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Karin Fjellman writesTONIGHT! CHIRP Night at the Whistler with This Is Cinema & The Clams
It’s time again for another CHIRP night at the Whistler! As always, bar proceeds go to CHIRP, and the beloved CHIRP raffle will go on throughout the night. The evening highlights the best of local music, as the newest member of Whistler Records’ family, This Is Cinema, headlines, and psych-pop rockers The Clams open.
No cover!
Be there!
Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Mike Chapman Edition
Today we pay tribute to a behind-the-scenes guy. He’s the man who wrote my favorite song of all-time, “Ballroom Blitz”. Mike Chapman was an Australian musician who had done time in a band called Tangerine Peel. He teamed up with trust fund baby Nicky Chinn to become a very successful bubblegum and glam rock writer and producer. Although the songs were credited to Chinn and Chapman, it is apparent that Chapman was the musical force, working with Sweet, Mud and Suzi Quatro in the glam days and moving on to produced smash hits for Exile, Blondie and The Knack. Later on in his career, he produced Material Issue’s Freak City Soundtrack for free, because he was so confident that they would succeed (and the record is great, it’s a shame it didn’t hit). In honor of Mr. Chapman, please grab your iPod or MP3 player, hit shuffle and share the first ten songs that come up.
- Quasi — The Happy Prole (Featuring ‘Birds’): The combo of Sam Coomes on keyboards and Janet Weiss on drums has led to some really worthwhile indie pop records. Featuring ‘Birds’ was the first Quasi album I ever heard and it is still my favorite. The melody on this song is simple and direct, and the full keyboards and snappy drumming augment this working class lament. Wonderful middle eight.
- Pere Ubu — I, Will Wait (Dub Housing): A typically oddball ’70s Pere Ubu song. This song combines a circular rhythm with busy drumming and disquieting synthesizer noises. The repeating guitar figures fall somewhere between Captain Beefheart and The Minutemen. Although this is far from pop, the rhythms make this kinda catchy.
- Superdrag — Stu (Last Call For Vitriol): As the Knoxville power pop group went on, they seemed to rock out even more. This song seems to filter The Replacements through some combo of Cheap Trick and ’70s punk. The chorus could be a bit catchier, but the playing is great and this is a pretty solid song.
- The Vandalias — Sky High (Mach V): This Minneapolis band played a very bubblegummy/‘70s AM Radio version of power pop. Dan Sarka’s vocals have an inherent sweet, innocent quality that was often contrasted by loud guitars, with happy melodies. This is a swell cover of Jigsaw’s Top 10 smash. The arrangement is similar, with dirtier guitar sounds and Sarka’s voice sounding pretty desperate. I wouldn’t say it’s better than the original, but it touches on the underlying emotions of the lyrics for a very strong remake.
- Randy Newman — Back On My Feet Again (Good Old Boys): This song is a clear antecedent to the type of songs that Randy Newman writes for movies like Toy Story. It’s a quintessential mix of American pop and New Orleans R & B/boogie woogie. Newman’s piano playing is superb.
- *Creedence Clearwater Revival — Ninety-Nine and a Half (Won’t Do) (Creedence Clearwater Revival): A great slice of R & B, originally performed by Wilson Pickett, done in CCR’s swamp rock fashion. The rhythm section is fairly grooving, while John Fogerty shouts his vocals with passion and makes his guitar sound a little funky.
- Syd Barrett — No Good Trying (The Best of Syd Barrett): It’s a shame that Barrett’s mental health cut is career so short. His solo work is masterful, seminal psychedelic pop, with melodies that wobble and sound just a bit off, but sound just right. If you are a fan of Robyn Hitchcock and have never heard Barrett’s records, you should rectify this immediately, as the influence is so obvious.
- Homeboy Sandman — Calm Tornado (The Good Sun): This is a hip-hop artist who I discovered last year at CHIRP. He is apparently a school teacher, and his literate lyrics are consistent with his occupation. The beats are basic and a platform for his smart words and flow. At various times he reminds me of Q-Tip, Eminem, KRS-One and K-os. There’s nothing innovative here, but the songs on the album are pretty consistent.
