nicely in the end. I love the sound of this song and the late Patty Donahue had one of the coolest and most distinctive voices in the New Wave genre. Special thanks to Steve Craig, radio DJ hero of my teens, for cementing this song in my holiday heart by spinning it a few times every year during his "House Of Retro Pleasure" Christmas shows. I can't thank that guy enough for all the great music over the years!

"Christmas Wrapping" - The Waitresses

“The Christmas Song” – The Raveonettes: One of my favorite Christmas compilations is the Maybe This Christmas series from Nettwerk Records. Although they’ve sadly only released three of them, each one is packed with great tracks, including “The Christmas Song” by The Raveonettes from the third one. Man, when I first heard this song it instantly became my go-to Christmas date night song. Something about the way Sune and Sharin’s voices blend together with the mellow bounce of the guitars make this track audible mistletoe. If you could actually describe a song as “cozy,” this would be the one. It’s physically impossible to listen to this song without getting closer. So if you find yourself alone in Wal-Mart and this song starts playing, you’ve been warned.

"The Christmas Song" - The Raveonettes

“Oi To The World” – The Vandals: While No Doubt had some mainstream success with their cover of “Oi To The World” via A Very Merry Christmas 3, the song was originally recorded by Huntington Beach punk band The Vandals. I really like both versions, but there’s a certain charm to The Vandals’ raw and reckless approach. The song addresses racial tensions and the eventual mutual respect that can be found. “Oi To The World” is really awesome and the question of “Where’s the Oi I gave to the world” sadly still seems pretty relevant.

"Oi To The World" - The Vandals

“Must Be Santa” – Bob Dylan: This song is from the 60’s but Bob Dylan based his 2009 cover on a version by “polka plus” band Brave Combo. Rowdy, fun and totally overflowing with yuletide frothiness, “Must Be Santa” is perfect for oom-pahing around the Christmas tree. The video is really fun to watch too as it depicts a packed out Christmas party that delves into some unruly shenanigans. Bob wouldn’t be Bob if he didn’t mess with the song a little bit and he Dylanizes “Must Be Santa” by replacing the reindeer names with President’s names. In regards to the effect Bob has had on the political landscape of the last 40 or 50 years, he can get away with it. “Must Be Santa” is an instant party, just try not to spill your eggnog all over the place.

"Must Be Santa" - Bob Dylan

“Come On Ring Those Bells” – Phantasmic: I’m a junkie for the plethora of 90’s Christian alternative bands that came and went with only a release or two under their belt. Many of them played a huge role in my middle school and high school years. Tess Wiley spent some time in Sixpence None The Richer in the mid-90’s, but eventually left to pursue some solo projects. She fronted Phantasmic for a short period of time and the lo-fi outfit contributed a wonderfully unpolished cover of Evie’s “Come On Ring Those Bells” for Christmas In Heaven. The relaxed, folky romp sounds like it was loosely recorded in someone’s living room during a Christmas party. As a kid, I was exposed to the original song for years, including a yearly production at a local church that involved the choir disguised as a human Christmas tree with only hand bells and faces exposed. Although that image is still simultaneously hilarious and haunting, I seriously can’t get enough of this version.

"Come On Ring Those Bells" - Phantasmic

“Why Can't It Be Christmastime All Year” – Rosie Thomas: If you find yourself in need of an instant jolt of festive Christmas spirit, look no further. I first heard this song on a Paste Magazine sampler and when I popped the cd in, I’m pretty sure it caused eggnog to flow out of my speakers and mistletoe to grow from my rear view mirror. It’s a really fun song and the party vibe is driven home by all of the energetic instrumentation and the background voices. “Christmas Is My Favorite Time Of Year” can be found on Rosie’s 2008 album, A Very Rosie Christmas.

"Why Can't It Be Christmastime All Year?" - Rosie Thomas

The Little Willies @ 3rd and Lindsley (Concert Review)

2011-12-02T05:23:00.002-06:00

Wednesday night, Nashville got served a strong double shot of twang and teardrops with back to back sets from the coolest and most talented cover band on the planet, The Little Willies. If that name's not ringing a bell, there's still a good chance you're familiar with at least a band member or two. Fronted by jazz piano maestro Norah Jones and songwriting savant Richard Julian, The Little Willies mix together Texas charm and New York cool as they expertly rip through classic country songs from the 50s, 60s and 70s. Rounded out by Jim Campilongo on electric guitar, Lee Alexander on bass and Dan Reiser on drums, they sounded completely at home among the clinking bottles and buzzing neon of the newly renovated confines of 3rd and Lindsley. It didn't matter if they were singing a stomper, a weeper or an inbetweener, The Little Willies played with a skill and an enthusiasm that had the crowd hanging on every note. It's one thing to have at least one band member that's really good at what they do, but it's something else entirely to have each member know exactly what to play and to also know how to leave space. In fact, that's one of the biggest differentiators about The Little Willies, their ability to not only play well, but play well with each other. Chiming acoustic strums, tinkling piano keys, fiery guitar solos, resonating bass lines and cracking snare drums weave in and out of each other's grooves to create a uniquely uncluttered sound that is both familiar and fresh at the same time. Each song won over the ears and hearts of the audience and between songs, Richard did a great job of continually flirting with the crowd by telling us all the different ways that Nashville was different than New York. Nashville crowds can be notoriously hard to please, but it was easy to see that The Little Willies had no problem strumming the hearts strings with a slew of amazing covers and a handful of chameleoned originals.

The Little Willies have their second album, For The Good Times, coming out in January and they sprinkled each set with some of the upcoming tracks. They bookended their first set with a harmony-filled take on Ralph Stanley's "I Worship You" and a raucous romp through Lefty Frizzell's "If You've Got The Money I've Got The Time." Norah perfectly channeled Loretta Lynn's attitude for "Fist City" and the honky tonk shuffle created by Dan and Lee for Scotty Wiseman's "Remember Me" propelled the song nicely. They even played songs from their self -titled first album with the same intensity. Richard's quiet nod to Townes Van Zandt's "No Place To Fall" and Jim's nimble-fingered solo in Johnny Cash's "Tennessee Stud" were equally goose bump inducing. The first set also included what Norah joked was "The Johnny Cash Suite" of "Delia's Gone" and "Wide Open Road," as well as one of my personal Little Willies favorites, Kris Kristofferson's "Best of All Possible Worlds."

Without taking anything away from the excellent first set... man, did the second set contain some show stoppers! They opened with a 1-2 punch of some fantastic instrumental interplay between Norah and Jim for Fred Rose's "Roly Poly," followed by Richard's swagger-fueled vocals and Dan's boom-bap drums for Hank Williams' "I'll Never Get Out of This World Alive." Tipping their collective hat to their namesake, they played three Willie Nelson songs in the second set; a tender "Permanently Lonely," a bass-thumping "Gotta Get Drunk" and a set closing "Night Life." Speaking of Willie, they brought a special guest out during the second set as well. Willie's longtime harmonica player Mickey Raphael joined them for "Lovesick Blues" and "Streets of Baltimore" and he sounded amazing. Other second set highlights included the hilarious original "Milking Bull" and another new track from For The Good Times, Cal Martin's "Diesel Smoke, Dangerous Curves." Plus, Norah straight brought the house down with a gorgeously emotional take on Dolly Parton's "Jolene." As an encore, they came back out and closed out the night with their clever, woozy original "Lou Reed." You know, just your typical jaunty bar song about the lead singer of The Velvet Underground going out for a night of cowtipping. Audience participation was at an all-time high during this number and the closing refrain of "cow tipping" kept getting louder and louder. No one wanted the band to stop but they had just given us 26 songs of non-stop, incredible musicianship and fun, so it was time to call it a night. Fast or slow, heartfelt or heartbreak, raise a glass or tear in my beer, The Little Willies can do it all and they can do it better than most. Do yourself a favor and pick up For The Good Times when it's released in January and keep your eyes peeled for concert dates. It's not an understatement to say that The Little Willies are one of the best bands around and they can definitely offer one of the best nights of music you could ever hope to experience.

Set One:

I Worship You

Tennessee Stud

Remember Me

Fist City

No Place To Fall

Tommy Rockwood

Delia's Gone

Wide Open Road

For The Good Times

Fowl Owl on the Prowl

Best of All Possible Worlds

It's Not You, It's Me

If You've Got The Money I've Got The Time

Set 2:

Roly Poly

I'll Never Get Out of This World Alive

Love Me

Jolene

Milking Bull

Permanently Lonely

Gotta Get Drunk

Lovesick Blues

Streets of Baltimore

Pennies on the Floor

Diesel Smoke, Dangerous Curves

Nightlife

Encore:

Lou Reed

Happy Thanksgiving!

2011-11-24T08:16:00.002-06:00

While many folks may see Thanksgiving as just a food-heavy precursor to the Christmas season, I think it really deserves it’s own special minute in the holiday sun. Underneath all of the gorgeous fall colors, football games and mashed potatoes is a moment set aside for thankfulness, reflection and relaxation; in whatever way those look like to you. You might spend the day with friends and family eating entirely too much food, plan your Black Friday shopping strategy or work a few extra hours to help with the Christmas presents. But whatever you do, try not to gloss over Thanksgiving in anticipation of the upcoming Christmas boom. Don’t get me wrong, I’m a certified freakshow for “the yearly bacchanalia of peace on earth and good will to men.” But I’ve found that giving Thanksgiving it’s meager due can be pretty rewarding. There may not be as many songs, TV shows and movies highlighting Thanksgiving as much as some other holidays, but there’s certainly enough to help you get in the spirit. Some nostalgic favorites of mine like A Charlie Brown Thanksgiving, Garfield’s Thanksgiving and Planes, Trains and Automobilesare all awesome choices this time of year. A few sitcoms have turned out great Thanksgiving episodes like The Cosby Show, Gilmore Girls, Roseanne, Friends and the hilariously classic “Turkeys Away” episode from WKRP in Cincinnati. Here’s a couple songs to go along with all the eating, digesting and napping as well:

"Turkey Gotta Gobble" - Reverend Horton Heat

"Thanksgiving Theme" - Vince Guaraldi Trio

From my personal “glory days” of SNL, I’ve always loved Adam Sandler’s “Thanksgiving Song” too. It’s kind of about Thanksgiving and it’s probably the only song to mention Darryl Strawberry, Sammy Davis, Jr., Jimmy Walker and turkey. Happy Thanksgiving to you and yours!

Interview with Ben Schneider of Lord Huron

2011-11-04T20:37:00.007-05:00

(This interview originally appeared on NoiseTrade.)

When trying to describe an artist, it’s really easy to just use other bands as reference points. However, with a sound as marvelous and mysterious as Lord Huron’s, I’d like to try a different approach. Close your eyes and imagine yourself lazily swaying back and forth in a hammock. Relaxing isn’t it? Picture yourself breathing in deeply as you look out over the water. Can you hear the seagulls? Now, instead of equatorial ocean waters, envision the balmy breeze of the Great Lakes. You can still wear the Hawaiian shirt, but you might want to put a light jacket over it. Listen close. I know it’s hard to tell if that distant metallic pulse is the sound of steel drums or an industrial machinery plant, but either way it has an incredibly soothing cadence doesn’t it? Then, just when you’re about to be completely enveloped by the lushness of it all, you get abducted by aliens with fantastic melodic sensibilities and other-worldy rhythmic abilities. This constant ebb and flow between putting your feet up on the dash and tapping your toes is what creates the beautiful backdrop for the soaring sounds of Lord Huron.

Hey, that’s at least a little more descriptive than “indie folk” or “tropical pop” right?

