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Archives for 12/09/2007 - 12/15/2007

Saturday, December 15, 2007

“And let dinner be served/Can I get it on a platter, shatter your bladder/and put so much light in yo life I’ll make the roaches scatter…”

posted by on December 15 at 3:27 PM

There were five people at a corner table in the back at Cafe Presse. Around midnight, as the table was getting up to leave, some hiphop started playing. You never know what’s going to come on at Cafe Presse.

“What is this?” a man in the group said.

“I don’t know, but it makes me want to dance,” a woman replied.

It was the song with the line An time flies when you’re havin fun/I can make a hoe get like Forrest Gump and just ruuhn baby ruuhn… The Luducris song “Phat Rabbit.” With the lemme touch it/lemme feel it/lemme grab it/fat rabbit chorus.

The woman started dancing. Like, really dancing. She had on a green fuzzy sweater and a knit hat she’d made. She looked awesome. She danced in the back room and then continued dancing down the hall toward Cafe Presse’s front room. A server was coming out of the kitchen with arms full of food and stopped to let her dance by, her arms and legs going in all directions. “Yeah, dance on out,” he said, and she did.


posted by on December 15 at 12:31 PM

Here’s a little Van Halen guitar solo to get your weekend off to a good start.

Friday, December 14, 2007

Flickr Photo of the Day

posted by on December 14 at 4:36 PM


Jason from U.S.E. taken by Blush Photo. Coincidentally, U.S.E. play tonight at the Vera Project with Truckasaurus.

Flights Of Fantasy

posted by on December 14 at 4:23 PM


Tacoma proto-rockers the Ventures, aka the Fabulous Ventures, have been nominated to be in the next batch of Rock And Roll Hall Of Fame inductees for 2008, along with…(ahem)…um, Madonna.

Even with local Seattle roots, the Ventures are often lumped into the “surf” craze of the early ’60s (There was NO Dick Dale action, not in 1960)!! In fact, they were just playing what ALL the other contemporary Northwest bands were playing—simple, danceable, R&B-based instrumentals and Top 40 instrumental cover versions! However, they lucked out in 1960 when they hit nationally with their version of “Walk Don’t Run.” From there they charted multiple times and issued LPs hand over fist…about 40 LPs in about 12 years!

That said, knowing the NW had plenty of great instrumental bands (The WAILERS! The VICEROYS! etc.), the rest of the world was generally lacking of whip smart instro-rock (the Shadows be damned!) and with national radio and record distribution EVERY (pre-Beat invasion) aspiring guitar player had a handful of Ventures LPs. It was the Ventures’ catchy, stripped-down ROCK approach to guitar playing/sound and arranging that made them the perfect band to TEACH rock guitar basics to budding guitarsonists…and yeah, yeah, yeah, they even issued a handful of “play guitar/bass along with the band” albums to encourage the process!

By, say, ‘64/’65, after the English invaded, most instrumental bands either split or added a vocalist and changed names. The Ventures did not. Instead they continued (ahem) Venture-fying (!) pop hits, and some not so hits, and with that they sorta dissolved into an easy listening/go-go/exotica/exploitation outfit and lost relevance with the hip younger (long hair) record buying set.

But MAYBE they were reaching out to the (youngish) adults who might not wanna hear the Yardbirds, but dug the Ventures less threatening Yardbirds covers—but just maybe. (That said, those records have actually aged very well!) And then, they slowly faded from view—in the US. By the ’70s they’d shifted focus to Japan, where they were, as they are now, fucking HUGE! They’re still at too…

When I was a kid, I was in love—L-U-V—with the Ventures’ Hawaii Five-0 LP as that was my favorite TV show. AND their Christmas album. I’ve always HATED Xmas songs so when I found a ROCK ‘n’ ROLL LP of Xmas songs with THAT guitar sound—well, it’s STILL the only Xmas LP I ever liked.


#14: “Oi to the World” by the Vandals

posted by on December 14 at 4:17 PM

The best lyric in any Christmas song ever:

On the roof with the nun chucks
Trevor broke a lot of bones
But Haji had a sword like that guy in Indiana Jones

You Have 50 Minutes

posted by on December 14 at 4:10 PM

To bid on this:


Karaoke with Blake Lewis
In case you’ve been living under a stone—beatboxing marvel Blake Lewis is an American Idol superstar who makes everyone’s hearts go pitter-pat. Singing karaoke with him will cure the sick, mend the brokenhearted, and possibly score you a spot in the VIP section of heaven. In an acronym: OMG! Plus a 30 gigabyte pink iPod signed by fellow Idol-ator Kelly Clarkson, a life-size cutout of Ms. Clarkson, and eight cases of kiwi-strawberry Vitamin Water. Did you ever dare to dream of such happiness? Priceless!

Vitamin D on Crossfader

posted by on December 14 at 4:07 PM

For more go to The Program.

Pimp C Tribute on Damage Control Radio

posted by on December 14 at 3:22 PM

If you’re a little lost on the importance of Pimp C in the Houston/South rap scene, you’d do well to pick up the recording of last week’s Damage Control (a weekly radio show from Houston). The show was a tribute to Pimp C, with call-in interviews and a slew of tracks from his career.

Recording here. While you’re there, there’s an interview with his UGK partner Bun B as well.

That Knight Riders Party? It’s Next Month

posted by on December 14 at 3:10 PM

From the Department of Corrections:
In the column this week I went on and on about how great the lineup is for the next Knight Riders party. Of course, the day the issue hits stands is when I get the press release announcing that the party is moved to January 25th (at Hengst Studios). Oh well.

In any case, here’s what I said about the event (it’s all still true, but pretend I’m saying this a month from now):

The Knight Riders are back. The promoters are cutting back on their earlier Hoff-centricity while keeping the musical talent as totally awesome as a talking car. They’ve gone overboard with the lineup, booking not only five live acts, but five head-to-head DJ “battles” as well. With styles as varied as former Seattle Laptop Battle champ Squid Leader’s bangin’ techno to xBen’s hyperintelligent crunk/techno mashups (crunkno?) to Copy’s keytarded electro, there’s bound to be something for all tastes. The underground vibe of this party (the location is still TBA) might take this from merely great to epic.

Also Tonight in Music

posted by on December 14 at 3:00 PM

Don’t forget Broken Disco at Chop Suey:

Broken Disco gets some disco of the intact variety for this month’s edition on Friday, December 14. There’s End.user and Novatron to provide the usual eardrum destruction, along with Milwaukee’s Codebreaker for live disco funk, complemented by a set from local disco scholar (and Stranger contributor) TJ Gorton. It’s fine to listen to music designed for the future, but sometimes you need to take a step back to recognize your musical roots. DONTE PARKS

You Have Two Hours Left

posted by on December 14 at 3:00 PM

To bid on this:


Buy and Album Review
Either tell the Stranger writer of your choice what album to review, or write it yourself! Good for the issue of January 24. Priceless!


(View all Strangercrombie auctions at Bidding ends at 5 pm today.)

“They made me the beast that I’m not”

posted by on December 14 at 2:42 PM


We have a GREAT obituary for Ike Turner coming out next week. The author is Stan Becker, a longtime music journalist who interviewed Ike at the Men’s Colony State Prison in San Luis Obispo in 1991, where he was doing time for parole violation after his 11th drug-related arrest. Becker’s original interview piece—written for the Chicago Tribune—was 3,000-some words long, far longer than the space we can allow in The Stranger. Some highlights:

“I think I was on a 15-year party,” Turner says. “Everybody who goes through cocaine wants to quit, but stopping is harder than you think.” Turner spent almost $25,000 on drug-rehab programs but contends: “None of this stuff don’t really do no good, man. First of all, you have to make up your mind to quit. I never did drugs till I was 44 years old. I used to fire people if I caught them with even a roach, and now I got a hole in my nose that you could put your ink pen in.”
He first took cocaine while playing the lounge at the International Hotel in Las Vegas with Redd Foxx in the casino and Elvis headlining the main room. “Two very famous people came backstage; one of them is dead now,” he remembers. “These two guys gave me some coke in a dollar. I went home, and after Tina and all the kids went to sleep, I sat down at the piano and put some in my nose.

“I didn’t feel nothing. I didn’t think I ever got high. I was just sitting there writing and the next thing I know it’s 11 o’clock in the morning and I’m still writing. I thought, `This is cool, man, I’m not even tired!’ So I just went on to liking it. I had it sitting out in big bowls. I used to give away $50,000 of that stuff every six weeks.”

Although it has been 14 years since the breakup of his marriage to Tina, the memories are fresh, and a bond, however convoluted and strained, is apparent. “I love Tina, but I don’t like her today,” Turner says. “She is not what you think, man. She’s got more nerve than anybody. She says she was brainwashed.” He shakes his head. “I don’t know where this (expletive) comes from, man. Before me, Tina was a nurse’s aide,” he says pointedly. “She’s said this (expletive) so much she’s begun to believe it herself.”
“In our whole life we only had six or seven fights. I’m not violent,” he says, defensive and unrepentant. “I had a temper” is his only concession to Tina’s memories of the beatings. Several times during the interview, however, he mentions how the “old Ike” would have handled this or that.
What, he is asked, would he say to Tina if she were in the room right now? He pauses for a long time. “Don’t forget where you came from,” he says softly. “For her to forget… things like this hurt me.”

Becker also forwarded a YouTube video of the Ike & Tina Turner Revue, filmed for TV appearance sometime in the early 1960s. HOLY SHIT THIS SMOKES:

I was kind of unaware of just how blazingly hot Ike and Tina and the band were. This video makes everything clear.

You Have Three Hours Left

posted by on December 14 at 2:00 PM

To bid on this:


Queens of the Stone
Two VIP Club seats to the Queens of the Stone Age concert at the Paramount Theatre on December 18. Plus a $25 gift certificates to Silver Platters on Queen Anne. A $185 value.

(The winner of this auction will have to call the Paramount today to confirm the reservation of their VIP seats. We will give the winner all necessary information to make that possible once the auction is closed.)


Looky Here!

posted by on December 14 at 1:44 PM

Hooray! Terry Miller was interviewed on the blog Innersounds! Yay for us, but mostly yay for him!