- The Magnolias — Coming On Too Strong (Dime Store Dream): This Minneapolis band played hooky punk-pop songs that found a middle ground between Buzzcocks (like those Mancunians, most songs had strong melodic lead guitar lines) and bratty punk styles of bands like The Replacements and The Oysters. John Freeman was a fine songwriter and had a perfect sore throated vocal style to put this stuff across.
- The Iveys — Maybe Tomorrow (The Very Best of Badfinger): The Iveys were the band that evolved into power pop godfathers Badfinger. This is a sweeping ballad in the vein of a lot of Bee Gees material and songs like The Marmalade’s “Reflections of My Life”. This would be a great obscure chestnut for a contestant to sing on America Idol, as it is made for widescreen emotions.
Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Biz Markie Edition
While rap is associated with MCs with tight flows, busting off a dizzying burst of rhymes with precision, not all flows have to be that way. Case in point, Biz Markie, who turns a year older today. His somewhat offbeat style worked because of his genial personality, and he quickly became a beloved figure. Alas, it was his unauthorized use of Gilbert O’Sullivan recording that led to the lawsuit that changed the face of how samples could be used. But Biz stay in the biz, whether it was working with the Beastie Boys, DJing or entertaining kids on Yo Gabba Gabba. Let’s pay tribute to the Diabolical Biz Markie by grabbing your iPod or MP3 Player, hitting shuffle and sharing the first 10 songs that come up.
- AC/DC — Hells Bells (Back In Black): Back In Black is one of the largest selling albums of all-time, and that it could come in the aftermath of the death of frontman Bon Scott is frankly amazing. I think it’s a matter of top drawer material, awesome Mutt Lange production and a band that had something to prove.
- Jim Croce — Mississippi Lady (50th Anniversary Collection): A pretty basic chugging mid-tempo number from the folk-pop star whose career was tragically ended by a plane crash. Croce had a fascinating quality with his vocals, a certain bluesy charm that separated from most singer-songwriters. It’s not as useful here, as this is a pretty routine song.
- The Clash — Janie Jones (The Clash): This is the first cut on Side 2 of the debut album from the Clash. This is a rumbling rock tune that isn’t that sounds like a more chaotic version of a glam rock number from just a few years older. The ending still thrills me, with Mick Jones finally chiming in. By the way, Janie Jones was a tarty blonde British film star.
- The Rolling Stones — Casino Boogie (Exile On Main Street): While Exile is considered by most, nowadays, as the best Stones album, it doesn’t rate as highly with me. While bluesy numbers like this one are enjoyable, I just don’t think the songwriting is as good as on other albums. Which isn’t to say I don’t like the album.
- Martin Gordon — Come Out, Come Out Whoever You Are (Time Gentleman Please): The former Sparks/Jet/Radio Stars bass player got back into pop music in the last decade (after a couple decades doing session work). His music is consistent with his witty work in Jet and Radio Stars, playing smart power pop with clever lyrics. This song has a simple structure but a busy arrangement that doesn’t get in the way of the catchiness.
- Diana Ross & The Supremes — The Happening (Anthology: The Best of Diana Ross & The Supremes): This is a lesser hit of The Supremes, but a really cool song. It’s a whirlygig pop tune that sounds a bit inspired by writers like Jimmy Webb, with an incredibly playful melody and arrangement. And Diana Ross is the perfect singer for this song. Add the supple Motown rhythm section and you have a wickedly cool song.
- Midnight Oil — No Reaction (Head Injuries): The first two Midnight Oil albums show a band that is establishing its identity, with songs that were hard edged enough to satisfy the surf bar denizens they played in front of, while trying to accommodate their artier tendencies. This songs combines a sturdy riff and typical intensity with some nice contrasting lighter touches. One of their better early songs.
- The Velvet Underground — Jesus (Closet Mix)(Peel Slowly And See): A haunting Lou Reed tune. With Lou Reed in the right channel and Nico in the left channel, this is a resonant song, with just an acoustic guitar, an electric guitar and bass. The song seems to be (appropriately) inspired by spirituals.
