Brand New Beat--The Official Music Blog of El Ojito Springs!

Time-slipping with Rentals drummer DAN JOERIGHT

Thu, 19 Feb 2009 08:23:52 GMT

Dan Joeright, February 3, 2009. Photo by Matt Sharp. Photo courtesy Matt Sharp and Dan Joeright

The Rentals have returned with Songs About Time: One Year in Photography, Film, and Music. The multimedia extravaganza will premiere at the band's official website, The Rentals Dot Com. The band will add an image to the Photo Diary each day to make up The Photographs About Days. The Films About Weeks will feature a black and white short premiered each Tuesday evening. A new collection of music will also be released every three months. These tracks will make up the audio portion of the Songs About Time, in addition to the film scores themselves. Many other treats and surprises are coming, including a limited edition and deluxe limited edition box set, which will be the only places one can actually own these treasures in a hard copy format. As the Rentals begin the second month of their ambitious year-long project, I had the opportunity to interview their charismatic drummer Dan Joeright.

Dan grew up in Cleveland and formed a band when he was very young. He said that they were quite serious about it, playing in their garages mostly before actually getting to book their first gigs. Dan said, “I played a lot of parties, bars and weddings with different groups all the way from the time I was about 12 until I graduated high school.” These early experiences gave him versatility in his playing, which allowed him to play with a broad range of artists.

While Dan is a multi-instrumentalist, he plays drums the most. I asked how percussion became his instrument of choice, and he said, "My Dad played drums when I was a kid growing up. He played in a jazz band with my Grandfather [his father in law] and he used to bring me along to his rehearsals and gigs.” Dan said that he was fascinated with music, drums in particular. One time, Dan sat at his dad’s feet and a song came on the radio. “I remember thinking, ‘I can play this,’” said Dan, “so I got up on the throne, and with my feet barely reaching the pedals, I started playing along with the tune...” With his Dad, Grandpa, and the rest of the band cheering him on, Dan said that he really thought he sounded great, but it probably sounded like “any other 5 year-old kid who gets a pair of sticks in his hands and starts hitting drums. I'll have to ask my Dad if he remembers that-and if I was any good."

Dan had some favorite drummers in his earlier years. When he was younger, he had influences and favorites like Neil Peart (definitely his favorite as a kid), Keith Moon, John Bonham, Charlie Watts, Stewart Copeland, Bill Bruford and later Art Blakey, Jack DeJohnette, Terry Bozzio and Dave Weckl. Now Dan says, “I'd have to honestly say that I don't have any favorites today, there are so many drummers, half of whom I don't even know the names of, that I love."

Dan Joeright, his first show in NYC, the Village Gate (Slacker film premiere), 1991. Photo courtesy Dan Joeright

While Dan admitted that it "wasn't very romantic" as to how he eventually came to join the Rentals, it still is quite interesting. After arriving in Los Angeles in 1999, Dan played in a cluster of different bands, did some touring, etc. He eventually connected with a man in town who kept a wide-ranging database of musicians and kept relationships with others in the industry who consult him for musicians when they need players for their bands. “He had hooked me up with a few auditions prior to The Rentals that were either with bands that I had no interest in joining, or with bands who had no interest in hiring me, so I had pretty much given up on his process as a means for getting me hooked up with the right band.” He referred The Rentals to Dan, but because of the past experiences, Dan said that he almost did not go to the audition. “I was so disillusioned that I didn't prepare at all.” He was only “vaguely aware of The Rentals music.” When they started playing, however, Dan said it was “pretty obvious we were gelling musically, probably in part because I had no expectations. I was just playing relaxed and musically from what was inspiring me about the music not based on recreating any preexisting parts or trying to second-guess what it was they might be looking for. As it turned out, I was genuinely into the music, so there was a certain ease about it; it just seemed effortless.” Dan said that they later informed him that he was the first one that they auditioned out of about 20 people. While not imagining that it was possible for it to be that simple, the band still went forward with the remainder of the scheduled auditions--even though they wanted to offer him the job immediately.

Matt Sharp and Dan Joeright perform live in 2007. Photo courtesy Dan Joeright

I asked Dan what inspired the concept behind Songs About Time. "We were trying to figure out how to do something memorable, something different and new rather than put a record out through traditional channels, if there is such a thing as traditional channels any more," he said. "This concept gives us an opportunity to create on a different level and to not box ourselves into a 12 track record, all done at once in the same studio.” Doing it this way enables the band to “stretch out musically.” The Rentals do not have to make a record “that is either this or that.” Every three months, the band will release whatever they are “into at the time, not what is needed to tie a record together.” Back in the “good old days,” Dan said that bands crafted “quite diverse records; it could have ballads, rockers, blues based or ethnic stuff, as well as instrumentals-all on the same record-and it was cool. Now it seems you have to make a record that is very limited in range, or no one wants to put it out.” By using this process, through the web site, it allows them to do the music that they want. In addition to this, Dan said, “The films and photographs are an effort to bring a visual dimension to this idea. It won't be a documentary in the traditional sense, although there will be aspects of it that will enable the audience to see our creative process."

As a part of the venturesome Photographs About Days, band leader Matt Sharp is posting a photograph a day in the Photo Diary. In addition to that, he has also taken upon the task of shooting an entire roll of film a day, which is going to be marked with the date and then stored in a safe place. At the end of the year, each individual roll of the unprocessed film will be included in one of the 365 deluxe limited edition box sets. According to Dan, Matt is doing well with this. "So far so good. He's getting to live his fantasy of being a professional photographer...only there's no money or models."

The creative process was fascinating to see during the making of Colorado on the Rentals' website in the January 6 film. I really enjoyed when Dan and fellow Rental Jamie Blake were recording with drumsticks, tapping on the studio floor. While this is not typical of how the Rentals come up with song ideas, Dan said that they are trying to be “more spontaneous and less precious” about their music on this project. He is anticipating much more of that in the upcoming months. “In the past, we'd spend A LOT of time with the full band in a rehearsal space working out every aspect of the song and the arrangement. Now we're working in a looser environment, bouncing ideas around, between my studio and Matt's, but keeping somethings undecided until we get to the final stage of recording, and that leaves an opening for creativity and spontaneity.” It is very liberating when facing the final recording stage and the songs are not over-rehearsed.

Jamie Blake, Lauren Chipman, Dan Joeright, Matt Sharp and Dave Trumfio appear in January Six, one of the Films About Weeks, which is now playing at The Rentals dot com. Film courtesy Dan Joeright/The Rentals.com

Dan said that there were "no concrete plans" as to when The Rentals will tour to support Songs About Time. He did mention, however that he "would imagine that we'll wait until the end of this project [Songs About Time] and until we have all of our new material [including the mini albums and all of the extras] released…before we tour again." While I am looking forward to seeing the band play live the next chance I'm given, I asked Dan if he has any favorite tracks that he enjoys playing more than others. He said that he prefers playing the new stuff that he had a hand in creating, but, “I also enjoy playing Sweetness and Tenderness; it's a nice ballad, and I've incorporated some epic, Ringo type fills into it at the end. Keep Sleeping is always fun to play live as well. The way we do it now is pretty up tempo and chugs along real nice, the crowd usually responds well too which makes it even more fun."

The Rentals played the House of Blues in Anaheim in the past, and so naturally, I assumed that Dan had been to Disneyland. When I asked him about having a favorite ride at the park, I was surprised to learn that he has yet to visit it. "Maybe someday, if I ever have a kid, I'll go. I have however, recently been back to my home town amusement park, Cedar Point, in Sandusky, Ohio. That place is amazing; I highly recommend it to any one who is serious about roller coasters. The ride Magnum Force at Cedar Point will melt your face."

Dan onstage during the 2007 Rentals tour. Photo courtesy Dan Joeright

In the past, Dan worked with Terry Hall and Abby Travis, among many other great musicians as well, and he has his own band called Random AOK. In addition to this, he has other projects in the works. While he is continually writing and seeking outlets to make his work available, he said that he just completed submitting a piece for a Showtime series and wishes to be doing more of that. He also hopes to develop something with Ricky Rasura, the harp player from the Polyphonic Spree, and Ross Godfrey, the guitar player from Morcheeba. “If that comes together,” said Dan, “it'd be fun to do some shows in LA and maybe record some stuff, it'd be interesting to see what we could come up with.” Dan also conducts 'remote' sessions out of his studio (Outer Space Studio) in LA. Dan explained how that works. “…Someone will email me an mp3 or mail me a DVD of a session they need drums on, and I'll do the drums at my place and send them the drum files, and presto, they have my drums on their recording.” Dan said that so far it is going great. He has just completed one of these types of sessions for Debby Boone and said, “Sometimes technology does work.”

I asked Dan what music he is currently enjoying. "Right now, my iPod is in shuffle mode, and the last 10 artists played were: Gogol Bordello, Death Cab, Turin Brakes, Gomez, Ministry, Love, Duke Ellington, Van Halen, Talking Heads, Aphex Twin."

As for future plans, Dan said that besides the things he already mentioned, he will make a series of drum groove recordings and build songs outward from them. He also said, "I plan to finish all of my unfinished songs...keep on plugging away with The Rentals project, and I plan to go snowboarding this weekend." I asked about the collection of unreleased Rentals tour film that Dan has yet to compile. "As far as the tour footage goes: I should probably take that down from my MySpace page because at the moment, I don't see it happening. I have too much going on in the present day to put any time in to tour footage that is more than a year old. I would eventually like to make something out of it, maybe when I retire I'll get around to it."

The first of the Songs About Time, Films About Weeks, and Photographs About Days are available to be enjoyed now. Check them out at the official Rentals website.

Please visit Dan Joeright online

http://www.myspace.com/joeright

My Favorite Albums of 2008

Wed, 21 Jan 2009 13:17:42 GMT

Lists are enough to do my head in for sure. I just know I'm leaving something out here. I've been on this for a few hours now, fearing I am forgetting something. The even harder part was once I finally settled on these, I had to try to put them in some kind of order of preference, and it completely changes every day; what I'm liking the most at the moment depends on my mood. I am going to list my favorites here, but the order is shaky. They're all so fabulous.

1. The D.J. Bonebrake Trio—The Other Outside
2. Weezer—Weezer [The Red Album]
3. The Raconteurs--Consolers of the Lonely
4. Various Artists--Friends of P-Tribute to the Rentals
5. The Raveonettes—Lust Lust Lust
6. The Breeders-- Mountain Battles
7. The Gossip--Live in Liverpool
8. Rivers Cuomo--Alone II: The Home Recordings of Rivers Cuomo
9. The Bonebrake Syncopators—That Da Da Strain
10. Boz Boorer—Miss Pearl
11. Death Cab For Cutie—Narrow Stairs
12. Kaiser Chiefs--Off With Their Heads
13. The Killers—Day & Age
14. Various Artists—Gigantic-A Tribute to Kim Deal
15. Be Your Own Pet--Get Awkward
16. Nick Cave and the Bad Seeds--Dig, Lazarus, Dig
17. The Baseball Project—Volume 1: Frozen Ropes and Dying Quails
18. Brian Wilson--That Lucky Old Sun
19. Steve Wynn—Crossing Dragon Bridge
20. Beck--Modern Guilt
21. My Morning Jacket--Evil Urges
22. Coldplay--Viva la Vida Or Death And All His Friends
23. Lucinda Williams--Little Honey
24. The Black Keys--Attack and Release
25. Randy Newman--Harps and Angels
26. Bob Dylan--Tell Tale Signs-The Bootleg Series Vol.8
27. Van Morrison-- Keep It Simple
28. Conor Oberst--Conor Oberst
29. David Byrne and Brian Eno--Everything That Happens Will Happen Today
30. No Age--Nouns
31. The B-52’s—Funplex
32. R.E.M.-- Accelerate
33. Sparks--Exotic Creatures of the Deep
34. Fleet Foxes--Fleet Foxes
35. Ryan Adams and the Cardinals--Cardinology

My Favorite Singles of 2008

Wed, 21 Jan 2009 09:54:22 GMT

It was a difficult stretch, but I compiled this mini list. My number one pick (“Colorado” by the Rentals) was only available for mp3 download only. It was easily my favorite song last year. "Colorado" should still be available for a free download at the website http://www.reigoplaylist.com/.

It is so hard to keep up with what people are actually considering singles or album tracks, especially in the day and age of my friend iTunes. I hope that this is a good enough compilation. It makes for a fun mix on my I-Pod.

I will list my favorite albums of the year tomorrow.

1. Colorado by The Rentals
2. Pork and Beans by Weezer
3. Aly, Walk With Me by The Raveonettes
4. Salute Your Solution by The Raconteurs
5. Gamma Ray by Beck
6. Spaceman by The Killers
7. I’m Amazed by My Morning Jacket
8. Call It Off by Tegan and Sara
9. Addicted to Drugs by Kaiser Chiefs
10. Another Way To Die by Jack White and Alicia Keys
11. Real Love by Lucinda Williams
12. Brand New Start by Little Joy
13. Magick by Ryan Adams and the Cardinals
14. I Will Possess Your Heart by Death Cab for Cutie
15. Viva la Vida by Coldplay
16. Nine in the Afternoon by Panic at the Disco
17. Moab by Conor Oberst
18. I Believe In You by Cat Power
19. Someday Baby by Bob Dylan
20. So What by Pink

Crunching up with Paul Tadman and (Dub)Wiser for it

Fri, 16 Jan 2009 13:12:48 GMT

Interview and Feature by Lee "Loobyloo" Buckley and Trish Morgan

Paul "Tad" Tadman. Photo courtesy Paul Tadman

“Most of the kids I was at school with wanted to be like Jimmy Page or Jimi Hendrix,” Paul “Tad” Tadman began. “I wanted to be Mark King, Bruce Foxton, Sting, John Entwistle, Mark Bedford and Aston 'Family Man' Barrett all rolled into one. There was a small matter of learning the notes first.” Tad, as the world knows him, was a founding member of the legendary 80s ska band the Riffs and is currently the bassist in several bands including Dubwiser, Floordroppa, and Crunch, as well as being an outstanding actor as well. As Paul prepares more dates with Dubwiser, we were glad that he was so generous with his time and sat down to do an interview with us.

Tad said that he has always liked the “bassier side of things” and shared with us how he got started playing. “I was 13 when I used to go for lessons on a Saturday morning to a wonderful guy called Pat McEwan, who taught me all he knew... I'm still trying to remember half of it! My first bass was a Rickenbacker copy made by Kay. It cost me £45 from a shop in Croydon and the neck was so bent it wouldn't play past the 7th fret [half way up]. It had a neck 'like an archer's bow'. The 'lesson' was only supposed to be an hour long for £3. I used to get there at 11 and not leave until late afternoon. In fact, one week, my first 'jam' was with Pat on harmonica and piano [not at the same time], a couple of good friends, Paul Dewdney and Gary Tracey, on guitars, and Pat's work colleague, Simon Law, on drums. Simon went on to work with Soul II Soul. He was a great drummer. First time I'd ever tried to rhythmically 'lock in' with a drummer. We did 'My Ever Changing Moods', 'a 12 bar blues boogie' and 'Green Onions,' the first song I ever learnt. I was hooked! The neighbors weren't too impressed.”