Lord Huron, a one man symphony conducted by Ben Schneider, is relatively new on the scene and we here at NoiseTrade are honored to be offering a compilation of their two EPs, Into The Sun and Mighty. Originally hailing from Michigan and currently residing in Los Angeles, Lord Huron combines a multitude of musical attitudes and ingredients to create something wholly original and mesmerizingly interesting. By successfully splicing together strands of familiarity with uncharted territories, the results feel like a trustworthy tour guide that just happens to always have a wild look in his eyes. So whether we find the lost ruins or plummet over the waterfall, it’s going to be fun and adventurous either way. Recently, I had the pleasure of interviewing Ben and here’s what he had to say about Lord Huron:

NT: After listening to the gorgeously sun-soaked songs on your two EPs (Into the Sun and Mighty), it’s surprising to hear that you’re originally from the frosty confines of Michigan. Where did the inspiration come from for the world beat influences and tropical flavors you incorporate into your songs?
Ben: Michigan is thought of as a land of ice and snow, and indeed it is for much the year. But there’s another side to Michigan. Summers on the Great Lakes are warm and sunny. I’ve drawn a lot of inspiration from the summers I’ve spent there, the winters, too, as well as my travels abroad. I’ve always had an interest in music from around the world, and although my music is rooted in American folk, that “world” influence has been key in crafting the aesthetic of Lord Huron.

NT: Your lyrics invoke a palpable feeling of longing and wanderlust, both relationally and geographically. Are these intentional ingredients to your songwriting and were they involved at all in your relocation to Los Angeles?
Ben: Those themes have definitely played a big part in the course of my life, and as they say it’s best to write about what you know.

NT: Your use of acoustic instrumentation to anchor the sprawling sonic landscapes and amazing polyrhythmic grooves strikes a unique balance of stimulation and relaxation. Is this a natural blending for you and how do you integrate these seemingly contradictory states?
Ben: I’ve tried hard to create a sense of momentum and excitement without relying too heavily on tempo or volume. It is sometimes a strange balance, and sometimes I’ll have a completely different sense of a song’s energy from one listening to the next. Maybe that reflects my mood or state of mind. I think this chameleonic aspect has helped people connect with the music. In some ways, it requires interpretation.

NT: Both EPs open with water sounds and water is a prominent part of the artwork for both releases as well. Even the name Lord Huron brings to mind the Great Lake Huron region between Ontario and Michigan. What do these watery themes signify to you and how do they relate to your music?
Ben: Lake Huron has played a very important part in my life. Many of my formative experiences, as well as the brightest and darkest moments of my life happened at the lake. There is a mystery and mysticism to bodies of water and that part of the world in particular that won’t let go of me.

NT: Can you tell us a little bit about your songwriting process? Do you start off on acoustic guitar and then build the musical layers around it or do you hear the overall sonic textures first and then try to nail down the ingredients that make it up?
Ben: I often begin a song visually, imagining a scene that I attempt to illustrate with sound. For some reason this always helps me get my mind around it. The image may change or distort as I work, but hopefully I end up somewhere close. Guitar is my primary tool in composing.

NT: While you played every note and beat on both of your releases by yourself, you’ve been touring with a band. What are the most challenging and most rewarding parts of solo recording and full band performing?
Ben: Figuring out how to pull off this material live has definitely been a challenge. If I had it my way I’d have a twelve-piece orchestra with me every night. But that just isn’t realistic right now. We’ve had to make it work with 5 guys. Luckily, I’ve got an amazing group to work with. I think we’ve done a good job recreating the expansive sound of the records. The band is incredibly talented. (They’re) all great friends from Michigan who really know how to play and are willing to experiment. We’re starting to record together as well, which is exciting. Having these guys involved can only mean good things for the recordings.

Would You Like To Try A Free Sample(r)?

2011-10-14T19:32:00.012-05:00

(Here's my newest NoiseTrade post about some of the incredible samplers currently available on their site.)

Like any stereotypical 80’s kid, I spent many a Suburban Saturday schlubbing around my local malls (Southlake, Greenbriar and Shannon for those keeping score at home) for hours on end. During those non-driver’s license dark ages, parents could drop their kids off at these pre-teen daycare facilities from sun up to sun down with little to no worry about their safety. We learned to perfect the art of the all day hang with barely enough money in our ill-fitting Levi knock-offs to purchase a handful of cassingles, much less a meal. No matter how many bowls of Fruity Pebbles you’d had that morning, the midday rumbles hit everyone the same. So we all learned to listen closely for the siren’s call of the food court, “would you like to try a free sample?” After a few well-timed rounds through the questionable culinary circuit, you’d have a bellyful of Pizza Hut mini squares, Golden Panda mongolian beef bites, Chick-Fil-A nuggets, miniature Dairy Queen ice cream cups and if the grub gods smiled down, a somewhat filling 3-inch Blimpie sub. All this for only the price of a simple “yes, thank you” to the paper hat wearing patron saints of free mall food.

This “try it before you buy it” mindset eventually leaked over into the music industry and now tons of artists, labels and innovative, forward-facing online musical communities (ahem) are offering free song samplers in exchange for minimal contact info. While some try to bemoan the demise of the music industry structure as we’ve known it, others are quietly building their own empires with the bricks of free promotion, digital distribution and most importantly, fanbase connection. Is it crazy to think that a potential fan could find an unknown song or a new band without purchasing anything and then turn into a card-carrying member of the fan club that supports the artist by buying albums, concert tickets and merchandise? A quick search through NoiseTrade’s offerings will show you that many artists, bands and labels don’t think the idea is crazy at all. Make no mistake about it, these are not just throwaway B-sides or bedroom demos that are being offered either. Incredibly talented musicians and songwriters are releasing high quality album cuts and there’s also great compilation samplers that package 10-20 different bands at once for you to pick and choose from. So to help get things started, I’d like to offer you some of my own personal favorite samplers that are currently on NoiseTrade. Imagine me donning a too-tight, monochromatic polyester uniform or a full-size hot dog costume and hoisting aloft my tray of free musical goodies. “Would you like to try a free sampler?”

NoiseTrade Fall 2011 Sampler – By simply pressing the “Like” button on our Facebook page, you’ll get our gigantic 30-song Fall 2011 Sampler for free. You’ll get some fantastic songs from the likes of Joe Pug, Matthew Sweet, The Hawk In Paris, Derek Webb and Sandra McCracken, David Mead and more. We guarantee that if you don’t like at least one song out of the thirty we’re offering, we’ll refund your mouse click, no questions asked.

Ten Out Of Tenn – This collective of independent artists showcases some of the best songwriters to come out of Nashville over the last few years. Having just released Volume 4 in the series, Ten out of Tenn boasts a handsome roster of previous and current members that includes Katie Herzig, Matthew Perryman Jones, Griffin House, Trent Dabbs, Kate York, Ashley Monroe, Joy Williams and many others throughout the years. NoiseTrade is offering a couple of their earlier volumes and you can also find out more about them at 10outoftenn.com.

On Joyful Wings: Seven Swans Reimagined – Most will agree that Sufjan Stevens’ Seven Swans album from 2004 is one of his best received and most well loved records. His minimal instrumentation, quiet vocals and lyrical imagery create an intimate atmosphere for the weight of the album to exist in. On Joyful Wingsis a cool tribute album consisting of 15 independent artists covering the 12 tracks from Seven Swans, plus 3 additional tracks from the two 7” singles Sufjan put out in conjunction with Seven Swans. NoiseTrade is offering a 6-song sampler of On Joyful Wings that includes tracks from Derek Webb, Bonnie ‘Prince’ Billy, Half-Handed Cloud, DM Stith, Wakey!Wakey! and Inlets. You can purchase the entire On Joyful Wings album HERE, with profits being donated to Komen for the Cure.

Bloodshot Records Fall Sampler 2011 – I’ve got a deep-rooted love for twangy songs about heartbreak and honky tonks, so Bloodshot Records always knows how to put a smile on my face. Their alt-country leaning sampler is spilling over with sudsy goodness from Ryan Adams, Justin Townes Earle, Old 97’s, Excene Cervenka, Dex Romweber Duo and Alejandro Escovedo, just to name a few. In the spirit of full disclosure, a few of the tracks on this one contain some spicy language, so you may want to preview it before gathering the family around the hearth for an old-fashioned digital sampler listening party.

Arise My Soul: Indelible Grace – To balance out Bloodshot’s Saturday night, there’s Indelible Grace’s Sunday morning. This beautiful collection of acoustic based hymns mixes the gorgeous language of the hymnwriters with updated instrumentation from the likes of Sandra McCracken, Derek Webb, Matthew Smith, Matthew Perryman Jones and others. There’s also an insightful two-part lecture about hymns from Kevin Twit.

Blitzen Trapper/Dawes Tour Sampler – Blitzen Trapper and Dawes are currently out on a 29-date tour through the US and Canada and they’ve created this tour sampler to help promote it. With three songs offered from each band, this EP-like sampler is rich with folky acoustics, swampy electrics, gorgeous vocal harmonies and great lyrics. Currently my favorite track on the sampler is “Little Bit of Everything” from Dawes, but each song is a keeper. To see if they’re going to be playing anywhere close to you, check their tour dates out HERE.

We’re also offering a plethora of single artist samplers, with some of the more incredible offerings being from Sandra McCracken, Brandi Carlile, Marc Broussard, The Hawk In Paris, Andy Gullahorn, Plumb and many, many others. But as the literary shaman Levar Burton always reminded us, “you don’t have to take my word for it.” Just click around the database, find some interesting album artwork or just type an artist name or the word “sampler” into the search box. Discovery is such an integral and fun part of music. So just give it a shot. Your next “my new favorite band” could be just a click away.

Concert Review: Wilco @ The Ryman

2011-10-04T13:37:00.016-05:00

No one can do what Wilco does.

I’ve always had a sneaking suspicion that this was true, but last night’s transcendent performance at The Ryman made it a foregone conclusion. In front of an enthusiastic and appreciative crowd, Wilco lit up the room and played like they were a young band trying to prove something. Their unique mix of fantastic songwriting, gorgeous melodies, complex rhythms, incendiary guitar solos, lush harmonies, garage-rock freak outs, acoustic ballads and everything in between rang out loud and true in one of the most beautiful and historic venues in music’s history. Countless legends have played the Ryman stage and there’s no doubt that time will show Wilco being mentioned among the greats. It’s really a special thing to see a band at peak performance, firing on all cylinders and going for broke. There is no safety net when Wilco plays and there are moments when you can’t imagine how they are going to cohesively resolve the chaotic din they’ve just created. But then they do it, effortlessly and perfectly, with no band mate or audience member left behind. Wilco managed to balance their monster catalog of fan favorites with songs from their brand new release, The Whole Love, to spectacular results. Even if you didn’t hear “your” favorite Wilco song, you still got to hear much of their best work as they played at least one song from every major release of theirs. They even reached back to their debut, 1995’s A.M., for two songs. By the time their 8-song encore was finished, there wasn’t a seat filled or a mouth closed as the entire audience let the guys know that they had experienced something magical that wouldn’t soon be forgotten.