- Hank Williams — Kaw-Liga (The Complete Hank Williams): Okay, perhaps an unrequited love song from the perspective of a cigar store indian is not politically correct nowadays, but this is one of Hank Williams’ best songs. The initial verses are high drama, an intersection of western music and the blues, contrasted with the brilliant hoedown vibe in the middle eights. And Williams’ vocal is pretty great too.
- Cheap Trick — Welcome To The World (Rockford): A really good latter day Cheap Trick song, with a big inviting melody, crashing guitars, great harmonies and one of the best lead singers of all time, Robin Zander.
Abbey Fox writesAbbey Fox Goes to South by Southwest (2011)
[I’m still not sure words will do any justice, but I am going to attempt to describe the awesome insanity of the past weekend in Austin, TX. Enclosed are notes from my journal about my experience at SXSW. I went to a mixture of official and unofficial SXSW day and night parties. Most were free. I spent $15 on music (for one night’s cover charge) the entire time I was there.]
5 a.m. Thursday, March 17
My friend Anna and I arrive at the airport, prepping for our three flight journey to Austin. There are not many direct flights to Austin and the ones that are available are expensive. We don’t care, we decided that we are going anyway. Anna has been to SXSW several times before; I am just a newbie. She has prepped me with necessary information and keeps reminding me that flexibility is key in enjoying this festival. Yes, we have our schedules planned out – but so many things change in an instant down in Austin. I think I know, but I really still have no idea what is in store. I’m just brimming with excitement and nervous energy at 5 a.m.
2 p.m. Thursday, March 17
After dropping off our bags and grabbing a quick taco lunch, we head to the madness of 6th street and Congress. It is 80 degrees and the sun is shining bright. I am immediately struck by the fact that music is playing EVERYWHERE. In every bar we pass, a musician is setting up or playing a set. On every street corner, there is someone singing or playing guitar. Every three steps, I hear a mixture of sounds or a completely new band. They say there are over 2,000 bands in Austin this week. I now understand. The space is overflowing with positive energy and over-all excitement. You overhear conversations about the best bands you’ve ever seen and who you are excited to see next. There is comfort in knowing that everyone on the street (and even in the city) is there for the same reason as you: the music. Instant friendships are formed so easily and effortlessly. "You like music? I like music! It’s 80 degrees – let’s go check out this next band together!" It feels much like any summer music festival, but is amped up by about 1000 %.
We head over to the NPR party at the Parrish, but the line is just too long – so, we look across the street and see the Flamingo Cantina and waltz our way over. We made it in time for the end of Sondre Lerche’s set, the darling Norwegian singer-songwriter that I forgot I used to love. His set was a nice, calm refuge from the beautiful, but overwhelming main streets of the festival. Next up was an energetic five song set from Lord Huron. After celebrating the lead singer of The Dears' 40th birthday with a rousing version of “Happy Birthday" and cupcakes for everyone in the venue, we run over to the East Side Drive Inn for the Pitchfork showcase. By the way, it’s about 4 p.m. at this point and the only money we have spent has been on food. During the day, artists play free shows of half sets that last around 20-30 minutes. If you play your cards right, you can easily see over 15-20 bands a day – for free.
We catch the end of Times New Viking, and get geared up for the legendary Dinosaur Jr’s J. Mascis. Our homeboy with long grey hair and a black beard does not disappoint, playing solo with just his guitar. Up next is a band I was very excited to see, Chicago’s own Smith Westerns. I really enjoyed their latest album Dye It Blonde, but had been warned about their bratty attitudes. And boy, did they really deliver with some of the most pretentious diatribes I have ever heard. They put on a fine rock show, but nothing life changing or even extremely interesting. I was extremely put off by their stage presence. We didn’t even finish the set.
A quick dinner and we’re off to figure out how to spend our evening. We are also exhausted by this point. After walking up and down 6th street, we end up at a local blues bar at the suggestion of the door man who lured us in with no cover. We saw a great local blues band open for New Jersey Americana-folk-rock band Reese Van Riper. It was LOUD and messy and good….and not at all what I expected for folk rock. After a few Lone Star beers, we are heading back to the house to try and catch some rest for the next few days of music.
