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Archives for 01/20/2008 - 01/26/2008

Saturday, January 26, 2008

Today in Music News

posted by on January 26 at 1:38 PM

There is a 90% Chance: That Michael Jackson will appear at the 2008 Grammy awards.

Bigmouth: Morrissey’s former assistant writes an essay about what it’s like to work for Morrissey.

Out of Storage: Minor Threat drummer auctions off rare posters, records, etc via eBay.

Stone Temple Pilots Reunion: It’ll probably happen this summer.

Lil Wayne Gets Booed: Performer arrives three hours late for a gig, apologizes, and gets booed off stage.

Cupid on Demand: Pay the right price and Franz Nicolay of the Hold Steady will serenade your lovah.

On This Day in 1955

posted by on January 26 at 11:10 AM


David Lee Roth Eddie Van Halen was born.

Sorry I originally said it was David Lee Roth’s birthday. I got it right in this week’s paper, and I would’ve gotten it right on Line Out too if it weren’t for that photo of David Lee Roth’s bottom that totally fucked with my head and got me all confused but not in a good way.

I will keep up this photo of David Lee Roth’s ass anyway. Just because.


Tonight in Music

posted by on January 26 at 11:05 AM


The Cave Singers, Whalebones, and J. Tillman are at Neumo’s (21+).


Ryan Adams & the Cardinals are at the Parmount (all-ages).


SYPP MLK Hiphop Showcase featuring Skim, Audio Poet, Scribes (pictured above), Beyond Reality, the Langston Hughes Dance Group, and more is at the Vera Project (all-ages).

Friday, January 25, 2008

The Hands

posted by on January 25 at 4:19 PM


Taken by soundonthesound.

Past Futures

posted by on January 25 at 3:32 PM

Past Lives @ the Anne Bonney

Past Lives, the new ex-Blood Bros project that’s opening next week’s Liars show at the Showbox, played their first ever show last night at Spencer Moody’s magic antique shop, the Anne Bonney. The place was, appropriately, full of old friends, former members of bands, and dead people’s things. The upstairs loft was snug and humid, a temporary tropical zone. The crowd passed a bottle of Dewar’s around. A street art show hung on the walls around the band, and there was a fishbowl of cash by the top of the stairs.

“Everyone remember this one,” Jordan Blilie asked his bandmates off mic. Someone replied, “I think so.”

Their six songs ranged from steel-drum bass groove to churning punk to almost-bluesy wail and stomp. Devon Welch’s guitar was inscrutable as always, Mark Gadjahar’s drumming was alternately skittering and pounding, Morgan Henderson’s bass lines and low-end synth were dubby and loose. Blilie’s vocals were almost easier to make out when he shouted without the mic. From the back, only glimpses of heads were visible. The loft floor sagged and bounced with the beat, making me more than a little nervous.

“It’s a really cool thing to see so many familiar faces,” said Blilie, introducing a song called “Past Lives.” “It means so much.”

No disrespect to Jaguar Love, but in the great Blood Brothers break-up 0f 2007, Past Lives may have gotten the better part of the custody battle.

HEALTH, White Williams @ Club Pop

Club Pop is a funny night—maybe you’ve noticed. Pop mastermind Michael Yuasa mixes up the legal drinkers with the 18+ crowd, the dance music with the live bands, and though it’s always fun, it doesn’t always quite gel. Take for example, the transition from DJ Glitterpants’ Euro rave pop to LA band HEALTH’s drone thrash. For a moment, the club kids on the dance floor’s raised platform were nervously still. But as the drummer and one vocalist visible onstage rolled into a space-echoing, tribal rhythm, the crowd started moving again, tentatively. The other half of the quartet appeared onstage, one wielding a guitar, whipping his long hair around, the other pounding on a floor tom with his back to the crowd. The songs veered from long rhythmic passages to sudden, stroboscopig blast beats, confounding even the most game dancers. Only the song “Triceratops” was easily recognizable. At one point, a friend snipped, “I know that setting on a Kaoss pad.” A blond girl with a tiny diamond-stud in her nose said simply, “This band sucks.” Over by the front door, Chop Suey’s manager was talking to a police officer. But HEALTH doesn’t suck, even if you know their Kaoss pad settings. They’re maybe just a tough fit for the young, bass-thump-hungry Pop regulars. If you arrived primed for post-punk noise, HEALTH were a blast, scouring eyes and ears with their day-glo thrash.

White Williams’s stoned-out funk suffered from unusually hazy sound, rendering the weird pop gems of Smoke a little hollow. Williams played with a live guitarist and bassist, and a drum machine, but the off mix cancelled out whatever live energy they might have added. It was disappointing, but Smoke is still a pretty cool record, and the Club Pop crowd didn’t seem to mind. If anything, they seemed happy just to have a steady beat again.