Kicking the night off in a no frills, unannounced manner was the Jesus of Cool himself, Nick Lowe. Armed with just an acoustic guitar and his crystal clear voice, Lowe took on the role of an English troubadour moreso than the new wavey, pub rocker he’s been since the 1970’s. With a playful smirk and a youthfulness that defied his 60+ years, Lowe charmed the audience with acoustic renditions of some his best loved songs and some of his newer tracks from his latest album, The Old Magic. He smartly bypassed the stool-sitting, coffee house vibe for an upbeat, Elvis inspired leg-bouncing take on his tunes. Songs like “Cruel To Be Kind,” “When I Write The Book,” and “The Beast In Me” got immediate reactions from the first note, while other songs seemed to be listened to for the first time by many in the audience. “All Men Are Liars” got an exuberant reaction from the females in the crowd and Lowe’s tender take on Elvis Costello’s “Alison” was incredibly awesome to say the least. Nick’s one of those guys whose production work and songwriting has seemed to generate more success for other artists (Elvis Costello, Johnny Cash) than for himself, so it was really nice to see him in his element, singing his songs, his way. For anyone who made it in only enough time to see Wilco, you absolutely missed out on a musical legend sharing his songs and having fun. Nick’s set list consisted of: “Stoplight Roses,” “Heart,” “What’s Shaking On The Hill,” “Ragin’ Eyes,” “All Men Are Liars,” “Lately I’ve Let Things Slide,” “I Live On A Battlefield,” “I Read A Lot,” “Cruel To Be Kind,” “Alison (Elvis Costello cover),” “When I Write The Book” and “The Beast In Me.”

Wilco boldly opened their set with the sprawlingly adventurous “One Sunday Morning,” a 12-minute acoustic-led ballad about the struggle between a father and son who have differing opinions on God. While some may have wanted Wilco to come out with guns blazing, I think this move showed that the guys trusted the audience enough to have the patience and the attention span to stick with them for the whole ride. It paid off in spades as the crowd erupted to the opening organ strains of the next song, “Poor Places” off their landmark album, Yankee Hotel Foxtrot. It only took until that second song for Wilco to showcase their innate ability to descend into chaos and emerge unscathed without missing a beat. They would return to Yankee Hotel Foxtrot four more times throughout the night, each time capturing the deconstructed nature of the songs perfectly. Following “Poor Places,” frontman Jeff Tweedy took off his guitar to sing and dance his way through “Art of Almost,” one of eight songs played off Wilco’s newest release, The Whole Love. The new songs were met with varying degrees of familiarity, but each one still garnered the thunderous praise of an engaged crowd. With the exception of “Art of Almost” and “I Might” being played back-to-back, each new song was sandwiched between familiar older ones. It’s as if Wilco was saying, “Here’s why you love us. Give this new song a chance. See, you still love us.” Throughout the night, many songs broke out into word-for-word singalongs with “I Am Trying To Break Your Heart,” “Handshake Drugs,” “Impossible Germany” and “Jesus, Etc.” eliciting the loudest group vocals. Whether they were nailing tight, melodic rock songs with hook-filled choruses (“A Shot In The Arm,” “Monday,” “Born Alone”), experimenting with noise and sound during mix-metered passages (“Poor Places,” “Handshake Drugs,” “Art of Almost”) or holding the crowd by a string with acoustic fragility (“Red Rising Lung,” “One Sunday Morning”), Wilco showed that each band member plays like a virtuoso and knows their specific role in each moment of each song. There isn’t a weak link to be found. Jeff Tweedy’s songwriting eloquently shifts between passionate outbursts, lovelorn woes, concrete ideals and abstract imagery. Nels Cline is a guitar wizard who gets tones like no one else and hits notes that boggle the mind. Glenn Kotche sounds like he’s playing drums with octopus arms and has an uncanny knack for never playing anything straight without ever overplaying at all. John Stirratt keeps the train on the tracks with his solid, yet fluid, bass playing and adds incredibly gorgeous harmonies to Jeff’s vocals. Mikael Jorgensen transforms anything with keys, be it piano, organ or computer, to add melodic flourishes and help create Wilco’s dense sonic atmospheres. Pat Sansone fills in the holes with integral keyboard, guitar and vocal parts to make sure nothing is missed and to help elevate each song to maximum sonic force. Each member had multiple shining moments throughout the night and there were sections of more than one song where each member was completely locked into each other and they were simultaneously creating something new together. This was felt most heavily in the cacophonous outro of “Handshake Drugs,” ”the triple guitar lead of “Impossible Germany” and the joyful explosiveness of “Monday.”

For their encore, Wilco opened with the new song “Whole Love” and then brought out Nick Lowe to help out with two of his songs, “36 Inches High” and “I Love My Label.” Wilco’s version of “I Love My Label” can be found on the b-side of their 7” single for “I Might” and this was the second time of the night that Jeff went guitar-less to just sing and dance along with the song. After Nick left the stage, the boys continued with a twangy “Box Full of Letters,” a jamming “Walken,” a frienzied “I’m The Man Who Loves You” and a closing one-two knockout punch of Being There’s “Monday” and “Outtasite (Outta Mind).” While they could’ve probably played all night with out very many audience members leaving, Wilco graciously exited to a roaringly satisfied crowd of fans. If you ever have the chance to catch Wilco live, you’ll never forget the experience. Thanks to Wilco and Nick Lowe for a monumental show that is forever etched onto my musical heart.

Wilco’s set:

- One Sunday Morning (Song for Jane Smiley’s Boyfriend)

- Poor Places

- Art of Almost

- I Might
- I Am Trying to Break Your Heart
- One Wing
- Bull Black Nova
- Rising Red Lung
- Impossible Germany
- Shouldn’t Be Ashamed

- Handshake Drugs
- Standing O

- Jesus, Etc.

- Born Alone

- War on War

- Dawned On Me

- A Shot in the Arm

 Encore:

- Whole Love

- 36 Inches High

- I Love My Label

- Box Full of Letters

- Walken

- I’m The Man Who Loves You

- Monday

- OuttaSite (Outta Mind)

(photos courtesy of Amanda Hodge)

Treva Blomquist - These Fading Things (Album Review)

2011-09-29T22:49:00.009-05:00

(Here's a piece I recently wrote for Music City Unsigned. They're a great group of guys helping to shine a light on some of the best independent music that's coming out of Nashville.)

Alternating between a folky acoustic songstress and a smoky blues bandleader, Treva Blomquist successfully captures her multi-layered musical talents on her newest release, These Fading Things. Handling the songwriting, acoustic guitar and vocal duties, Treva has skillfully crafted an authentic musical conversation within the ten originals and two covers found on the album. Inspired by becoming a mother for the first time, relocating to Conway, AR from Nashville, TN and wading through the everyday ins and outs of a life lived in community with others, Treva’s lyrics are filled with stories, experiences, questions, faith and hope. Her unique songwriting voice casts a fresh light on topics that are relatable to everyone, while still feeling personal enough to allow for a connection to be made with each listener. Supporting Treva on These Fading Things is her band The Suits (Ben Gortmaker, Brad Odum, Drew Wilson, Eric Quarim and Hitoshi Yamaguchi), with additional help from Rob McNelley, Jeff Pardo and Ian Fitchuk. This musical collective combined to create some really solid foundations and breathable spaces for Treva’s pure voice to ring out over. Whether strumming through a tender ballad or cranking up the electric guitars, each song is framed within an incredible musical atmosphere that complements the mood conveyed in the lyrics and vocals. This cohesion speaks to the level of talent found in both the songwriting and the musicianship. When you have a collection of songs that sound great individually and also contribute to an overall unity within the album, the results are pleasing to the heart, mind and ears. These Fading Things absolutely has something for all three.

These Fading Things opens up with “You Don’t Believe,” a laid back song that gently unfolds with acoustic guitars, beautiful background vocals, gorgeous cello lines and just enough drums to effectively guide the song without overtaking it. This relaxed restraint is also nicely found on “Slow It Down,” “Chasing After You” and “Nobody’s Fault.” But for every intimate confessional track there’s a sassy rocker waiting to be cranked up. The electric guitars come out for “Change,” “Promise Me,” “I Don’t Even Know You” and “Live A Little,” which features some playful toy piano from Treva as well. Treva chose two cool cover songs for the album and both are done in a really cool way. “I Write The Book” is a beautiful Patty Griffin song from her hard to find original demo tape and “Poor Wayfaring Stranger” is a classic folk standard from the 1800’s. Treva transforms these two covers and adds her own spin to their familiar melodies. You can categorize These Fading Things as singer-songwriter, alt-country, folk-pop or any other hyphenated hybrid that fits. But whichever genre you use to describe it, just make sure to put the word “good” in front of it. This is definitely not a “more of the same” kind of album and Treva has really created something that is worthy of anyone’s time and attention. The album’s title comes from a lyric in “Chasing After You” that says, “Can't always tell from the outside, but there's a mess inside of me, rising from the worth I've placed on all these fading things.” With so much heart, honesty and great songwriting found on These Fading Things, there’s no worry of Treva fading anytime soon.

"Chasing After You" - Treva Blomquist (These Fading Things)

"Behold The Hurricane" (Video) - The Horrible Crowes

2011-09-21T20:20:00.002-05:00

I get so jazzed when a band I love shoots a cool music video! WIth MTV being barely a shell of what it once was, it's nice to see bands who still understand the power of quality visuals to go along with the stellar music. The Horrible Crowes recently shot a video for "Behold The Hurricane" with Corin Hardy and it is heartbreakingly gorgeous. I love the way the desperation, fight and inner turmoil are conveyed so well without any need for dialogue or subtext. Everyone's had struggles they've had to fight with and hopefully overcome, regardless of whether or not it's the exact one portrayed in the video. The human condition is one of constant battling between what's easy and what's right and rarely, if ever, are they the same thing. I think this video captures that conflict perfectly. With such a stunning video right out of the gate, here's hoping The Horrible Crowes will make a few more!

Also, here's a pic of my blood red version of Elsie. It's an appropriate color choice due to the life and death themes that pump through the album. The deep red is translucent and there's subtle black wisps blended throughout it. Vinyl provides the best sonic atmosphere for these songs and the results will bring a smile to your broken heart. It's a fantastic looking (and sounding) piece of wax! Kudos to The Horrible Crowes and Side One Dummy Records for putting out a spectacular album and for nailing the vibe all the way down to the packaging.

The Horrible Crowes - Elsie (Album Review)

2011-09-06T23:35:00.008-05:00

When frontman Brian Fallon first labeled The Horrible Crowes (his new side project with friend/guitar tech Ian Perkins) as “night time music,” he couldn’t have chosen a better description. Elsie, the duo’s debut release, sounds like it was written in the wee hours and begs to be listened to in the low light of evening. Each cinematic song is a beautifully unsettled mix of serenity and agony, catharsis and meditation, rumbling with a restrained energy that never bubbles over into excess. That may run the danger of sounding a bit hyperbolic, but Elsie is worth the risk. As each song develops and unfolds, layer after layer of lyric and instrumentation is woven together in a unique and comfortably uncomfortable way. For the musical vibe, Brian and Ian combine elements of blues, rock, soul, folk, gospel and all variants in between into a soulful soundscape all their own. There’s loads of piano, guitar, bass, organs and drums laying the foundation, but the flavor found in the horns, strings, accordion, tambourine and timpani that are sprinkled throughout really flesh out the mood nicely. As Brian’s vocals travel easily between croon and groan, you almost feel like you’ve stumbled into someone’s innermost feelings and thoughts. You know, the kind that usually don’t make it to voice or paper until they are sufficiently either chewed on or thrown out. But that’s the beauty of The Horrible Crowes. They’ve created a space to pause, to search and to dream. Sounds a bit like the night time, doesn’t it?