12:30 p.m., March 18
The first thing we all did when we woke up in our rented artist loft on 22nd street was to check our email and Twitter accounts. It wasn’t just because we are internet junkies, it was to see if anything new had been released over night – any secret shows, any special appearances, etc. This is the thing that is most exciting about SXSW: it is changing constantly. Lineups are changed, bands switch locations, and special shows are played in parks. So, we did our research and settled on some plans for the day.
After a relaxing brunch at the South Congress Café, my pals and I headed over to the Homeslice showcase across the street. The weather was beautiful, with highs reaching around 90 degrees. When we arrived at Homeslice, we could barely hear the music set up in the back yard. Turns out, Homeslice didn’t get the proper sound approval from the city, so the bands would have to play acoustic. I stuck around to see two indie bands, Versus and Lost in the Trees who played a delicious set in the round. It was a very intimate space because of the sound issues, and it needed to be – as soon as you walked outside of that circle you could hear different music blaring in every direction.
In the interest of cleansing my palate, I headed over to the Scoot Inn for a hip-hop showcase that was weirdly enough hosted by Andrew W. K. Das Racist was the first set we caught, and man, what an awesome set it was! These boys have so much fun on stage, great energy with each other, and utilize humor in a way that’s over-the-top, but somehow completely reasonable. AND, their rhymes are tight, socially conscious, and still playful. Das Racist put on one of my favorite sets at SXSW.
After Das Racist, we saw the much hyped Odd Future Wolf Gang Kill Them All. OFWGKTA can only be described in one word: insanity. This L.A. Collective features rappers aged 17-23 and their youthful energy feels destructive and immediate. The crowd was so excited to see them, and Odd Future played off that energy by constantly crowd surfing, climbing on speakers, and at one point, jumping off the roof of the venue into the crowd. They are crass, and their punk attitudes shine through their raps. Definitely worth seeing, but for safety’s sake, at a distance.
Feeling hyped from the energy at the hip hop showcase, we headed back to Homeslice to catch the rest of the acts in their day party. I caught the tail end of Someone Still Loves You Boris Yelstin which is one of the most clever band names in indie rock, part of one of my favorites, Thao and The Get Down Stay Down, and Canadian band Rural Alberta Advantage. Like I said earlier, the acoustic sets were fun if you were up close, but the noise restraints put a damper on the shows for those of us near the back. Homeslice allowed RAA to play their last song at normal level, and that was my favorite part of the day party.
Then, we ran into Yoko Ono who was trying to buy a cowboy hat. It was surreal, and I just yelled “OMG YOKO" because I am really just a star struck adolescent behind these skinny jeans and large sunglasses. She got into a limo, and we continued walking.
7:30 p.m., March 18
We headed over to the legendary music venue, Antone’s for our choice of night party. Unfortunately we missed the indie pop openers, The Head and the Heart because of the line wait. After about fifteen minutes, we got in just in time for Philadelphia band,
We ended the evening with another set by Thao and the Get Down Stay Down, but this time – they were plugged in. Obviously, a bigger crowd = greater energy, and they played mostly up-beat, danceable tunes which was perfect for a Friday night. We tried to stick around for the headliners of Okkervil River, but we were too exhausted (and our feet hurt from dancing!). We headed back home to rest for our final day of music in Austin.
12 p.m., March 19
We checked our email and saw that that the set times for the Mess With Texas Party had been confirmed, so we decided to head back to the East Side Drive In to hang out in the sun. Up first was California band, We Barbarians. A good old fashioned rock and roll band, their set is tight and clean – and we decide they sound like a non-washed up version of the Kings of Leon. Up next is Deertick, a band from Rhode Island. I have heard a lot about this band from friends, primarily that they are great musicians and probably alcoholics. They played a Nirvana tribute set in Austin the day before and called themselves Deervana. The point is, this band knows how to have a good time, and I was blown away by their immense rockabilly/rock/roots sound. They’ve been around for a while, and I honestly don’t know why it took me so long to finally experience them. It was a fun set.
The next three bands were heard from sitting down in the shade. I had run into a few friends from Chicago and we decided to catch up over some beers instead of work our way to the front of the stage. Our soundtrack to the lovely afternoon was Strange Boys, Lemuria, and The Dodos. After a much needed break, we headed back to the stage for Ted Leo’s solo show. Say what you will about the man (i.e. Is his music still relevant? Why do all his songs sort of sound the same?), but there is something about Ted Leo that I will always find magnetic and nostalgic. I still think he’s better with a full band, but he played well known (and very loved) songs like “Me and Mia" and “Timorous Me" by himself and definitely did them justice. Ted Leo is still a force to be reckoned with, but it was obvious that this set was only for the very serious fans.