The Riffs came about from a band Tad had in school. “The Headmaster wouldn't let us play unless we changed the name. So the 'c' was changed to an 'n,' and 'Funk Off' it was. That band split after one gig [my first] at the Sixth Form disco in 1986. It's on video somewhere too. Someone's got a copy. It's not good! It was just me and Marc Clay, the drummer, left. I advertised for a sax player and met 'Mac.' Marc lost interest, so Mac and I recruited rockabilly Damien Knight on drums, old school pal Craig Brawley on guitar, a guy called Graham, and me on bass. Our first gig was at the Caterham Arms, Surrey, 1988, as 'Second Opinion'. We slaughtered 'Bed and Breakfast Man,' 'Disappear,' 'Roadette Song,' 'Patience,' and a few 12 bar rock 'n' roll standards. The second gig later that year had Mark Clemence on drums. The singer was a guy called 'Kev' who had a big mullet and thought he was in AC/DC.”

Tad continued. “We soon outed him after we recorded an eight track recording at Soundstar Studios in Thornton Heath. The tracks were 'Bed and Breakfast Man,' 'I'm A Believer,' 'Steppin' Stone,' and self penned 'The Godfather' . Yes, I have got the master tape! My old school mate Craig left, leaving Mac, Mark, and I. I brought in Danny Bushell. We also had Nick Bensberg on guitars, who wrote most of our material. But we needed a new singer and a name. I put an ad in the Melody Maker for a ska singer--as we'd decided to go down that musical route--and in walks Aidan Sterling in a Prince of Wales suit and highly polished brogues. He scared the shit out of me. He was 10 years older than us, and he was the man for the job. First gig as The Riffs: 26th March 1989, The New Pegasus, Stoke Newington, London, supporting The Loafers.”

The Loafers signed to Link Records, which is where one of Tad’s future bands, The Nutty Boys would sign. Eventually, Tad said, he had to choose between being in The Nutty Boys [which would later be known as Crunch!] and the Loafers. The Nutty Boys won him.

The Nutty Boys formed shortly after The Madness disbanded, and Chris Foreman and Lee Thompson were looking for a tight outfit with which to perform their new songs live. Naturally, we wanted to know what transpired for Tad to join the band. “My mate, Sean Flowerdew [of the Loafers - now of Pama International], introduced me to Lee very briefly at a gig I was playing at the Electric Ballroom Dec 1989. I'd met Spider a few months previously, as the Riffs supported the Potato 5 at the Powerhouse. Spider was the lead singer of the Potato 5. But, officially, as far as Lee and Chris are concerned, yes, Link was the key... From what I understand, Chris and Lee submitted the 'Crunch!' album to Mark Brennan and Lol Prior, at Link Records, where the Riffs were signed, as part of the Ska Revival of '89 that really happened underground. The Link guys suggested it'd be a good idea to tour the album, and my name came up in conversation as bass player.” Tad said. “Chris phoned me, and I thought it was someone having me on. I turned up to the 'audition' with Mac [Riffs sax player who was going to try out on sax] expecting to see a street filled with a long queue of bass players, and I was the only one. Had a chat with Chris and Lee about bass playing, and Chris put on 'Burn Rubber' by the Gap Band, and I did some slap bass all over it. He handed me a copy of the album and said [to]learn that we'll be rehearsing in a couple of weeks. Mac bottled out, and Sexy Steve jumped on board right at the last minute.”

CRUNCH: Lee Thompson, Louis Vause, Sexy Steve, Chris Foreman, Paul Tadman, Hong Kong Davey, and Spider. Photo courtesy crunch.uk.com

Eventually the choice came for Tad to choose between the two bands. “I'll be really honest here and say it was an easy choice to make but a very hard decision to carry out. The Riffs were effectively 'my' band... and it was developing into something I wasn't entirely happy with. We had recorded our first album ['Who Wants It?'] and a white label single, then the usual arguments and petty squabbles that plague most bands at some point were becoming far too common-place, and I'd had enough of trying to please everyone as usual. It was 14th February 1990... I couldn't play both gigs--they were both miles away from each other [in more ways than one]--So...either play a gig with the Riffs or the Nutty Boys - I knew which direction I wanted to move ahead musically, and the Nutty Boys was more of a challenge and where I wanted to be.” Tad continued. “Having said that, I phoned each of the guys in the Riffs in turn and told them the dilemma I had…Some of the guys were really helpful and supportive, others not so. It broke my heart when I left The Riffs - but it was something I had to do. If it wasn't for The Riffs, I wouldn't have done ANY of the things I have done since.”

If Madness could be described as "all the fun of the fair," the Crunch! could certainly be seen as a much darker side of this. We asked Tad how he would describe the work of the Crunch! “Hmmm...Good question...We're the bunch of herberts hanging around behind the bright neon lights that you can't quite see; eclipsed from the glare...waiting to untie the guide ropes on the big top, nick your candy floss and pop your balloon on the way out. Matron! But you'll go home with a big smile on your face. Oh yeah!”

We thought that was an excellent description and laughed at this. We asked Tad if Chris and Lee already had the songs ready to record. “Pretty much so. Chris would write all the tunes on his sequencer and post them out for the rest of us to learn. Sometimes, Lee would put a scat vocal over or some sax, known as the 'Egg and Bacon' sessions. Just ask Lee or Chris. As we rehearsed them, as with any song, the tunes would grow. One example of this is when we were recording 'It's OK, I'm a Policeman,' and we didn't really have a bass line. Ian Horne was producing, and Phil Payne, our sound man, suggested I play the line similar to 'Hit Me With Your Rhythm Stick,' which I did after a couple of takes.”

We understood that ‘Hit Me…’ is one of the more difficult bass parts to learn. We recalled Norman Watt-Roy had mentioned that somewhere. “Yes, it is a difficult piece to learn - it's also my favorite bass line. When I recorded our adapted version for the 'Policeman' track, we actually slowed the track down slightly, so I could fit the notes in. I'd never played it before. It just saved time. Ian Horne put his arm around me and said, 'Don't worry about it. We've done that before! Of course, now I can play it faster, slower, upside down--any way you like...It's easy now I've got used to it! No pressure! I must say I reckon Norman Watt-Roy is one of the best bassists we have around. He really is a national treasure. If you haven't seen him play, then you should check him out. He's just amazing.”

Tad had once described the other band members in the Crunch! as the older brothers that he never had. This was clearly apparent when he spoke about some of the wild antics that they used to get up to back in the early 90's when they were touring regularly. We had to ask Tad if it was true that Lee Thompson showed up dressed as a coffee table when Crunch played in Paris for the French premiere of 'The Doors' film. “'The Doors' premiere was on live French TV, and we'd just done some press after the 'L'Olympia' gig, and we all had a few shandies each. Lee didn't have anything to wear, and all our gear was at the other venue being packed away. So I suggested Lee go on as a coffee table, pointing to a table in the corner with some Gingham material on it. Chris borrowed a guitar; I borrowed a 'Beatle' style Hofner bass...As the curtain went up, I was playing 'Day Tripper,' and we blasted through Magic Carpet and Daydreamers with Lee singing "Wetdreamers." It was hilarious.”

While the last Crunch gig was at the Barfly, in Brighton, back in May of this year, and it was a great live show, there are no immediate plans to do upcoming dates. Tad said that he hopes that there will be more to come. He said also that while there was ‘nothing definite’ planned at the moment, that there is plenty of unreleased material that may still see the light of day, and he would be really happy if it does. He also said that he found the last gig to be ‘fun’ and hopes that there will be more Crunch shows in the future.

One of Tad’s current projects is the fabulous Dubwiser. Their My Space profile describes their music as "vibrant and heavy reggae," with influences such as Public Enemy and the Skatalites. We asked if this was another part of the music scene that he was into personally and if they have a following in Oxford, where they are based. “Jonas the singer, runs the My Space page. Spider and I are both in London. We travel to Oxford--where Jonas and Malcolm live. Any excuse…it's a great place to play…A good crowd usually turn out for Dubwiser--especially the Cowley Road faithful in East Oxford. As a musician, it would be crazy to stay in one form of music- the dub side of Reggae is very enjoyable and very much in my blood. One of my favorite albums of all time is 'Heart Of The Congos' by The Congos. Check it out...one of the best reggae albums ever made. Lee Perry at the controls. Enough said!” Tad continued. “Playing reggae has become so intuitive--especially with Spider on drums...We've played together since 1990, so we're getting to know each other musically very well…”

In contrast to Dubwiser's sound, Floordroppa are described as "Brit funk". We asked Tad which style he prefers playing. “…I might not be the best bass player on the planet, but I can feel it! I equally love either style because I love to play!”

FLOORDROPPA: Pablo, Kev, Tad, and Wayne. Photo courtesy floordroppa.com

We noted that Tad is a big Northern Soul fan and also a keen Level 42 enthusiast. We asked what else he has been listening to these days. “Again, two opposite ends of the Soul spectrum…I do love my Northern Soul, Stax, and Motown…My miss-spent youth down Carnaby Street, I guess...I would have loved to have gone to the Wigan Casino too.. way before my time...” Tad continued. “Yeah, Level 42 have been a huge influence on me, as have so many... It's that bass thing again. I used to do a paper round trying to save up for that first bass and amp... sometimes in the rain, and I hated it. The only thing that kept me going were the Madness, Reggae, and Level 42 tapes I had on my Walkman. Funk and Reggae went hand in hand in London in the early 80's... something people forget…I'm talking Lover's Rock reggae [Carroll Thompson/Janet Kay] being played opposite Level 42, Beggar and Co, and Second Image mixed with disco, at the clubs. Again, I was too young to go, but my neighbor used to tape me the 12" singles...along with the Sex Pistols!” Tad mentioned more influences and heroes. “I've met Mark King a couple of times, and he's been very encouraging, nice guy, too. I listen to a wide range of music too. My favorite album of all time: 'Songs in the Key Of Life' by Stevie Wonder.”

Tad wears many hats--including that of actor. We wanted to know how he caught the acting bug. “Crunch! went a bit quiet in the late 90's, and I decided on doing a film course,” said Tad. “I've always loved film...and as a result, Emmy winning cameraman Jeff Baynes [I'm sure he won't mind me saying that] took me on as a bit of an assistant for a few jobs. So I got to see what it was all about. Jeff had shot most of the Madness videos and both of our Crunch! Promos, so that was the connection. In fact, it was he who suggested I give it a go in front of camera...” Tad continued. “I admire an actor who gets up and does it because it is a hard craft. It's no great surprise in being a Londoner: I do like Michael Caine, Bob Hoskins and Ray Winstone. Julie Walters is fantastic too.... I do really like Robert De Niro and Harvey Keitel in Mean Streets. Laurel and Hardy have me in stitches as soon as they come on too. My favorite current actors are two guys called Ian Pulestone Davies and Dylan Barnes... next generation!”

It was totally off-topic, but we always ask about Disneyland when we can of our interviewees. We asked Tad if he had ever been to the Anaheim theme park. “Nope, never been. If they ain't got a Magic Carpet ride, then they should have. Mind you: It'd be too dark for Disney!”

As for the future, Tad said, “Hopefully the Dubwiser gang will fire up for another round of dates, and I get to launch my Floordroppa boys into funky hyperspace soon.” We will be looking forward to that for sure.

Please visit Tad online and experience for yourself some excellent musicianship.

http://www.floordroppa.com/

http://www.myspace.com/floordroppahq

http://www.myspace.com/dubwiseroxford

http://www.myspace.com/crunchuk

Portions of this article’s interview also appear on the new Madness Central website. There is a lot more with Tad, where he gives many other funny anecdotes about life on the road with the Crunch, as well as other excellent tales. You can read the complete, unedited interview at the website.

Weezer Rocks Phoenix

Thu, 15 Jan 2009 09:19:23 GMT

Weezer's Brian Bell, Rivers Cuomo, and guest drummer Atom Willard of Angels and Airwaves in Phoenix October 18, 2008. Photo: Karl Koch/weezer.com

I was not anticipating many shows this year as much as the Weezer concert in Phoenix, October 18. I had many high expectations for this one. I am pleased to state that I was not disappointed.

Parking was unbelievably reasonable: $13 for across the street from the fairgrounds was a lot better than the $12 for up the street where we would need a shuttle or a long walk. We strolled past the livestock area and the aroma gave me flashbacks of my sisters’ FFA and 4-H days. The entire atmosphere began stirring up memories of when we used to go to the Fair as kids. I had not honestly been to the State Fair in about 25 years, so that tells the reader something about the lengths I was willing to go to in order to attend the show. As we strolled through the midway, many of the rides were familiar. The Super Slide was still there, only it is now a different color. In 25 years, a lot had not changed that much. Even the bumper boats were still in Kiddie Land. Amidst the aroma of corn dogs, Indian Fry Bread and Popcorn, we heard the blaring of loud pop music from the Tilt-A-Whirl. The big, crazy Ferris Wheel (which I so loved as a kid) was still lurking high above us. My friend and I decided we would skip the rides and head straight for the Veterans Memorial Coliseum, the actual concert venue itself.

Once inside, we immediately noticed the diversity in age. Little children, from about age three, through teens and twenty-, thirty-, and forty-something people filled out the crowd. The fair-like environment had trickled out to the coliseum. The parents were bringing their kids. Ages were probably three through fifty.

We were still being ushered to our seats by security during the Tokyo Police Club set, so I cannot make a fair assessment of their performance, however, what I can say is that what I heard of them, I enjoyed. Angels and Airwaves came out next. Their set was pretty rocking, and we liked the vibes the music was generating as they played. The impressive energy from the drummer Atom Willard was evident, and my friend and I noticed it immediately. He was fantastic. The band’s synergy was tight. While observing members of the audience, it seemed there were as many AvA fans as Weezer fans in attendance. That made it even more fun.

It was not long after the Angels and Airwaves set that the crowd began to get restless as thousands shouted for a taste of Weezer.

The band [minus singer Rivers Cuomo] came out in white Stanley Kubrick-type jumpsuits and launched into the classic Blue album's opener, "My Name Is Jonas," with drummer Pat Wilson singing the initial lead vocal. The crowd roared and sang along and hung on every line, but it was apparent that there were some lost and confused faces, wondering just where the original singer of the song was during those moments. Rivers graced us with his presence at last during mid-song. The crowd’s response met him with a roar of approval. The song ended on a jovial note when Cuomo sang the final line, "Mi amo Jonas."

Cuomo produced the most astounding charm, that of utterly changing himself. One can remember back to the earliest Weezer shows when he seemed so shy and uncomfortable while performing live. Throughout the night, with little gestures or words, even cracking many smiles, the man now seemed at ease in his element.

On this occasion, he had crept out midway through the first song of the set, hiding behind his costume with his shoulders slouched.

From there, he took off his mask and shared the vocals, demonstrating great showmanship throughout.

Weezer performing on stage October 18, 2008. Photo: Karl Koch/weezer.com

The audience stayed on its feet cheering as the band went through a 20-song repertoire encompassing everything from album tracks, through a few unexpected surprises as well, including a b-side and two cover versions.

A whirlwind cluster of power chords burst forth during the chorus of “Say It Ain’t So” as the audience shouted along with the lyrics. Whether they knew the tune from Guitar Hero or from the Blue Album, fans were enraptured, hanging on every line. The sing-along continued during almost every single moment of the show.