“Last Rites” opens the album with a stretched out wash of sound that eases you in with minimalist piano chords and lonesome organ lines. There’s also some ghostly backgrounds doubling the main vocal, an ingredient that is used to perfection and reappears throughout the album. The same brooding, haunted vibe is echoed on “Cherry Blossoms,” “Blood Loss” and the fantastic closer “I Believe Jesus Brought Us Together.” With songs like “Sugar,” “Black Betty and the Moon” and first single “Behold The Hurricane,” Brian and Ian showcase the art of the restrained groove. It’s not that hard to either go for broke or just ease on down the road, but striking that controlled balance in between takes a special touch. These tracks anchor the album in a really cool way that allows some of the other songs to spread out a little more. One of those looser cuts, “Mary Ann,” is currently my favorite track on the album. Agitated electric guitars, distorted bass and stuttering drums create an incredible backdrop for Brian to passionately channel the love child of Tom Waits and James Brown. There’s some tasty accordion and a slightly unhinged guitar solo on the track as well. As far as lyrical content, I’ve made no attempts to hide my admiration for Brian’s songwriting and he continues to raise the bar with Elsie. With The Horrible Crowes, Brian draws less from the winks and nods to his musical heroes that he uses so well in a lot of The Gaslight Anthem’s songs, while still painting with the colors of lost love, religious imagery, cars and girls. From the opening line of the album, “Start up the car,” to the heartbreaking closer, “I was just about to call you,” Elsie is full of moments that will crawl under your skin and creep into your heart for one reason or another. So do yourself a favor, pick up a copy of Elsie, wait for evening to come, draw the shades and take her for a spin. She’ll make a believer out of you boy.

Elsie can be ordered from Side One Dummy HERE or from your local independent record store.

"Mary Ann" - The Horrible Crowes (Elsie)

Interview with Dan Haseltine of The Hawk In Paris

2011-09-05T23:42:00.005-05:00

(Here's a piece I recently wrote for NoiseTrade where for 24 hours only, we're giving away the entire His + Hers EP from The Hawk In Paris for free! After that, we'll have a three song sampler available for download. Don't miss out!)

Whether it’s “I want you” or “I want you back,” there’s an endless supply of songs to cover the extremes of love. However, when you’re feeling that somber, bittersweet middle ground of moody love, it can be hard to find the right musical catharsis to lose yourself in. The Hawk In Paris would like to change all that for you. Pulling from the synthpop and new wave gurus of their 80’s upbringing and adding in the dance beats and modern advancements of those carrying the electro-torch today, The Hawk In Paris is ready to say goodbye (it’s the new hello) with their first EP, His + Hers. Comprised of college friends/industry veterans Dan Haseltine, Matt Bronleewe and Jeremy Bose, The Hawk In Paris is an eclectic mix of music and mood, both nostalgic and now. The songs on His + Hers will take you back to every school dance where your dry mouth and sweaty palms couldn’t get on the same page long enough for you to make your move, while simultaneously pushing the musical envelope into new and unchartered territory. It’s no easy task, but this is no average band. I recently sat down with Dan for an awesome discussion about The Hawk In Paris, their new His + Hers EP and a variety of other topics, most of which made it into the interview. Not only is the guy extremely articulate and well read, but the irony of his choosing to meet in a little French bakery was not lost on him either. Man, it sounds like I’m about to ask him to the dance. We’d better just get to the interview…

NT: Right off the bat, I have to know if the name The Hawk In Paris is in any way a reference to the 1956 album by tenor sax jazz legend Coleman Hawkins?
Dan: It is, it is. It’s funny because Matt Bronleewe came up with the title and we had all heard the experimental live jazz record and thought “ok, that sounds cool.” But some of it was, we were just enamored with the cover art. There’s this lady and she’s got this hawk and we thought, “That’s kind of fascinating.” (laughs) I think a lot of what The Hawk In Paris “is” is a departure from where most of our time is spent creating, which is within genres that have some pretty substantial confines. Even the name being this whimsical thing, a lot people have asked “what is the spiritual significance” and there really isn’t any. We just love it and we thought it was cool and playful and intriguing. (laughs) But it really is almost an intentional push away from that spiritual thing. There really isn’t any of that on this project and there won’t be if we have our way.

NT: The “official story” is that The Hawk In Paris was birthed back in 2009 when three old friends got together to do some unrestricted musical experimentation. What all led up to the formation of the band and the eventual release of your first EP, His + Hers?
Dan: Matt and I came together after about 10 years of not writing or doing anything to just kind of see what would happen. We both had a break in our schedules and we were both kind of feeling that itch to do something different. I’ve been in Jars of Clay for 18 years and I have to write kind of a certain way for Jars. Jars has a space that we pushed for and elbowed our way to create a bandwidth where we can write about a lot of things, but it’s perceived differently. We wanted to work on a project where it was, “This is honest and where we are.” We’re just excited to create outside of what we normally do. So we got together and started writing. We brought Jeremy in to see what he would do creatively with songs, knowing that his huge strengths are in synths. We wanted to draw more from our influences with music that we’d grown up with. That bizarre space of what we thought that music sounded like versus what it actually sounded like. Which is cool. The formation was really just we write well together, we’ve done projects in the past that have been really fun and creative. Let’s just see what happens.

NT: Do the three of you have somewhat defined roles or leanings towards certain aspects of the music or was it just a completely collective effort?
Dan: We definitely have roles but they are pretty fluid. I mean, I didn’t really do much of the instrumentation at all. It felt like my role was relegated to lyric and melody a lot of the time. I obviously had a voice in it, like let’s try this or put this here. What you hear on the EP and even the reason they are two versions of “The New Hello,” is because we literally would write a song and then figure out what the presentation of that song is supposed to be. So we would try one thing and be like, that doesn’t work and this works great but so does that. Some of that is our indecisiveness as we were creating. It was really collaborative though and Matt and Jeremy would always be bouncing ideas off each other, right up until we were getting ready to master. The “hers” version of the song was literally finished the day before we mastered the project. We went back and were like we need something else and we redid it even then, which I love. I love that we weren’t so married to things that anything was concrete before it was on the project. Even now, it’s an EP. So by the time a record comes out, it will evolve even more.

NT: The musical direction of The Hawk In Paris blends the 80’s synthpop of bands like Depeche Mode, Pet Shop Boys, Alphaville and New Order with the modern electronic elements of bands like Washed Out, Friendly Fires and Owl City. Did this type of music have an affect on you growing up and what draws you to it now?
Dan: Yeah, my first band was four keyboard players and we would do Depeche Mode and New Order covers. That was it. Before that, I was into hair metal bands, things like that. I grew up in Massachusetts and New England is a hub for classic rock. A friend of mine, a girl that I really, really liked introduced me to Depeche Mode. She handed me the Black Celebration record and it kind of changed everything for me. At that point I was like, “Oh my gosh, what I have I been missing.” So I would go back to the Kraftwerk stuff and I found Nitzer Ebb, bands like that. That was more on the industrial side of it. So I was a huge fan of a lot of the electronic and industrial music that was coming out of the 80’s and 90’s. It was a huge part of my upbringing and played a huge influence.

NT: Do you listen to a lot of the bands that are doing it now? Do you find the same things or do the older ones hold a stronger sway in you?
Dan: The newer ones I love too. I think there’s something about the genre of electronic music that people really take a lot of risks. It really is the space, not that it’s completely relegated to that, but it’s really where new sounds come from. Obviously in pop music, one of the things you care about is the rhythm aspect. The drum and bass aspect of what you’re doing. I’ve always found that what makes a record stand out is what they’ve done with the drum and bass. Obviously there are songs involved in that. But there’s this element of “I’ve never heard a kick drum sound like that” or “I’ve never heard that rhythm over there.” Like, Friendly Fires, I love because even on their newest project, I feel like they takes these risks. Rhythmically, I think Owl City is fantastic just because of how clean everything is. I think there’s enough nostalgia in those projects to remind me of what I love about Depeche Mode, New Order, or Pet Shop Boys but then they’ve taken it and said now we’re going to add our own thumbprint to this. I love a lot of the new stuff. Trentemoller is a DJ and I found one of his records. It was what reintroduced me back into electronic music for a little while. Then, discovering the M83 record Saturdays = Youth and going “okay, this records matters to me.” It sounds like everything I listened to growing up but then it sounds completely new at the same time. I love to find a lot of those bands that are doing it well.

NT: In the discussion of organic vs. inorganic instrumentation, words like “cold” or “metallic” are usually used to describe electronic music. How were you guys able to bypass those missteps and what do you think is the secret to the blood and heartbeat that’s found throughout His + Hers?
Dan: That’s a really good question. Well, hopefully this won’t sound contradictory to what I just said. (laughs) But I think songs matter. We’re all songwriters in the band and that ability to weave passion into the songs is just the residual byproduct of being songwriters and not just DJs. I think we come at it from a perspective where it has to inspire us as well. It’s probably because some of the artist I listened to growing up, Peter Gabriel or U2, the lyric mattered. Even Depeche Mode, the lyric mattered. It was dark and it was bizarre sometimes, but they were still trying to communicate something versus just the DJ culture that was just trying to kind of create a party. When we were working on this project, it felt like it mattered to still care about the lyric and that element of passion. I think it would’ve been hard to remove that from the process. And luck, I guess that it’s there and it’s together and it works, because sometimes it can become too melodramatic and you can overdo it.

NT: What are some of the differences in writing electronic-based pop music, as opposed to writing rock-based music for a full band?
Dan: I think some of it is, with Jars or when I’m writing for other projects, it starts with an acoustic guitar or piano and you just sit down and bang it out. A lot of the writing for The Hawk In Paris originated with loops or these little modal bits within a track. Matt or Jeremy would already have this electronic thing and we would see if it would strike anything or we would weave through some of the library of that kind of stuff. So, the origin of where it began was a little different for sure. Outside of that though, it wasn’t that different because we were still reliant on the melody to drive it. Eventhough you can create instrumental hooks, we felt like we wanted to rely on a strong melody to begin with. That might be different from a lot of electronic artists because sometimes you rely heavily on just the musical hooks. Then the lyric and melody becomes secondary to those things because you’ve created a mood or something that was memorable or repeatable. But we still felt like wanted to care about the actual melody. So that’s a little different maybe.

NT: As a big lyric guy, I’m really impressed with the writing on His + Hers. Did the shift in musical moods and sonic textures open up new lyrical themes and ideas as well?
Dan: Yeah definitely. Some of it was just the permission to write a little bit more melancholy. That was what we all loved about the music we listened to growing up. It was a bit of the goth perspective but it was cool to us. So we wanted that. You don’t really get an opportunity to write that way, like I wouldn’t write that way in Jars. I do a little bit but then people go, “that’s a little depressing, you need to lighten that up.” (laughs) So I feel like this was good because we didn’t have to care at all about that. If we’re going to do it, we’re going to dive head first into this melancholy side of love and relationships and just be off with it.

NT: The word “love” or “lover” can be found in every song on His + Hers. Was that a conscious thematic element or just a grand topic that naturally creeps into everything?
Dan: I think it’s both. With trying to write even more universally within the scope of this project, I think love is a big idea. We did intentionally want to write about that melancholy love, so it kind of crept in there a lot.

NT: I wanted to ask you a couple of questions about the incredibly beautiful lyrics to “Put Your Arms Around Me.” First, is the mention of “the great divorce” a specific reference to C.S. Lewis’ book?
Dan: It’s not, no. That was more of the disconnect in the way we feel responsible for the things that happen around us. It’s probably the one song on the project that actually pushes into some of the social commentary, where much of the songs are more about love and relationships. That one’s a little bit more, “let’s take a look at our world and what we decide we don’t want to be a part of.” The things that aren’t going to change and the disconnect of suburbia from what’s really happening in the world. The whole idea that we even think ironically about suburbia. We dress like we’re an urban community and act like we’re an urban community but we live in houses with big lawns. It’s a safe space to pretend that we’re something we’re not. We poke fun at the people that live in neighborhoods and we think that it’s not viable and we don’t recognize that that’s us. We somehow believe our own trickery. At least the part where it talks about “rolling windows up in neighborhoods we drive though in our cars, most days we can avoid them so things will stay the way they are,” is literally just to say here’s our world and what are we going to do with it?