7 p.m., March 19
I head over to Auditorium Shores to see the Bright Eyes show. My relationship with Conor Oberst’s music has really changed over the years . As a 16 year old, the man sang the Gospel truth to me (i.e. “Haligh, Haligh, a Lie, Haligh" was one of the most important songs of my high school experience). A few years later, I began to resent his negative outlook on life and love and found the music I once loved so much as very whiney and predictable. But then (!) his solo albums and side projects reeled me back in, and I started listening to the up-beat tracks on the albums that I had always skipped for the slow, sad ones. I must emphasize that I did this with great caution and skepticism , knowing that I will always be a recovering acoustic -emo-music addict. I went to this show knowing that I had a very long, personal history with the music of Bright Eyes, and with a strong curiosity to see him in a very large outdoor space like Auditorium Shores.
It was one of the best shows I have ever been to in my entire life. Yes, we must put it in context: it is my last evening in Austin, TX; the full moon was out in full force; I was there with new and old friends who were singing as loud as I was; and there were fireworks afterwards. Regardless, he played a perfect mixture of old and new songs, and had fantastic stage presence (not even drunk or awkward, unlike the last times I’d seen him). Conor Oberst is more than just Bright Eyes, he is an amazingly talented musician. I have always been impressed by the amount of music this man can produce, and now I re-appreciate every sort of song/lyric he has ever experimented with. He’s the real deal. (This concert is currently streaming on npr.org/music, and I highly recommend checking it out if you are at all curious.)
The evening ended up at the Vibe party’s tribute to Nate Dogg (we knew a guy). Warren G. was headlining, and if I hadn’t been so physically exhausted and emotionally drained from the Bright Eyes shows, I would have enjoyed it more. I was ready to leave when I looked up on the stage and saw Snoop Dogg make a special appearance. There is a reason that these rappers are famous (obviously). Their rhymes were still so smooth, the show was still fun, and they were still awesome performers. It was nice, random, perfect way to end the evening.
8 a.m., March 26
It has now been a week since I returned from SXSW, and I’m still trying to figure out how to talk about it. This is what I know: It was extremely awesome and overwhelming and I’m still on a live music high. Like many of us, music has always been more than just background noise for me. It has articulated my feelings, it has helped me dream of different possibilities, it’s been a way for me to express myself. Live music possesses healing and transformative powers. There is something so special about being in the same space as musicians you love because they created the music you cling to.
And yes, SXSW is a big party. But, it is a big party in celebration for the necessity of and for the future of music we love and will grow to love. It’s a reminder of the all the music in the world we’ve yet to discover, and a way to appreciate all the songs that got us here in the first place.
“As for us, the listeners, there's really no proper way to feel besides grateful. This is a work week for everyone on the many stages of South by Southwest; a labor (to invoke another buzz band down here ) of the head and the heart." – notable rock critic and prolific music journalist, Ann Powers
Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday D. Boon Edition
The Minutemen were one of the greatest American rock bands ever, but their time together was all too short. This was due to D. Boon’s tragic death in a van accident right around the time of the release of The Minutemen’s wonderful Three Way Tie (For Last) album. In their relatively brief time together, Boon, with best friend Mike Watt and drummer George Hurley, melded together punk, post-punk, funk, jazz and classic rock influences and intelligent lyrics about politics and social problems into an invigorating and innovative sound. Boon was a big man with a big heart, an enthusiastic singer and performer and a terrific guitarist, fronting a band that, for all they achieved, seemed to have only scratched the surface of their considerable potential. Let’s pay tribute to Mr. Boon by grabbing your iPod or MP3 player, hitting shuffle, and sharing the first 10 songs that come up.