The crowd played witnesses to a security team, which gripped their flashlights as if they were Jedi Knights clinging to their light sabers while preparing for a major galactic battle. There was no real storm brewing, and the crowd certainly did not become chaotic. A riot never ensued. Instead, the crowd became one with the musicians, singing along to every tune. This was not just a band onstage playing their songs for an audience. It became an interactive experience, unlike any other.

"Phoenix, Arizona! Can you hear me?" The dark-haired mustachioed singer Rivers Cuomo said around mid-way through the set, as he spoke into his headset/microphone. The crowd roared. Cuomo continued in a calm voice; his tone was as peaceful and inexpressive as possible. "I'm not just doing that lead singer B.S. where they say 'Can you hear me?' and the crowd goes 'Woo!' Actually I actually wanted to know...because I just put on this headset microphone and I wasn't sure it was working...but now I'm sure so I can start this song..." The audience roared its genuine approval, and giant smiles covered many faces, just as the rest of the band started into “Pork and Beans” from their latest self-titled Red album.

Josh from Tokyo Police Club joined the band on guitar for "Troublemaker," another track from the new record. It had a nice spoken intro from R.C. "...now I get to sing this song and do a little dance." Midway through the song, Cuomo made the introductions to the band members: the fierce-looking Scott Shriner on electric bass, the fun-spirited Pat Wilson, on what Cuomo called 'the electric drums,' and the incomparable Brian Bell on guitar. With each introduction, a member took a little solo at which the enigmatic Cuomo would do his interpretative dance. The crowd went wild, clapping and cheering at the solos and at Rivers' funny boogie. Before getting into the final verse, he continued with his cute little monologue. "I don't have any patience. I gotta have it...I want it...That’s what makes me the lead singer in a rock n roll troupe. That’s what makes me a little bit of a Troublemaker 2008." While this was about halfway through the concert, it was a perfect example of how the band and audience interacted throughout the show. While there were filled chairs on the floor and the balcony, most of the crowd remained on its feet the entire time.

Even the most jaded audience members appeared irreversibly swayed by their charms.

During another point, Rivers perched atop some man’s shoulders and ventured out into the crowd. The audience sang along to a favorite from Pinkerton, “El Scorcho,” as little pink arms reached out to touch him while he surveyed the scene.

Cuomo and his band-mates demonstrated brilliantly how Rock N Roll has this ability to alter even the most bookish, shy nerds, into arena rock gods. The best part, though, was the heroic transformations themselves. Scott Shriner gave an animated performance of the Red Album classic bonus track “King.” Despite it being a more mellow number, he endeared the audience with it. Brian Bell shred like the best of them. His fingers ripped across the frets and had the audience screaming for more. My favorite moments, however, just had to belong to Pat Wilson. He shout-out to various Arizona cities (“Mesa! Tempe! Flagstaff! Etc) and was embraced by a gale of enthusiasm from the natives. He took center stage during his Red Album high light “Automatic” and for the mind-blowing, note-perfect Pink Floyd cover, “Time.”

Pat Wilson takes a turn up-front during the Phoenix show. Photo: Karl Koch/weezer.com

The main set ended with the epic Red Album track “The Greatest Man That Ever Lived.” Stomping feet and cheers from the crowd permeated the hall while we waited for the band to return.

Many were surprised to see the variety of different musicians who joined them upon taking the stage. There were some guitarists, a cellist, a flutist, saxophonist, and even a didgeridoo player on board as the band and fans jammed together for “Island in the Sun” and “Beverly Hills,” which also provided a golden opportunity for another crowd sing-along. Rivers had the boys in the audience singing, “Beverly Hills, that’s where I want to be,” as he had the girls singing, “Gimme-Gimme! Gimme-Gimme!” It was brilliant.

Rivers Cuomo and the lucky fans chosen to jam with Weezer on October 18, 2008. Photo: Karl Koch/weezer.com

The second encore began when “unofficial fifth member” Karl Koch brought out a little record player. He dropped the needle on the emotional Red Album track “Heart Songs.” It was followed by Rivers, donning a Dire Straits-in-the-80s-type, elastic headband and black sleeveless Motley Crue shirt, coming out, kicking the set over, as the band launched into the explosive Nirvana cover, “Sliver.” The evening’s closer, “Buddy Holly” caused quite a rumpus. Hands were in the air making the =w= symbol. The roar of the crowd was deafening.

As the night ended, the audience yearned for more. The energy was still high, and the adrenaline was still flowing as we strolled through the lighted midway and headed back to the car.

I had not had that much fun in such a long time, and I really am glad I went. The ambiance captured everything from Seventies Progressive Rock to Eighties Metal to Nineties College Rock. I could only imagine what was going through the heads of the little children in attendance. I imagined that they were just as amazed as I had been during my first concerts, which my parents took me to when I was a kid. My amateur photos were almost all completely blurred, but thankfully, I got permission from Karl to use the shots he took of the show in which I have included on the page, which really captured the moment. Thanks again for that. For anyone reading this, if you have not seen Weezer live, you are really missing something special. The next time they roll through your town, make sure you go. You will thank me for the recommendation later. They Rock!

Set:

1. MY NAME IS JONAS
2. PINK TRIANGLE
3. PERFECT SITUATION
4. SAY IT AIN’T SO
5. SUSANNE
6. KEEP FISHIN’
7. KING
8. UNDONE—THE SWEATER SONG (w/ Tom from Angels & Airwaves)
9. PORK AND BEANS
10. DOPE NOSE
11. TROUBLEMAKER (w/ Josh from Tokyo Police Club)
12. AUTOMATIC
13. HASH PIPE
14. EL SCORCHO
15. TIME/HOME AGAIN
16. GREATEST MAN THAT EVER LIVED
--
17. ISLAND IN THE SUN
18. BEVERLY HILLS
--
19. SLIVER
20. BUDDY HOLLY

For more great photos from this show, other tour highlights, news and more, please go visit the official Weezer website

http://www.weezer.com/

An Early Halloween Treat from Morrissey's Multi-Talented Musical Director Boz Boorer

Tue, 25 Nov 2008 03:18:28 GMT

Interview by Steve Bringe
Feature by Trish Morgan

Boz Boorer. Photo Courtesy Boz Boorer/www.bozboorer.com

“It's getting good reviews, which is one thing I've never had with the solo stuff so it's nice to be recognized,” says Boz Boorer of his new album “Miss Pearl,” which has just been released in September. The record is his latest outing as a solo artist. While the public may know him best as Morrissey’s guitarist and Musical Director, Boz is also a man who wears many hats, including producer and song-writer. He has worked with many other artists including Cathal Smyth from Madness, Kirsty MacColl, and Adam Ant. We were thrilled when Boz took the time to sit with us for an interview recently.

Boz’s music career took off when he was a part of a rockabilly revival of the late Seventies and early Eighties in the Polecats, which he began in 1979. Through the Eighties, he also worked with The Shillelagh Sisters and was a Chrysalis Music Studio Engineer. In 1991, Morrissey was looking for a Musical Director and was referred to Boz by their mutual friend, Cathal Smyth (of Madness). This coveted position was landed after a surprise phone call one day. After laughing, Boz shared the story with us. “Well that whole thing with Morrissey came about through Carl; I did a session then we talked about getting a band together. Then it all went quiet, and I didn't hear anything, and then suddenly, it all went a bit wild. It was about 1991, and he phoned me up and said, ‘Would you be my musical director?’ and I said, ‘Okay, let’s give it a go…‘”

"Moz and Boz" Morrissey with Boz, Photo Courtesy Boz Boorer/www.bozboorer.com

We described Boz as the ‘go to guy,’ since people like Morrissey, Adam Ant, etc., always seem to ask for his help. He was incredibly humble and modest about this. “…I don't know, I never thought of it like that really. I just play really, and I play with a lot of different people. I don't know what it is that I do, I suppose it's just personality, and I dunno, style I suppose. I just do what I do, and it leads to whatever way it has to lead, you know, whatever I have to play. I don't know. Maybe it's a fun thing.”

The latest Morrissey record, Years of Refusal, is coming out in the new year. Boz shared some personal insight about this. “It's finished. We've had a playback, and I think it's February when it will be out,” he said. “The producer died, Jerry Finn, he had a stroke. He was on a life support for about 40 days, and in the end, he died, very sad. So the album was finished, but the company wanted Morrissey to just take a break and be out of the public eye I think. You know, just stop doing the shows for a little while, so when the album came out, it would come out with a bang, and I was under the impression that it's not coming out until February.” We told Boz that we are really looking forward to it, being such fans ourselves. “It's a great album. I wouldn't say it's the best thing I've ever done because maybe that's an overused phrase, but I'd say it was a good slab of music; every time I hear it, it's different stuff that goes on in it.”

Boz co-wrote some compositions with Morrissey for the new album, including "That's How People Grow Up" and "Black Cloud.” He told us that “Black Cloud” may even be a single. We asked Boz how he thought the new tunes compared with the older “Moz/Boz” collaborations, such as "The More You Ignore Me,” “The Closer I Get," and "Come Back to Camden.” Boz said, “There's not really any ballads on the album, there are no sort of slow songs. They’re thicker, the instrumentation, and the drums are probably a bit more wild…'All You Need Is Me' is definitely a tougher sound, you know a harder edge.”

While we know the new Morrissey record is going to be fantastic, we wanted to make sure we talked about Boz’s new solo record, Miss Pearl, which just came out at the end of September. It's his first solo album since the 1996 release, “My Wild Life's Gonna Get Me Down.”

Miss Pearl, Boz's new solo album. Photo Courtesy Boz Boorer/www.BozBoorer.com

“Yeah, I didn't realize; I found a box of records in my studio. I opened up the box, and I saw ‘My Wild Life,’ which was a 10 inch album, and I thought, ‘Blimey, I haven't done a record in 12 years. I better put another one out.’ I didn't know it had been so long! So I got together a collection of recordings, you know, things that had been lying around, some had come out and some hadn't, and I just put everything together and picked the best 16 songs.” We asked Boz about his choice of covering the Ramones classic “Rockaway Beach.” He explained, “There’s a magazine called, what is it? Rock Guitar…Guitarist…They give away a free CD, and they put that on it which is quite good. I was always a Ramones fan, and that was one of my favorite songs, and it’s kind of an obvious rockabilly feel.”

Boz offered his guitar talents to the "Save The Gorilla" campaign with Adam Ant, with an EP featuring a reworked version of "Stand and Deliver.” We asked Boz if he has other interest in charity work. “…Well, yeah I'm a great believer in charities. I'm not an active part of any charities, but I still get stuff through for ‘Save The Gorilla.’ 'The Diane Fossey Gorilla Fund’ seems to be having problems. There's a lot of people moving around in the charity now. I think it's a good thing. There was a documentary that we got involved with that explained the plight of the mountain gorillas and how they were just getting taken out for people to have little gorilla hands as souvenirs. It’s appalling really. But...it was a thing we were involved in, and we tried to help, but it didn't get released.” We really like how funky “Stand and Deliver” is. “We did the two versions of ‘Monkey Man…’” Boz said. “The Toots and the Maytals song and the Rolling Stones song, and they’re both called ‘Monkey Man,’ which was probably the best song on the EP.”

Boz rocking in Belfast. Photo Courtesy Boz Boorer/www.BozBoorer.com

We asked how he ended up with the nick-name, Boz. “When I was at school, when I was a kid, there was one particular kid who for no reason started calling me 'Bozzie Boy,' and everyone thought it was funny, so for a week everyone called me 'Bozzie Boy;' and then the next week it was shortened to 'Bozzie,' and then the next week it went down to 'Boz,' and it stayed from when I was about ten years old.”

Boz and his wife Lyn have been together for 21 years. We asked him what the secret was in keeping such a solid relationship in the normally shaky music industry, where marriages seem to disappear overnight. “Well I've been married for 21 years, and I think I've only been home for about ten of those…” Boz laughed. “Which keeps it nice and fresh for me, never go home. Go away for three months at a time…”

Lyn and Boz, Photo Courtesy Boz Boorer/www.bozboorer.com

On a serious note, we inquired about Boz’s friend, the legendary and much missed Kirsty MacColl. Her death is still surrounded by mystery.

“I just feel…robbed really, it's like…I can't explain. It was so corrupt…You know it was just a corrupt thing, and it was so wrong, but you know, nothing that's been done would ever have brought her back. It would have been nice just to see some justice, but you know it's just wrong. I can't really put it into words, but her mother's had this huge thing, you know, about 'Justice for Kirsty,' and I would like to see some sort of closure really. But you can't put it away, and it never gets properly solved, and it taints all the memories because it is so wrong. But, I dunno really, it's such a tragedy, and it was at the point when she was going out on tour finally and making great records…She was in a great space in her head too, so it's completely unfathomable.”

We told Boz how much corruption we are familiar with, being so close to the Mexican border.

“Well, there was the thing about the boat, a diving area, which should never have been there, the whole thing is such a tragedy.”

While he’s been so busy this year, Boz told us that he doesn’t really have many more projects planned for the rest of the year. We asked what he’s going to be doing to fill up what little spare time he has. “…I've been going out to see shows. I started off with The Sex Pistols about two weeks ago, and my body still hurts…” He laughed. “…Then I saw X-Ray Spex, the Stray Cats. In fact I went to Manchester to see The Stray Cats the day before yesterday...It was fantastic, a really good gig, but Slim Jim fell over at the end of the show, and he broke three bones in his hand, so they had to cancel the last three gigs. So we went up to Manchester and went out drinking.”

Boz’s new album “Miss Pearl” is available now.

Please visit Boz Boorer online

http://www.bozboorer.com/

http://www.myspace.com/bozboorer

Portions of this article’s interview also appear on the new Madness Central website. There is a lot more with Boz, where he talks in more detail about his work and friendship with the lads in Madness, as well as other excellent tales. You can read the complete, unedited interview at the website.

John Chihak Scores with Youth in Asia ANTI-HERO BRAND VOL.1

Fri, 26 Sep 2008 07:56:37 GMT

Youth in Asia ANTI-HERO BRAND VOL. 1 by John Chihak

Rock N Roll and Cartoon Art have gone together for as long as I can remember. From the original Heavy Metal and American Pop films, right along the line to the comic books themselves. One seems to influence the other in many ways. A new renegade set of comic books by John Chihak is out now, drawing on many diverse influences including the music and philosophy of Rage Against the Machine.

This trade paper back edition is a collection of the first three issues of the Youth in Asia (YiA) comics from Anti-Hero Brand press. In VOLUME 1, we meet the characters for the first time. John Nash wrestles professionally for Triple X Wrestling by day (and night) and serves as an anti-hero, fighting against injustice in Apex City by late nights. Nash is joined by his best friend, sidekick (and alter ego), the cute and fluffy Agnew, along with Nash’s sexy and tough girlfriend, Kyle, and their equally hot friend Grrry. Kyle and Grrry are in the all-girl punk band The Step Monsters together. When she’s not playing guitar, or helping Nash and the team fight crime, Kyle is working at the local comic store, along with being a political activist. Grrry owns the Triple X Wrestling Promotion and serves at the Top Ten Diner, when she isn’t using her powerful pipes on lead vocals for the band, or helping kick someone’s ass in the cold, dark night. This special edition also features an introduction from Mr. Agnew Pennyworth himself. That’s just one of many other things that make it so cool.