Hey! I have that shirt!

You Have Four Hours Left

posted by on December 14 at 1:00 PM

To bid on this:


Signora of Sasquatch!
Get the VIP treatment at Sasquatch!, the Northwest’s finest new-music festival in the mind-numbingly beautiful Gorge at George, Washington. You get two tickets for each day of the festival, VIP passes, overnight camping passes, and two Sasquatch! T-shirts and limited-edition silk-screen posters. Priceless!


I Need Your Love, You’ve Got The Power

posted by on December 14 at 12:53 PM

Here’s a classic Gino Soccio track to help get your weekend started off right. The song is titled, You Move Me, and it comes off of Soccio’s amazing contemporary-disco LP Face to Face, released back in 1982 off of Atlantic. Out of all of Soccio’s releases, I feel like this album probably get’s the least amount of attention, however, it’s in my opinion, up there with 1981’s Closer and 1979’s Outline. Regardless, it’s Soccio, so you basically can’t go wrong. A true disco legend!

Gino Soccio - You Move Me

Today in Music News

posted by on December 14 at 12:48 PM

In the charts: An early look back at 2007.

Missions of Burmas: Aptly-named band plays benefit for the southeast Asian country.

Playing favorites: the Decemberists are playing some shows in January in lieu of cancelled tour, but only in Portland and Seattle.

The collapse continues: Interscope, Geffen latest labels to make cuts.

“These are my seats”: Tori Amos gets pissed at fans.

The Police highest grossing tour of 2007 at $212 million
: Genesis, Justin Timberlake follow.

Your List Is Bullshit: ‘Best of 2007’ Season Begins

posted by on December 14 at 12:29 PM

Rolling Stone just released their top 100 songs of the year, and to no surprise, it’s everything you’ve heard on the radio all year peppered with some insane bullshit and relatively few gems. Its like everything they release is purposely trying to reinforce to the world that there is no reason to take them seriously as music critics anymore. You honestly think that the new Britney single was better than anything off of In Ranbows? Jesus, Rolling Stone, fuck you.

I was surprised by their placement of “The Past Is a Grotesque Animal” by Of Montreal. Big ups to Grandy, he called out that song’s quality months ago. I’d have never guessed this would be the song Rolling Stone would put toward the top of their list in a vein attempt to try and appease hipsters. My money would have been on Animal Collective.

“Nah wad mee youuuu!”

Coming in at #21 is “Crank That” by Soulja Boy. I am torn by this. I still can’t decide if this song is the kind of “special” that you take to Vegas and count cards with, or the kind that you see on the bus holding two empty bottles of Diet Coke with pee all over his pants. Either put this song in the top five or call it the worst song of the year. There is no in-between.

I shouldn’t be that surprised, but for some reason this kills me: Rolling Stone actually heard the new Linkin Park, Kid Rock, and Nickleback songs and thought to put them on the list of best songs of the year. Jesus, Rolling Stone, fuck you. You know who wrote better songs than them? Everyone. One time, outside the sandwich shop, I heard this homeless guy making up a song on the spot about all the people walking by, like, “Long hair, brown coat, talking with her friend…” I would put that song on my list before I ever acknowledged that inane Nickleback bullshit about how being a rock star is hard.

There are some of my favorite songs of the year on the list. Down around the two third mark are two of my top 5: “Seahorse” by Devendra Banhart (also BSEd by JZ) and “Impossible Germany” by Wilco. #31 is my favorite ballad of the year, “Don’t Matter” by Akon. I love this song because it effortlessly transports me to the bedroom of a 16 year old high school dropout, sulking in her room after a big fight with her parents about her 27 year old meth peddling boyfriend that they want her to break up with. But she loves him. They are in love. As she cries and curses her parents, she is consoled by Akon’s, high, nasal poetry. “Nobody wanna see us together, but it don’t matter…” The theme song for young, stupid, misguided love everywhere. It’s beautiful.

A more compact listing can be found over at Idolator.

Consensus That, Motherfucker

posted by on December 14 at 12:16 PM

cocoapebbles.jpgIn other Pedo news.

Marco Gandolfi reports that:

Michael Jackson is going to do a residency at London’s O2 Arena next year.

Michael Jackson thinks a lengthy run can ease his money problems:

The general consensus is that Michael has the fan base to attract enough people from all over the world to make this a huge success.

Booking the O2 up for more than a couple of nights might seem a big gamble on his and his promoters’ part, but just think of the history. People will flock to witness Michael cover his back catalogue.

Whitney Houston is rumored to be the other artist taking up a “big residency” next year.

Michael and Whitney, sweet. Whitney, a residency? Think of the history. I know the topic of Michael has been over-written. But godamnit, Off the Wall is a solid album. It was 1979, Michael met Quincy Jones on the set of the Wiz. Magic was made. “Rock with You” is not only a good song, it’s a good rollerskating song. Fuck. Then Michael had to fuck everything up with his diseased mind. Fuck you, Michael, I rollerskated to that song and loved it so much. I ate Cocoa Pebbles to that song. How am I supposed to listen to it now? Consensus that, motherfucker. Back catalogue? What about the back catalogue of those kids Michael diddled? Fuck that sick fucker.

This Week’s Setlist Is All About The Program

posted by on December 14 at 12:14 PM

You may have noticed that this week’s music section is devoted to local hiphop, with the central focus being The Program, the five-day hiphop festival curated by Blue Scholars, who will perform every night. To celebrate, we’ve devoted Setlist, our weekly local music podcast, to local hiphop as well.

Music editor Jonathan Zwickel (click for pic) guest stars to talk about the project! And we play six songs from artists performing at The Program, like Can-U, Common Market, D. Black, and more.
So click here to listen!

Attention fans of Joni Mitchell, Joan Didion, and/or Sean Nelson

posted by on December 14 at 12:00 PM

Incidentally, three of my favorite things. There’s a piece today about being obsessed with a certain Joni Mitchell song—Ron Rosenbaum calls “Amelia” the best Joni Mitchell song ever. Rosenbaum mentions a couple other songs that he has been similarly obsessed with, songs that have inspired one-song-on-repeat-for-many-days-in-a-row benders (songs by Smokey Robinson, Willie Nelson, Roger McGuinn, and Van Morrison), and says that “Amelia” could be the soundtrack to Joan Didion’s Play It As It Lays.

He also mentions Stranger associate editor emeritus Sean Nelson’s first book:

The Joni Mitchell monograph that 33 1/3 came out with this year is extremely well-written (by Seattle musician Sean Nelson), and it displays all the virtues of smart music writing by people who actually know and play music. But—if you ask me—it’s about the wrong album. It’s about Court and Spark.

Now, some of you might want to leave the room for a moment, because I’m going to say something a little heretical, if not intentionally mean. To my mind, Court and Spark isn’t Joni Mitchell music so much as Joni Mitchell Muzak. Joni Mitchell doing aural wallpaper patterns, generic Joni Mitchell. On a high plane, sure, but to me, too coolly intellectual, emotionally distant.

So what, exactly, is so fucking great about “Amelia”? More here.

You Have Five Hours and 18 Minutes Left…

posted by on December 14 at 11:42 AM

To bid on this:


The Vera Project A $25 gift certificate to one of Vera’s edifying classes (sound engineering, breakdancing, silk-screening), as well as a T-shirt, a tote bag, and a CD sampler. Extra-special bonus: A big stack of 2007 releases (Menomena - Friend And Foe, Jesse Sykes - Like Love Lust & The Open Halls Of The Soul, Aqueduct - Or Give Me Death, David Bazan - Fewer Moving Parts, Rocky Votolato - The Brag and Cuss, John Vanderslice - Emerald City, Travis Morrison Hellfighters - All Y’all, ‘Kurt Cobain: About a Son’ Soundtrack) and a T-shirt from Barsuk Records. A $100 value.

Right now it’s going for only $41.


All auctions end tonight at 5 pm.

Oh Sparks—So Close, Yet So Far!

posted by on December 14 at 11:19 AM


OMG. Sparks is playing each one of their twenty albums, from start to finish, one a night, for twenty nights. And then, on the 21st night, they are going to release the new record which still has no name (they got six months, it’s cool).

I wish I could go, what a historical music event! Sparks is still one of the best bands ever, not to mention their performances! Russell Mael is so swoonworthy! And Ron…well, he’s totally insane!

Look at this video!

Doesn’t that look fun?

And this one!

Look at those shorts! And that hat!

Also, I don’t think I’ve ever seen a video of them performing their hit, “This Town Ain’t Big Enough for the Both of Us” for real. Russell is always lipsyncing. Let’s add this shit to the “I need a sugar-daddy” list.

Tonight in Music

posted by on December 14 at 10:10 AM

United State of Electronica


No band makes audiences happy like U.S.E does. The seven-member army of joy has more positive vibes than the Polyphonic Spree on Ecstasy. They take the stage in a flurry of lights, confetti, and giant flashing letters; the dizzying visuals perfectly frame the band’s synth-heavy, harmonized, and infectious electronica. This is the first all-ages show they’ve played in years; they won’t skimp on the awesome. (Vera Project, Seattle Center, 956-8372. 7:30 pm, $10 with club card/$11 without, all ages.) MEGAN SELING

(And be sure to show up early for Truckasauras)


The Cops’ Holiday Circus


The Cops are thoughtful punk rockers and they know that nothing says Christmas, Hanukkah, Kwanzaa, Ramadan, and Solstice all at once like two nights of rad local rock ‘n’ roll. On this, the first night, the Cops are joined by pantsless provocateurs Partman Parthorse, pop weirdos Katharine Hepburn’s Voice, and the Pranks. Tomorrow night features Hart and the Hurricane, Motorik, and I’m a Gun. It will be a circus. (Sunset, 5433 Ballard Ave NW, 784-4880. 9 pm, $8, 21+.) ERIC GRANDY


Daguerrotypes, Strong Killings

(Rendezvous) Strong Killings sound like McClusky, and there’s no getting around it. But since that band is dead, we might as well rejoice in their approximation. Frontman Nate Mooter is a Renaissance musician—you may remember him from such other bands as the Lashes, Kay Kay & His Weathered Underground, or independently as Accordion Boy. Here, his guttural snarl lends intensity to a group that barely needs it because they are playing so loud, fast, and hard. So who cares if they sound like McClusky? Right now is a perfect time to dance really hard and get busy, and any band that gives you those opportunities is a perfect band. ARI SPOOL

Lund Bros, Guards of Metropolis, the Small Change

(Skylark) Guards of Metropolis might be the Northwest’s best-kept secret—a crack quartet of two strong Norwegian gals and two California rock guys who use Oregon as a base for creating catchy pop-rock with balls and fangs. Singer Kristin Blix is the kind of girl you don’t want to cross: She could break you in half with her bare hands, cut you to the quick with her razor-sharp mind, or force you into submission with the slightest purr or snarl, all while tossing off tunes that have garnered comparisons to Garbage and the Pretenders. While drummer Jason Carter and guitarist Charles Normal can frequently be found backing Frank Black, this is the combo you should catch. BARBARA MITCHELL

Thursday, December 13, 2007

Changes at Chop Suey: Pete Greenberg Taking Over for Kris K

posted by on December 13 at 2:14 PM

From Kris K (emphasis added):

I will be leaving my position at Chop Suey at the end of December. I’m very happy to announce that Pete Greenberg, who recently departed the Crocodile Café, will be taking my place.