Black Diamond Superfreaks

posted by on January 25 at 3:30 PM

Tonight at Showbox SODO, Wild Orchid Children play and are releasing a four song Elephant EP. Portugal The Man is also on the bill.


Wild Orchid Children is Kirk Huffman, Kyle O’Quin, Thomas Hunter, and Garrett Lunceford from Kay Kay and His Weathered Underground. This past summer, they ventured an hour south to Black Diamond, WA and recorded in Tom Pfaeffle’s Tank Studio. Wild Orchid is openly louder and more out there than Kay Kay. It’s solid and rattled in a psychedelic rock modality. They’ve stripped down and expanded from their core.

Keyboardist, Kyle O’Quin spoke:

What was recording at the Tank like?
Kyle: Most of it was live. We spent a majority of the time setting up and getting tones. It was nice to wake up and just play. We wanted it to be more of live thing and did one song a day. The Tank is amazing. Tom has really constructed a space down there to create. It’s away. You separate from the city surroundings and get outside yourself. You’re closer to the stimulus. The instruments practically played themselves.

Stimulus seems key for you all. What provoked the most activity during the sessions?
The goat hoof. Tom had this goat hoof full of Mexican liquor. He said people go to this old woman’s house in Mexico and fill up their containers for like a dollar. He’d had it for ten years. It was powerful. That old woman put us under her spell and gave us her power.

What the hell are you talking about?
Just kidding. I was pretty buzzed though. There was Absinth too. And other things. It was crazy and fun and that’s how we wanted it to be. We were there together and stepped fully into the songs. My fingers turned into spiders. Thomas was nude. Kirk was in the vocal booth with all these lights and candles. Phil from Kay Kay, who produced it, was lighting stuff on fire. We kept the song “Where the Mexican Boys Go” all acoustic. No amplification. See? Mexico, the witch.

What music were you all listening to at the time?
We were listening to a lot of Cee-Lo and Rick James and old blues.

Rick James, as in “Superfreak”?

Today in Audio Streaming:

posted by on January 25 at 1:05 PM


Local mountainfolk Fleet Foxes are featured artists on Pitchfork’s Forkcast for their undeniably catchy tune “White Winter Hymnal.” Pitchfork thanks their Sub Pop signing to Myspace buzz, but all of us in Seattle know they would’ve gotten a sweet record deal whether a hundred thousand teenagers clicked on their page or not.


Also streaming is a full version of the Mars Volta’s new album The Bedlam in Goliath, from, of all places, Napster. This is a great way to hear the record in full if for some reason you are still too skiddish to just steal your music like everyone else. Seriously though, try before you buy. How hard is that?

Neil Young - Trans

posted by on January 25 at 11:49 AM


Back in September Eric wrote a short post regarding Neil Young’s 1982 album, Trans.

In 1982 Neil had signed a new deal with Geffen Records. In the past five years Young had released 3 albums of new material (including the great Comes A Time) and 2 live LPs. For some reason, Neil decided to forego the classic singer/songwriter thing and the hard rock thing, and turned to technology for his first album on his new label.

Trans is a mind fuck. Ecstatic, erratic, eclectic, prescient, creative and soulful. Trans manages to hold on to Young’s voice as one of the great songwriters, while completely obfuscating it under layers of vocoders, synthetic voice modulators and rigid sequential rhythms.

Kraftwerk had released Trans Europe Express, Man Machine and Computer World all in the last five years as well, and it is clear the impact both their ideas and music had upon the blueprint of this albums creation. While there are no extensive production credits on the album, it’s impossible to think that the drumming on the six highly produced electronic tracks is anything but sequenced, a la “Trans Europe Express”. And the heavy use of vocoder, more often found in euro-disco of the time, in this vein, with such futuristic, sometimes misanthropic lyrics seems directly descended from Man Machine.

Continue reading "Neil Young - Trans" »

Journey Scheduled to Open Virtual World in Second Life!

posted by on January 25 at 11:26 AM

On February 1, multi-Platinum rockers Journey will release their new Virtual Island in Second Life. A grand opening party is planned inside Second Life at the “Journey Rock Band” sim and will feature a meet and greet with band members. Live DJs will be spinning many of Journey’s classic hits, recorded studio and live performances, as well as lots of other great music for fans to party to! The grand opening party is scheduled to start at 10:00am ET/PT. The Journey Island region in Second Life is named “Journey Rock Band”. Learn more at

So you can meet the band. Virtually. On their own island. Their own virtual island.