The STEP MONSTERS, a sketch by John Chihak, one of the bonus features of this edition

John captures your imagination while drawing characters having adventures so exciting, the reader wishes she could join them. In many ways, through the attention to details in the drawings and the storylines themselves, it often does feel like we’re along for the ride and are enjoying every twist and turn. The passion that the author has for the characters and their lives is quite evident, which impresses upon the reader to care about a subject we may not have normally ever given a second thought before, like the world of wrestling. As Nash fights Genocide in the first story, for example, we turn the pages in anticipation of what is going to happen next. I found myself smiling as my heart pounded, cheering on Nash, just hoping he wins. This is coming from someone who honestly never watched much wrestling. Since I liked the Nash character so much, I found myself researching the ECW on Google once I finished the story, searching for more information on who might have inspired the characters. Its not often that I read a story that draws me in so intently. I also enjoyed the play on words and the elements of humor that are interjected as well. If one pays close attention, he or she will notice some of the subtle jokes including the Step Monsters EP display at the record store, or on the t-shirts, posters, and bumper stickers that the characters own.

Agnew and Nash in a promo poster for Anti-Hero Brand, art by John Chihak

The story is easy to follow, and its equally as simple to instantly love the characters. My only criticism is there is a lot of back story that the average reader might have difficult with at first reading. In defense of the author, however, it would have been very difficult to put a lot of exposition in without detracting too much from the storylines themselves. I think this presents an excellent idea for future issues of the comic to tell more of the characters back ground. I’m really looking forward to reading more about the origins of Agnew, Nash, Kyle, and Grrry, especially more about the girls’ punk band, the Step Monsters. I can easily imagine these stories turning into a film form someday that would be far superior to the comic book-inspired films that have come before, if only it were possible. The punk rock soundtrack would be fantastic! Henry Rollins could voice Nash! I know. I can dream.

Anti-Hero banner seen at many conventions. Artwork by John Chihak

While this book is a collection of the first three comics, please know that Issue Four will be out in the Fall. All of John Chihak’s comics are available locally in Tucson at Charlie’s Comics. You can also purchase hand-crafted Agnew’s at Charlie’s, which are sewed personally by Venus of Necro, while supplies last. You can also order merchandise with John’s designs online at the official merchandise shop of Anti-Hero Brand.

http://www.cafepress.com/antiherobrand

Please visit John Chihak and his Anti-Hero Brand friends online at

http://www.myspace.com/youthinasiathecomic

Also visit John on My Space

http://www.myspace.com/agnew420

The Who, Fans, and Friends Prove The Kids Are Still Alright on VH-1 Honors

Wed, 30 Jul 2008 10:06:43 GMT

I hope the weekend is treating you well. First off, I wanted to check in just to make sure everyone knows just how pleased I was with the VH-1 Rock Honors tribute to The Who that aired the other night. I hadn't had a chance to post before now, but want to make sure that if you missed it, please do check out your local listings for encore presentations, which will no doubt be re-airing a bit throughout the month. It was fantastic. Fortunately I was able to find the Foo Fighters performance with Gaz Coombes from Supergrass doing this incredible version of Bargain from VH1 dot com, so I'm making sure I mention it in here because it was freaking incredible. (I also enjoyed the FF's Young Man Blues immensely. That song is rarely done properly when covered and it was done great. I think it has something to do with it being a Mose Allison jazz song first and then being re-arranged in to a powerful heavy rock song by Pete Townshend, with all of the movement, etc. Grohl and company were great.) To see that truly extraordinary hard rocking interpretation of Young Man Blues and their fantastic version of Bargain be sure to check out the official VH-1 page as they still do have highlights up at VH1.com.

I laughed at Adam Sandler and Tenacious D and admit I was impressed quite a lot by Incubus's take on two of the early classics.

The biggest disappointment had to be Flaming Lips. While they had a lot of spirit, and I think they are a fantastic band, I really can't imagine how anyone thought they would be able to pull off something as big as the tunes from Tommy. As we watched, my co-worker wasn't impressed and made his opinion known. He liked the other performances though.

Which brings me to the two biggest parts of the evening--Pearl Jam and The Who themselves. OK. PJ rocked the place so freaking hard I bet the earth was shaking. Mike McCready's energy was exciting me just as I was watching that television screen, being lulled and drawn into how well they were interpreting those two Quadrophenia tracks (Love Reign O'er Me and The Real Me). [By the way, that is my favorite Who album, and I adore the film, which has such sentimental attachments for me.] Everything from Jeff Ament's bass to the strings and horns augmented Vedders vocals. For Daltrey's sake, Eddie's scowls and screams were just absolute freaking amazing.

The Who came out after the other bands, and proved the kids are still alright, doing the thing that they do best. I felt a mix of emotions throughout their performance as Roger seemed to be struggling with his voice, even drinking some tea at the end. I had to remind myself Pete and Rog aren't kids anymore, how Rog is 64. Damn, who would have thought I would be sitting here over 25 years after I first learned of their music, as a loud mouthed little gibble...I guess its about time I get myself to a Who concert, I was thinking. I have gotta talk someone into going to L.A. with me. Before I die, I have to see the Who--or what's left of them now with Roger and Pete and their friends and family helping. John and Keith may be gone but they're so there in spirit as Ringo's son Zak pounds away, at times even looking like Keith. I remember all the things I heard when I was younger about how Keith 'advised' a young Zak on the drums. I think that Simon, Pete's brother, is a fantastic guitarist and harmony vocalist. He helped especially during Who Are You. While the current bassist (Pino Palladino) doesn't have the chops of The Ox, he was still pretty damn good. It was also great to see Rabbit on keys as I remember he was on the first Who concert I ever saw (on television on HBO) in 1982. My favorite part was Behind Blue Eyes for obvious reasons. I wasn't originally going to post this blog on El Ojito, since my feelings for the Who are incredibly personal, as anyone who knows me understands, and I am wearing my heart on my sleeve this morning as I write this. I think of how I never met Keith but how I'll never forget him, and what an amazing journey its been with the Who--and just how much they have influenced me. I saw a documentary also on Thursday afternoon where Pete was talking about people who come up to him and tell him that his music changed their lives. He said he will tell them 'Thanks,' however he wonders if it was for the better that it changed them. I know what they mean when they say that to him, as its how I've felt since I was 12. I saw a blog with a funny, but accurate title called Pete Townshend Changed My Life. I think its sums a lot of it up for me. Its deep. Its personal. How can someone we've never met effect us in such a way with their art? That is where the true Beauty is, isn't it? Its another Mystery of the Unexplained.

Anyway, enough of my rambles. For those of you who missed it, you have got to see the Pearl Jam tribute section. Its obvious they truly love The Who as much as I do.

This is also available at the official VH-1 page.

http://www.vh1.com/shows/events/rock_honors/_2008/

Enjoy and have a great weekend, Everyone!

Long Live Rock,
T

Bonebrake Syncopators Deliver a Timeless Masterpiece With THAT DA DA STRAIN

Sun, 13 Jul 2008 10:26:24 GMT

The Bonebrake Syncopators--THAT DA DA STRAIN
c2008 Bonebrake Syncopators

Bonebrake Syncopators (l to r): TK Smith, DJ Bonebrake, Wally Hersom,
Dave Stuckey, Jeremy Wakefield

The sun is reflected off the clear blue water of the pool on this hot July afternoon. A delightful sound is coming through the earphones of this girl’s I-Pod as she lounges. It’s the captivating new album from The Bonebrake Syncopators, That Da Da Strain. The album brims with an assortment of styles ranging from be bop to swing. It remains constantly enjoyable throughout the 11 tracks, which include instrumental and vocal numbers.

The masterful Hawaiian steel guitar work of Jeremy Wakefield evokes thoughts of everything from the underwater city of Bikini Bottom, to a hot and dusty night in Austin; Dave Stuckey’s drums keep perfect rhythm and set a spirited groove for the rest of the band to follow--and they are able to sing those classics as well as the greats like Dean, or Frank, or even Bing. Wally Hersom’s exceptional stand up bass sets a captivating pace. The intricate guitar styling of TK Smith is as often reminiscent of Django Reinhardt. DJ Bonebrake seems to channel the spirits of Red Norvo and Lionel Hampton in his vibraphone work with delightful results. Together, the quintet sends the listener on a mystical musical journey through the past and back again which would make Ben Pollack very proud.

While the entire CD is fantastic, there are a few tracks in particular that envelop the listener to instantly shift a state of mind. Each time I hear “China Boy,” I can envision the child being lulled off to sleep as the music pleasantly bops along. I can hear the bell of the trolley in “Limehouse Blues” (with vocals by Stuckey), and instantly, I’m imagining myself in Chinatown, sometime perhaps even at the turn of the century. During the title track, I’m transported to somewhere between New Orleans Square and Main Street USA at Disneyland, when I was 6 years old--the first time I recall hearing and understanding what jazz music was and how it affected me. My single most favorite track [“Porter’s Love Song (To A Chamber Maid)”], with vocals by Wakefield, will bring listeners to their feet with its irresistibly catching rhythm and finger-snapping beat. “On the Alamo” is dreamlike and even hypnotic in its respite from the often times up tempo music on the album. Its like an instant exotic vacation getaway and back in less than three minutes. Moments like these intermingle with the other foot tapping sounds on the rest of the album, and these are what make the album so perfect. There is definitely a little bit of something for everyone on here.

Throughout the album, an ambience is created, elegantly demonstrating their admiration for those early jazz and swing pioneers. All of the tracks covered here are old favorites from the 1940s and 1950s, however in each arrangement, the group makes the songs all their own.

When each musician solos, he’s not too flashy but certainly demonstrates his confidence and skill with his instrument. Going back to “Limehouse Blues,” for example, it is especially striking with the vibraphone, how seemingly effortless Bonebrake’s mallets seem to glide across the bars. We listen and are in awe of the smoothness of the sound. The same thing goes for guitar solos, as on “Swedish Pastry.” These gentlemen are masters of their craft and the listener tunes in for a captivating experience.

The album is a must-have and can be purchased online directly from DJ Bonebrake at http://www.djbonebrakemusic.com/news.html or through CD Baby http://cdbaby.com/cd/bonebrakesyncopators. If you still need more convincing, you can also go to CD Baby and listen to some excellent samples of the tracks now.

My Rating:

$$$$$

For those of you in the Los Angeles area, you can catch the Bonebrake Syncopators for free this Sunday afternoon, July 13, at Safari Sams for Sunday Brunch at 5214 W. Sunset Blvd in Hollywood. Doors are opening at 12:00 noon, and it should go through around 4:00 p.m. or 5:00 p.m. They're probably playing two sets. You can also catch them in downtown Los Angeles on Saturday, July 19, at the Redwood Bar 316 W 2nd Street. Admission is $5, and they will begin at 10:00 p.m. and will more than likely play two long sets. DJ is also sitting in on drums with Rip Masters for a rocking show at Joe's American Bar 4311 W Magnolia Blvd in Burbank on Tuesday, July 22.

Please visit the Bonebrake Syncopators online

http://www.djbonebrakemusic.com/syncopatorsbio.html

Don't forget to also visit DJ Bonebrake online at his other site

http://www.myspace.com/djbonebrake

My Rating System:

$$$$$--Well worth your Time and Money. Its an instant Classic. You should rush out and buy this NOW!
$$$$--There are a quite a few good tracks, but it needs some improvement. A great record over all, though not perfect. I still highly recommend it. Something pretty cool.
$$$--There are some good tracks however, you can save your money on New and wait to find this Used at your favorite re-seller. There are no more than 5 stand out tracks worth paying your hard earned money for...
$$--Definitely try to borrow it from the library or off a friend…There may still be some thing listenable here.
$--One word. Pathetic. Approach with caution.
NO $'s--No Money. No Dice. Not worth it at any price. I wouldn’t recommend it if it were given to you for Free.

WEEZER's Red is Another Self-Titled Classic

Fri, 04 Jul 2008 01:39:26 GMT

Weezer--WEEZER
c 2008 DGC, Geffen, Universal Music Group

Weezer (l to r): Rivers Cuomo, Patrick Wilson, Scott Shriner, Brian Bell

About 12 years ago, I had a column I used to write in The Zine From Two Steps Onward called "Le 8 Track Minuet," which was an 8 Track Flash Back of sorts. I had just purchased a used Pioneer 8 Track tape deck from the local used music outlet of my choice in order to play all my dusty old cartridges. The elderly guy reminded me of my grandpa and was quite industrious with his electronics skills. He was like MacGyver in that he could rebuild any stereo from any time with a select group of tools--and then turn around and sell the product dirt cheap. I decided I wanted to write a review of one specially chosen 8 Track cartridge from my child hood per each issue. It was funny, some of the ones I came up with too. There were the K-Tel compilations, Stevie Wonder Innervisions, Tanya Tucker's Greatest Hits, the self-titled Jeff Beck Group, Put the Hammer Down (the Radioshack Realistic truckers songs comp), etc. Then we found the other 8 Tracks my uncle was kind enough to give me, which included the Stones' Let It Bleed, Led Zeppelin IV, amongst others we got for 25c when 8 Tracks were on their way out in my childhood. The list was endless. If anyone had seen my precious 8 Track Collection they would have truly wondered what kind of person I was. There was a little bit of everything. Most of these were from my childhood in the 1970s when at any given time, an 8 Track could be found in the deck of anyone's car or home stereo. This was also an era of AM radio staples that went on until 8 Tracks were replaced by more modern conveniences like the cassette (I know, remember those?) and the vinyl lps, which were later replaced by the modern day Compact Disc. I know somewhere between the Devo and Pac Man Fever there had to have been an Eddie Rabbitt 8 Track. Yes. I know there was, because it had I Love A Rainy Night and Drivin My Life Away. So much of this all came flooding back to me as I was spinning the new self-titled Weezer CD this week. Appropriately nicknamed The Red Album (due to the band members standing in front of a Red background on the cover)--in contrast to the Blue Album (where the band members posed in front of a Blue background) and the Green Album (You get the idea...).

From the opening track through the closer, the band drives the point home that they themselves are music fans first and foremost and want to craft tunes for the masses which characterize this. For those old enough to remember, its time to grab Ronco's Mr Microphone and sing along. For those too young, this album is the stuff that makes weekend warriors want to sing loudly at karaoke.

The kick off track "Troublemaker," tells the story of an uneducated, kid who doesn't want to marry and have a lot of kids, one who knows if he wasn't a stereotypical pop star he would not be able to hold a regular job "punching in and out" like "any other slob". Its particularly effective when one considers what an intellectual Cuomo actually is, being a Harvard Graduate. He could have been a rocket scientist or a college professor or something had he not been a musician. That is the beauty of the humour. Like the intellectual kids from Monty Python, Kids in the Hall, the National Lampoon,etc., the list goes on...People who were actually quite well read and intelligent play the dummies so well.

The second track ["The Greatest Man Who Ever Lived (Variations on a Shaker Hymn)"] is highly ambitious, containing elements from every genre from rap to rock opera. On first listen I was thrown, but then I was totally impressed. I've been won over by the pure genius of it. Once again the lyrics sound as if Cuomo is singing with his tongue firmly planted in his cheek and with a knowing smile.