I have been at Chop Suey for a year now and am very proud of my time here. I have navigated the club through a very difficult transition period. I have been pleased to work with all the promoters and artists that have come through such as The People’s Republic of Komedy, the Broken Disco crew, Club Pop, Comeback and Neumos.

Pete comes over with a vast amount of experience of professionalism. He will still be working in tandem with Steven Severin and Jason Lajeunesse from Neumos making sure the best possible programming happens at Chop Suey. All regular programs and nights (Laff Hole, Broken Disco, Club Pop, Comeback) will still remain for the foreseeable future.

Pete will start at Chop Suey effective tomorrow, Friday Dec 14. I will remain as long as it takes to get him up to speed and introduce him to all the necessary people so as to make as smooth of a transition as possible.

Thanks to everyone for a great year. I hope to still see and/or work with you in some capacity in the future.

Flickr Photo of the Day

posted by on December 13 at 2:00 PM


This photo of Heavy Trash at Chop Suey was taken by Fecki.

Click here to add your own show/music photos to the Stranger’s Flickr Pool.

Gunshots, Explosions, and Such

posted by on December 13 at 1:35 PM

Truckasauras - Touchdown Sounds.

trucka2.jpgOn the planet of the interstate, an 18-wheeler towing a load of destructed Gameboys, joysticks, and sub woofers is inbound. It does 85. In the trailer, hundreds of synthesizers and speakers have been taken apart. Circuitry and wires dangle exposed. Quarter-inch cable winds like ivy over piles of discarded plastic casing. Four men huddle, hooked into a 16-channel soundboard. They sit on beanbag chairs and pull sips of Colt 45. A TV screen shows footage of Gravedigger the monster truck high in the air. An Eazy-E beat is looped, doubled with distorted bass, and synced to the touchdown sound from an old Mattel Electronics football game.

This is Truckasauras—the future of derivative techno. From the height and hustle of their rig, they can see the curvature of da earf.

Truckasauras makes dance music. Crunk, it has been called. They mate Donkey Kong to 2 Live Crew and project visuals of Hulk Hogan coming off the top rope. They are Adam Swan, Tyler Swan, Ryan Trudell, and visualist Dan Bordon. They have a raw and unique play of American game.

They also have gear—lots of it. And they are here with us today to share how they make their sets go bump in the night:

(Truckasauras play tomorrow, Friday, the 14th at Vera Project with U.S.E.)

Adam says:

Ryan has a museum of vintage analog gear. We are all hopeless gear nerds.

We run midi out to a converter that syncs up the Gameboy. The Gameboy is equipped with the Nanoloop cartridge. Nanoloop essentially turns the Gameboy into a drum machine/synth sequencer that uses its sound card. Think gunshots, explosions, and such as drum sounds, and the synth sounds of the soundtrack music combined together. We synced it up with old-school drum machines and synths to beef up the sounds and get more musical all the while showing off the gear.

I used to use an actual Commodore 64 with a keyboard/synth program. I would bring the whole unit, a TV, and the keyboard to all the shows. Needless to say, it blew up pretty soon after that. (Not really road-ready). So now I use the Elektron Sidstation that has the Commodore soundcard in a synth module running through various delays such as an Electro Harmonix Memory Man and a Boss DD-5 Digital Delay (I miss my Echoplex though, which is on the album).

For the visuals, Dan uses two VHS VCR decks hooked up to an Edirol Video mixer like a DJ’s turntables to project our images of hot wrestling action and Corey Haim humping hay at our shows.

As far as the process goes, we drink copious amounts of whiskey and beer to keep it rock ‘n’ roll. This is very important.

Ryan comes up with stripped-down sequences on the Gameboy, Tyler messes around drumming things out to program the sequences, and I come up with a melody for the top. Dan is usually watching really bad movies to find clips. Really bad!

Essentially, Ryan is kind of the overall songwriter, Tyler is the drummer, and I fill in the rest as either bass or melodies. Danbo’s Visuals are the front man.

Continue reading "Gunshots, Explosions, and Such" »

RIAA Sells Me Beer at Safeway

posted by on December 13 at 1:19 PM

Late the other night I found myself at the Safeway down the street from my house with a couple friends, and we were buying more beer. 40s of Olde English to be precise, and some orange juice. I’ve got a dumb drunken swagger on, and by the end of the night I’m not even going to finish that whole 40, but I buy it anyway. When I get to the cashier, I notice that her name tag says: RIAA.

I eye her cautiously, but give her a convincing smile. She says hello and asks how my evening is going, and for my ID.

“Do you know what RIAA means?” I ask.

“Yeah,” she answers bluntly. “It’s my name.”

“No, I meant the Recording…Industry…um…America…Alliance…”

“Way to remember acronyms, dipshit,” one of my friends chimes in.

“Well whatever it stands for, the RIAA are suing people for downloading music. I’m afraid of them.”

“Oh,” she replies. There is an awkward silence. “Well I don’t know anything about that.”

I look her in the eyes. She’s telling the truth.

“Well, I just thought you’d like to know,” I mumble.

But would she want to know? Know how her name incites fear and anger in my people? Hers is a powerful name, like Muad’Dib. I hope she uses it wisely, and for good.

Indie Labels vs Camel, Rolling Stone

posted by on December 13 at 1:10 PM

Pitchfork reports today on the latest development in the Camel/Rolling Stone “Indie Universe” scandal previously reported on here and here. The indie labels whose bands were featured in the ad have sent an open letter to Rolling Stone decrying the ad and demanding an apology.

“An Open Letter to Rolling Stone”

We, the undersigned independent record labels, wish to share our indignation regarding Rolling Stone’s November 15th pull out editorial, which featured the names of our artists in conjunction with an ad for Camel cigarettes. This editorial cartoon gives every impression of being part and parcel of the advertisement wrapped around it.

The use of an artist’s name to promote a brand or product should be done only with the artist’s explicit consent, something that was neither solicited nor obtained from the labels or bands.

When questioned, Rolling Stone has referred to the “Indie Rock Universe” pull out section as an “editorial”, but it hardly seems accidental that this editorial content is wrapped in a giant ad from R.J. Reynolds announcing their support for independent artists and labels. The idea that this was a coincidence in any way seems dubious at best. There are two other pull out sections in this same issue of Rolling Stone. Both are wrapped in advertising, but neither of these ads could be construed as part of the editorial content within.

Many of the bands named, and the labels that represent them, are very unhappy with the implication that they have any involvement with R.J. Reynolds and Camel cigarettes. We ask that Rolling Stone apologize for blurring the line between editorial and advertisement, and in doing so, implying that the bands named support the product being advertised.


Kill Rock Stars, Touch and Go, Skin Graft, Lovepump United, Lucky Madison, 5RC, Audio Dregs, and Fryk Beat.

#13: “Christmas Wrapping” by the Waitresses

posted by on December 13 at 12:01 PM

I love this song so much. Almost as much as “Last Christmas.” The ’80s really did Christmas music right.


There was a point in my life, I was probably about 15, when I knew every single word to this song. And when I was even younger, I was convinced that this very story would someday happen to me. I mean, that’s what happened to 20-somethings, right? I’d be living in the city, playing tag with some cute boy for most a year, and after I settled down with the idea of spending Christmas alone, we’d bump into each other at the corner market while both picking up cranberry sauce and it’d be magic. Around that same time I think I also believed in the Care Bears and that I could actually stand on a cloud if I tried.

Anyway, here’s “Christmas Wrapping” by the Waitresses.

Today in Music News

posted by on December 13 at 11:46 AM

Rock and Roll Hall of Fame: Newest inductees are Madonna, Leonard Cohen, Dave Clark Five, the Ventures, and John Mellencamp.

Rocking Out Against Voldemedia: Harry Potter bands make free Harry Potter Alliance compilation to raise awareness about media consolidation.

Lock of John Lennon’s Hair sells for $48,000: Maybe they’re going to make a Polyjuice potion with it. Ha, ha.

Award nominations
: Eddie Vedder’s up for a golden globe, along with Shakira and Clint Eastwood.

Bow Wow wasn’t exhausted
: The real reason for the hospital visit was from throwing tantrums in the dressing room because “things that were promised were not there” (maybe they forgot the quantity of non-flowering plants in a variety of styles)

Ike Turner passed away: Former husband of Tina dead at 76.

I Think We’re Alone Now: Documentary examines fans’ unhealthy obsessions with Tiffany.

Scott Weiland charged: DUI sentence could mean up to a year in prison.

Strangercrombie Item(s) of the Day: Parties!

posted by on December 13 at 11:37 AM

You have until 5 pm tomorrow to bid on Strangercrombie items. The clock is ticking. So if you feel like throwing a party, now’s the time to act because Strangercrombie’s got you covered (and most of these are still going for $150-$250, which is totally affordable, especially if you and some friends all pitch in together).

VIP Party at Neumo’s! A VIP party in their private VIP room for you and 99 friends. You get a secret password and a private staff.