God Damn It Baby, I Ain’t Lyin’ To You, I’m Only Gonna Tell You One Ti-HIIIIIIIIIIIIIIIIIIIIIIME!

posted by on January 25 at 11:22 AM

I mean, in some ways, it’s unfair to isolate the vocal track from the rest of the song, because of context and whatever. Many singers I know have to leave the room when their lead vocal is singled up in recording. But then, most singers are not David Lee Roth. And most songs are not “Running With the Devil.” And most MP3s are not just David Lee Roth’s soloed up lead vocal performance from one of the greatest freeway rock songs of all time. Courtesy of WFMU, the finest of them all.

New Pharmacy Video

posted by on January 25 at 10:47 AM

For the song “Little Toys on the Shelf.” The band shot it on 16mm color reversal film while on tour all over the US last year.

(Confidential to Scottie: I’m not posting this because you delivered the video link with a handful of peanut m&ms and a quarter. I like the video, and I’m sorry I didn’t get to it earlier this week. Although, I do appreciate the candy and the quarter.)

Another Story About How Kimya Dawson Deserves Everything She Gets

posted by on January 25 at 10:32 AM

Kimya Dawson is hot shit right now, and everyone on the entire planet is happy for her. Including me. Because Kimya Dawson made me grow up.

If you hate when people make music about themselves, stop reading here. It’s about to get real personal.

When I was 17, I was working as an intern at the University of Maryland in College Park, MD, which is right outside of DC. It was the summer between junior and senior year of high school, and my dad had gotten me this job for the summer for two reasons: to keep me out of trouble at home and to give me a test run of living by myself.

I was working at UMD as an intern for some graduate students who were building a room that was also a robot. It was pretty interesting, and I learned how to solder, shape liquid latex, and organize informational hierarchies. But there was one problem—all my co-workers were over 25. And they were the only people I knew. I had been having trouble sleeping, and there was no one to talk to.

The first night I was there, they took me to see Fugazi play in the park. That was cool, but it was the only time they hung out with me.

I started working at a co-op as a volunteer in my spare time to make friends, but they were all older people too. But they felt pity on me, and one night two hippie girls took me to a show at the Black Cat. It was Ladyfest. I didn’t know who was playing. When I got to the club, I claimed that I had forgotten my ID, and they X’d out my hands (viva Dischord) and let me in.

First up was some band that I don’t remember very well. Lesbians, one playing drums and one playing guitar. Then some burlesque, which was still hip at the time. After that, Kimya came on.

My jaw dropped the floor. KIMYA FUCKING DAWSON! OF THE MOLDY PEACHES! I had her pictures plastered to the wall of my bedroom in Boston. I read Paper magazine religiously, and they were featured one month. I LOVED them. But I didn’t know how to keep track of my favorite artists yet, and I had no idea that Kimya had a solo career. I got right upfront and watched her, spellbound, while she sang songs from her first three solo CD-Rs, My Cute Fiend Sweet Princess, Knock Knock Who?, and I’m Sorry That Sometimes I’m Mean. I remember her playing “The Beer” and laughing until I almost cried. She was funny and real and sweet and sad and brilliant.

After Kimya wrapped up, a go-go band that played and everyone danced. It was one of the first times I had ever been to a real show like a grown-up in a real club, because everything in Boston is 18+. My test of living alone had been a success—I realized that I possessed the ability to make my own fun, my own friends, and that I could experience art all the time if I wanted to. The hippie girls bought me a drink. I turned adult.

Afterwards, Kimya was working her own merch table. I had ten dollars, but I needed about $3.50 to get back to College Park on the Metro. I walked over and started gushing. “I love you so much! Your picture is on my wall! I don’t have any friends here! I didn’t even know you were playing! Did I mention I love you? Like, so much!” I asked her which of the CDs I should buy, since I could only afford one at $5 each.

She gave me all of them. And her book of poetry (which is amazing). And a big monster hug. I gave her $5. Kimya was my friend. Kimya did me a solid.

And from then on, I knew that I didn’t have to be scared of being by myself, because there were always people around who are looking out for you, even if you don’t know them. I went back to my apartment and fell asleep easily for the first time since I left home.

Kimya Dawson is a saint.

The Limits of Hiphop

posted by on January 25 at 10:27 AM


At the end of the 80s, Just Ice rapped to the border of the rupture in the production of music. The border where played music comes to an end, and replayed music begins. The song is called “Going Way Back,” and Just Ice, prompted by KRS-One, journeys back to the limit and has a limit-experience, not unlike the one Michel Foucault experienced (or desired to experience) in the bathhouses of San Francisco. Just Ice raps to the limit of knowledge, that twilight zone haunted by the forms of forgotten MCs and DJs. And just as he is about to run out of the names of those “who were there,” and crossover into sheer nonsense and nothingness, he is retrieved by KRS-0ne: “Well, I think that is about as far as we can go.” Because it has a beginning, hiphop must have an end. Jazz, for example, ended in 1969. When will hiphop end?