"Pork and Beans" follows next and is also the current single, with a video that is as funny and irreverent as many of their others. The guitar riffs are the same we came to expect like the choruses of Undone--The Sweater Song, Buddy Holly, or Keep Fishin. The lyrics are once again cynical and defiant as any rock number, with a nod and a wink to the listener, who understands that the singer is poking fun at the music industry. I found myself immediately thinking this is a successful record, without even actually knowing the chart placements, etc.

The fourth track, "Heart Songs," had a line for every significant element of Cuomo's child hood about as much as there were ones I could relate, seeing as we're about the same age. From the Wreck of the Edmund Fitzgerald reference, through the Abba, Benatar, Devo, Lennon, and Springsteen (and yes even Eddie Rabbitt)nods. It goes on eloquently, even through a confessional of a group of late 80s pop tracks that we all know we liked and listened to but act too hip to admit, and ends when the narrator shares how his friend turned him on to Nirvana's Nevermind. Like another generation of kids who heard those riffs, they wanted to form a band. Now they're making heart songs for the other disenchanted kids, the ones who follow their hearts through song. Musically it could have fit in AM radio in the mid Seventies. I suppose if the passion in the vocals and the consideration of the lyrics hadn't moved me so well, I know it wouldn't matter as much. All of the elements together make it a sentimental piece which is pulled off successfully.

"Everybody Get Dangerous" is the kind of song that should contain a warning label of sorts. It would warn those to listen with caution if they are stuck at a long red light in heavy traffic. I can easily imagine a car full of college kids playing air drums and air guitars along with the infectious beat. No wait. Maybe they can just patiently hold off til they get home and play Rock Band on their Wii now. (I'm putting that in the suggestion box for the next edition of songs for that game by the way...) Or maybe not. I think its the most contageous track on the album and admit to having it on repeat.

"Dreamin" is another one of those tracks that sends that middle aged guy in the corvette convertable down the memory lane that is the Ventura high way in the summer time. At the same time it is sending my teenage niece into a moment as well. There's a little bit for everyone on this album I suppose. I really hear it crooning at me like something from the AM radio. You know think Summer Breeze by Seals and Crofts, only hipper. It hit me also the other day that this reminds me of that song "Still the One" that used to also be the ABC theme song sometime in the mid to late 70s. Its another one of those songs that combines rocking guitars and a catchy chorus of which to sing along. They can't go wrong with that formula really.

"Thought I Knew" was written by (and is sung by) guitarist Brian Bell. I like it. It reminds me of something as cheesy as the Pac Man Fever record and then something as legitimate as Devo with some kind of mid 70s acoustic guitar rock twist thrown in with a modern guitar sound, which all make it even more interesting. Each time I play this song I think how it even kind of reminds me of Foo Fighters at moments. Bell's vocals are somewhere between Dave Pirner and Tom Petty to me, which works.

The eighth track on the album ["Cold Dark World"] opens perfectly with a riff similar to that of "Friday on My Mind" by the Easy Beats. It then takes off into another place, with the same bass line still under a slow rocking groove. Cuomo wrote the lyrics for the music of bassist Scott Shriner. Its the second point on the album when another band member takes lead vocals. Shriner is a great rock singer and pulls this off nicely. The lyrics are an assurance of happiness while the music grooves into a spooky mode, which again combines many different elements--including another 70s staple, the talk box.

"Automatic" is drummer Pat Wilson's number with passionate vocals, which are reminiscent of another singing drummer, Dennis Wilson. It is my understanding that he was trying to convey his love for his family in the lyrics, and it shows through. This reminds me of what Cuomo is singing about earlier on the record in "Heart Songs." Wilson needs to be let out to write more, I think, if this is the latest sample. Its a rocking good number and is another one of my favorites on the album. The ending even reminds me of a classic Pet Sounds-like moment.

The album closer, "Angel and the One," is a moment of epic classic rock proportions that also fits into my own college memories of the 90s. Its at once something that could have been found on one of the classic rock albums however works it with the guitars etc to make it more modern and sophisticated. Its going to be one of those tracks we can't wait to hear live.

For Weezer's UK fans (and I know there are a lot fo you out there), you will be pleased to discover that the bonus track is a fantatic stripped down cover version of the Band's classic track "The Weight." I dare you not to sing along during "Take a load off Fanny/You can put the load right on me." Its a brilliant tribute, having Weezer making this a classic of their own.

I am standing on a roof top and telling the world I am a Weezer fan and now want to wear one of those t shirts with a blazing W on the front. Well, not literally standing on the roof top, but I am shouting from my desk top, if that makes sense.

My Review Summed Up In One Sentence:

Somewhere between time and space exists a comic nightmare world of genius, where anything can happen, and when it does, it sounds like the fantastic new Weezer record.

My Rating:
$$$$ 3/4

Weezer are currently being the genius group entity known as Weezer. Pat Wilson is recovering well from knee surgery and claims to be looking forward to "a bit of R+R vacation to chill and let whats under the hood heal up right"; Scott Shriner can be seen giving his dog a bath in the Webisode on the official webpage. For the rest of the band, they are promising a revelation soon. We should just be patient and wait for things to develop.

Please visit Weezer online

http://www.weezer.com

http://www.myspace.com/weezer

My Rating System:

$$$$$--Well worth your Time and Money. Its an instant Classic. You should rush out and buy this NOW!
$$$$--There are a quite a few good tracks, but it needs some improvement. A great record over all, though not perfect. I still highly recommend it. Something pretty cool.
$$$--There are some good tracks however, you can save your money on New and wait to find this Used at your favorite re-seller. There are no more than 5 stand out tracks worth paying your hard earned money for...
$$--Definitely try to borrow it from the library or off a friend…There may still be some thing listenable here.
$--One word. Pathetic. Approach with caution.
NO $'s--No Money. No Dice. Not worth it at any price. I wouldn’t recommend it if it were given to you for Free.

The Breeders Triumphantly Return with MOUNTAIN BATTLES

Mon, 30 Jun 2008 22:45:17 GMT

The Breeders MOUNTAIN BATTLES
c 2008 4AD Records

THE BREEDERS: Kelley Deal, Mando Lopez, Rich Presley (who is no longer with the group),
Jose Medeles, and Kim Deal

Each song on the new Breeders album gives birth to more images of Treachery and Hope, Loss and Redemption, Anguish and Ease. For every battle cry there lurks a hope for peace. The battles here are always emotional. The fighting is not with weapons, but with words, intellect, emotions and subtle actions.

"Overglazed" sounds like a Who staple circa the Tommy era. Just as "Sparks" exploded, so does this track, giving one the emotional lift to reach for an imaginary ball of light, where ever it may be, to embrace it, something to call his or her very own. The dueling guitars by Kelley and Kim, powerful keyboards and guttural, desperate vocals by Kim, the tornado-like drumming of Jose Medeles, and Mando Lopez's assault on the bass make you think you are in another time and place entirely. You don't quite know what she feels, but you want to feel some of it too. Perhaps its an opening battle cry. Maybe its the beginning of a new day, as one prepares for the beginning of a new challenge on a battlefield of life.

“Bang On” is fantastic. Vile rawness continues to detonate like the cracked images on the album cover image suggest. The lyrics ["I love no one one/No one loves me..."] continues with this idea so well. The guitar chord attacks remind me of Pete Townshend on early Who records again. Its a sound that doesn't escape the listener throughout the entire album really.

"Night of Joy" is, both musically and lyrically, one of those songs that would have fit so perfectly in a melancholy scene of love lost in a David Lynch film, with lines such as "Can’t stop the wave of sorrow.”

"We're Gonna Rise" is a song that reminds me of the kind of thing Kurt Cobain was going for in the best moments of Nirvana. Pretty guitar with pretty vocals and then a crunchy, noisy guitar solo, and back to the soft and soothing hopeful tones again. Its the perfect contrast of dark and light, giving hope once again that while a battle was seemingly lost, the narrator is still feeling the light on her face. "Nothing you came to believe/or what you decided last night/still the sun shines/hits my shield and ignites/we're gonna rise..."

"German Battles" contains a chaotic vocal delivery while still keeping the pretty harmonies. Just as when we hear the Spanish lyrics of "Regalame Esta Noche" (later on the record), one doesn’t need to be able to make out the German lyrics to appreciate a good song.

“Spark” reminds me of a cross between a song my 10 year old niece wrote with me playing bass, an experimental jazz number, and “Iris” [from Pod]. One then must imagine giving this song to some traveling gypsies and adding hallucinogens into the mix. You get the idea.

Speaking of psychedelics, "Estanbul" reminds me of something George Harrison would have written musically after a few visits to Doctor Roberts. Vocally, I can't think of anyone except Kim Deal herself who could have come up with something so intense. The rhythms are intricate, drawing the listener in to notice something different every time she listens. The punks have taken an acid test of sorts.

"Walk It Off" [with the line, "I've been waiting for a message all night..."] captures simply the best Breeders sound. Typical of them, reaching new heights. The catchy surf beat makes this very summer-time cool, like the Breeders we all have grown to know and love through the years. Its once again stripped down, simplistic, but highly charged and moving in a mid-tempo groove. I think it could have fit somewhere between Pod and the Safari EP. The driving bass line is quite contagious also as is the lyric, “Talk it down/Walk it off.”

Kelley sings lead on the sole cover version on the album, the moving Spanish language ballad, "Regalame Esta Noche". Her delivery is very convincing. Even those who don't understand a word of what she is saying can still feel the emotional level of the song, and that is what is most important.

The entire album is laced with such beauty, but the first stand out track for me was "Here No More." Musically it reminds me of when we used to hear Kim and Kelley singing Hank Williams ballads while strumming acoustic guitars. The Deal Twins harmonize sweetly over the melancholy lyrics. The words evoke sadness within.

"No Way" reminds me of something that could have been on the Beatles White Album with a touch of some early Black Sabbath thrown into the mix.

"It’s The Love" is another rocking number that is reminiscent of something like "I Just Wanna Get Along" [from Last Splash]. The catchy chorus and feel good guitar strumming get one's foot tapping. If Sheena (the punk rocker) joined Frankie and Annette on Rockaway Beach, this is how it would have sounded.

“Mountain Battles” is the only track that took a few listens to click in with me for some reason. I wont go into exactly why too much, as I think it was that the music seemed like a prolonged drone to me. Musically, it reminds me of "Less Than You Think," from Wilco's A Ghost is Born album. I admit to hitting the skip button in the car to get to the next track on that one too. Its still a good track, better than so much of what else is out there today. Its sad, though, I think, as its the title track. I'm sure others might disagree, but that’s cool. I do like the lyrics and the vocals quite a lot, too. Maybe it’s the band trying too hard. At any rate, it closes a near perfect album.

My review summed up in one sentence:

The album all at once merges the impetuous splendor and brutality one has come to expect from the song writing craftsmanship of this band.

My Rating:

$$$$

The Breeders are currently embarking on a world tour and are playing the House of Blues in Atlantic City, New Jersey, on July 10.

Visit The Breeders on the web for more tour news, including dates, ticket prices, etc.

http://www.myspace.com/thebreeders

Punk Rock Icons X Shake the Rialto

Tue, 24 Jun 2008 00:02:48 GMT

X played the Rialto Theater in Tucson on June 7, 2008. The Detroit Cobras were openers.

A punk rock quartet is on stage rocking. In the center of the room, at the foot of the stage, is a frantic group of slam dancers. To the left and right of the mosh pit are fans pogo-ing, swaying, and bopping their heads in time to the music. Looking around the room, everyone seems to be in some kind of amazing trance. The girl singer grips the microphone with both hands, fingers clasped tightly, eyes closed, swinging her hips side to side wailing. The audience is mesmerized, hanging on every note. Sweat is flying off of the heated audience and band members. The place is smoldering. Its not Los Angeles at the Whisky in 1978. Its Tucson, at the Rialto Theater, and its 2008.

This was the scene as it was played out during the X concert on June 7. It was some kind of punk rock revival. Vocalist Exene Cervenka, Bassist/Vocalist John Doe, Drummer/Percussionist D.J. Bonebrake, and Guitarist Billy Zoom held their spectators in a captive frenzy for close to an hour and a half, playing a blistering 27 song set. From the opener, “Your Phone’s Off the Hook (But You’re Not)”, through the closer “Devil Doll,” they kept the crowd moving. The audience ranged in age from around 12-70. I don’t think I had seen such a diverse audience at a rock show in a while. It was incredible to be enjoying the show and watching a silver haired grandmother with who appeared to be her grandson in one corner and then turning to experience some teenage kids slamming in the center of the room.

BILLY ZOOM, EXENE CERVENKA, DJ BONEBRAKE and JOHN DOE
June 7, 2008 Photo Courtesy Julie Campbell

The Detroit Cobras opened the evening with their own brand of garage rock, re-arranging classic rock and rhythm and blues covers to their own unique and very danceable style. The two highlights for me were "99 and a Half Wont Do" and "Cha Cha Twist." Lead vocalist Rachel Nagy took control over the crowd with her vocal stylings which seem to mix Mary Wells and Dusty Springfield. Many people were still mulling around in the lobby when the Detroit Cobras first took the stage but soon were all scampering to get up front to see for themselves what the alluring commotion was. The band was a perfect compliment to the headliners.

Its exciting to see that after 31 years, the members of X still appear to have so much fun performing. They exchanged smiles with each other and the audience. The emotion and drive they put into their playing also proved how much they also still liked each other’s company as well. That is refreshing, seeing as so many bands that don’t even have the longevity can’t stand to look at each other on stage. While Exene appeared as if she could have been channeling Bessie Smith’s passion and energy, John attacked his bass ferociously, shaking his head, his dark hair falling in his face, still proving he has the greatest voice in rock. Together their harmonies soared to pinnacles of which others can only dream. D.J. battered his drums vigorously with such abandon that he even lost his hat during the second verse of “Los Angeles.” Billy stood in his authoritative, wide-legged stance, grinning away, strumming his Gretsch, as enthusiastic pink hands reached to touch the guitar’s neck.

BILLY ZOOM, EXENE CERVENKA, DJ BONEBRAKE and JOHN DOE
June 7, 2008 Photo Courtesy Julie Campbell

The acoustics are hit and miss at the Rialto, and sometimes it almost sounds like a band is playing in a barn. This wasn’t really much of a factor for those of us in the front, though I did regret not bringing my usual earplugs, seeing (or hearing) as I had my left ear ringing from the fun for two days afterwards. Their playing was loud and intense. While they devoted the bulk of the set to their first four albums, X even played one from their fifth. They performed the first two albums almost in their entireties. While every song carried the same level of flawless energy, and I thoroughly loved every second of it, I still had to pick some favorite moments. The high lights of the evening for me were “Poor Girl,” “Because I Do,” “White Girl,” “The Hungry Wolf,” “World’s A Mess…,” and “Nausea.” My only disappointment was that they couldn’t play longer, though I was very grateful. We got very lucky that it was the last night of their tour and that they decided to play a little longer than usual; it was a pleasant surprise and completed an exceptionally amazing time. With all of the classic gems they played, it made up for not getting to hear “Universal Corner” or “Adult Books.”

From beginning to end, the band’s energy was exhilarating. After over 15 years since I first saw X, it actually mystifies me how they sound even better now. Its regretful if you missed this show, but you can still redeem yourself if you see them the next time they hit Tucson. You will be such a more complete person for it.