A Sunset Birthday! You book the bands you wanna see and decorate the place however you’d like.

VIP Party at Nectar! You and 75 friends can take over the mezzanine at one show at Nectar in 2008! You’ll get your own bar and view of the show without having to mingle with the little people.

VIP Party at Trinity! A chauffeured ride will take you to Trinity where you’ll cut in line, skip the cover charge and go straight to the VIP section where special servers will bring you food and drinks.

Tea Dance at the High Dive!
On a Sunday you get the High Dive all to yourself and 199 friends! The venue will provide the DJ, you provide the dance moves.

Sunset Happy Hour! Host your own private happy-hour (5:30-8:30 pm) at the Sunset Tavern. You’ll also get a $25 gift certificate to Epilogue Books just because we’re nice.

A House Party! DJ Pretty Titty will spin for your house party and The Stranger will supply a bunch of other party necessities (see the print edition for complete details… they’re secret, so I can’t tell you what they are).

(Remember, all the proceeds benefit FareStart. You can read more about it here).

Tonight in Music

posted by on December 13 at 11:05 AM


Club Pop: Panther, Copy, DJs Colby & Glitterpants
(Chop Suey) For a long time, it was tempting to dismiss Panther as a joke band. Charlie Salas-Humara was flexing his serious musical muscles with keyboard-driven prog-punk band The Planet The, and Panther was his outlet for oblique falsetto squealing, preprogrammed electro funk, and ridiculous dance moves. Then, The Planet The quietly folded, and Panther, over the years, has grown into a duo, adding live drumming and some serious echo-chamber delay to Salas-Humara’s vocals. The effect is less beatbox funk and more tribal psych jam, but with the same badass dance moves. Fellow Portlander Copy constructs nostalgic electronic instrumentals using vintage samples and one expertly wielded keytar. His most recent album, Hair Guitar, is a surprisingly rich record, full of deeply resonant melodies and club-ready rhythms. ERIC GRANDY


Waves of the Mind, Gabriel Teodros, Abyssinian Creole, Yirim Seck, Rajni Eddins, Sista Hailstorm, King Khazm, Julie C., Project Mayhem, DJs Elefaders & B-Girl
(Nectar) Readers of The Stranger will no doubt be familiar with tonight’s second opening act, Gabriel Teodros. Teodros’s debut full-length, Lovework, which Charles Mudede hailed as “aggressively feminist” and “a gorgeous work of hiphop,” was a landmark record in a year of big 206 hiphop releases. Perhaps less familiar are headliners Waves of the Mind, a trio of MCs—Inkubiz, Mic Flont, and Khanfidenz—and producer Phreewil, representing local crew the Mind Movers. Their production brims with dark soul samples, and their delivery varies MC to MC, from lazy rasp to agile double-time to jumbled, slightly off-beat multisyllabics. Of the four tracks posted on their website, “Future Generation,” with its electronic buzz and anthemic chorus, is the clear standout. Teodros also appears with Abyssinian Creole, where his casual, conscious flow is offset by Khingz’s smart, breathless swagger. ERIC GRANDY

The Nightlife Is In You

posted by on December 13 at 10:23 AM

Recently, while doing my usual weekend record bin shopping, I picked up a copy of Nightlife Unlimited’s 1979 debut self-titled LP. The album’s artwork was the first thing that caught my attention, as well as being released off the legendary disco label Casablanca. However, after listening to the record, I found that the artwork wasn’t the only great part of the LP. The album features four solid disco tracks produced by Canadian producer’s George Cucuzzella and Peter Di Milo who also helped produced the Erotic Drum Band’ records. The music falls in line with that lovely French disco sound, a la Cerrone, Don Ray, and Alec R. Costandinos. Nightlife Unlimited saw some success when they recruited Mike Pabone and Steve Thompson to remix “Love Is In You” and “Dance, Freak And Boogie” for a 12” single. Unfortunitely there success came at the tail end of the disco explosion and the groups “disco run” seemed to come to an end, however, not before producing some classic disco gems. Definitely a nice find on a Sunday afternoon.

Nightlife Unlimted - Love Is In You

Wednesday, December 12, 2007

He Made it Nice… and ROUGH: Ike Turner Dead at 76

posted by on December 12 at 3:25 PM


Seventy-six years is far longer than most expected Ike Turner to keep on, let alone keep on rolling. Though he never surpassed his career high-points of the mid-’70s with ex-wife Tina Turner, Ike’s Risin’ with the Blues won the “Best Traditional Blues” Grammy earlier this year, though nobody you know actually heard the record.

Ike Turner is credited in some circles—mainly his own—as recording the first rock song, “Rocket 88,” in 1951. Many know of Ike’s basso-profundo contribution to Ike & Tina’s version of “Proud Mary,” and most revile his often violent Svengali-ism and his piggybacking on Tina’s career as depicted in the 1993 biopic What’s Love Got to Do With It. During the late ’70s, after his divorce from Tina, Ike fell into a debilitating cocaine addiction from which he and his image never recovered; Tina’s ascending star left Ike far below.

Ike repeatedly denied Tina’s depiction of him as a drug-addled manipulator and never understated his role in creating both rock ‘n’ roll and the Tina mystique. ”You can go ask Snoop Dogg or Eminem, you can ask the Rolling Stones or Clapton, or you can ask anybody—anybody—they all know my contribution to music,” Tuner said in a 2001 Associated Press interview.

Turner was in his San Diego home at the time of death. No cause of death has been released as of yet.

In Blake News

posted by on December 12 at 2:50 PM

Kent Halvorsen is the keyboardist in Blake Lewis’ band ADD. In an email, Halvorsen writes:

We get to do a hometown CD release at the Showbox! We’re very excited about this and hope you can all make it.

This show is all ages with a bar, and we’re playing with The Mob Law and Doxology.

Tickets are on sale now, so go get them if you want while they’re available.

Blake Lewis’ Audio Day Dream CD release party with the Mob Law and Doxology is Thursday Dec. 20th, at the Showbox. $15 Advance.

Car! …Prog On!

posted by on December 12 at 2:02 PM

Well, you gotta hand it to the Mars Volta, at least they’re doing what they feel like, because there is no way Universal could have thought this was a good idea. They’ve been making promo videos for the songs on their new album The Bedlam In Goliath and posting them on their website, and of course, they’re all pretty damn weird. Halfway through this video they stop the song and move all of their child-size instruments to the side of the road so a car can drive by a la Wayne’s World. Before the song is over Omar walks up to the camera and turns it off for because he’s “gotta go home.” At the end of the song he is “playing” a keyboard stand. The only thing a video like this accomplishes is telling the public that the band doesn’t care about criticism, and that’s exactly why I like it. Here’s how much thought went into the production: lets go out in the alley, set up a smoke machine, and play children’s instruments (not even pretending to play them along with the music most of the time) for ten minutes. It’s like they’re asking to be ragged on. I love that the band spent so much time creating the song itself - a long, excellently crafted, searing prog jam - only to introduce it to the public by setting up a camera in an alley and pretending to play around on toys. The Mars Volta obviously doesn’t give a shit, and that’s awesome, because if you’re going to play self-indulgent power prog there’s going to be a lot of haters (including probably every music writer at the Stranger but myself).

It’s too bad the band doesn’t seem to ever want to come back to Seattle again after someone threw piss at them at Endfest last year. They’ve announced dates for their album release, and, to no surprise, Seattle isn’t on the list. Again.

Flickr Photo of the Day

posted by on December 12 at 2:00 PM


Taken at Les Savy Fav at Neumo’s, 11/30, by flckrd1 (added to the Stranger Flickr Pool Dec 7).

Also Tonight in Music

posted by on December 12 at 1:33 PM

Christmas in Havana with “the original BANANAS crew,” DJs Cherry Canoe, Merchbot 2000, and Dann Galluci at Havana. Cherry Canoe promises, “All vinyl, all night, with plenty of cuts and a guarantee that ‘Back Door Santa’ will be played.”

#12: Ari’s Favorite Christmas Song

posted by on December 12 at 1:05 PM

“Last Christmas” by Wham.

(There are covers out there. Jimmy Eat World does one, stupid Ashley Tisdale does one, but they’re inferior.)

This song saved my life.

I had gone snowboarding for the first time in December 2001. My friend Alison and I went up to Stevens Pass, had a perfect day, I didn’t get my ass kicked too badly. Then a snowstorm moved in just as we were leaving. The roads were a mess, and I naively wasn’t prepared for that. People were sliding everywhere—I had no chains for my Nissan Altima, no four-wheel drive, all we had was a shitty tape deck and a mix tape of Christmas songs a friend made me a couple years prior. I hadn’t driven in snow much, I was pretty sure I was going to kill us both.

Then “Last Christmas” came on. We reluctantly sang it together, scared for our lives, and for four-and-a-half minutes it kept me calm enough not to panic and slide the car over a cliff. Then we rewound it and sang it again—over and over—until we finally made it down the mountain.

A face on a lover with a fire in his heart
A man undercover but you tore me apart
Oooh Oooh
Now I’ve found a real love you’ll never fool me again

Wham’s the only reason I’m alive today.

“It’s not about the music—anyone who’s trying to make that the story is an idiot.”

posted by on December 12 at 12:20 PM

Brad photo by joshc, taken from the Stranger Flicker pool

Barack Obama, Brad, the Dusty 45s @ Showbox Sodo

The above quote came from one Kerri Harrop, one of maybe three familiar faces in the 1,000+ person crowd at last night’s “Generation Obama” campaign event, when I told her I was there to cover the night’s music. (BTW, I hereby suggest “Obama Nation” as a rocking campaign brand.) She continued: “What are you even doing here? All you care about is getting high and going to the disco.”

Touché, Kerri. But she makes a good point (not about the disco, although, yes). Where was Seattle’s music community? Do we really only care about getting high and going to the disco? Seattle, after all, has a huge music business—labels, venues, promoters, musicians—and this event is probably the best attempt at rocking we’re going to get in a primary campaign rally. The only other music types I ran into were there working for the Showbox. (As a side note, those Showbox employees don’t seem worried about the venues recent buyout by AEG Live. One employee told me, “Everyone gets to stay. It’s actually a really good thing. It basically just means AEG’s going to fund all our ideas, but they’re not changing anything.”) So, a few theories occur to me to account for the seemingly low turnout of music industry people: 1. They don’t care about politics, 2. They don’t have $100 to drop on a show unless “Diamond” Dave is gonna be there, 3. They don’t actually support Obama, 4. They don’t like Brad and the Dusty 45s.