Tonight in Music

posted by on January 25 at 10:00 AM


Clinton Fearon, Selecta Raiford
(Nectar) Jamaica native Clinton Fearon started his career in the 1970s as the longtime vocalist and bass player for the Gladiators and is also known for his work with Lee Perry’s Black Ark Studio and Studio One. He has been a mainstay in the Seattle music scene for years—first with the much-loved Defenders, then later with his current group, the fabulous Boogie Brown Band. Performing his original songs, Fearon’s warm singing voice and lively roots-reggae music set the perfect mood for dancing, relaxing, and having fun. GILLIAN ANDERSON

And this week’s Bug in the Bassbin has three parties you can attend:

1) Shift’s Rottun Recordings Night (featuring Excision) at Contour. 10 pm—2 am, $5.
2) The kick off of Foscil’s six-month residenty at BLVD in Belltown.
3) The Knight Riders party at Hengst Studios which will include a special appearance by KITT, the car from Knight Rider (OMG!!).


And from The Score:


Carolyn Kuan leads the band in a free, all-Mozart concert. Aside from two symphonies—the negligible Symphony No. 1 and the fine Symphony No. 40—the band delivers the best wine-pouring music ever written, the Allegro from Eine Kleine Nachtmusik. Violinist Quinton Morris solos in the Allegro from Concerto No. 3 in G major for Violin and Orchestra. Seattle City Hall, 600 Fourth Ave, 684-7171, noon—1 pm, free.

The Spits: Puppets and the Nuge

posted by on January 25 at 2:30 AM

puppet.jpgThe Spits play punk like pissed off puppeteers. They have no qualms about jumping down from their puppet-operating platform and totally cutting up the show. They land on the little fake Camelot set, crush the cardboard castle, tear up the puppets, and say, “Don’t you kids know this isn’t real? These are puppets! We were just up there controlling them with this stupid string. Mr. King Arthur Pants is fake.” The Spits’ gear is there and they break into their song “Suzy’s Face.” The kids think it’s part of the show and every puppet on hand is destroyed. Cotton stuffing flies and the kids roll around in tangled string. The Spits play and pulverize. There is unison. Lighting strikes the roof of the children’s theatre, the power goes out, and the kids finish screaming the song in darkness. Then they turn on flashlights and eat Kit Kats.

I spoke to the Spits guitarist and singer Sean Wood via hot tub. They are currently in the studio recording a full length with Swami Records’ John Reis.

Sean plays a Gibson SG and uses a 150 watt 1978 Peavey tube amp and a Carvin 412 cabinet. Sean loves his Pro Co Rat distortion pedal too. He got it in his hometown of Kalamazoo, MI.

Talk about your Rat pedal for me.
Sean: The Rat has a raw raw sound. It’s not real fancy, but it has the crunch I like. Ted Nugent plays with one. And that’s really all I needed to know. The Nuge is great. The Spits got to open for him once.

You opened for Ted Nugent?
Yes we did. In Jackson, MI. It was his annual Hunting Bash. He had heard one of our CD’s and invited us to play.

Did you hunt?
There was wild game everywhere. Boars and turkeys and shit. Nugent gave us some of his homemade jerky. We didn’t hunt, but we fired off a bunch of guns.

What kind of guns?
AR-15’s. And you know Nugent is big into the crossbow.

Does Ted Nugent have good aim?
Oh yeah, the dude’s a dead-eye. Great aim. He’s a killer.

Do you have good aim?
I’d say I have OK aim. I’m a naturally gifted hunter. I know scents and can track. Now that I think about it though, I could probably work on my aim.

** The Spits play tonight at the Funhouse with Meepers, Android Hero, and Tv Coahran.

Thursday, January 24, 2008

The Hot Rollers

posted by on January 24 at 6:03 PM


I wish I could get away with wearing boots like that.

Taken by dan10things.

Become a photography star—add your own rock and roll photos to Stranger’s Flickr Pool.

Today’s Music News (Late Edition)

posted by on January 24 at 5:49 PM

Trey Anastasio: Jailed for two days for missing a drug counseling session.

Amy Winehouse: Her hair is back to black and she’s back in rehab.

Björk: Forced to cancel show due to swollen vocal chords.

Scarlett Johanson: Her Tom Waits tribute album will be released May 20 and also feature an original track.

The Grammys: They’re happening and Beyonce, Rihanna, Carrie Underwood, and the Foo Fighters are performing. (The Foo Fighters will be playing with and orchestra led by Led Zeppelin’s John Paul Jones, and Rihanna’s gonna perform with the Time.)