NT: Second, the lines “We’re afraid of our conclusions. What we love will kill us first. And the way to tell the difference from what we hate only makes things worse” seem to carry a lot of weight. Can you break those down a little and tell us what was behind them?
Dan: Absolutely. There were two books that we had to read in high school. George Orwell’s 1984 and Brave New World by Huxley. They both kind of had these two different ideas about what ultimately was going to be the decline and fall of human civilization. Orwell says that the things that we hate will kill us, will destroy us. Huxley says that the things we love will destroy us. That lyric is about that whole idea that what seems more true is that the things we love are the things that are going to kill us. I just felt like that was such a big statement. But you look at things like technology and you look at what it’s actually doing to us. It’s literally destroying us but we are lustful over it. You think about things like Kurzweil and this idea of Singularity. You kind of go, “Wow, it literally is the thing that’s going to shift humanity and destroy us.” (laughs)

NT: His + Hers is bookended with two different versions of the song “The New Hello.” Was it an intentional decision to write a “his” and “hers” version or did the song just naturally sound good within two different attitudes?
Dan: It was. The original version of the song was a little bit more like the “hers” version. It was a little more anthemic. It had a little more of the… we call it the “John Hughes flavor.” (laughs) Cause it’s more of that 80’s anthem type thing. It had a little bit of that but for some reason when we were getting into the process of writing other songs, there’s a whole other side to The Hawk In Paris that people haven’t heard and what’s crazy is that it makes that “hers” version, which is the version that people seem to really love, almost feel like it shouldn’t be there at all. There’s stuff that’s a lot more aggressive. There’s stuff that’s more like what you’d find in the dancehalls. We kind of draw more from the Nitzer Ebb side of things, the more aggressive side of that sound. Since that version didn’t quite fit, we put it away for a long time. But because we loved the lyric and the idea of the song, we wanted to find a skin that might work. So, Matt and Jeremy went back and forth and eventually landed on the “his” version. Which they started developing and it grew into this thing. Then when we were listening back through it was like, “That’s really cool but there is something about that version that is really different and missing from the original version.” So we went back to it and thought, "You know what, this is actually pretty good. Let’s just use them both because it’s almost like they’re different songs." I was excited that we circled back around and found a way to get the “hers” version to really make sense. That’s one of my favorite moments on the EP.

NT: As people start listening to and getting lost in His + Hers, what types of activities and conversations do you hope to be soundtracking?
Dan: Wow, that’s hard to say. There’s not really an agenda for it. There’s not even really a face to it yet. Just yesterday I had a friend that said, “I just finished listening to the EP and there are sounds on there that reminded me of experiences I forgot I even had.” They said it was almost like opening a book with chapters of your life that you didn’t remember but that still inform the way you do things now. In a sense, you kind of go, well that’s what music does. If I listen to Bryan Adams’ “Heaven,” that is the song that transports me to the dance and I’m against the wall and I’m like “I’ve got to ask some girl to dance with me.” (laughs) But there’s this sense of nostalgia that becomes important to people again. So I love that part of it. I like that, for people that are my age and my peers, it will do that. I also want to be a part of the conversation of innovation in music. That’s something that matters a lot. When we talk about The Hawk In Paris among the three of us, we are wanting to forge new ground. We’re just kind of getting started and this is our first stab at it, but we have the sense that it’ll get crazier. Some of it will get less accessible. But the whole point is we want to stay out in front musically. So maybe we want part of the conversation to be that these guys are innovative and doing that.

Interview with Zach Williams

2011-08-20T15:11:00.001-05:00

(Here's a piece I wrote for NoiseTrade recently on Zach Williams and The Bellow's Kickstarter campaign)

To singer-songwriter Zach Williams, community is more than just where he lives, it’s how he lives. Surrounding himself with friends on stage and off, Zach is deeply invested in the lives of those around him and in turn, allows them into his life as well. For a guy like that, a Kickstarter campaign is a perfect fit. Currently, Zach is using Kickstarter to help fund the recording of a new batch of songs with his musical collective of friends dubbed The Bellow. (For those that read a little too quickly, that’s “bellow” as in roar, not “below” as in underneath. It’s okay, you’re not the first one to do that.) With a little over two weeks to go, they’re over halfway to their goal of $20,000. That’s a little over $9,000 more left to go by Friday, September 2. That’s where you, me and the rest of the NoiseTrade community come in. Pledges, emails, tweets, and the unparalleled power of word of mouth can help Zach and his bandmates deliver an incredible album of beautiful music and meaningful stories, without the enormous weight of self-funding. For the financial pledges through Kickstarter, Zach has set up some pretty cool rewards like signed albums, bonus tracks of the original demos, a song played just for you over video chat, a recorded cover song that you request and the grand poobah of a private, full band house show.

But wait, you say! Who exactly is this Zach Williams and what does he sound like? Well, one of the post headings on Zach’s website says “Brooklyn. Country. Music.” and I think that’s a perfectly fitting description. While Zach’s vocals and guitar playing are definitely based in roots music, he’s more in line with the folk poets of Greenwich Village than the twangy troubadours of Nashville. The Bellow beautifully augment his songs with electric guitar, banjo, stand up bass, lap steel, harmonica, piano, drums and tasty harmony vocals. To hear them in action, you can download a couple of free songs and check out their videos on their website. As far as Zach the person, I think you can get a good sense of his heart and vision through his answers and stories in our interview bellow…I mean below.

NT: In the description of your new album's Kickstarter project, the lines "There is no certainty. But there is hope." really stuck out to me. Do those thoughts apply to more than just trying to raise enough money to complete the project?
Zach: Absolutely. It’s about the uncertainty of creating something that might be selfish compared to the hope of creating something that might be worthwhile. The uncertainty of creating something that might be trite compared to the hope of creating something that has conviction. I've said this before, but the songs on this record ebb and flow through tragedy, hope, betrayal and redemption. My hope is that we capture those four things in an honest way.

NT: How has the recording process been at Rockwood Music Hall and did the new batch of songs come quickly?
Zach: It was amazing. Rockwood Music Hall was basically the first NYC venue I played in when I moved here 5 years ago. At the time it had been open for only a few months. It only had one room back then that held 75 people max. I found out quickly that the man who ran sound was also the owner. Each night of the week shows would start at 6pm and go till at least 2am. I was the 2am slot several times. My wife and 3 or 4 good friends would be the only people in the bar. After I played there a couple of times Ken Rockwood (the owner of Rockwood Music Hall) started to encourage me to sing and write more. He'd stand there coiling up the instrument cables in his button up shirt and vest and tell me things like "you really should keep doing this." That is of course the edited version of Ken's pep talks. After playing in NYC for a couple years Ken helped me record a little EP at the beautiful Avatar Studio here in midtown Manhattan. He has always pushed me to be honest. A couple years back Ken opened "Rockwood Music Hall Stage 2" which is the room we are recording in. I had the honor of being the first band to play the room.

Ken quietly built this room for a year or so before that without letting anyone know, so the first time I walk into the place I was astonished. The engineer who helped him build it toured for years as the sound man for The Rolling Stones. He would wander back and forth checking every little detail and mumbling to himself. Ken was constantly getting hassled by the cops. Even during the week that we were about to open the room Ken was still worried that the cops wouldn't let him! The first night was glorious. The line of souls was outside the venue and wrapped all the way around Houston Street. We had to turn away 200 New Yorkers. The 1916 Steinway came down from the ceiling and sat on the stage. The room was silent and about to burst. We sang our songs that night like we were dying. It was a good moment to be alive.

Fast forward to February of this year. Charlie Peacock and I are eating lunch with a couple friends at Georgia EastSide BBQ one block away from Rockwood. The topic of our discussion was "how do we capture this thing?" Charlie then said, "You think your old friend Mr. Rockwood is around? Maybe we could pay him a visit.” We finished up our meal and headed over. Ken was there, just like he always is around that time of the day... pacing back and forth making all the necessary things happen to protect the music that will be made in his rooms later in the night. Charlie shared his vision with Ken. "What if we recorded this record here?" Ken lit up. They quickly figured out all the logistics and it was on. Months later we were loading in all the recording gear and it hit me. These floors, chairs, candles, glasses, and amps have been apart of the music since the beginning and we are literally going to hear them in this recording! Charlie and his team set everyone up where he saw fit. Jason, our banjo player, was behind the bar! All eight of us tracked 14 songs about 12-14 times each for two and a half days. Each song tracked like it could be the one on the record, including vocals. It was nuts.

(Zach wrote a blog about what happened one night while recording and you can read about it at his website.)

NT: Great songwriters always strive to tell new stories in familiar ways. What differences and similarities can we expect on the new album in regards to your last release, Story Time?
Zach: It’s still story songs. Each story is true to my life, nothing is made up for dramatic effect. I think the familiarity might be found in the melodies. I think it’s definitely a much more complete work than Story Time. I recorded Story Time like this: My manager wanted four songs to help him express to people what we do. I couldn't choose which four because we had been playing about 12 a night at our shows. So we recorded all of them at five different studios and one upstairs bedroom. We used five studios because it was the cheapest way. So lame.

NT: You've got the "Midas Touch" of producer Charlie Peacock behind the board for your new album. How did that come about and what drew you to working with him?
Zach: I met him 2 years ago. He heard my music and asked for my family and I to come stay with him in Nashville for a few days. We absolutely were taken care of by him and his precious family. Charlie and his wife Andi have a special gift of hospitality and creativity that I hope to have in my home someday. At the time he was working on The Civil Wars record. Musically, all I needed to hear was Poison and Wine and I was completely hooked.

NT: Community seems to be an incredibly important ingredient in your life and one that you feel is worth sharing about. Tell us how you became involved in your current community in Brooklyn and how that translated into forming "The Bellow."
Zach: I believe the best work I have personally done has happened either in extreme loneliness or extreme loyalty. This project has had strong emphasis on honesty and loyalty among the musicians. There is a true since of brotherhood. Brian Elmquist, the other male vocalist and electric guitar player, is one of my oldest friends. We lived together in an old crappy house in Lynchburg, VA 10 years ago. I was singing in the shower one day and he slung the curtain open and said, "You should be ok with singing in front of people." He moved to Nashville for a few years and then found himself here in Brooklyn after that. Brian has that true southern strength. He grew up in the sticks of Sandersville, GA. He brings that charm with him to every rehearsal. Kanene is the one and only female in the band. She has a voice that can knock a wall down. Her older brother is a man that I call a brother myself. He is one of my closest friends and lives life very well. Kanene and her husband Jason, who plays the mandolin and banjo in our band, both just moved back to the states from Beijing, the place they called home for the past five years. They have a strong commitment to the neighborhood they live in and are some of the most loyal friends in my life. Ben Mars plays the bass. He and the drummer Brian Griffin represent the best type of New Yorkers. They have spent their lives learning an instrument and then moved to this city to be a part of music making. They are adventurous souls that have a hard time making any decision in their lives based on fear. They bring their journeys to every rehearsal. Brian Murphy is our ace in the hole. He is a successful music producer based out of Brooklyn and plays the piano with us. He is the level keeper. He has this gift of keeping everything open and real. He is an honest man and you can hear it bleed out of him at our shows. Matt Knapp is one of my oldest friends in NYC. I met him years ago when I first moved here. Matt is the type of person who loves to master things. You can count on every word he says and every decision he makes having much thought and conviction attached to it. For a type A surface, he has a true ear for the things unseen and unspoken. I believe anyone who plays a weeping instrument should. We all met for the first time to play together back in the fall. Not long ago at all. I was going through some hard times in my life and I wanted to make a country sound. We met at 9 in the morning and knew within minutes of playing that this was something special.