Of those, I guess 3 and 4 seem most likely to me. Some people don’t like flaming trumpet solos, just like I guess some people don’t like rad populist rhetoric. I’m not about to parse all the reasons why someone might or might not support Obama—I’ll leave that to Eli—but I can certainly shed some light on Brad and the Dusty 45s. First of all, I was all ready to bust out with the “Dusty 45s? Why that describes just about the whole darn crowd!” but then the crowd had to go and actually be kind of diverse in terms of age—college kids and a couple adolescents all the way up through kindly looking seniors. Hell, compared to the last time I was at the Showbox Sodo to see a charismatic, political person of color (M.I.A.), this crowd was even fairly racially diverse.

And the Dusty 45s weren’t the worst band you could book for your campaign rally. Yes, they were by-the-book rockabilly—stand up bass, check; polyester cowboy shirts, check—but they were also tight and energetic. Their first song was an original number whose chorus encouraged, “chase your dreams!” and “start a rock’n’roll band.” It’s political message, briefly, was “dreams = good; corporate greed = bad.” Their next song was about going to the beach (“beach = good” too, in case you were wondering). A couple people were halfheartedly swing-dancing, many more heads were bopping to the band’s walking bass line. They played a cover of Johnny Cash’s Folsom Prison Blues (“I shot a man in Reno just to watch him die”). Lead singer/guitarist/trumpeter Billy Joe lit his trumpet on fire for a final solo. Not bad at all.

No, the worst band you could book for your campaign rally would be Brad. After an intermediate pep talk (“Let’s have a good time, but let’s also commit to being active!”) about caucusing and how to get text-message updates about the Obama campaign (cool), and a little rock show humor (‘Who’s bought a t-shirt? Who’s wearing one right now? Your that guy!), Brad took the stage and put things to sleep, in the veterinary sense. Singer Shawn Smith introduced the band by mumbling unintelligibly into his microphone, then they launched into some slow, downer piano chords, and some song about “Maybe you’re not my buttercup,” whatever the fuck that means. There may have been a lyric about butterflies, too. Next, there was the patient apathetic refrain of, “It’s just a matter of time.” Really rousing stuff, and the music was equally subdued white soul and Blueshammer plods. At one point, someone near me shouted: “Upbeat! Play something upbeat!” But Brad must not have heard him.

Pearl Jam’s Stone Gossard was playing with the band, and he introduced the next song: “I’m Stone Gossard. I’m honored to be playing with Brad, and we’re proud to endorse Barack Obama! We have a lot of fish to fry in the democratic party, and we need to get our shit together.” They played a cover of Woodie Guthrie’s “Deportees,” a song about “Woodie’s Mexican immigrant friends.” Finally, this was at least a lyrically stirring song, and a not-too-subtle jab at Republican immigration policy, and it was the highlight of Brad’s set. They brought the Dusty 45s back out for their last song; they announced they were playing a song called “Mind Your Own Business” and for a moment I thought they were about to do a Delta 5 cover, but no, it was just a sorta libertarian blues number about leaving your neighbors alone.

During the break, they played Aretha Franklin’s “Think” and Kool and the Gang’s “Celebration”—typical Big Chill, boomer rally stuff, but still way more lively than the just-finished live act. Norm Rice delivered a seemingly drunken introduction for Obama, saying, “It’s a long time past the winter of our discontent” (which sent Ralph Wiggum running scared), “Maybe America can be a dream where everybody’s dream comes true,” and calling Obama “a candidate for all reasons and all seasons.” Um, yeah.

Finally, Obama took the stage with a “What’s up, Seattle!,” and he exuded more rock star charisma than both bands combined (which is probably as it should be), though he graciously praised the bands as “Two outstanding musical talents.” He praised the size and diversity of the audience. He did a bit about Republicans whispering to him that they supported him across party lines that had him coming across a little like Dave Chappelle. He got big cheers for saying schools need to be “providing art and music.” Some Showbox staffers were watching rapt from the stairs to the bar. After the speech, the sound system was playing some dreadful modern rock song on repeat. A staffer wasn’t sure what song it was, but said, “If we’re playing it, it’s an approved song.” It turned out to be All-American Rejects’s “Move Along.”

So, yes, of course, it’s not about the music, but the music is part of it, whether as filler or background noise or rousing anthem, and last night’s music was a mixed bag. Some obvious better choices for the event would have been the Presidents of the United States of America—they’re upbeat, fun, poppy and populist, and with that name, I mean, duh—or Blue Scholars—who are politically righteous, locally revered, and, more than any of these other bands, young (presumably part of the generation that “Generation Obama” would love to connect with). Eli suggested that maybe Obama was trying very hard not to associate himself with any scary notions of blackness (though, at a recent rally, Obama had Chicago rap duo the Cool Kids on his stage (coincidentally, they opened that recent M.I.A. show at the Sodo), who are certainly black, if not at all “scary”). Maybe it would’ve been a problem because of that one song on Bayani where they talk about shooting a man just to watch him die. But probably, they were just busy getting ready for the Program. Still, that would’ve been a fired-up show.

Sigur Rós Doc Comes to Seattle

posted by on December 12 at 11:38 AM


Sigur Rós have confirmed a number of theatrical screenings of their new documentary film Heima, which was released on DVD Nov 20. All the screenings will be in high-definition with 5.1 surround sound audio, so audiences can fully appreciate the splendor of this remarkable film.

Heima—which translates as both “At Home” and “Homeland”—chronicles a series of free concerts Sigur Rós played in their native Iceland over the course of summer 2006. Combining both the biggest and smallest shows of their career, the entire tour was filmed, and now provides a unique insight into one of the world’s most fascinating and inscrutable bands captured live while exploring their natural habitat like never before. The film was by Nick Fenton with direction from the Oscar-nominated Dean DeBlois. The DVD release includes the film along with a second disc of live performances from all over Iceland, and there is a deluxe edition of the package that includes a 112 page hard bound photo book. Hvarf/Heim, a companion double CD package that includes music from the film along with other new recordings is also available in stores now.

Tickets for each are available via, and stay tuned to for further confirmations.

Word is the film is epic.

It hits Seattle’s Metro Theaters on December 20 at 8 pm.

Last Night’s Generation Obama Fundraiser at the Showbox SODO

posted by on December 12 at 11:31 AM

Just posted to The Stranger Flickr Pool by joshc:






Eric Grandy was also there last night, his wrap-up of the evening will be posted soon. More of joshc’s photos can be found here and in The Stranger’s Flickr Pool (he has some great shots from last week’s Voxtrot show too).

PWRFL Power on Setlist

posted by on December 12 at 11:16 AM

PWRFL Power was our musical guest on Setlist this week. Listen to hear him play two songs live in the “studio” and talk about his upcoming tour and what’s going on with that esurance commercial spot he won via the Block Star contest.

Here’s a video of him playing “Peach Song” on the show.

Today in Music News

posted by on December 12 at 11:02 AM

Part Two of Pitchfork’s “The Year in News”: Interesting, music-related things that happened in the second half of 2007, (here’s Part One if you missed it)

Eddie Vedder’s doing the soundtrack thing again
: This time he’s collaborating with John Legend for a miniseries based on “A People’s History of the United States”. (Also: has he become a last-name-only figure? The article fails to mention “Eddie” once)

MTV’s Top 20 of 2007: A brief but semi-respectable list considering the source.

Okkervil River for free
: The band covers Joni Mitchell, Randy Newman, and others, for download from their website.

Better than lawsuits: Instead of being sued by Final Fantasy for using a song illegally in a commercial, the Vienna-based company is having Owen Pallett curate a festival.

Foxboro Hot Tubs: A Mysterious Green Day side-project.

Another Radiohead webcast? BBC interview with Ed O’Brien indicates there’s more on the way.

Burn ban: RIAA rules that burning back-ups, even if you bought the record yourself, is making unauthorized copies.

Stairway to Internets

posted by on December 12 at 10:16 AM

The Zeppelin update you’ve been waiting for.

Yesterday in Greenwich, London at the O2 Arena, Led Zeppelin headlined for the first time in 27 years. Robert Plant – 59, John Paul Jones – 61, Jimmy Page – 63, and Jason Bohham – 41, drumming for his late father, John.


The internets have been scoured to bring you video and song by song commentary on the show from OpenFanSite. (The commenter gives no name.)

I know FITS is especially dying to know what the set list was. He didn’t sleep last night worrying about what the set list was. I regret there are no details on how Zeppelin smelled. And I’m not sure if they played any Van Halen songs.

The set. Crack an Icehouse and turn the heat up:

** Update: All Zeppelin videos from this show have been removed from YouTube due to a “copyright claim by Warner Music Group.” What a crock. There are rumors a DVD will be released.


1) 9:02 p.m. – “Good Times Bad Times” - The first song from their first album. Page is playing a Classic Sunburst Les Paul.

2) 9:05 – “Ramble On” - Plant seems to be singing a little lower on this one.

3) 9:10 – “Black Dog” - They’re already bringing out the big guns. Bonham is doing a fine job filling in. Page is tearing it up. The crowd is singing along with the “ah, ah, ah, ah, ahhhhhhhhh” refrain.

4) 9:17 – “In My Time of Dying” - Page has switched to a hollow-body electric and pulled out the slide for this epic workout from Physical Graffiti.

5) 9:30 – “For Your Life” - Before the concert, Page said the band rehearsed this buried treasure from Presence, which they never performed live before last night.

Here is Report from Radio 1:

And a BBC Breakfast TV interview with Jimmy Page about the concert and his broken hand.