The Set:

Your Phone’s Off the Hook (But You’re Not)

We’re Having Much More Fun

Beyond and Back

My Goodness

White Girl

Some Other Time

In This House That I Call Home

We’re Desperate

True Love

Back 2 The Base

Los Angeles

The Hungry Wolf

Year 1

New World

Sugarlight

Breathless

Nausea

Johnny Hit and Run Pauline

Motel Room In My Bed

Soul Kitchen

I’m Coming Over

Its Who You Know

The World’s A Mess; Its In My Kiss

The Once Over Twice

Poor Girl

Because I Do

Devil Doll

Please visit X online

http://www.xtheband.com

http://www.myspace.com/13x69

Beyond and Back with Legendary X Drummer D.J. BONEBRAKE

Wed, 21 May 2008 20:12:19 GMT

D.J. BONEBRAKE photo by DIANA BONEBRAKE

The musical environment in Southern California was desperately in need of change when X burst on to the scene in 1977. By 1980, they had created a revolution, with their debut album, Los Angeles, making an impact on so many awe-inspired youth to form their own bands, which would also help to continue to shake up an otherwise bland industry. Throughout the 1980s, 1990s, and 2000s, X have continued to be one of the most influential and lauded bands of critics and fans alike, as they continue to change and endure while always remaining true to their roots. This year the band is celebrating their 31^st anniversary with their 13 X 31 Tour.

As versatile as he is influential, the legend who is D.J. Bonebrake is the driving force behind the band, like that of a soul-coal-powered locomotive. Witty, articulate, and always humble, D.J. generously provided the answers to my questions as Tucson anticipates the return of X to the Rialto Theater on June 7.

Going back to the beginning, D.J. was born in southern California and grew up in the San Fernando Valley. It was apparent from an early age how important music seemed to be for him. “I have two older brothers who are into music, Ken and Bill Bonebrake,” D.J. said. “Ken is the music librarian at the LA Philharmonic and Bill is a song writer. Growing up we were constantly listening to the radio (KRLA and KFI, AM radio) and when our parents bought a turntable we started collecting records. The first records we had were Benny Goodman at Carnegie Hall, Beethoven's Emperor Concerto and Homer and Jethro. The first record I personally bought was She Loves You by the Beatles.

“Bill was the oldest and played guitar. He had a band that used to rehearse in our garage. They were called The New Music Box Review Band. That was in 1967. When no one was around I used to sneak into the garage and hit the drums.”

That same year, D.J. began his first formal training as a musician, which coincided with him becoming a Buddhist. This influenced his life in more ways than one. “The year I became a Buddhist [was also] the year I began my formal training as a drummer in the Buddhist marching band. As I progressed I joined the Walter Reed Junior High School band and Orchestra.”

Many outstanding drummers formed a foundation of which D.J. built upon to form his own style. “Ringo was my first influence, and so was DJ Fontana from Elvis's band. (I was more of a Beatles fan because of my age, I was 8, but my neighbor’s older brother played us the Elvis records over and over.) In the late 60's, I liked Ginger Baker, Keith Moon, Charlie Watts and Mitch Mitchell (British Invasion). By the early 70's, I listened to Buddy Rich, Art Tripp III, Drumbo and Tony Williams for inspiration.”

D.J. Keeping The Beat Onstage With X. Photo by Diana Bonebrake

One fateful night, in 1977, D.J. was playing at the Masque with a little group called the Eyes which featured Joe Ramirez and future Go-Go Charlotte Caffey. That evening, the bassist, co-songwriter and vocalist of X, John Doe, was impressed by what he saw. John announced to D.J. that he liked his playing, that he himself had a band and wanted him to audition. For a time, D.J. played in both the Eyes and X, however, in the end, X needed his undivided attention. By this time, he had over 10 years drumming experience. I asked him to elaborate more on some of the other groups he had played with.

“My first band was the Buddhist Marching band,” D.J. said. “After about three years of training (There were two teachers, Bob Dixon and Dick Bond), I was enlisted into the Buddhist Jazz Big Band called the Tribune Band.

“I also played in bands with my brother Bill (Myth, Egdon Heath). We played Zeppelin (Yes we got the Led out), Bowie, Beatles, Stones at High School dances. Later, we morphed into Rocktopus which was an originals band…”

It was while D.J. was playing with Rocktopus during a show at Immaculate Heart College, where Charlotte Caffey was attending, that he was spotted, and asked to join the Eyes.

Never one to play with just one band or one musical genre at a time, there were many others as well.

“I played Classical music too.” D.J. continued. “The Cal Arts Youth Orchestra, the Valley Youth Orchestra, the Valley College Orchestra, Symphony of the Verdugos, the COTA Symphony, and The Valley Youth Orchestra Percussion Ensemble. (We won First Place in our category at the PAS, Percussive Arts Society competition.)

“I played in the Valley College Big Band. I had a Dixieland band called the Zebra Zippers (Our business card said 'Dixieland and Surrealism.'). I played in a band with Spencer Davis and Hilton Valentine (of the Animals) in 1976-77 that rehearsed and made demos for a year but never played out. And...wake up! I played in the pit Orchestra for a community production of West Side Story and for Damn Yankees.”

X on the road during the 1980s: D.J. Bonebrake, Exene Cervenka, Billy Zoom and John Doe.
Photo Courtesy of D.J. and Diana Bonebrake

While X formed in 1977, it took them about two or three years to really establish themselves on the scene. Former Doors keyboardist Ray Manzarek read something that Chris Morris had written in the L.A. Reader about the band, where he had printed the lyrics to the classic “Johnny Hit and Run Pauline” and had even described it as sounding like “Murder.” Manzarek knew that he had to check them out and soon was asking if he could produce them. Guitarist Billy Zoom fused the exciting spirit of the Ramones with the rebellious nature of Rockabilly. Bassist/vocalist John Doe and Exene Cervenka blended their unique vocals and poetic lyrics in such a distinctive style that no one could help but take notice. Behind them on stage, D.J. Bonebrake was doing things with a simple, single kick drum set that other flashier drummers were trying to do with larger kits. He made up for the lack of gongs and other theatrical props on high-hat and cymbals and never lacked enthusiasm.

Once X had established themselves as a force to be reckoned with in the 1980s, D.J. (along with other members of X) ventured out into other genres and played with other friends in many different bands, including the Flesh Eaters (with members of the Blasters and Los Lobos) and the ground-breaking folk/country band The Knitters (which would prove to help kick-start the genre of what is now known as Alternative Country). I asked him if he realized the impact X was having on the future of music as the world knew it. Always humble and modest, D.J. said, “No. Like a lot of bands we were just trying to survive. We were on the road a lot, recording a record every year and just trying to have a good time.”

X has never been a predictable band. One of the things that I mentioned to D.J. that I really admired about the group is their choices of cover versions through the years. Some seemed surprising choices. I asked him how they chose which songs that they would cover. “There are various reasons to do cover songs. As tribute to a band you admire (Soul Kitchen), for a practical purpose (Breathless, recorded for a movie), just for fun (Wild Thing, later used for a movie), or to get radio air play (All or Nothing.)”

D.J. in Dizzy shirt onstage with X. Photo by Diana Bonebrake

With a catalog of such fantastic music, I had to ask if there was an album of theirs that is a favorite of his. “I think Los Angeles is our classic.” Of all the tracks, D.J. said, “My favorite song to play is World's a Mess.”

Since X are playing at the House of Blues at Disneyland this tour, the Eyes had their classic, scathing “Disneyland,” and I have seen X performing at Disneyland in the past, I asked D.J. if he had a favorite ride or attraction at the park itself. “I have a 13 year old daughter, so I go to Disneyland (the magic ka-ching-dom) at least twice a year. My favorite ride is Splash Mountain.”

Recording on Vibes in the Studio. Photo courtesy D.J. and Diana Bonebrake

When D.J. is not playing with X, these days you can find him playing with a few different bands. The pleasant-sounding, enjoyable new CD by the Bonebrake Synocopators has just been released. Once again, it’s another direction for D.J., where he is the band’s vibraphonist, fusing the sounds of 30s Jazz with swing. I asked him about this group’s formation. “TK Smith, Wally Hersom (both from the Big Sandy band), and Jeremy Wakefield (Lap Steel Guitar for Asleep at the Wheel, the Lucky Stars and Spongebob Square Pants) asked me to play vibes in their band. Later we added Dave Stuckey on drums and vocals. I'm not really the leader, I'm just a side man with a cool last name.”

Never one to stay idle, D.J. also has other projects currently in the works. “I'm working on a vibraphone record for Wondercap records. The company is run by Chris Ashford who put out the early Eyes and Germs singles on What records. Also we hope to release the second Orchestra Superstring CD this year. (My Latin jazz band).”

Of course I was curious as to what music D.J. typically enjoys these days. “I listen mostly to old Jazz records.”

Once the U.S. leg of this tour ends, D.J. said that X will be “hoping to go to Europe for a couple of weeks.” After that, I learned that we can look forward to seeing the Knitters playing some West Coast dates in the fall.

X will be playing at the Rialto Theater 318 E Congress St in Tucson, June 7. The Detroit Cobras are support. Doors open at 8:00 p.m.. Tickets are $21 in advance and $24 day of the show, and are available at all Bookman’s locations, online, and at the Rialto Box Office. The Box Office is opened Monday-Friday 12pm-6pm. Please call the Rialto Box Office Direct Line at 520-740-1000. If there is no answer, please leave a message. This is a show that should not be missed.

Please visit X online.

http://www.xtheband.com

http://www.myspace.com/13x69

Also, of course, don’t forget to visit D.J. Bonebrake on the web as well…

http://www.djbonebrakemusic.com/

http://www.myspace.com/djbonebrake

The Raconteurs Don't Suffer From Sophomore Slump on Perpetually Rocking CONSOLERS OF THE LONELY

Fri, 16 May 2008 09:27:59 GMT

The Raconteurs CONSOLERS OF THE LONELY
c2008 THIRD MAN RECORDS

The Raconteurs(clockwise from left): Jack White, Patrick Keeler,
Jack Lawrence, and Brendan Benson

The wind blows hard in the desert. A sole tumbleweed rolls its way across the highway. From the distance, entering the frame, we see an old beat up Ford Econoline van. It appears out of the hazy distance and is soon making its way toward its temporary destination, an old Mom and Pop style Truck Stop and Cafe. Four travel weary passengers crawl out of the van, one by one, and survey the scene. The first one hasn't seen the sun in weeks, his skin is pale. He runs his rough, caloused fingers through his disheveled, curly, and sandy blond hair before scratching at his stubbled chin. The dark haired, boyish-looking man next to him is taller and lanky. He adjusts his sunglasses, puts his large fingers in the front pockets of his jeans, and turns to the other two gentleman as they walk from the other side of the van. One of them has black round framed glasses and long black hair. The other has an almost whimsical look about him. Its definitely the face of a pirateer. No, its only their always energetic drummer, seemingly excited to actually be somewhere, anywhere, except cramped up in the van for 400 miles. The four of them look ahead to see a weather-worn building with the peeling paint claiming "open 24 hours". Its got an old beat up Oldsmobile Delta 88 parked in front of the phone booth. The rest of the parking lot looks deserted. They approach with caution, wondering if the place is even still opened for business. The lanky dark haired one with the shades points to the door's 'open' sign. "Looks like we're in luck."

The four of them seat themselves in a booth in the corner. The imitation leather material looks like its seen better days. There's a piece of grey masking tape patching a hole in the back of the booth. A middle-aged red headed woman, wearing a name tag that reads 'Marjorie' walks up to the table wiping her hands on her apron, before taking out her pad and pencil. "Can I help you boys?"

"Can I just get a glass of water to start with please?" The sandy haired one says politely in almost a whisper...

The opening, self-titled track of the new Raconteurs album, Consolers of the Lonely goes down like cold water on a hot day in the desert. Its a refreshing sound to put it lightly. The entire album is, surprisingly, as special and enticing as a visit to that lone cafe in the middle of nowhere while on a long journey. Its a nice place to visit. And while there are some questionable moments, like that patched booth in the corner, its still comforting to hear musicians making music from the soul when so much of the music today is pre-programmed, soulless rubbish. One just needs to listen to the first track to know this is going to be a nice little visit.

I enjoyed this album a lot more on my initial listen than I recall liking their previous effort, Broken Boy Soldiers. The boys are more ambitious this time round and it certainly shows. I left this CD in maximum rotation in my car stereo for several weeks straight. I wanted to completely immerse myself in every note, every vocal, every lyric. While I have been a fan of the White Stripes for a very long time, I know that with the two of them, they are pretty limited in what they can project. With the Raconteurs, White allows himself to fully utilize all the elements of a four piece combo. They've thrown in everything except the kitchen sink and 90% of the time, that works too!

Consoler of the Lonely starts off with a sharp hook of a guitar riff that makes you want to crank up the stereo. Somehow as Benson is singing about some of the problems he seems to be having lately, White seems to be offering some consolation to those woes. It strikes me as being about a working musician's life on the road. Its not "Traveling Band" by CCR, "Moving On" by Bad Company, but lyrically it really is reminescent of those types of road songs, to me. The riff itself kind of reminds me of what would happen if the opening of the Steve Miller Band's "Rock N Me" had been done by the Who in about 1974. The lick isnt so much blatantly obvious as "Steady As She Goes" [from the last album Broken Boy Soldiers] seemed to be influenced by Joe Jackson's "Is She Really Going Out With Him." Its reminescent though and similar enough that I noticed. I love the homages the band plays to the older rockers though. I want to make sure thats clear. The song takes a trip through many different stylings all at once starting off slow moving into a fast mode and taking it back down at the end.

I enjoyed seeing the video for the first single from the album, "Solute Your Solution," on You Tube. It blended hundreds of lovely black and white images by Autumn de Wilde. The song is a hard-rocking cadence of power riffs and ripping and ranting by both vocalists that immediately blew my mind. I especially love the bass by Jack Lawrence in this song which I think would make John Entwistle proud.

The third track, “You Dont Understand Me, ” sounds to be a tribute to many different styles. It starts off something from Jeff Beck or early Bad Company and soars to a different place in the chorus...It also kind of reminds me of a White Stripes song "You Dont Know What Love Is."

Another one of my favorite tracks on the album is "Old Enough". I enjoyed the fiddle. Its like a little country mixed with a slow rock groove on "Here for More" or "Time is Passing" by the Who with more pretty harmony vocals.

I admit to liking "The Switch and the Spur" now, but I was afraid I was going to say too much against it. The song reminds me of what would have happened if Marty Robbins had joined Rush in the mid-70s during the peak of their 'concept album' hey-day, and then they decided to score spaghetti westerns together. I guess the worst could have been a concept album based on the spaghetti western. I just kept imagining Geddy Lee and Marty Robbins together in a duet and it wasnt a nice thought. I suppose it would have been interesting and even humourous to a point, but... I love Marty Robbins and his solemn gun fighter ballads. I love Horns. I love the scores for the spaghetti westerns. I dare to admit to owning and often enjoying Rush's 2112 and A Farewell To Kings as a teenager. I have partaken in my fill of a mix of metal and art rock. I am really liking the partnership of Benson and White's song writing under normal circumstances throughout the rest of the album. Taken together on this track, as a sum of all these elements, none of this makes any sense. These things just dont mix well, let alone adding other elements also. Its like oil and water. It just wasn't to my liking on the first several listens and while the CD was pretty much the only thing I listened to for the first two weeks I owned it, I can admit to you that I hit the 'skip' button on this track after giving it several chances. [Its slightly better on the "Many Shades of Black," but it just made me cringe the first few times I heard that track as well. But, I am getting ahead of myself...]