Johnny Greenwood: He didn’t get snubbed for an Oscar, There Will Be Blood’s score wasn’t entirely original and therefore was never eligible for an award.

Sean “Diddy” Combs: Contrary to reports, Combs says he has not changed his name to Sean John.

Turn Your Friends Into Idiots

posted by on January 24 at 4:43 PM

Eric’s post earlier about sleeveface got me to thinking about one of my favorite similar pastimes, Photoshopping faces onto famous people. The pic that did it for me was this one:


which reminded (and always will remind) me of a picture that Battles put up on their Myspace of drummer John Stanier:


I love doing this - especially putting my friend’s faces on people that they don’t like. Megan posted a great picture of Korn’s Jonathan Davis the other day:


and as it just so happens I have used Mr. Davis’ distinctive body for my own fun and games. First, choose the friend you want to use and get a good picture of their face. I decided to use my friend Kellen, as he’s a prettyboy and I like to ugly him up a bit whenever I get the chance.


Next, find a picture of your celebrity where their face is pointing in the same direction as your friend’s. In Photoshop, make the faces in both pictures the same size, adjust color tint and angle. Select the stamp tool, hold the alt button, and click on the middle of your friend’s nose. Find the center of the celebrity’s nose, hold down the mouse, and carefully apply your friend’s face over the celebrity. Finishing touches, like crappy mustaches, will need to be copied back over from an original copy of the celebrity pic. With some practice, you can get some pretty convincing mash ups. It’s like Girl Talk, but with Photoshop… “Girl Shop” if you will.


This is especially fun if your friend ever leaves their Myspace account logged in on your computer. Make them a new default pic and change their personal information to go along with it. Good times are had by all.

The Skip They Do…

posted by on January 24 at 2:57 PM

Mix double dutch, the founder of the Sex Pistols, and Soweto jive?

You get a fantastic point in 80s pop. The point where the street cultures of London, New York, and Johannesburg meet and make something utterly new.

Cosmic Reservation

posted by on January 24 at 2:51 PM

Here is an interestingly “Native American” themed disco track by one of Salsoul’s more cosmically minded groups Orlando Riva Sound (aka O.R.S.). This slow cosmic grooving song, entitled “Indian Reservation”, was originally released in 1979 as a 12-inch single and was produced by Anthony Monn, a well known disco era producer that worked with Amanda Lear, Judy Cheeks, and Magnifique. His work on “Indian Reservation”, as a whole, is kind of ridiculous, fun, and enjoyable all at the same time. It’s definately a song you’ll probably love or hate, however have to agree that it’s probably “different” in comparison to the songs you usually come across. That being said, after a few listens, I think the track is pretty enjoyable and entertaining.

Orlando Riva Sound - Indian Reservation

Here’s a great live performance of the song:
Orlando Riva Sound - Indian Reservation (1979)

(I love the ending breakdown about 3:14 into the clip)

More Tonight in Music: HEALTH, Mr Lif, Beausoleil

posted by on January 24 at 2:47 PM


Club Pop!: White Williams, HEALTH, David Wolf, Colby B, Glitterpants

(Chop Suey) Los Angeles ALL-CAPS-busting quartet HEALTH has a slight case of schizophrenia. To wit: The band has two MySpace pages, one for “noise” and another for “disco.” The disco page is basically just extra room for their rapidly expanding catalog of remixes (by such acts as Crystal Castles, Curses!, and Narctrax), although their main music page also hosts a couple remixes. What makes HEALTH so appealing for remixing is that they make noise that’s as sinuous and groovy as it is discordant. On songs like “Triceratops,” the band is alternately, and then simultaneously, muscular and fey, driven by wild percussive frenzy and guitar skronk but surrounded by echoing vocals and synth drones. On “Crimewave” (as much a hit for Crystal Castles as for HEALTH), tribal drumming and bursts of guitar offset subliminally pop vocals. Their live set should be an electrifying clash of sounds. ERIC GRANDY


Mr. Lif, the Perceptionists, Dim Mak, Rudy & the Rhetoric

(Nectar) There have only been, like, three live hiphop albums ever. It’s hard for charisma and stage presence—key factors in any good hiphop show—to come across on a CD. Which is why Mr. Lif’s live record, recorded at Boston’s legendary Middle East nightclub, kicks so much ass. With great crowd interaction, 12-minute freestyles, smart rhymes, and interspersed skits about the record industry, Lif’s live act is more variety show than rap show. While Lif can be hit or miss in the studio—Mo’ Mega was terrible, I Phantom wasn’t—he’s a beast onstage. And backed by Akrobatik and Fakts One—the other two-thirds of the Perceptionists—Lif can spit about washing his dreadlocks, or flip a track about a world-ending nuclear holocaust, and either way you’ll end up rapping along and nodding your head. JONAH SPANGENTHAL-LEE