NT: Your talents have allowed you the good fortune of playing with folks like Ben Folds, Jon Foreman (Switchfoot), The Civil Wars and Stephen Christian (Anberlin). What does it mean for a relatively new artist to be able to share their audiences and hopefully get to pick their brain a little bit?
Zach: Playing shows with folks is a funny thing. Both musicians will politely chat back stage while both are completely gearing up mentally and emotionally for the task at hand. One night when I was out with Ben Folds I had a couple good buddies road trip down to the show. We snuck through some secret troll door back stage and ended up in the rafters hanging above Ben and the 16 ft piano. By this time I had played 10 shows with him. That night, Ben came alive. He connected with that crowd and found himself jumping up and down on the top of the rented piano screaming his lungs out without the microphone. It was all I needed to hear. Whoever is talking to Foreman, whether it be his wife, his friend, a fan or a stranger asking for directions, they have his complete attention until they are done talking. It's remarkable. It was such a challenge to me as a human being to watch him be dead tired, sweating head to toe and a fan caught his ear right off the stage and told him his complete life story. Foreman listens. It's such a beautiful thing to watch. I've had the honor of watching The Civil Wars take off. Their humility and meekness is something my own Mother wrote down in her Moleskine.

NT: I read a quote from you that said "Art is a stop sign" and I loved how you explained the concept of pausing and being present in the moment. How do you try to incorporate that into your songs and shows?
Zach: Listening! Trying my best to listen to strange moments that happen between words sung and instruments played. I struggle with being afraid during an entire show. What am I doing? What are they thinking? Can I sing this note? Is this worth while? It has taken up the space in my mind so much that I have often forgotten the words to songs I have written myself and sang hundreds of times. It's like I don't stop. Maybe I wake up late that morning, grab my girls, feed them, hug them, rush to work, then rush to sound check, check morale with the band, worry about everyone, write the set list, hit the stage, then sing 10 songs and I never stopped to just be. I try to stop and listen during shows. What's happening in the room? Should we be silent for a moment? Should we wait on something? It's beautiful to be a part of that process. It feels like you’re really present. That’s the goal right? To be aware.

You can view Zach Williams and The Bellow’s Kickstarter campaign here.

You can find out more about Zach at the following:
Website: www.zachwilliams.com
Facebook: www.facebook.com/zachwilliamsmusic
Twitter: www.twitter.com/ZWandTheBellow
Vimeo: www.vimeo.com/zwilliamsbellow/videos

One Man, Many Bands - Mike Herrera

2011-08-10T06:06:00.003-05:00

Alrighty kids, last week’s MTV retrospective takeover was super fun, but now it’s back to our regularly scheduled programming. I’ve only done a “One Many, Many Bands” feature on mega-genius Aaron Sprinkle so far (found HERE), so it’s beyond time to take another multi-pronged musical magician and sketch out his expansive creative output. Mike Herrera is one of those guys that just exudes incredible musicianship, an intense work ethic and an unassuming rockstar cool. I usually refer to him as the “James Brown of Punk Rock” because he can definitely challenge anyone for the title of "hardest working man in the music business." He was signed to a label and released an album before he even got out of high school and he has managed to release something every single year since then. Hailing from Bremerton, WA, he managed to bypass all the alternative/grunge overexposure that was prevalent in that area in the early 90’s and put together one of the most talented, fun-loving and consistent punk bands of the last 20 years. He has navigated the fickle, choppy waters of the “music scene” and is still putting out some of the best music of his “no end in sight” career. It’s no secret that you’ve got to have a healthy amount of musical ability, songwriting chops and business savvy to be a successful artist for any length of time. While Mike has all three of those in spades, I think his continuous musical presence also has a lot to do with his kind spirit and personable approachability. When I interviewed him earlier this year, he was super gracious, laughed a lot and told some awesome stories. After the show, I saw him talking to every fan that dropped by the merch booth. It’s one thing to be a good musician and it’s another thing to be a good person. Put both of those qualities together, slap some tattoos on it and add an unquenchable thirst for musical creativity and you’ll have Mike Herrera.

MxPx – Mike started MxPx when he was just 15 and had an album out on Tooth and Nail Records within two years. The band’s debut, Pokinatcha, was released in 1994 and I became an instant fan. Growing up, my mom and I seemed to be in a perpetual music buying battle with the exception of anything found at Sonrise, our local Christian bookstore. Due to MxPx’s positive messages and Christian background, this one made it into my collection without debate. Lyrically and sonically, Pokinatcha was a hugely influential album for me. It was one of those albums I discovered on my own, fell in love with and played non-stop. My favorite song on the album, “Want Ad,” helped me define what I was “looking for” in a girl and helped me realize that there is such a thing as romantic punk rock. In fact, Mike wrote songs about girls and growing up in a way that was pretty unique and couldn’t be easily found in other punk bands. I got to see MxPx a bunch in the 90’s thanks to their propensity for touring and their inclusion on the annual AtlantaFest roster for a few summers. In fact, volunteering at the AtlantaFest “Edge Stage” (hey, it was the 90’s) in 1996 afforded me a “sit down” conversation with Mike over dinner. I remember two main things about that experience. First, Mike was a super nice guy and his nonchalant, humble demeanor off stage made his powerful, controlling stage presence even more impressive. Second, MxPx played a blisteringly awesome set that was repeatedly interrupted by “shutdown threats” due to, among other things, the volume, the moshing and the curfew. I couldn’t help but smile when a few empty cardboard boxes from the MxPx merch stand ended up on the picnic pavilion roof after the hassling. With Mike just being a few years older than me, his songs always seemed like welcomed words from someone just a little farther up the path than me. Luckily for me there have been many of those moments to choose from over the years due to Mike’s prolific and poetic songwriting. Since 1994, Mike’s singing, songwriting and bass playing can be heard on MxPx’s 9 full length studio albums, 2 covers albums, 3 VHS/DVD releases, a live album and a handful of EPs, compilations and 7” singles. (They’ve also released a killer Christmas single each year, so you know they get extra points with me for that.) Although they don’t tour as a trio as much anymore, MxPx is still at it and they are currently in the studio recording their next album.

"Want Ad" - MxPx (Pokinatcha)

The Cootees – Mike’s first side project came in 1996 with The Cootees album Let’s Play House. The Cootees featured Mike trading in his bass for an electric guitar and splitting the vocal duties. The line-up was rounded out with Jiles O’Neal on vocals and bass, Dale Yob on guitar and MxPx band member Tom Wisniewski on drums. Let’s Play House is pretty fun to listen to from a musical perspective and it’s a great time capsule of the raw skate punk that came out of the mid-90’s. However, with Mike only partially contributing to the project, it can be kind of hit or miss overall. When they do “hit” though, there’s a couple of pretty cool songs stuck in there. MxPx even “covered” two Cootees’ songs with “No Brain” appearing on 1995’s On The Cover and “I’m OK, You’re OK” appearing on 1998’s Slowly Going the Way of the Buffalo.

"Roses Are Red" - The Cootes (Let's Play House)

Arthur – Mike’s second side project came in 1999 with the release of Arthur’s Loneliness Is Bliss EP. Comprised of all three MxPx members and their guitar tech Neil Hundt, Arthur headed in an alternative/emo type vein with Mike’s new batch of songs. The different direction was felt in his lyrical voice as well. Loneliness is Bliss definitely sounded like Mike was stretching his musical wings and Tom, Yuri and Neil added a lot of different musical flavors to the EP as well. Mike revived Arthur last year and the guys released their first full length, Watch the Years Crawl By. With Arthur, Mike first showed his ability to be a diverse songwriter and musician, regardless of the genre he is writing in.

"Out of the Blue" - Arthur (Watch the Years Crawl By)

Tumbledown – Eventhough Mike is still going strong with MxPx, I just can’t bring myself to call Tumbledown a side project. Whether it’s the sheer strength and emotion of his songwriting or the nonstop push he has given to touring and recording, Tumbledown is Mike clicking on all cylinders. Taking the punk elements he has mastered in MxPx and adding in roots music like folk, classic country and rockabilly, Tumbledown is amazing and just plain fun to listen to. Spinning the bottle between good times and heartache, Mike writes songs that will make you want to party, put your arm around your girl, get in a fight or drown your sorrows. The one thing they don’t do is leave you unaffected. Even when Tumbledown had a horrible experience touring in Mexico that involved a van break-in, huge theft and a tour cancellation, Mike ended up just turning it into a really cool song. Even when he can’t tour with the whole band, Mike takes Tumbledown on the road as a solo act. Having seen it in person, I can guarantee you that Mike needs nothing more than an acoustic guitar to get people moving and singing along. In just a few years, Tumbledown has released two full length albums, an EP and a live album, all full of whiskey-soaked, boot stompers and tearjerkers.

"Sunny In Dallas" - Tumbledown (Atlantic City EP)

When Michael Jordan tried his hand at baseball, most people thought it would work. He’s great at one sport, so he’s got to be at least semi-good at another right? Not exactly. Jordan reminded us that being great in one area doesn’t mean that you’ll be great in other related areas. In that respect, Mike Herrera is the anti-Michael Jordan. Mike is incredibly proficient in the punk rock realm, but he has also succeeded in writing songs in other moods and genres. He's punk rock and he's more than punk rock. His songwriting talents and musical abilities have transcended above just one genre and have translated into many different areas. I’m sure he’s still probably got more up his sleeve that we haven’t seen. Mike is always putting out great releases and thankfully he seems to be full steam ahead. If Mike brings any of his many musical incarnations to your city, do yourself a favor and go to the show. Until then, he’s got more than enough music to keep your heart and ears satisfied.

You can keep up with Mike Herrera at the following:
Tumbledown's Website (tour dates, news and merch)
Tumbledown's Twitter
MxPx's Website (tour dates, news and merch)
MxPx's Twitter

MTV Memories: The Videos

2011-08-05T06:42:00.000-05:00

It’s been a lot of fun spending the whole week celebrating/eulogizing MTV for its 30th birthday. While there were more memories than space to include them all, it was a cool experience getting some of them down onto paper…screen, whatever. But it’s one thing to talk a lot about something and it’s another thing to actually just experience it. There’s a time for labeling and quantifying with words and there’s a time for just letting that special thing wash over you and sink into your head, heart and soul. That may sound a little overdramatic, but I believe what MTV did for my relationship with music can’t be overstated. MTV offered me a constant connection to a variety of genres, accessibility to new artists and bands, hours and hours of entertainment and a common denominator between me and the rest of the world. MTV provided an endless supply of conversation starters, friendship strengtheners, celebration enhancers and broken heart supporters through a once powerful medium that has now become nothing more than an afterthought. Sure, on the surface music videos are just promotional/marketing tools and they make no promises to be anything else. But ask a generation of MTV watchers what they talked about around the school lunch table or what helped them through their first teenage break-up and I guarantee you they’ll give you a different definition of what a music video is. So instead of any more words, here’s just a small sampling of personal favorites from my MTV days. Some are cheesy, some have a message and some are just fun to watch, but all of them mean something to me. Happy birthday MTV and thanks for the good times.

Michael Jackson – “Beat It”
“Beat It” is one of my earliest video memories and probably my favorite MJ video of all time. “Beat It” had an awesome look, great choreography and that classic red, zippered jacket everybody wanted.

Michael Jackson
Get More:
Michael Jackson, MTV Hive

Wall of Voodoo – “Mexican Radio”
Wait…you mean I don’t have to color inside everybody else’s lines? Thanks Stan Ridgway!

Wall of Voodoo
Get More:
Wall of Voodoo, MTV Hive

Cyndi Lauper – “Goonies ‘R’ Good Enough”
Combining three of my absolute favorite 80’s ingredients (The Goonies, WWF wrestlers and Cyndi Lauper), it’s like they plucked this video straight out of my 6 year-old brain!