There seems to be a nod to perhaps a little bit of Zeppelin on "Hold Up". The lyrics remind me of a scary trip to a carnival, like in the novel Something Wicked This Way Comes by Ray Bradbury, though I think the song itself may be more of a twisted love song, where the object of his affections was found at a circus side show Freaks exhibit. I dig every fast-paced moment of it.

Dumping a lover never sounded so sweet and sexy as it does in "Top Yourself." White claws his way through the lines, scathing in his attack, borrowing the slide blues riffs and delivery like one of his delta blues heroes. Throughout the entire song, the narrator taunts his lover as he eventually asks her "How you gonna get that deep when your daddy aint around here to do it to you?" The rawness makes this such a stand-out track. The banjo is an extra special touch.

I wrote about a page originally on "Many Shades of Black" and eventually really had to edit myself. Its one of the two tracks on the album that I initially didnt enjoy as much. (The other being The Switch and the Spur). Perhaps this is pretention hitting a bumpy, graveled road. Where Van Morrison achieved the best of soul and even jazz blending sweetly on ASTRAL WEEKS on tracks like "The Way Young Lovers Do"; Queen worked it on A NIGHT AT THE OPERA taking art rock to a new theatrical, soulful level; yet, I am having a hard time being convinced of the sincerity of this one. Obviously I dont know what was in Benson's head as he was singing this, but I really wanted to try to imagine it. I was trying to put my finger on what was giving me the creeps about the track. Honestly it was hard to pin point exactly. I love the Memphis Horns. I loved Van Morrison and Queen albums. I really couldnt fault Brendan Benson's vocals. The songwriting team again of White and Benson is successful in most other areas on the album (with the other exception being "The Switch And The Spur"...). Perhaps it was again the mixture of the elements? While Benson sings beautiful harmonies on the other tracks, it was just not what I felt mixed with the tone of the track. There was something weak in how it all blended, something with the mix, perhaps.

"Five on the Five" is an older track that the band debuted on their 2006 tour. I remember seeing it performed from a festival on a clip on You Tube. I loved the energy of it played live, yet they have polished it for the record. Still capturing a real spontaneous delivery but with the mix just right. Its a highly energetic, frantically paced moment of head-banging abandonment as Keeler's drumming drives the beat home. One also cant help but sing along with the catchy chorus.

The next track to follow is "Attention." Its a fantastically energetic ditty where Black Sabbath meets The Who...The intro with the driving drums, grooving bass, and jagged guitars travel up and down like an intro to a Sabbath song. Then the keyboards and pop remind us we're all here to worship at an alter of twisted modernized classic rock. The sinister vocals growl that it "has some kind of vice...a grip on me." Once again the drumming is frantic like revisiting Keith Moon.

"Pull This Blanket Off Of Me" has the soothing piano stylings of the White Stripes "I Want To Be The Boy To Warm Your Mother's Heart" in a contageous mode of Badfinger and early 1970's Paul McCartney, meets bluesy Stones circa the Mick Taylor era. One can imagine Keith and Mick singing this one. I was thinking how Jack and Brendan even have a Faces type style to their vocals, which is charming.

The sole cover version on the record is of British classic Terry Reid's "Rich Kid Blues..." If I may be so bold as to say this, I really like this version even better than the original.

In "These Stones Will Shout," the acoustic guitar intro takes me back in time to a drive in the country in the early 1970s with my parents. It grooves with the hard strumming acoustics for the first half of the track and then takes us somewhere closer to a harder edge as it ends when the amps crank to 11. "Speak to me and dont speak softly...Grab hold and do not let go..." They sing so harmoniously.

The album ends on such a high note. Its like the apple pie a la mode after that tasty country dinner. "Carolina Drama" is an epic that was my immediate first favorite track on the album. There's pretty arpeggios, choir-like beauty of female back ground singers, and passionate story telling from Mr White. Lyrically it reminds me of a cross between Bob Dylan and Bobbie Gentry (when she was writing such classics as Ode To Billie Joe and Fancy). Musically it combines the best of blues and folk for a soothing good time. It is a telling of a story that starts off so sad and violent and ends with a happy sing-a-long. There is also a tinge of mystery left at the end as well, like that secret ingredient in Grandma's Apple Pie. Just what role did the milk man play besides delivering that cold bottle of milk that would prove so important to Billy making his stand? Why is the little brother holding that milk man's hand? And, just what is it about that bottle of gin anyway? I really think with the jubilant vocals at the end it ends happily, yet eerily, because we don't know the whole story, and we wonder if we could ask him, what would that milk man say anyhow? Maybe its best if the secrets remain hidden after all.

When visiting a little cafe in the middle of nowhere, a hungry traveler certainly might partake in something of a 'hearty' meal. Its like the traditional country fried steak, mashed potatoes and gravy, rolls, salad and greens. Each song on the album is like another helping of Granny's viddles--if Granny had some electric guitars and listened to Zeppelin and The Who all night. There's the mystery side items like that sweet potatoes suffle that I always gobbled up, but my mother always hated when Granny made it [The Switch and The Spur and Many Shades of Black]; but then there are the other goodies that are wholesome and yummy [the rest of the album]. Once a thirst is quenched by cool refreshing water, we can say that our traveler is hungry for something new and traditional at the same time, but equally as exciting...

In keeping with traveling musicians, before closing, I wanted to mention something about the album cover itself. The boys are posed in an old fashioned style, with the photo looking dated 75 years or more. I immediately thought of the oddest combination in my head of Jack White in his traveling folk group in the motion picture Cold Mountain, Neil Diamond's "Brother Love's Traveling Salvation Show," and Cher's "Gypsies, Tramps, and Thieves." I don't guess it can get any weirder than that. Sometimes Weird is Beautiful though, and this is one of those cases.

Upon finishing their dinner at the little truck stop cafe, the four refreshed vagabonds get up from their tattered booth to leave, as the wattress gives them a wink and asks them to come back again soon.

As listeners of Consolers of the Lonely, we're only happy to return for another helping on another day, feeling safe there from the elements of the desert outside the windows.

My review summed up in one sentence:

Its the pit stop in the middle of nowhere, mixing the best of the old, classic rock style and making it new and satisfying.

My Rating:

$$$$1/2

The Raconteurs are currently on a world tour and will be playing the KROQ Weenie Roast this weekend, Saturday, May 17, in Los Angeles. For our International friends, don't forget that the band will be at the Glastonbury Festival this year also, performing on the Pyramid Stage on June 28. For more specific details on Tour Dates, Ticket Prices, etc., please check out their official sites...

Visit The Raconteurs on the web.

www.theraconteurs.com

http://www.myspace.com/theraconteurs

http://www.youtube.com/theraconteurs

My Rating System:

$$$$$--Well worth your Time and Money. Its an instant Classic. You should rush out and buy this NOW!
$$$$--There are a quite a few good tracks, but it needs some improvement. A great record over all, though not perfect. I still highly recommend it. Something pretty cool.
$$$--There are some good tracks however, you can save your money on New and wait to find this Used at your favorite re-seller. There are no more than 5 stand out tracks worth paying your hard earned money for...
$$--Definitely try to borrow it from the library or off a friend…There may still be some thing listenable here.
$--One word. Pathetic. Approach with caution.
NO $'s--No Money. No Dice. Not worth it at any price. I wouldn’t recommend it if it were given to you for Free.

Madness Saxophonist, an Ex-Belle Star, and Other Luminaries Form Mind-Blowing Ska Mega Group

Tue, 13 May 2008 04:41:51 GMT

Madness Saxophonist and an Ex- Belle Star Join Forces with Other Luminaries to Form Mind-Blowing Ska Mega Group

by Trish Morgan with Lee (Loobyloo) Buckley (MIS co-editor)

In the past few weeks, a new Ska band called The Dance Brigade has been unleashed, to every one's amazement, which features a few very familiar faces. They're comprised of: LEE 'KIX' THOMPSON [Madness], along with JENNIE MATTHIAS [the vocalist from the Belle Stars], KEITH FINCH [from JA13-Crown of Thorns], DAVE BARKER [from Dave and Ansell Collins], DEBRA BARKER [JA13], as well as CHICO CHAGAS [a fantastic Brazilian artist], DANIEL BURDETT [the guitarist from Jag], and CHALKY [Los Palmas 6].

According to Jennie, their line up is also going to include other legends of the Ska world as special guests on their tracks. Some of these will also be gigging with them in the future. Keith is "renowned for working with some of the greatest" and has quite a network of the best of those in Jamaican Ska. During a period of just three months, The Dance Brigade have already composed an album's worth of material.

Deb Barker and Jennie Matthias in 2008. Photo Courtesy of Jennie

When we asked her how The Dance Brigade began, Jennie said that she and Lee had been friends for close to 30 years. They had been in successful bands and were even on the same record label at one point.

"Throughout the years, Lee has called on me to jump on stage once and a while, and late last year, he asked me what I was up to and if I would like to add my vocals to a friend's music that he had also collaborated on…"

Keith and Chico Create Something New and Special, Spring 2008. Photo by Jennie Matthias

She eventually met up with Keith, and some pretty special music was created in a relatively short period of time. Jennie explained how the songs were written and described how the project has progressed.

"Keith is the music master and main producer, putting the whole thing together…Lee and I both write lyrics, melodies and assist with arrangements. Lee, of course, also does his Saxophone stuff."

We were happy to learn that Lee has also got a few tracks that he sings on. During those numbers, Jennie says that she and DEBRA BARKER perform background vocals. There is no front person, or single visionary. Everyone is sharing the spot light. It seems to be a real collaborative effort.

Loobyloo (not a member of TDB but Co-Chair of their International Fan Club) with
Lee Thompson May 4, 2008. Photo Courtesy of Ms Looby

Right now, they are so new that they aren't signed to a label yet. Jennie said that they are waiting to see what develops once they have finished off the rest of the tracks in the studio. In the meantime, they do have a MySpace page which everyone should check out. They already have three excellent tracks up now. "Musical Lesson" is taking Mozart's "Serenade No. 13 for strings in G major, K 525" [or as its commonly known, "Eine Kleine Nachtmusik"] and turning it into a very danceable Ska form [much like Madness did so brilliantly with Tchaikovsky's "Swan Lake," and Lee's other band, Crunch!, did with Beethoven's "Fur Elise"]. The results are quite magical. The second track 'Give It Some' contains fun lyrics [such as "You know the drill boys 3-2-1/Get on that dance floor and give it some..."] and has an equally catchy melody, sweet vocals, and it will surely shuffle you off your feet. To us, it sounds like 'old school' classic combined with a modern twist. The latest addition to their play list is "Who's That Girl," which features a quite incredible sax solo from Lee. The vocals, the piano, the melody sound smooth and really easygoing on the ears. The combination of delta blues, jazz, latin, pop and ska all make for a really good track. Jennie's voice is in control, and Lee's sax is the same as it always is - superbly pronounced and skillfully done.

Chalky on Trumpet, Photo Courtesy Jennie Matthias

Of the tracks we have heard on the My Space player so far, Jennie told us that she was the lyricist.

"I tend to write about experience or other peoples' experiences but I have been known to get a touch political also…"

Wonderboy Guitarist Daniel Burdett in the Studio. Photo
by Jennie Matthias

The Dance Brigade are going to be putting more tracks up on their page soon as well, including one, probably within the next 10 days, so be looking (and listening) for them too.

The Dance Brigade will be making their live debut on 17 September 2008 at the 100 Club in London. Tickets are £10.00 and are available online now. For inquiries visit
www.wegottickets.co.uk

And of course visit The Dance Brigade on the web at My Space.

http://www.myspace.com/thedancebrigade

Portions of this article also appear at the Madness Information Service online at www.mis-online.net and at the Belle Stars Fanpage, Blue Yonder at http://thebellestars.pwp.blueyonder.co.uk/E.html

The Raveonettes LUST LUST LUST gives listeners sounds that are both Wicked and Wonderful

Tue, 15 Apr 2008 05:14:04 GMT

The Raveonettes Lust Lust Lust
c2008 VICE Records

Danish Rock Duo, The Raveonettes:
Sharin Foo and Sune Rose Wagner

Like the passionate union of two forbidden lovers in a dark alley way, this album’s subject matter seethes with menace and desire. We know we aren’t supposed to be here, but it feels so fine. Would it really hurt us to stay just a little while longer? Immediately the listener is drawn in to a world of seedy characters, of villains and scoundrels, with all the pain and suffering that is usually the result of one of the seven deadly sins. As the title entails, there is plenty of Lust on this record. While the journey is a dark one, its still moving and beautiful at the same time.

One of my favorite tracks on the album is the opener, “Aly, Walk With Me.” The music begins with what could be a loud clap. If you use your imagination enough, you can envision a gun shot. The crawling guitars begin, enticing you along, following Alice through the looking glass, or down through the rabbit hole. It's a journey into the unknown and back again. Its everything: day dream and nightmare, bondage and release. Lyrically it is Bobby Darrin’s “Dream Lover” twisted with “Alice” by Sisters of Mercy. The narrator needs his lover like a hypnotic tranquilizer. Is she real or just a muse? Is she alive or dead? We know the woman is alluring and how ‘strange and true’ it is that she walks with the protagonist. Musically, it’s a slow driving bass line and hypnotic surf guitar that leads us through the ambiguity. Sharin and Sune harmonize in child-like vocals that entice you into their world. Its as if they are saying, “Yes, its dark in here, but its okay. We’ll hold your hand if you walk with us. Trust us. You will be fine.”

More confusion abounds with the character in “Hallucinations.” In the end the individual tells his lover “In the morn when I rise, I leave you to die..” Its chilling in a way reminiscent of the Jesus and Mary Chain. (Its also similar to “Little Animal,” from The Raves first album Chain Gang Of Love. Only he‘s not going out to meet the devil; the hellhounds are here now.)

The third track, “Lust, ” introduces us to more dichotomy of good and evil. Its another one of my favorites. The music is slow and gripping. It lures you into a dreamlike state as you listen. Its supposed to be so scary here to want so much, the narrator seems to say, but he seems to embrace it. He’s on his knees for his desire, praying. “Lust holds my hand” he sings.

“Dead Sound” has a video on You Tube right now. It may in fact be the next single from the album. In the video, a game of chicken seems to go awry and a girl loses her boyfriend to death. His ghost seems to keep appearing in the malt shop, haunting her, as he gyrates and dances to the pulsing rhythms of the music. Upbeat, pretty harmonies and twanging guitar take us through the verses, as an other-worldly, placid melody calms us in the chorus. More noise emerges on the second verse before taking us to the softness of the chorus again, before letting chaos rein as the song ends. The music balances with the darkness of the lyrics. The guitar solo is very reminiscent of the Cramps. Because of the darkness of the other lyrics, I’m always wondering when a character might be departing or dying, in either a real or metaphoric way. It seems by the tone of the video, that this character may have in fact died in the literal sense.