Beausoleil with Michael Doucet

(Tractor) Around 250 years ago, a bunch of French frontiersmen lived in Nova Scotia, in Canada. Then—because of a treaty signed in the Netherlands designed to end the War of Spanish Succession—the British took over and exiled the French. A few rebelled, led by Joseph “Beausoleil” Broussard, but they lost, and moped down the East Coast, eventually settling in Louisiana and turning into Cajuns. The band Beausoleil, led by brothers Michael and David Doucet, has been playing that bayou music since 1975, and it’s great: more dynamic than rock ‘n’ roll, more invigorating than bluegrass, more exciting than folk—accordion, fiddle, bass, and guitar, playing blue notes for people who want to drink and dance. I got my first Beausoleil tape when I was 12 years old, and I’m listening to it right now. BRENDAN KILEY

Tonight in Music: White Williams

posted by on January 24 at 2:45 PM






Given that White Williams comes up from under the wings of Girl Talk and Dan Deacon, and records for Kid606’s Tigerbeat6 label, you might reasonably expect some toy-electronic seizures or mischievous sample fucking from the man born Joe Williams. But on debut album Smoke, Williams proves to be a subtler brand of joker than his references would suggest. In fact, his one great gag is a kind of cool, detached take on late-’70s electric glam funk—smooth, little laptop reductions of Bowie or Bolan.

But while Smoke is playfully stoned, it’s not entirely a goof. “Headlines” may be full of spinning-newspaper non sequiturs and its chorus echoed by a comically detuned baritone, but it also rides a convincing groove. “In the Club” is heavy on the pastiche, but it also has an undeniable sway and charisma. “New Violence” is a politely pogoing new-wave workout. The title track is an odd funk gem, full of wobbly, staggering bass, silky synth flutes, and evenly exhaled vocals.

There are no obviously sampled hooks here, but Williams’s affected vocals and deftly laid-back arrangements make sneaky references throughout. And two tracks register as more firmly tongue in cheek: the rote, druggy cover of “I Want Candy” and the ring-modulated, sample-and-hold outro “Lice in the Rainbow,” in which Williams finally lets his circuit-bent, inner Dan Deacon out.

Held up to his putative peers, White Williams is practically easy listening. But for anyone unfamiliar with his buddies, Smoke is just unusual pop from an unlikely source, hazy but vaguely familiar. ERIC GRANDY

White Williams plays Thurs Jan 24 at Club Pop at Chop Suey, 9 pm, $8/$10, 18+. With Health, Check Minus, DJ David Wolf.

King Cobra News

posted by on January 24 at 2:17 PM

From King Cobra:

As many of you know, there’s a new rock & roll nightclub in town called King Cobra. As of this morning, our liquor license has been approved and we’re on the fast track to get the place all pretty for you and for our special grand opening parties, scheduled for the first week of March. (More on those later). Our stage room is still being properly outfitted for rock and roll, and we’ve still got painting and decorating to do among a myriad of other things.

That said, most of the King Cobra bar and security staff is comprised of your brothers and sisters from Kincora and The Crocodile, all of whom have been out of work for more than a month now. So, while we’re not pretty, we can sell booze and regale you with rock music, and dammit, that’s what we’re gonna do. Starting tomorrow night (Friday, January 25th) at 6pm, we are going to open just the bar for business. We are very much still a work in progress, so “please excuse our dust” and all that (it’s an expression, we’re not really dusty!), but for now please come down to King Cobra this weekend, starting on Friday night, to buy some drinks, tip lots, and to help your local bartenders, bar backs, door guys, and the rest of the team who have been out of work and need your support. We’ll have guest DJs all weekend, and we’ll even have a spread of food during happy hour on Friday (so get there early!).

We will be open 6pm-2am Friday, Saturday and Sunday this week. Then, FOR NOW our hours will be 6pm-2am Wednesday through Sunday, closed Mondays and Tuesdays so we can finish getting the place ready to rock.

Sammy Drain Day

posted by on January 24 at 11:54 AM

sammydrain3.jpgMarch 13th, is Sammy Drain Day. As issued by Larry Gossett of the Metropolitan King County Council. Sammy was a childhood friend of Jimi Hendrix and they learned guitar together. Sammy is smooth like his rhythm and blues. He performs every Tuesday night at China Harbor - 2040 Westlake Ave. N. He says, “Even as a kid, Jimi had vision. There were mirrors and feathers on his bike.” Sammy is also an actor and was in the show L.A. Law.