Continue reading "Stairway to Internets" »

Tonight in Music

posted by on December 12 at 10:00 AM


Little Party and the Bad Business, Joey Casio, Seahouse, Summer Camp
(Vera) Usually free Wednesday night shows at Vera, called Veracity, are acoustic—small, intimate gatherings in the venue’s lobby/art gallery featuring mostly local singer-songwriters and otherwise lo-fi acts. But tonight, Vera will no doubt have a dance party on its hands with Little Party and the Bad Business headlining and Joey Casio making an appearance as well. Little Party is like Atom & His Package with a less-crazy dude singing songs about famous metal idols being gay. But they still drop a few names. In “700 Miles” they sing “Wednesday night, it’s 6:00 p.m. and you’re getting out of bed. It’s you, me, and Karl Malone…” and I can’t tell exactly what they say after that, but it’s shining bright with blips and blops from a cute keyboard and an upbeat drum machine and I think they say something about a party. Which tonight will indeed be. A Wednesday night party. MEGAN SELING

Strangercrombie Item of the Day: Book a Sunday at the High Dive

posted by on December 12 at 9:30 AM

Bands can no longer whine about how “it’s so hard to get a show in this town! You have to know/sleep with/smoke out somebody in order to get booked anywhere!” because now, thanks to Strangercrombie, it’s easy!

Book a Sunday at the High Dive


Have your band play, your friend’s band play, DJ, whatever. All proceeds from the night will go to the charity of your choice. Must be a Sunday. A $2,000 value.

A $2,000 value currently going for under $200?? That’s crazy!


Tuesday, December 11, 2007

Movin’ Like A Superstar

posted by on December 11 at 4:34 PM

German female disco-soul diva, Gitta Walther has helped contribute to an all-star collection of classic disco records. In the mid to late 1970’s she added backing vocals to records released by Giorgio Moroder, Donna Summer, Munch Machine, and Amanda Lear. Under the aliase Jackie Robinson (Obviously not the baseball player) Walther released a couple great disco 12-inch singles off of Ariola records in 1975 titled Pussyfooter and Moving Like A Superstar. She later released an LP that including also included these singles titled I’m Different. Most of her music recieved a solid backing from the same German musicians that helped produce the music for the well-known disco group Silver Convention. After this record, Walther went back to doing backing vocals before she eventually disapeared from the disco world. Her vocal contributions can’t be ignored however, being a part of some of disco’s finest records.

Jackie Robinson - Moving Like A Superstar

Sharon Jones and the Dap Kings on KEXP @ 4:30pm

posted by on December 11 at 4:08 PM


Sharon Jones and the Dap Kings are going to be on KEXP at 4:30 (before the in-store at 6pm at Silver Platter Queen Anne). I was at the taping for this a few hours ago, and you’re in for a treat. It was a sit-down show at The Triple Door, and was thus lacking in the dancing department (in the audience anyway), but it was nice to just sit and marvel at Sharon Jones and the band instead of splitting attention between the music and dancing like on Saturday night. Sharon Jones is a great performer, and her energy should come across on the recording (loved the cover of Janet Jackson’s “What Have You Done For Me Lately?”). Whether you tune in or not, don’t miss the in-store, which should provide more of a party atmosphere, with (hopefully) a packed house dancing in the aisles.

Full Keikel

posted by on December 11 at 3:22 PM

An email from a reader:


It was cool to see a Jewish event in the Stranger Suggests block of the paper, but why use the word kike?

Just curious what made it “okay” in your reasoning. I was taken aback by it and felt offended.

Seattle Jew

Redacted refers to the Stranger Suggests I wrote to preview The 8, a Hanukkah concert that went down at the Croc last Saturday. (Which featured a klezmer-punk quintet from Brooklyn called Golem that sang in Yiddish and instigated the only hora-style circle dancing the Croc is ever going to see. Fuck yes.)

As a response, I offer two things. The first is “Kike on the Mic” by the Hip hop Hoodios, a Jewish-Latino hiphop outfit from L.A. that’s better than their name implies.

(Click for the vid—old-school AOL video won’t embed).

The second is an excerpt from a story about new Jew hipsterism I wrote a couple years ago. The quote is by the Hoodios’ Josh Norek, who’s also a publicist that reps a bunch of Latino electronica bands:

“We have a new song called ‘Kike on the Mic,’” Norek says. “We played that song at a show in L.A., and afterwards the booker came up to me and said, ‘You’re never coming back here! I grew up in New York public school, and if you said kike or nigger, you’d get your ass kicked.’ I explained the origin of the word — it comes from the Yiddish word keikel, which means circle. And then over time, the word took on a derogatory connotation because immigrant Jews would get off the boat at Ellis Island and, not knowing what to put on their immigration paperwork because they didn’t read or write English, they’d just draw a circle. So when I sing ‘I’m a kike on the mic,’ the point is, I’m not offended. You’re calling me a circle. It takes the sting out of the word. And if you listen to the music itself, it’s a really powerful, punchy song. It’s hard rock meets hip-hop meets Klezmer, probably the loudest song you’ll ever hear with a Klezmer horn. And that’s deliberate. It’s in-your-face. It’s militant, but it’s proud. No more of that nebbishy Two Live Jews crap.”

Happy last night, fellow Jews/kikes/heebs/chosen people.

Shostakovich for Black-Magic Venus

posted by on December 11 at 3:13 PM

I have this Shostakovich CD, his trios: Piano, cello, violin. The first batch was written in the 1920s, I think, when he was a conservatory student. The next batch was written in the 1940s.

Tacked on at the end of the CD is a set of songs he wrote in 1967 for piano, cello, violin, and soprano. Whoever produced the CD apparently thought the songs—which don’t seem to show up much of anyplace—should get there due here.

Wow. I’d never sat down with the end of the CD before. But wow.

This is the subterranean sleepwalk operetta for Black-Magic-Venus, lyre, harp, and seance that you’ve been waiting for.

Here’s one of the songs.

Ian Matthews British Folk Also-Ran

posted by on December 11 at 2:42 PM


There are so many folk singers in the ‘70s who just missed making a bigger splash. Pretty good songwriting, nice voices and good production work, but the public just seemed to be overloaded with them. So they made their choices. There was Neil Young, CSN, and the ever popular Dylan.

But for every one of them there was an Eric Anderson (forever to be thought of as the “poor man’s Dylan”), a Richard Farina (never too popular while alive), and to a lesser extent guys like Ian Matthews.

Ian Matthews started his career in none other than Fairport Convention. This was at the beginning, when Fairport was more inclined to cover sunny California pop, then olde English folk tunes. He appears on the first album as vocalist, duetting with Judy Dyble and on What We Did On Our Holidays sharing vocals with Sandy Denny.

As the band’s direction changed it seemed eminent that the man that brought the sunny West Coast style would be let go. It seemed to fit everyone, for Matthews went on to create a solid solo career, recording for many different labels, all the way through today. The singer/songwriter even had a stint here in the rainy climes of Seattle for four years in the ‘70s.

He managed to stay pretty close with his former bandmates, however, as they tend to show up on his albums pretty regularly. He started his solo career fronting the band Ian Matthews’ Southern Comfort, with some highly respectable albums, but the focus today is on his output from 1971-1974. During those years he put out two albums for British psyche/prog label Vertigo, and three albums for Elektra, at the time THE American label for West Coast rock, pop, and soul.

Continue reading "Ian Matthews British Folk Also-Ran" »

Flickr Photo of the Day

posted by on December 11 at 2:20 PM


There have been some really great live music shots in The Stranger’s Flickr Pool lately. Because of that, we’re going to start posting a favorite pick every afternoon on Line Out, starting with this great black and white shot of Modest Mouse’s Isaac Brock (taken by whprwhil records at last week’s Deck the Hall Ball).

As Heard On…

posted by on December 11 at 12:34 PM

CDs often come with stickers on the packaging saying stuff like “Featuring the hit single (insert hit single here)!” or “As heard on MTV2!” or whatever. This one that came in the mail the other day, Ben’s Brothers’ Beta Male Fairytales, had a sticker I’d never seen before:


As heard on the Dentyne Ice commercial? As heard for 30 seconds on a commercial for gum? That’s worth boasting about. Gotta admit, though, as soon as I read that, I knew exactly which song they were talking about.

There’s also this one, that Eric just reminded me of:


Saying “As Seen on YouTube” is like saying “as seen on the Internet.”

That Tune

posted by on December 11 at 12:28 PM

Mix speed garage and 2step and dubstep and DnB?
You get the top of the UK charts. This man—T2—is a tune machine.

Girl Talk: “Bounce That”

posted by on December 11 at 12:21 PM

The video wasn’t actually made by Gillis, but as a part of the Open Source Cinema Project at Concordia University in Montreal. The whole video is rotoscoped, which is a ridiculous amount of work to put into any project. I heard Richard Linklater say in an NPR interview about A Scanner Darkly that 500 hours of work went into every single minute of that film, just to give you an idea of how much work must have gone into this video. Each of the students involved were given a hefty 1-3 seconds of live footage to reanimate. In a way its perfectly fitting for Girl Talk: every three seconds a new person is responsible for making the video as well as the music behind it.

(hat tip to Pitchfork)

Beach House - “Gila”

posted by on December 11 at 12:12 PM


Beach House - “Gila”

I never really got into Beach House back when everyone was raving about them last year. If they played a show in Seattle, I missed it. But today, I’m bumming out about losing my apartment (rent’s going up $350), I’m thinking about moving boxes in the post-Christmas, pre-New Year’s cold, and I’m pretty prone to this song’s icy melancholy. Also, there’s something faintly familiar about that opening melody—I’ve heard it somewhere, or else heard something like it somewhere, but it’s lost to me now. Anyway, it’s a good fit for today. Beach House’s new album, Devotion, is out 2/26/08 on Carpark.

#11: “Christmas in Hollis” by Run-D.M.C.

posted by on December 11 at 12:07 PM

Today’s Strangercrombie Item(s) of the Day: Big Shot of Block Party

posted by on December 11 at 11:54 AM

Your Band’s Big Break


This seven-part package has everything you need to leap from your bedroom to the big stage—studio time, gigs, a guitar, legal consultation, a photo shoot, styling, and a promise from Sub Pop to listen to your demo. Behold: It starts with a beautiful white Epiphone G-310 guitar; eight hours in the studio at Electrokitty Recording (previous clients include Maktub, Mastodon, and U2); mastering by Sound Media (12 songs or up 74 minutes of music); a photo shoot with Stranger and Rolling Stone photographer Justin Renney; styling for the shoot by Christine Cherbonnier of VAIN; an hour of legal consultation with entertainment lawyer Wade Neal, esquire; four gigs at Sunset Tavern; and, of course, the star-makers at Sub Pop will listen to your demo. Priceless!