Cyndi Lauper
Get More:
Cyndi Lauper, MTV Hive

Poison – “Nothin’ But A Good Time”
I don’t know if it’s due to all the neon green or how many time C.C. changes guitars, but out of the plethora of glam metal videos, this one has always stuck with me.

Poison
Get More:
Poison, MTV Hive

A Tribe Called Quest – “I Left My Wallet In El Segundo”
I’m pretty sure that learning the verses to “I Left My Wallet In El Segundo” and “Can I Kick It?” saved me from getting my butt kicked more in elementary and middle school.

A Tribe Called Quest, Q-Tip
Get More:
A Tribe Called Quest, MTV Hive

Guns N’ Roses – “November Rain”
We hadn’t seen anything this epic (that’s how you use the word correctly hipsters) since “Thriller”. It hits just enough notes to be grandiose with out feeling too over the top.

Nirvana – “Smells Like Teen Spirit”
Ladies and gentlemen, the revolution WILL be televised.

Beastie Boys – “So What’cha Want”
Starting when I was about 7 years old, I wanted to be a rapper pretty bad. From Licensed to Ill on out, Beastie Boys were my folks. “So What’cha Want” is a killer song and this live performance from Yo! MTV Raps is one of my favorites.

Beastie Boys
Get More:
Beastie Boys, MTV Hive

Rancid – “Ruby Soho”
I became pretty obsessed with Rancid in high school and this video is my favorite of theirs. It also reminds of a late night/early morning party were Amanda and I, still just friends at the time, talked together into the wee hours of the morning. For some reason, this video and “California Love” by Dr. Dre and Tupac seemed to play every fourth or fifth video in the background.

Rancid
Get More:
Rancid, MTV Hive

Mazzy Star – “Fade Into You”
“Fade Into You” holds a special place because it struck a chord in me that was first opened up by Concrete Blonde. I think this gorgeously shot video matches the amazing song perfectly.

The White Stripes – “Fell In Love With A Girl”
A genius marriage of music and aesthetics, all in under two minutes.

MTV Memories: The MTV Beach House

2011-08-04T06:25:00.003-05:00

For any kid stuck at home during the summer in the 90’s, the MTV Beach House was our mental vacation destination. I dreamed of how awesome it would be to hang out there all day and get to see all the veejays, bands and celebrities that visited. Each video/commercial bumper, interview and musical performance was backdropped with wild décor and good times. It was right on the beach, had a killer pool with a slide that started on the roof, a giant Moon Man, a kitschy art collection, a fully functional kitchen, a spacious living room area and cool people were always stopping by. I assumed (wrongly) that the veejays actually lived there the whole time, like a super cool summer camp. I found out years later that each veejay was only there for 4 or 5 hours a day and they actually stayed at a nice hotel down the road, but at the time it was a fantastical delusion. The MTV Beach House first appeared in the summer of 1993 and was stationed in The Hamptons in Long Island, NY. It returned to the same spot, one house over, for the next summer and then popped up in different locales throughout the next few years. When high school and the ability to drive a car hit, my summers started filling up with friends, football practice and a job. This relegated my exposure to the Beach House to pretty much just late night airings of Alternative Nation and MTV Jams, but those first few Beach House summers were an all day affair.

VJ/Shows: The first batch of veejays included John Norris, Bill Bellamy, Duff and my all-time favorite Beach House staple, Kennedy. Many others showed up over the following summers, including Dave Holmes, Dan Cortes, John Sencio, Carson Daly, Peter King, Daisy Fuentes, Skee-Lo and Ananda Lewis just to name a few. I seem to remember a lot of Pauly Shore in there as well. Many folks came through for varying lengths of time to just hang out, introduce videos and conduct super fun, laid back interviews. That’s one of the things that was pretty cool about it being a 24/7 thing was people didn’t sit down for just a rigid, 10-minute interview focused on a specific album or movie they were promoting. People would hang out through many segments and commercial breaks and just have fun and shoot the breeze with the veejays. It allowed you to see a side of the musician, movie star, comedian, etc. that you didn’t usually get to see. Many MTV shows moved to the Beach House for the summer as well including “Alternative Nation,” “MTV Jams,” “Top 20 Video Countdown,” “Singled Out,” “Say What? Karaoke,” “MTV Blocks” and “Most Wanted.” Of course, there were also some horrible shows like “The Grind” (or as Eric Nies liked to call it “Tha Griiiiiiiiiiiiiiiind”) but why dwell on the negative.

Musical Performances: Over the years many bands stopped by the MTV Beach House to play a song or two. Since alternative music was blowing up and the performances were usually set up around the pool area, it was quite an ironic contrast to see the bands wearing long sleeve t-shirts and Doc Martens against all the poolside pretty people. Nevertheless, I loved almost every band that came though, so I thoroughly enjoyed the songs, no matter how out of place they may have felt. My favorite performance from the first summer was probably 4 Non Blondes doing “What’s Up?” to a slightly unenthralled crowd. Linda Perry made the best of it though and I’ve always loved the performance for it. The next summer, Radiohead made one of their first live U.S. television appearances with a killer version of “Creep.” Lead singer Thom Yorke ended the song by diving headfirst into the pool and sinking to the bottom because of his combat boots. The story is that while struggling to get back out, he almost grabbed the live microphone, which could’ve electrocuted him on the spot. However, some producers were there to help him out and slap the mic away from his hand just in time. That same summer, Lisa Loeb did a cool nighttime performance of “Stay” that always reminded me of the late night beach scene from The Karate Kid. Another favorite of mine was No Doubt covering “Sailin’ On” by Bad Brains. Garbage, Nada Surf, Jewel and Everclear also turned in some really nice Beach House performances as well.

Here's a rebroadcast of Radiohead's "Creep" performance that unfortunately cuts off before Thom takes a dip:

MTV Memories: MTV Unplugged

2011-08-03T05:58:00.010-05:00

MTV Unplugged debuted in 1989 with Squeeze, Elliot Easton of The Cars and Syd Straw appearing in the first installment. While a stripped down, acoustic-based performance was certainly nothing new to rock audiences, MTV strived to take it to another level and make it a special event that held up well to repetition. Hearing bands reinterpret their songs, throw in a cool cover or two and generally just let their hair down a little meant that even at its most blasé moments, MTV Unplugged offered something unique and worth watching. On a consistent basis, what happened on that little stage equaled up to more than the sum of its parts for a magical musical moment you couldn’t get anywhere else. In fact, may of those moments ended up being released as singles or even as a complete album and DVD. MTV Unplugged slipped off the radar for a period of time, but recently they’ve revived the show with new episodes and fresh faces. I think it’s an incredible idea, especially with the track record they’ve had over the years.

The High-Water Mark: You can’t talk about amazing MTV Unplugged performances without starting at the top. In 1993, Nirvana turned in the touchstone by which all MTV Unplugged performances before and since will be measured. Instead of trying to just filter their powerful, well-known anthems through acoustic guitars, they surprised everyone by creating beautifully lush arrangements of non-hit album cuts and obscure covers. They even added Lori Goldstein on cello for the performance. From the lack of successful singles on the setlist to the relatively unknown musical guests of Cris and Curt Kirkwood of The Meat Puppets, MTV execs were considering pulling the plug on the whole thing. No stranger to doing things their own way though, Nirvana turned perceived chaos into something untouchably gorgeous. Some folks will wrongly say that the mythical status attributed to it is because we would lose Kurt a mere four months after it aired, turning it into a self eulogy of sorts. However, all you have to do is listen to the incredible music they made and their masterful reworkings to know they did what hadn’t been done before. Capped off by a heart-wrenching cover of Leadbelly’s “Where Did You Sleep Last Night,” Nirvana owned their MTV Unplugged performance from beginning to end.

Other Standout Performances: Nirvana wasn’t the only one who used MTV Unplugged to put on an incredible showing. Only two albums into her career, Mariah Carey showed she was no studio creation and wowed audiences with a stage full of musicians and a slew of background singers for her 1992 performance. In 1996, Oasis guitarist Noel Gallagher skillfully stepped in for his brother Liam who had not only pulled out right before the show but also mocked him the whole night from the balcony. Also in 1996, Alice In Chains showed back up on the scene for their first concert in over three years. Although lead singer Layne Staley looked like a wreck from his drug abuse, he managed to conjure up a dynamic vocal effort. In 2000, Lauryn Hill used MTV Unplugged to emerge from her four year musical hiatus for a moving display of raw, new songs that included a tearful “I Gotta Find Piece Of Mind.” Surprisingly, MTV Unplugged was no stranger to great hip-hop performances at all with awesome shows from Maxwell in 1997, the Jay-Z/Roots collaboration in 2001 and the Yo! Unplugged Rap show from 1991 that included MC Lyte, De La Soul, A Tribe Called Quest and LL Cool J with a jaw-dropping, show-stopping version of “Mama Said Knock You Out.”

Reintroducing Legends: MTV Unplugged also turned out to be a perfect setting for introducing iconic, established artists to a younger generation of fans. Paul McCartney’s incredible 1991 show included the first song he had ever written at 14 years old and a handful of Beatles’ songs, some of which he had never played live before. Eric Clapton’s 1992 performance included a wonderfully reimagined version of “Layla” and also earned him two hit singles and six Grammy Awards. Tony Bennett’s 1994 show went Platinum, won two Grammy Awards and with a little help from k.d. lang and Elvis Costello, turned him into a hipster icon of sorts. In 1995, original Kiss members Peter Criss and Ace Frehley joined back up with Paul Stanley and Gene Simmons for the first time since 1979. Also, Paul Simon (1992), Bob Dylan (1994) and Neil Young (1993) all turned in phenomenal performances that helped gain them a broader, younger fan base.

Amazing Covers: After so many memorable interpretations of other people’s songs, it has almost become expected to attempt a unique cover song or two on MTV Unplugged. Nirvana did six, including David Bowie’s “The Man Who Sold The World” which went on to be released as a successful single. Roxette did three for their 1993 show including Aretha Franklin’s “I Never Loved A Man (The Way I Love You),” Neil Young’s “Heart of Gold” and The Byrds’ “So You Want To Be A Rock ‘n’ Roll Star.” Maxwell did two with Kate Bush’s “This Woman’s Work” and a fantastic version of Nine Inch Nails’ “Closer.” Mariah Carey set the bar high with her smoking cover of The Jackson Five’s “I’ll Be There” with Trey Lorenz. However, my favorite cover would probably have to be Natalie Merchant’s unforgettable take on the Bruce Springsteen/Patti Smith classic “Because The Night.” Something about the combination of her amazing voice, the stellar arrangement and the musical landscape in 1993 solidified this performance as one of my all time favorite musical moments. They released the whole 10,000 Maniacs MTV Unplugged as an album and a VHS. The VHS included some extra songs that included David Byrne on vocals. While the VHS may be hard to come by, I strongly recommend picking up the album. In case you need any proof or reminder of this song’s brilliance:

MTV Memories: Video Music Awards

2011-08-02T05:42:00.002-05:00

I’ve decided to devote the rest of the week to MTV’s legacy and impact by writing about some of its most memorable moments throughout the years. Today, I’m going to be looking at the way MTV revolutionized awards shows with the MTV Video Music Awards. Thanks to a consistent showing of explosive musical performances and an outspoken cast of hosts and presenters, the “awards” part of the VMAs have almost become an afterthought. While carrying home a “moon man” was a pretty big deal that first decade or so, nowadays pretty much everyone tunes in for the theatrics, the characters and the overall spectacle of the event. The VMAs first aired all the way back in 1984 and they are still going today. However, it depends on who you ask as to whether they could be considered still going strong. No matter your age or interest though, the VMA almost always guarantee something memorable, good or bad, for the highlight reel.