A woman recently walked into the post office on 23rd and Union. Sammy was standing near the front door. She asked Sammy if he was waiting in line and he said, “No Ma’am, and if I was, I’d let you cut in front of me.” Sammy is a gentleman and he also the real deal.

I can’t wait until March 13th, so I am celebrating Sammy Drain Day today:


Proclamation transcribed:

WHEREAS, Sammy Drain and his bands have done an outstanding job keeping alive the African American art form of the Blues in Seattle and King County for more than forty years, and

WHEREAS, his music has enriched the cultural fabric of the entire scene in our community, and

WHEREAS, Sammy has always made himself available to teach and play with his guitar, his renditions of “soulful” rhythm and blues songs to untold numbers of young people – both black and white – no matter how busy he was, always believing in the importance of passing along his passion and appreciation of the Blues to the younger generation, and

WHEREAS, Sammy has taught and learned from such legendary guitarists as Jimi Hendrix, whom he played with in the 1960’s when they both were growing up in Seattle’s Central Area, and

WHEREAS, Sammy was born to the union of Andrew and Carrie Drain on March 13, 1945,

NOW THEREFORE, I, Councilmember Larry Gossett, on behalf of King County Executive Ron Sims and the Metropolitan King County Council, do hereby proclaim this to be


throughout Martin Luther King Jr. County and ask all the citizens of this great community to join us in wishing Mr. Drain a wonderful and happy birthday
DATED this thirteenth day of March, 2004

Larry Gosset, District Ten
Metropolitan King County Council


posted by on January 24 at 10:29 AM






More at (thanks, Brian)

A Collection of Empty Liquor Bottles

posted by on January 24 at 9:29 AM

#7 Solo Bar//Jan 19th//Seattle,WA

I flew back in town to have a closing party for my photo show.
Palmer AK played a short set. That was the first time I saw him playing.
I played a fun short set.
It made me nostalgic to think of pictures getting taken down soon. I
sang for not only audience members but also pictures. There was no
picture of cats or cars.

After the set, 2 nice gentlemen who are lawyers gave me kind words.
“You don’t really know me but I love you, I love your music.”
“Yeah, if you ever need a legal help, we would work for free.”

One of them was a tax lawyer and the other one was a criminal lawyer.

Also, he said he will give me a ride from Sea Tac Airport.


#8 Greenhouse//Jan. 20th//Seattle,WA

Greenhouse is where Nathan, a bartender at the Showbox, lives.
He has a collection of empty liquor bottles.
He was dressing like a jesus and giving me drinks.
I told him “Jesus is serving me whisky, I feel like I am in heaven.”

Paper Whales, Little Party and Bad Business, Generifus, and Seahouse
all played excellent sets and the show was easily the best house show
I have ever had.

After the show, Jesus gave me another whisky shot. Then I went to Cha
Cha to get more drinks.

I puked in a bathroom at my friend Julian’s place. It has been a long
time since I did last time so I looked myself in the mirror and smiled.


#9 Halfway House//Jan 22nd//Richmond,VA

I had to transfer flights at Detroit airport.
I remembered the first visit to the states, I had a cup of Caramel
Macchiato at Starbucks and Florida’s Natural orange juice. They tasted
so good that I thought I would live here to drink those 2 everyday.
Now, neither of them tastes good.
I am worried for cavities too.

The show in Richmond was supposed to happen at the Camel but it got
moved to the halfway house, a small 2 stories house in a quiet

This was the first show with my touring mate “The Vonneguts” from
Portland and we played in a tiny bedroom for 9 people.

“I am sorry your first Richmond show is small like this.” someone said.

So I said “Now I play for bigger crowds in Seattle but I have played
for 3 people in the past. I have my own definition of party;if there’s
more than 7 people excluding myself, there’s a party happening. How
many people here…9…? yeah, there’s definitely A party happening.”

Wednesday, January 23, 2008

Opinions, Assholes

posted by on January 23 at 9:08 PM

From this week’s Fucking in the Streets:

For his solo set, Deacon lowered his table of electronics onto the floor, hoisted his trademark neon green skull onto a pike (the hoisting of this freak flag elicited ridiculously huge cheers), and proceeded to complain about my review of Ultimate Reality from last week’s paper.

“Have you ever had to play a show after reading a really bad review of yourself in the Seattle Stranger that says you ripped off your friends?” he asked. “Let’s just try to expunge that from our minds.”