Have no musical talent but still want to feel like a rockstar? Then you can be 2008’s Block Party Big Shot!


Be the envy of your friends and enemies at Capitol Hill’s premier music bacchanalia, with VIP passes for all days, refreshments, a King of Block Party T-shirt, and your own key to a private, padlocked porta-potty. Plus a dozen cupcakes from Cupcake Royale.


Stuart Murdoch is Making a Film

posted by on December 11 at 11:53 AM

NME reports:

Belle & Sebastian’s Stuart Murdoch has penned a film.

‘God Help The Girl’ is a musical which will be filmed in 2009.

Murdoch is working on a soundtrack to the record, including a number of demos with members of Belle & Sebastian.

However, Murdoch is currently looking for a number of singers to work on the album.

According to the the winner of on an ongoing singing competition “will be coming over to Glasgow to do some rehearsing and recording in early 2008”.

More details about the film are available on

Tonight in Music

posted by on December 11 at 11:34 AM

From this week’s U&C:


Eyedea & Abilities, Sector 7G, Abzorbr, Locke
(Chop Suey) The nasal quality of every successful white rapper is confusticating. From the various underground kings—El-P, Doseone, Brother Ali, the here-discussed Eyedea—all the way to ol’ Slim Shady, there is consistently some remnant of an uptight nerd’s squeal. It would be racist/foolhardy to conjecture that this imprint is physiological, so what gives? All that aside, both Eyedea and Abilities are committed craftsmen of hiphop’s two musical elements: Eyedea is a stunningly nimble rapper, having won a ton of battles and competitions (including the infamous Scribble Jam and a much-bootlegged trouncing of fellow whiteboy Doseone) while Abilities is one of the most exciting and adventurous turntablists alive. SAM MICKENS

And from the Score:


Anchored by two brothers, François Moutin (bass) and Louis Moutin (drums), this straight-ahead outfit reminds me of late-’70s Weather Report without the wall of synths. The quartet’s turn-on-dime arrangements and incisive solos wowed the crowd at the Ballard Jazz Festival earlier this year. With Pierre de Bethmann (piano) and Rick Margitza (saxophones). Also Wed Dec 12. Jazz Alley, 2033 Sixth Ave, 441-9729, 7:30 pm, $21.50.

Also tonight:


Generation Obama Event at the Showbox in SoDo: Special Musical Guests Brad and the Dusty 45s Showbox SoDo 1700 1st Avenue South, Seattle Tuesday, December 11, 2007 Doors Open: 7:30pm

Admission: This event is a fundraiser. Passes to the event can be obtained online at General admission is $100.

You Talk Too Much

posted by on December 11 at 10:16 AM

mouth2.jpgAnd you never shut up.

When someone in the crowd talks throughout a show that you have gone to see, does it bother you?

Wait, a rephrase -

When you are at a show and the volume of someone’s talking competes with the band or artist playing, does that bother you?

Deep within the Unwritten Bylaws of Show-Going it is said:

When the volume level of your conversation competes with the volume level of the band or artist playing, your conversation should either a) move to another room or b) move to another room.

On the next page, under ‘Etiquette’, subtitle ‘Protocol’ it says:

If a band or artist is performing, and persons standing in the row behind you can hear you talking to your friend about texting another friend, and you are as loud as the band, then thou should shut your ass up.

Ejection chutes have been installed in some of Seattle’s venues to reprimand violators as part of a pilot program. If and when volumes of conversation reach ‘nuisance decibel level’, trapdoors will open below those involved and they will slide down a pathway of tubes until they are deposited safely into a dimpsty-dumpster full of packing peanuts outside the back of the venue.

Violators are free to re-enter the venue, but they will be required to wear one of these Pilot Program Silencer Muzzles:


Monday, December 10, 2007

AEG Live Buys Showbox

posted by on December 10 at 8:34 PM

SEATTLE, WA – December 6, 2007 - Alex Kochan, Vice President of AEG Live’s regional operations in the Northwest, announced today that AEG Live is purchasing the Showbox concert clubs and hiring longtime venue operators Jeff Steichen and Chad Queirolo as General Manager and Talent Buyer/Manager, respectively. The Showbox at the Market and Showbox SoDo are among Seattle’s leading destinations for live music, comedy and game day hospitality.

“We are thrilled to welcome The Showbox and their staff to the AEG Live family,” said Alex Kochan, Vice President, AEG Live Northwest. “Jeff, Chad and the team they have assembled bring a wealth of experience and energy to the Seattle music scene, and together we can help enhance the concert experience for the city’s fans even further.”

“We are starting a new chapter in the history of Seattle’s live music scene,” said Jeff Steichen, Showbox General Manager for both venues. “AEG Live shares our vision and is as committed to the fans as we are.”

Under Mr. Steichen’s leadership, Showbox at the Market has consistently ranked among the top concert clubs in the world, according to Pollstar magazine. The second Showbox brand venue, located just south of downtown Seattle and adjacent to the city’s sports stadiums, joined the ranks in October. It has since thrilled fans with sold-out concerts featuring artists such as Kid Rock, Heart, The Hives, M.I.A. and The Pogues.

AEG Live’s other collaborations in Seattle include exclusive booking for the WaMu Theater at the Qwest Field Event Center and the Grandstand concerts at the Puyallup Fair, as well as participation in the Bumbershoot Arts and Music Festival. The company also produces the Coachella Valley Music & Arts Festival in Southern California, and promotes national tours for artists such as Justin Timberlake, Bon Jovi, Prince, Christina Aguilera, Kenny Chesney and Paul McCartney.

Bangers and Cash: The Problem with this Booty Video

posted by on December 10 at 4:52 PM

Jeff Kirby had some pretty well thought-out things to say about these metal videos earlier. Someone just emailed me the new Bangers video for the song B.O.O.T.Y.

… and I just have one thing to say, “Where the F*CK is the booty?” Any booty? Just a little booty? You wait, and wait, and wait for it, but it just never frickin’ happens. Says the publicists’ email: “Directed by Jesse Engaard, known for his much-loved video for Spank Rock’s “Rick Rubin”, “B.O.O.T.A.Y” is a darkly sexual and psychedelic adventure, replete with victorian interludes and dancing unibrows.”


New Years Eve on the Pitch with the Saturday Knights and the Blakes

posted by on December 10 at 4:37 PM


Nothing says “New Years Eve rage-a-thon” like semi-professional soccer, which is why Light in the Attic Records has teamed up with the Seattle Wolves FC (short for “football club,” you neanderthal) and 107.7 the End to throw a truly weird and potentially awesome party at the Starfire Sports Soccer Complex in Tukwila on December 31.

The Saturday Knights and the Blakes will presumably play at one of the massive complex’s indoor fields. VIP suites will go for $1000 and offer bar service and other amenities; $350/couple hotel packages include dinner and accommodations at the Embassy Suites Tukwila. The rest of us will pay $35 for the privilege of kicking up the cleats with LITA’s finest. Word is shuttles will be provided to and from the show. Word also is Tilson of the Saturday Knights will strip off his shirt and run around the stadium screaming “GOOOOOOOAL!” at midnight.

For those wishing for something more unique than wandering Pike/Pine or Pioneer Square, this could be your thing. Further info can be found at the Seattle Wolves website.

R.I.P. Mel Cheren ‘The Godfather of Disco’

posted by on December 10 at 4:11 PM

Mel Cheren & Grace JonesAs some may already know, legendary disco label West End Records founder Mel Cheren died on Saturday due to AIDS complications. Cheren, aka “The Godfather of Disco” was the driving force in ’70s gay disco culture, financially backing the legendary gay nightclub the Paradise Garage, home to deejay Larry Levan. Cheren helped put out some of disco’s greatest records including Loose JointsIs It All Over My Face, Michele’s Disco Dance, Taana Gardner’s Heartbeat, Billy Nichols’s Give Your Body Up To The Music, and many many more. In the 1980’s Cheren spent most of his time dedicated to being an activist in the HIV/AIDS community and earlier this year, Cheren’s biography, My Life and the Paradise Garage: Keep On Dancin’, was turned into the documentary film The Godfather Of Disco. Mel Cheren is a true legend, whom’s legacy and contributions will forever stand the test of time.

In tribute to Mel Cheren, here is one of my favorite West End tracks, the Bomber’s 1979 disco classic (Everybody) Get Dancin’ - A hi-energy disco gem produced by Pat DeSerio.

Bombers - (Everybody) Get Dancin’

Baroness vs. Mastodon: The Problem With Metal Videos

posted by on December 10 at 2:05 PM

This is the new Baroness video for the song “Wanderlust:”

And this is the newest Mastodon video, “Sleeping Giant:”

These are examples of what to do and what not to do in a metal video. Both of these bands are from Georgia, both of them have a relatively similar sound, and they are both on Relapse Records. Although I love Baroness’ record, this video frustrates the hell out of me. There’s no point in filling a video with interesting, narrative imagery if you’re not going to be able to bring those images to some sort of logical conclusion. I don’t care if a video doesn’t have a point as long as it doesn’t lead you on for four minutes in the assumption that it will. Okay, so there’s trapper guy shooting at rabbits, red lady dancing and playing with leaves, fat guy who also seems to have killed some animals (and he’s thirsty), and there are some people in suits walking along the beach. When the song reaches its conclusion and the band comes to a sudden halt, what happens? Trapper guy looks over his shoulder. At what? What the fuck is this video about? Why is he pouring blood on those sticks? Damn it, Baroness, you tricked me into thinking your video was going to be about something, anything. That sucks.

This Mastodon video is actually the first from them that I’ve liked. They, as well as virtually all other metal bands, have been guilty of making “pointless” videos full of imagery with no conclusion. But this video is great. The campy sci-fi effects look awesome, everything is obviously a cheap model – it’s visually captivating. The story isn’t immediately clear, but it’s fascinating: there are some aliens growing dinosaurs on some guy/hill, and Dr. Doom is overseeing. Good enough. When it comes time to pull it all together, the four god-like stone heads of Mastodon shoot lasers out their eyes and everything explodes. Brilliant. It doesn’t matter that the video didn’t say anything poignant. It was fun to watch and it had an ending. Why is that so hard?