Performances: In regards to musical performances, the VMAs have never disappointed the pop culture public. Right out of the gate, the inaugural VMAs set themselves up as the Grammys’ unruly, cool younger brother with Madonna’s iconic half wedding gown/half bustier clad “Like A Virgin” that people still talk about to this day. A few years later she turned in another landmark performance with an over-the-top 18th century ballroom version of “Vogue.” Michael Jackson tore through the 1995 VMAs with an untouchable 10 song medley of his biggest hits with Slash joining him on guitar. In 1989, Bon Jovi’s acoustic performance of “Wanted Dead or Alive/Livin’ On A Prayer” was noted as one of the key inspirations for the MTV Unplugged phenomenon. Before all the flightiness and drug rumors of recent years, Paula Abdul solidified herself as one of the most talented singer/dancer/choreographers of the 80’s with an energetic medley of “Straight Up,” “Cold Hearted” and “Forever Your Girl.” Great performances even took place outside of the venue with Foo Fighters playing “Everlong” and “Monkey Wrench” from atop the Radio City Music Hall marquee and Eminem leading a collection of look-a-likes from the streets of New York and into the auditorium for “The Real Slim Shady” and “The Way I Am.” Generation gaps were bridged with combinations like Elton John teaming up with Guns N’ Roses for “November Rain” and Pearl Jam joining Neil Young for an explosive “Rockin’ In The Free World.” The Pearl Jam/Neil Young combo is probably my favorite actual musical performance, while my favorite non-musical performance is probably when Nirvana bassist Krist Novoselic caught a bass in the face after an ill-fated toss.

Hosts: Hosting the VMAs has to feel more like being a ring leader than an emcee, but so far everyone has done at least fairly well. The first VMAs were co-hosted by the seemingly odd couple of Dan Aykroyd and Bette Midler. (By the way, between hosting the first VMAs and somehow getting into the “We Are The World” choir, Dan Aykroyd’s PR person was on it in the mid-80’s!) Multi-show hosts include Arsenio Hall with a whopping four in a row (1988-1991), Chris Rock with three (1997, 1999, 2003), and Dennis Miller, Downtown Julie Brown, Dweezil Zappa and Russell Brand all with two. My personal favorite for host was probably Dana Carvey in 1992, thanks in no small part to him dressing as Garth from “Wayne’s World” and playing “Even Better Than The Real Thing” with U2.

Reunions: The VMAs have been the chosen occasion for a couple of pretty cool reunions. In 1990, Bobby Brown and New Edition buried the hatchet for a mega-medley that included Bell Biv DeVoe’s “Poison” and “Mr. Telephone Man” as highlights. Two awesome reunions happened at the 1999 VMAs, as Aerosmith and Run DMC hooked back up for an amped up “Walk This Way” during Kid Rock’s performance and Dr. Dre and Snoop Dogg performed “Nuthin’ But A G Thang” during Eminem’s performance. In 1997, a very interesting reunion of sorts took place when Franz Stahl got back together with Dave Grohl, his former band mate from Scream, when he replaced Pat Smear in Foo Fighters. The announcement of Pat Smear’s departure and Franz Stahl’s entrance was announced in between songs. However, what would probably be considered the biggest (or maybe least likely) reunion took place in 1996, when the four original members of Van Halen appeared together for the first time in over a decade to present an award. Apparently it was a little too soon though because no sooner did they get backstage than…

Fights: …David Lee Roth and Eddie Van Halen got into a major fight that almost got physical. At various other VMAs, more “almost” fights also took place between Axl Rose/Kurt Cobain (1992), Eminem/Moby (2002) and Axl Rose/Vince Neil (1989). Occasionally though, things actually did escalate to punches with fistfights taking place between Kid Rock/Tommy Lee (2007), Bret Michaels/C.C. DeVille (1991) and Vince Neil/Izzy Stradlin (1989). Apparently, it’s not all just music and moon men at the VMAs. Knuckles up!

Wackiness: Let’s all be honest. As much as we look forward to the music and jokes, we’re also kind of crossing our fingers for those crazy shenanigans that only the VMAs can produce. I’m talking about those unexpected, sometimes even unscripted, moments that we never saw coming and that can end up being hard to explain to someone who didn’t see it for themselves. Michael Jackson has been responsible for a few of them, including the creepily awkward kiss with new wife Lisa Marie from 1994 and the accidental acceptance of the non-existent “Artist of the Millennium Award” in 2002. Kanye West’s interruption of Taylor’s Swift’s acceptance speech in 2009 shocked everyone and gave us more imitations and recreations than any one cultural event should have to bear. Even the meltdowns can be hard to look away from, with Courtney Love’s make-up launching interruption of the Madonna-Kurt Loder interview in 1995 and Rage Against The Machine’s Tim Commerford’s stage rush and scaffolding perch in 2000 being two of the most uneasy to watch. Even seeing Pee Wee Herman in full gear for the first time after his arrest in 1991 was only made more comfortable by his perfect opening line, “Heard any good jokes lately?”

In middle school and high school, I can remember having friends over specifically to watch every second of the VMAs as they unfolded. Many, many fun times were had during those broadcasts, both on screen and in our living room. Eventhough the last complete VMAs I watched would’ve been in the early 2000’s, this era of instant info makes it easy to keep up and find out anything you may have missed. Even if you’re not checking out the VMAs any longer, hopefully these recollections will spark a happy memory or at least send you to YouTube for another viewing.

MTV Turns 30: A Look Back

2011-08-01T00:01:00.006-05:00

“Ladies and gentlemen, rock and roll.”

With these immortal words, the cultural juggernaut known as MTV was launched on August 1, 1981 at 12:01 AM. Only a few thousand homes in New Jersey were privileged enough to get the initial cable broadcast, but that didn’t stop MTV from quickly growing into one of the most influential media entities of all time. Starting with a relatively small batch of promotional videos and concert clips, MTV would eventually change the way music was released and consumed. Sure, they were nowhere near the first ones to broadcast visual images synched with music, but they did it bigger, better and bolder than everyone else. From six Rod Stewart videos on the first day to the production of multi-million dollar videos like Michael Jackson’s “Scream,” Madonna’s “Express Yourself” and Guns N’ Roses’ “November Rain,” MTV revolutionized the concept of what a music video is and what it can do. No longer could a band or artist rely solely on the strength of their songs alone. Appearance, performance, visual creativity and the all important “music video” were now necessities if you wanted to grab anyone’s attention. Listeners became viewers, musicians became faces and the question of style or substance was answered in 3 and half minute cinematic commercials of sensory overload. MTV was selling more than music…and I, along with generations of others, couldn’t get enough of it.

Being born in 1980, I didn’t get to fully engage in MTV’s first few years. Its impact and influence was not lost on me though. Whether it was due to my parents or my sister who is four years older than me tuning in, I still have very distinct memories of “the first five” veejays (Alan, J.J., Mark, Martha and Nina) and some of the real early videos like “Rapture” by Blondie, “Brass In Pocket” by The Pretenders, “I Ran” by Flock of Seagulls, “Our Lips Are Sealed” by The Go-Go’s and “Rock Me Amadeus” by Falco. All of the animated/stop-motion station ID bumpers and “I Want My MTV!” commercials are super vivid in my memory as well. However, the first time I really remember being completely enthralled on my own was Michael Jackson’s “Thriller” video. I have no idea when I first got Thriller on cassette or when I got the Making Michael Jackson’s Thriller VHS tape, but I wore them both out equally. Seeing such a “can’t look away,” scary-yet-enthralling video to go along with an album I couldn’t stop listening to made me a MTV fanatic. Hours and hours a day spent either watching MTV or having it on in the background while doing other things developed a habit I carried well into my late teens. Throughout the 80’s, I fell in love with tons of iconic videos like Prince’s “When Doves Cry,” Wall of Voodoo’s “Mexican Radio,” Run DMC’s “It’s Tricky,” The Clash’s “Rock The Casbah,” Beastie Boys’ “(You Gotta) Fight For Your Right (To Party),” and Fat Boy’s “The Twist,” just to name a few. I also became a huge fan of MTV’s original programming with Remote Control, Yo! MTV Raps and 120 Minutes becoming never miss shows for me. Martha Quinn, J.J. Jackson, Dave Kendall, Doctor Dre, Ed Lover, Fab 5 Freddy and Adam Curry all hold a special place in my musical heart for the incredible music they introduced me to.

As the 90’s crested the horizon, shows like Alternative Nation, MTV Unplugged and yes, even Beavis and Butthead joined my must see line-up and were more important television shows to me than anything on the major networks. Back then, even the first few seasons of The Real World were extremely eye-opening to me. There was so much incredible music available at the time and MTV could get it out faster and better than any radio station. More importantly, they could do it without any format constraints. For someone with a wide-swinging musical appetite, I really appreciated being able to see “In Bloom” by Nirvana, “Roots Radical” by Rancid, “Scenario” by A Tribe Called Quest, “Groove Is In The Heart” by Deee-Lite and “I Get Around” by Tupac, back to back to back. As I got older, practicing split kicks off the couch like David Lee Roth in Van Halen's "Jump" and trying to learn the dance moves from Michael Jackson's "Beat It" gave way to playing guitar along to Oasis' "Champagne Supernova" and furiously trying to scribble down the lyrics to Snoop Dogg's "What's My Name." Matt Pinfield became a trusted guru when he took over on 120 Minutes, Kennedy made me appreciate musical taste and sarcasm in a girl on Alternative Nation, Doctor Dre and Ed Lover continued to show me where great rap and hip-hop could be found on Yo! MTV Raps and 10,000 Maniacs, The Cure, LL Cool J, A Tribe Called Quest, Stone Temple Pilots, Mariah Carey and Nirvana all turned in jaw-dropping performances on MTV Unplugged.

In fact, hugely important moments like Nirvana’s MTV Unplugged performance were the kind of things that made MTV so ground-breaking, so legendary and so wonderful. MTV provided continuous coverage of Live Aid when ABC was just showing highlights. MTV made awards shows watchable with unforgettable performances throughout the years by Madonna, Michael Jackson, Nirvana, an acoustic Bon Jovi, Red Hot Chili Peppers and a Neil Young/Pearl Jam pairing that blew my 13 year old mind. MTV came up with over-the-top contests with unbelievable prizes from artists like John Mellencamp, ZZ Top and Metallica. MTV stretched the creative, technological and artistic boundaries of what could be done in a video. MTV used its platform to bring awareness to social issues, health concerns, racial equality and community involvement. Unfortunately, those are not the kind of things you’ll find if you tune in to MTV today. They have traded videos and thought-provoking programs for unwatchable reality shows and weak awards ceremonies. They even removed the “Music Television” portion of their logo. But we still have the good times to look back on. All those times we watched MTV for the whole sleep over, stayed up late for a “World Premiere Video,” made an event out of the VMA’s, got our music news from Kurt Loder, started a conversation with “Man, you have GOT to see this new video,” wished we could’ve attended a Rock n’ Jock softball or basketball game or even just spent a blissful few hours getting transported and lost in some great videos; we’ve got MTV to thank for each one of those times. MTV is turning 30 and she’s looking a little rough around the edges, but we can’t forget what she did for us culturally or individually. So instead of bemoaning the newest episodes of Jersey Shore or Teen Mom, just start a conversation with someone about one of your memorable MTV moments, reminisce about your favorite veejay or debate what was the “best video” of all time. Just remember, eventhough it’s all subjective, a-ha’s “Take On Me” is still the trump card on that one. So turn those frowns upside down my fellow folks of the MTV Generation. While it’s true that nothing gold can stay, it doesn’t mean the glimmer has to fade once it’s gone.

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