My favorite track on the album is “Black Satin.” Its as if the character is finding safety in the darkness of humanity, embracing it. He goes to see the object of his desire. The central character tells us that his lover “…Covers me with all her black, satin dress takes me, aback and I drown…” Beautiful, dulcet vocals combine with the soothing guitars to make this ballad most special. This could also be a song about the night itself and how the narrator feels comfort in it, away from the bright rays of the sun, which he sings, "explodes on my skin...causes pain..." This is master song crafting at its best.

“Blush” is upbeat but still sullen. It’s a one night stand overflowing with licentious fervor. The steam is still in the room when he wants her to leave.

“Expelled From Love” immediately brought to mind a scene out of the David Lynch television creation, Twin Peaks. James, Donna and Maddie are sitting together in an episode, singing a sweet song. Donna is jealous because she sees how James is staring at Maddie. Maddie is almost identical to his now dead lover Laura, except for the dark tresses and glasses that Maddie wears. I could imagine the three of them singing this song together in that very scene. James felt expelled from Laura’s love. Now Donna’s feeling expelled from James’s because of the entrance of the lovely cousin of Laura. If you never watched Twin Peaks, just imagine for a moment the worst break up you ever experienced in your life. If you are one of the people who never knew real love, just sit and imagine the worst, most powerful, unrequited crush you ever felt on someone and how it made you feel. Those sentiments are deep. This song is one of the greatest because lyrically and musically, it can make one feel those emotions.

The album’s first single, “You Want The Candy,” is upbeat, repetitious and catchy, at times to a fault, but still beautiful. I like the pithy arpeggios, in such a danceable surf style.

“Blitzed” is very much like the prettiness of Blondie meeting the aggression of the Ramones, like a lot of the songs from Chain Gang of Love. He’s bound again by a femme fetale, ‘tied down to an evil heart’. This love is like the worst drug, the most bitter pill he could ever swallow.

“Sad Transmission” combines the late-50s/early 60s Doo-Wop, meets girl group, meets 21^st Century Rock. Grainy white noise from the feedback of the guitars talks about the transmission itself. The hand claps remind us of Martha and the Vandellas’ “Jimmy Mack” or the Supremes’ “Where Did Our Love Go” or The Shangri-La’s “Give Him A Great Big Kiss.” The harmonies remind me of a Doc Pomus lyric like “Hushabye.” The guitar grates like an attack from a Velvet Underground record. I wonder again if she [the lover] dies literally or is it metaphorically. “Your heart beat stops when I tell you that lovers always part…” He speaks of holding her ‘for one last time.’ Goose bumps grow on my arms, and I feel a certain sadness. I think of how it is reminiscent of the lyrics in those early 60s teen tragedy songs. Sune tackles the subject beautifully in the same way he did on the last album, Pretty In Black. [In “Here Comes Mary”, the heroine committed suicide by putting a gun to her head after she had lost love.] Songs like this are either going to come across as very sappy [Tell Laura I Love Her] or sweet [Last Kiss]. When Sune writes, he captures the brilliance of the lyrics of the ones Ellie Greenwich wrote for the Shangri-La’s and distorts them with the darkness of Lou Reed's. The results are enchanting.

In “With My Eyes Closed” Sune writes of a character leaving another lover. Its like the twisted metal of a car wreck meets the Teddy Bears “To Know Him Is To Love Him.” A Sonic Youth meets Phil Spector moment if there ever was one. I mean that in the most complimentary way possible.

The album’s closer, “The Beat Dies” is another moment above all others. It brings me the same emotions I feel when I hear Julee Cruise singing “Nightingale” or “Falling.” One can imagine a ghostly Laura Palmer luring her lover [anyone really, James…Bobby…] to the other side. Its at once both enthralling and captivating. Its like being tucked into bed at night by a beautiful, seductive siren.

US fans of the band are treated to a special edition of this album. With the Vice Records release, we have two bonus tracks which are also included.

“My Heartbeat’s Dying” reminds me of a couple who have been hurting each other far too long but decide to keep working on it. They’re both aching inside but there is some magnetic force drawing them to stay together. Keeping with the theme of the album, I am guessing that while the love is gone, there is still a spark of Lust there. In one’s mind, they can imagine how no matter how much pain they’re feeling, perhaps they could never find someone quite like this person, and they know no one could ever satisfy in the quite the same way. The ballad has a universal appeal and keeps up with the 1960s surf guitar sound so beautifully.

“Honey I Never Had You” is more excellent surf guitar echoes and twangs. The reverb, the tremolo, the harmonious vocals swirl in your ears. This track reminds me of the best of the 60s guitar bands. It reminds me why I started liking New Wave acts like The Go-Go’s as a kid. It’s a mixture of the Ventures meeting the Velvet Underground. Its everything rolled into one and is the last thing we hear before the CD ends. It leaves us where it picked us up in the first place, making us wonder if the journey we just traveled with The Raveonettes was real or was it just a very dark and beautiful, surrealistic dream?

My review summed up in one sentence:

Its like taking a beautiful, mysterious, surreal journey into the unknown…

My rating:

$$$$½

Visit The Raveonettes on the web.
http://www.myspace.com/theraveonettes
http://www.theraveonettes.com/

My Rating System:

$$$$$--Well worth your Time and Money. Its an instant Classic. You should rush out and buy this NOW!
$$$$--There are a quite a few good tracks, but it needs some improvement. A great record over all, though not perfect. I still highly recommend it. Something pretty cool.
$$$--There are some good tracks however, you can save your money on New and wait to find this Used at your favorite re-seller. There are no more than 5 stand out tracks worth paying your hard earned money for...
$$--Definitely try to borrow it from the library or off a friend…There may still be some thing listenable here.
$--One word. Pathetic. Approach with caution.
NO $'s--No Money. No Dice. Not worth it at any price. I wouldn’t recommend it if it were given to you for Free.

Michael Hyatt A Photographic Retrospective ends this Sunday, April 13. Don't Miss It!

Fri, 11 Apr 2008 06:32:00 GMT

One of our featured exhibits at El Ojito is a retrospective of the amazing work of world renown social documentary photographer, Michael Hyatt.

His art demonstrates his flair with a collection of an array of subjects ranging from roots and punk legends such as X the band, through the US/Mexican borderlands, including humanitarian efforts with migrant farm workers, and his work through Humane Borders.

In his music portfolio, for example, Hyatt has the Plugz at Olympic Auditorium in LA, 1980; Vanilla at the Starwood in Hollywood, 1980; John Doe and Exene in Los Angeles, 1981; and X at the Whiskey a Go Go in Hollywood, 1981. These are all backstage and location shots he did with them.

Hyatt’s work in photography began in 1968, after he was influenced by the extraordinary examples of Walker Evans, Dorothea Lange and Henri Cartier-Bresson.

Five photos on one wall of the El Ojito exhibit features photos from a period of time when Hyatt was in the midst of a 10 year project of street photography of the residents and transients in and around the Chapman Hotel in the skid row area of 5^th and Wall Street in Los Angeles.

In May of 1979, Hyatt spent about a month hitchhiking around Ireland. His original intent was to go there for a traditional music festival,The Fleadh, in Ennis. He had taken his camera with him and photographed all around the island that he traveled. While he was there, he met a woman who played in Ireland’s only all woman punk rock band, The Boy Scouts. At the end of his trip, her group was playing in Green Park at an anti-nuclear demonstration in Dublin. She told him about the punk scene in that was emerging in Dublin and Los Angeles. He decided that once he got back to Los Angeles, that he was going to check out the music scene there.

Punk Fans and The Boy Scouts

Once Hyatt arrived in California, he noticed immediately how special the Los Angeles scene was. The sound wasn’t romance music. It was Political. He noticed it wasn’t “puppy love stuff” nor the “slick Seventies rock” that he was used to hearing on the radio in the States. Instead, it contained commentary on social conditions. Hyatt was impressed that these artists seemed much more intelligent than most bands he was used to hearing and the fact that they were more politically aware. They dressed interesting, were dynamic looking, visually, and “fascinating to talk to.” It was during this time that Hyatt first photographed the Plugz and began using Xerography. This is a where one places a black and white photo on a Xerox machine and manipulates the tones. An artist in L.A. saw that photo of the Plugz and made a silk screen poster of 2 ft by 3 ft. John Doe and Exene [members of X] saw that and were impressed. They were introduced to Hyatt, and they asked him to photograph them. He was delighted, as he knew that they were the most prominent and the best of the bands. “They were one of the originals,” he says. “They were stimulating visually, and I had the feeling that they would be sticking together.”

The Plugz
X on American Bandstand

Members in other bands changed often, “changing bass players every week.” X were different in that they remained solid in their original line up for the entire time Hyatt documented them. He went on a couple of national tours. Many of the photographs of X that were used included shots of the band on the road in Louisiana, San Francisco, Tucson, on a roof top in Los Angeles, among other places. When I told him how much I enjoyed the X pictures, especially the well-known shot of them on American Bandstand, he was quick to mention how he got to meet Dick Clark, and we shared a little laugh about the elder icon. Hyatt mentioned that he had a guy in New York recently order a 16x20 print of that very shot. When speaking of the Bandstand experience, he said “That was fun.” He was pleased that he also got to go on the set when the Blasters played Bandstand. He said he got a great shot of them with all six members. The Lighting was “perfect [at Bandstand]. Everything was lit beautifully, and all I did was stand there and look for a good shot.” When he was working on the roots artists, he shot Los Lobos, Dwight Yoakam, the Blasters, but mostly X. Gary Leonard was the one that seemed to keep up with photographing the most bands in the scene. Hyatt was amazed, saying that he didn’t know how he [Leonard] kept up with them. Hyatt just decided to focus on X. He seems most proud of his achievements and the resulting work that has just endured even more through the years. He is delighted that he chose a subject as solid as X, since most of those bands are long gone. “Its great that they’re still together today...It was a fun time. I enjoyed it.”

Hyatt’s work turned up many times over the years on X projects. Beyond and Back--The Story of X is an out of print rare book about the band which contains beautiful images. He still has a beat up copy. Photos from the first tour of which he accompanied them, in 1981,were included in the road sequence of The Unheard Music, the documentary film about X, which was released in the mid-Eighties. His rooftop photograph of them became the group shot in the press kit for the film as well. One of Hyatt’s concert shots is displayed on the back sleeve of their single for White Girl.

X on the roof top: Billy Zoom, Exene Cervenka, DJ Bonebrake, and John Doe

Guitarist Billy Zoom left the band in the mid-Eighties but returned a few years ago. That’s when Hyatt produced the Lucky 13 box set of postcards. The box set was made available for sale at X shows and was of a limited edition of 1300. It has since reached over 1200 sold.

Another sample for the Lucky 13 set: Exene and John Doe

Hyatt also worked with Exene on calendars in the Eighties. He asked her if she would like to do the graphics for the edition he was planning in 1982. It includes birthdays, like Elvis’s, and she created the calendar portion under his photos. Five hundred were made and are almost all gone. A 1983 edition was created but is sold out now. In 1984, the two collaborated on a mail art calendar. [Mail art is where artists make their crafts through the postal system. You create it and then mail it. There’s a network all over the world of these mail artists…] There are 52 pages in the spiral-spine date book. This was achieved when Hyatt sent out postcards to artists all over the world. The theme was a combination of music, the Olympics, and George Orwell’s 1984. In the art they created, they could use any or all three of the themes. He got about 200 responses and narrowed it down to 52. Most of the 1500 made ended up being sold. Of all of his calendars, the blues artists edition was the only one which Exene didn’t work on with him. Please note that all of these, except 1983, are all still available for sale--in very limited quantities--at his website in the calendar section. I am hoping to get one of the 1982 ones myself. Hyatt made sure that I knew that it will match up to the year 2010. (“If you hang it on the wall, then, all the dates will all match.”)

In 1986, Hyatt and his girl friend moved to Phoenix, and then about a year and a half later, to Tucson. He had a couple of kids and didn’t do much else with music, at that point, taking only family photos and that kind of thing.

The other part of the retrospective show at El Ojito is Hyatt’s Migrant Trail Series, which is what he’s been doing for about the past five and a half years. These photographs evoke such powerful emotions. They provide a lot of opportunity for imagery in the desert and migrant camps and locations where they are found. He learned that when he would meet migrants, they each had an interesting story to tell. Since he does specialize in social documentary with his photography, and he had started reading in the newspaper about the increase in deaths in the desert, he felt compelled to attend a meeting of Humane Borders. He got involved servicing the water stations. “Robin [Hoover, Humane Borders founder] said ‘Bring along your camera and photograph what we’re doing,’” Hyatt told me.

Also on display are the results of the U of A Press sponsored-Organ Cactus National Monument portfolio.

Currently Hyatt has a grant to do a cultural landscape series with a writer from British Columbia. They’re in the midst of working on it, with maybe magazine publishing, or a show at the University. It’s an academic grant, and its not necessarily geared toward a book. However, more than likely, it will all come together in the future probably in some kind of book form.

Among the artists that Hyatt has photographed over the years, here is just a short list: X, The Blasters, Los Lobos, The Plugz, Merle Haggard, Dwight Yoakam, and the B-52's.

Steve Berlin of Los Lobos in Los Angeles 1981

The B-52's at Tower Records, Los Angeles

In addition to photography, Hyatt was a DJ at KXCI for 10 years, with his show Route 66. He isn’t doing anything with that now, as he retired from the radio in October 2007. When asked if he thought he might return to radio shows, Hyatt said he doesn’t plan on doing another one at the moment.

Currently, Hyatt now does the Railroad Songs series for Rounder Records, which he started in 1997. CDs are available through railroad museums through the country. All train songs appeal to the locomotive fans. They have sold well.

Hyatt plans to continue working with the humanitarian efforts, “doing whatever I can do as an artist, and as a citizen, until there is immigration reform.” This is a subject close to his heart, stressing the importance of the need to increase green cards. “Farmers all over the country are talking about not planting crops because farmers risk arrest by employing these people...The federal government has been sitting on their butts for years and aren’t doing anything. Its nuts. And in the meantime, people are still dying in the desert.”

Hyatt states that he is “trying to be a part of the solution with my work.”

Michael Hyatt’s “A Photographic Retrospective” will be on display at El Ojito Springs gallery through this Sunday April 13 only. Please hurry over and check it out while you still can. Also, don’t forget to visit Hyatt’s official website and My Space pages. He said he will continue working with the Humane Borders and the No More Deaths coalition projects and will see what else develops.

www.michael-hyatt.com
www.myspace.com/photohyatt

X are currently on a national tour, and they’re coming to Tucson on June 7, for a performance at the Rialto. For discography, concert ticket information, etc., please check out their pages as well.

www.xtheband.com

www.myspace.com/13x69

An Introduction...

Tue, 08 Apr 2008 00:35:12 GMT

Hello, Everyone!

I apologize in the delay of getting this thing rolling. We hit a few technical bumps and I was working too many hours at my other job. So, here we are at last. First off, I want to explain what I plan on doing with this. As Resident Music Reviewer, I plan on doing the obvious, which is reviewing new sounds that I hear coming out, as well as local live shows, etc. I also hope to write features on bands and projects that I find interesting and that I think would be of significance to the rest of you out there. We have so much to look forward to in the year 2008, and we’re already in April. So far this year, I have heard fantastic new releases from The Raconteurs, The Raveonettes, and many others. Also, there are some exciting concerts coming to Tucson which I hope to attend and review including the legendary L.A. band, X.

Keep your eyes and ears open, my friends, and Watch This Space!
xT