Why do modern metal videos almost always suck? I’m hard pressed to think of current metal bands putting together anything decent that isn’t just a splicing of live footage. Sure, it can be argued that most videos suck regardless of genre, but at least rap videos are full of hedonism, and pop videos are full of hilarious human failure. Those things are inherently entertaining. Metal bands insist on telling tales, and all too often they are bad storytellers.

Jake One and The Program

posted by on December 10 at 1:35 PM

Check out Jake One on Crossfader.


Without Jake One, Seattle’s hiphop scene would not be what it is today: on fire. That fire will be visible at The Program.

New Portishead - Live at ATP

posted by on December 10 at 1:22 PM

MP3s of three new live songs are available at Deaf Indie Elephants

(Hat tip to Idolator)

Today in Music News

posted by on December 10 at 12:55 PM

Pitchfork’s Year in News, Part One: It’s the looking-back time of year. Everything music-related and remotely interesting of January-June, 2007.

New York Philharmonic to visit North Korea: Details of the concert to be released tomorrow.

Ebay’s creepiest: What, you haven’t bought a lock of Britney’s hair yet? Well get bidding. If you’re lucky maybe they’ll put up another plate of leftovers.

“Dude, where’s my eyeliner?” Cat Power journeying to Africa for charity.

On the video of the year
: Snoop Dogg talks “Sensual Seduction”

Downloaders at trial
: Single mother must pay $222,000 fine for sharing music on Kazaa.

‘We Gon’ Keep Dickin’ Down Yo White MuFuckin Women, Aiight?’

posted by on December 10 at 12:45 PM

Master P- Gutta Time

Master P gives the whole world an early Christmas present. I’m not even trying to read any of the comments on this post but goddamn- this is a rap video for the ages, right up there with “Fight The Power” and…”Make Em Say Uhh”. 10 points if you can tell me what classic video they reference in this one.
Oh, and probly NSFW.

“He’s Got the Heart of a Champion”

posted by on December 10 at 12:26 PM

Yeah, so in the Wilhelm Scream write-up I say “Lil Brudder.” I say it because lately I’ve been totally in love with this:

“That Lil Brudder sure knows how to tug at your heartstrings.”

(Thanks to Robby for introducing me to Lil Brudder.)

#8-#10: Advent Calendar Catch-up

posted by on December 10 at 11:55 AM

Every year, without fail, I miss a couple days on my advent calendar—I’m busy, I’m forgetful, I’m lazy and don’t feel like getting up to pop open a little cardboard door to eat a piece of candy. But the day that follows my forgetfulness is one of my favorite days because I don’t get just one little piece of chocolate, I get a bunch! Today is one of those days; enjoy three holiday tunes from my favorite Christmas movies to make up for the lack of them over the weekend (and it won’t happen again, I promise).

#8: “What’s This” by Danny Elfman from The Nightmare Before Christmas (Not the Fall Out Boy version… ew.)

#9: “You’re a Mean One, Mr. Grinch” from How the Grinch Stole Christmas.

#10: “The Christmas Song” by the Chipmunks (the original, none of that CG shit)

Guess Who Our Guest on Setlist Was This Week!

posted by on December 10 at 11:47 AM

Was it this guy?

No way.

What about this dude?

Not a chance, Sebastian.
Give up?
It was this guy:

That’s right, PWRFL Power (a.k.a. Kaz Nomura) is our special in-studio guest this week! He plays two songs (“2 Keys” and “Peach Song”) and sticks around to chat some! We also listen to music from local bands like Velella Velella and Curtains for You. It’s a fun time had by all.

Click here to listen.

Some Americans Have Been Invited to North Korea by the North Korean Government

posted by on December 10 at 11:37 AM

And they are the members of the New York Philharmonic. NYT:

“We haven’t even had Ping-Pong diplomacy with these people,” said Ambassador Christopher R. Hill, the Bush administration’s main diplomat for negotiations with North Korea and the assistant secretary of state for East Asian and Pacific affairs… State Department officials said the orchestra’s invitation from North Korea and its acceptance represented a potential opening in that Communist nation’s relationship with the outside world, and a softening of its unrelenting anti-United States propaganda.

The invitation arrived by fax. And it was accepted once North Korea had accepted all of the Philharmonic’s conditions:

They included the presence of foreign journalists; a nationwide broadcast to ensure that not just a small elite would hear the concert; acoustical adjustments to the East Pyongyang Grand Theater; an assurance that the eight Philharmonic members of Korean origin would not encounter difficulties; and that the orchestra could play “The Star-Spangled Banner.”

Tonight in Music

posted by on December 10 at 11:16 AM


A Wilhelm Scream, the Flatliners, the Damage Done, Rough Chukar, Down We Go
(Studio Seven) Yeah, I thought A Wilhelm Scream was another one of those terribly named bands with the shitty haircuts, too! I thought they were like, BFF with Red Jumpsuit Apparatus and Escape the Fate and I thought I was going to listen to them and hate it and then tell you about how much it sucked. I was wrong. The New Bedford band are more volatile than those otherwise uninteresting bands I had lumped them in with, far more tolerable, too. And while they’re not the most innovative group of musicians in the word—they obviously take cues from Hot Water Music and Propagandhi—they’re a pretty alright harmonizing hardcore act with some blistering metal licks. And they’re a better option if you wanna be a good big brother and take your little brother to a rock show. You could do worse. I mean, you probably don’t want these dudes to be Lil Brudder’s most favoritest band in the universe, but A Wilhelm Scream can at least be a decent accessible gateway into a darker sound. MEGAN SELING

Strangercrombie Music Item of the Day: Be the King of Clubs!

posted by on December 10 at 10:55 AM


One of our best-loved packages—bid your way onto the guest list for every show for a whole year at Chop Suey, the High Dive, the Funhouse, Havana, Mainstage Comedy Club, and Nectar. The King of Clubs can also attend one show every week at the Crocodile Cafe, Neumo’s, and the Comet and one show per month at the Showbox, El Corazón, and the Tractor Tavern. Also: Admission and dinner for four at Jazz Alley. Also-also: Two passes to the Experience Music Project, and one copy of Crossroads, the EMP’s big book of American popular music. This package is the ticket to the social status you’ve been clawing toward all these years. Valued at over $7,400.

Normal show age restrictions apply—make sure the show is all ages before taking someone under 21.
Entrance to all the clubs includes a guest.

Right now this package, worth over $7,000, is going for just $760. That’s a hell of a bargain.


(More Strangercrombie auctions can be found here!)

“You Crack Addict—Get Back on Stage! I Paid $100 for This Ticket!”

posted by on December 10 at 10:37 AM


That’s what one disgruntled fan hollered into a microphone left deserted onstage by Sly Stone this past Friday in New York.

As Roger Friedman (the only FOX Newsie I read on purpose, who I came to appreciate through our shared Michael Jackson obsessions) reports:

It only took a few minutes Friday night at BB King’s in New York to confirm the worst about funk and R&B legend Sly Stone. That’s because Stone only made it through five of what could be loosely construed as numbers before announcing he needed a bathroom break. As recent observers have noted of Stone’s failed comeback, needing to pee is code for drugs. And when that happens, the show is over.

Then there’s this:

The show had started ominously. Stone was an hour late, and when he finally sat down at his keyboards he led the audience through a medley of one-line snippets of hits sung first on an altering voice box and then in a whisper.

Making Sly’s dissolution even sadder:

[T]he band is amazing. Former Family Stone horn player Jerry Martini, for example, sizzled on solos as did Cynthia Robinson. As many have noted, the current band is much better than the real Family Stone was in memory some 40 years ago.

Dammit. I’d love to see Cynthia Robinson knocking it out live, and my love for the classic Sly and the Family Stone output has never been deeper. (Confidential to so-called music fans who’ve worn out their copies of There’s a Riot Goin’ On but continue to ignore its lithe and gorgeous follow-up Fresh: Correct your grievous wrong.)

But why would I pay some big-name crackhead $100 to pretend to be Sly Stone when I could get a local crackhead to do it for $20?

(Thanks again to Roger Friedman, who, it must be said, is not immune to the douchey FOX headline.)

Sunday, December 9, 2007

Holy Shit: BOAT!

posted by on December 9 at 4:03 PM

The morning after the Eux Autres/Fishboy/“Awesome”/BOAT show at the Comet on Friday, John Osebold posted some thoughts on the “Awesome” website:

Thanks to all who stuffed themselves into the legendary Comet last night. It was a rite of rock passage to play there with you. Things I learned:

I. Eux Autres is pronounced “Ooz oh-truh”
II. The windows at the Comet can withstand the monster drumming of John from Fishboy
III. BOAT is catchy music, ‘tell you whut
IIII. Don’t eat Italian before a show
IIIII. Capitol Hill chicks could totally beat the crap out of Fremont chicks
IIIIII. I need a new amp…with lasers
IIIIIII. Brian Flobosh is in town

Holiday cheer all ‘round ye’all.

Just wanna reiterate point III.

BOAT’s set was so good—making me feel so stupid for never having heard them before—that I bought Let’s Drag Our Feet! and Songs That You May Not Like at the merch table and have been listening to them all weekend—again and again and again. Will have something more intelligent to say in a couple days.

Meanwhile—can we talk about how great “Awesome” was? How great a drummer Kirk is? (“Yeah, he’s got finesse,” said Heather Larimer, the drummer for Eux Autres.) And how wonderful it was to see them in the Comet, with their suits and ties and songs about what the world would be like without fruit (“Existence itself would be fruitless”)? Or that song that’s just a series of rising riffs with “ahhhs” in harmony, that they ended by saying, “That song was based on actual events”? Why is this band not more famous? (True, yes—their recorded work has nothing on their live shows.) Put it on your calendar: Harvey Danger, BOAT, and “Awesome” at Neumo’s on December 30.

PS—anyone notice the wrist warmers on Eux Autres at the merch table?