- Stevie Wonder — Golden Lady (Innervisions): During the presidential campaign, Barack Obama told Rolling Stone that Stevie Wonder’s five-album run, culminating in 1976’s Songs In The Key of Life, may have been the best sequence of albums ever. Whatever you think of Obama’s policies now, his acumen as a music critic is unassailable. Innervisions was part of that run, full of amazing songs. This is one of Wonder’s sublime romantic songs, bursting with joy, as Wonder’s melody effortlessly envelopes the ears. One of Wonder’s many deep cuts that could have been a smash hit.
- Kaiser Chiefs — Caroline, Yes (Employment): The title is a clever nod to The Beach Boys’ song from Pet Sounds. However, the song has no resemblance to the Brian Wilson composition. Well, maybe a bit, as there is a sad or wistful feeling to the verses, but it all builds to a big chorus tailor made for punters in football stadiums to sing along with. Nothing wrong with that, by the way. This is a band that is so consistent, they are easy to take for granted. Don’t.
- The Kinks — Skin And Bones (Muswell Hillbillies): This album is anamoly in The Kinks’ catalog, coming between the amazing run of Britpop classics that ended with Lola Versus…. and before the mediocre concepts that filled their dance card in the first half of the ’70s. This is the rustic Kinks, with a bluesier orientation, and even a bit of country seeping in. Yet the songs are unmistakably Ray Davies. This song sounds like it could have come from the Village Green era, but for the slide guitars and the performance.
- Madness — Sweetest Girl (Mad Not Mad): This Scritti Politti tune was perfectly suited for the urbane music hall approach of the Nutty Boys at the tail end of their original run. The original was Scritti Politti’s first break from agitprop post-punk into actual pop territory, but the recording was still a bit raw. Madness smooths all this out, with one of Suggs’ best vocals. An awesome song and a fine performance.
- The Beach Boys — Summer Means New Love (Summer Days (And Summer Nights!!)): A somewhat cheesy guitar instrumental. The Beach Boys kicked out a lot of albums back then, so there was some filler. At least this filler, with lush string accompaniment, gives some insight to where Brian Wilson was heading to with Pet Sounds, albeit not as Muzak-y as this track, for which we should be thankful.
- Paul McCartney — Ever Present Past (Memory Almost Full): If you’ve been paying attention, recent television appearances by Paul McCartney have revealed that his amazing voice is finally weathering a lot. It is evident on this solid pop track from his last album. The flair for melody is still there, but as his voice declines, it gets squeakier, and future records may be tougher listens.
- Ram Jam — Wanna Find Love (Portrait Of The Artist As A Young Ram): The story of Ram Jam is pretty amazing. They were originally founded by the original lead guitarist for the bubblegum band The Lemon Pipers, Bruce Barlett. His previous Ohio-based group had splintered after having a regional hit with Ledbetter’s “Black Betty”. Barlett took that recording and called his new band Ram Jam, and musicians were hired to fill out the band, who recorded an album which featured that eventual Top 10 smash. A whole new group of musicians were recruited for the second album, and Barlett was effectively pushed out. Both Ram Jam albums are full of solid hard rock, and I really like the second album, which hits on everything from boogie to proto-metal. This is chooglin’ rock number that would have done any bar band proud.
- Smoking Popes — Welcome To Janesville (Stay Down): Despite the success of their intial post-reunion concerts, people wondered if the Popes could generate good new material. The opening track from the band’s first post-reunion album made that evident, as it is wonderful loping power pop number, that seems to throw in a little Michael Nesmith/Monkees (think “What Am I Doin’ Hangin’ ‘Round”) with Josh Caterer’s strong sense of melody. This song was strong evidence of a total return to form.
- Sea-Ders — Thanks a Lot (The Freakbeat Scene): A slightly psychedelic ’60s beat number from an obscure British band with a terrible name. The song has a nice guitar line and would be a solid tune for a current garage band to play, as it could use some extra punch.
- The Rolling Stones — Neighbours (Tattoo You): A fun throw away track from perhaps the last terrific Stones album. While I have a lot of Stones albums, I’m not as hep to their history, but apparently, Tattoo You was put together from a mish-mash of tracks the band had been working on over the years, which cohered into a fine full length. This is simply a peppy mid-tempo track with a great energy and a fun Mick Jagger vocal — the composition may have been tossed off, but they are clearly enjoying themselves.