I understand the appeal of Dan Deacon’s live show. He’s a natural entertainer—funny and absurd and (usually) relentlessly positive. But with a few exceptions—”Crystal Cat,” “Wham City”—the music just feels like it’s there to pad out his odd monologues and audience-participation stunts. It’s like watching Tim Harrington or Atom & His Package without any of the songwriting, and being friends with Paper Rad (ooh) doesn’t make his aesthetic any less of a melted-down pastiche. Still, when he finally launched into “Crystal Cat,” by far the catchiest song from last year’s Spiderman of the Rings, the crowd became a surging mosh pit, speckled with flashes of Day- Glo apparel.

I took off, but apparently later Deacon accused me of having not even watched Ultimate Reality (which I did) before writing my review and complained that I shouldn’t have been on the guest list for the show if I’m such a hater (so much for expunging). No one’s ever going to accuse Deacon of not being tacky, but what kind of guy needs to bitch about one bad review in front of a 400-person-deep crowd of rabid, wild-eyed fans? I’m just one critic not drinking the Kool-Aid, dude. No need to be an asshole about it.

The offending Ultimate Reality review may be read here.

Justice’s Rejected Fabric Mix: The Myth, The Truth (?), The Haters.

posted by on January 23 at 7:44 PM


Last year Justice sent a mix for a Fabriclive compilation.

It was rejected. The popular myth is that Fabric hated it. I have no idea if that is true. The truth is probably something closer to the fact that there is a ton of obscure shit on the mix, some of it very pop stuff on major labels, that was making the licensing of the mix a nightmare, so it was ditched. I have no idea if that is true.

What I do know is that it was posted on Stereogum and succinctly ravaged by haters with quotes like:

What a bunch of fags these guys are. I can’t believe they think they can play MSG. It’s just going to result in a bunch of hipsters sitting around with their arms crossed smoking fags and downing crunk juice. sigh.
this entire hipster ed slanger-banger-aoki bullshit dance scene is fueled by shitass capital from daddy bennihana. its soulless empty cartridges of nothingness. its all neon tee’s and zero art substance. there’s no art at all.
these dudes suck! i can’t believe people take them seriously.

All the hatin’ made me want to check it out, so i did. I liked it. Does that make me a crunk swillin’ hipster? (Seriously, I’m old, I don’t go out, and I have a kid, that makes me totally uncool, right?) I mean what is not to like about a creative mix that starts with freakin’ Sparks, makes stops at Goblin and Zoot Woman only to end at Todd Rundgren for chrissake?

I liked how pop and how nutty it was. It pulled from lots of genres, but sounded fun to me.

But, wow! The hating! Reminded me of Line Out comments.

Anyhow, if your interested, another blog, Hippie Hippie Hoorah, is decontructing it and has downloads of most of the songs seperately.

Now that you know, listen, and tell me: what do you think?

PS. And I know this is probably old news and might even have been posted on this very blog before, so you can leave those comment out. Just opinions please.


posted by on January 23 at 4:02 PM


Taken by shapefarm.

Moan For Love

posted by on January 23 at 3:32 PM

Listening to Danny Krivit’s mixes, you can discover so many great rare disco, soul, funk and house tracks. I recently discovered this solid exotic disco gem entitled “Moan For Love” by Tony Gray & Beverly Lee on Krivit’s mix compilation, Danny Krivit Introduces P&P Records. I wasn’t able to hunt much down from the original artist or release, however I was able to find that the 12-inch single of the track was one of the earliest releases off of Peter Brown and Michael Campbell’s legendary disco label Heavenly Star, which probably puts the date of the actual release probably somewhere between the late 1970’s and first year or two of the eighties. Regardless, it’s another great disco find thanks to another great mix compilation from one of New York’s finest deejays.

Tony Gray & Beverly Lee - Moan For Love

Neptune from the Desert

posted by on January 23 at 2:38 PM

dspiritplayer.jpgUK band the Duke Spirit have an album coming out February 4th called Neptune. The album named for the God of the sea was recorded in the desert at Joshua Tree’s Rancho de la Luna Studio. The godfather of desert rock and Masters of Reality man, Chris Goss produced. (See Queens of the Stone Age, Soulwax, and UNKLE.)

Guitarist / pianist Dan Higgins said, “We thought it would be perverse to take these songs written in England and drop them in the middle of the desert.”


Neptune races and coils. The band is honed but free swinging. Singer Leila Moss sticks a sugared blonde knife in your heart. She has a prowess of the ages. So does the band. Elemental pieces of the 60’s have shuffled back into the puzzle and they’re firing off.

Listen to Neptunehere. (Drag the note you’ll see to the side.)

The Duke Spirit have shows in New York on Feb. 13th & 14th. They’ll be at SXSW too.

Here’s the band in Joshua Tree talking about the recording and the album:

Today’s Music News

posted by on January 23 at 1:39 PM

House of Blues at Disneyland Cancels Gallows Show: Because they don’t like the bands’ lyrics. In other news, I’m stoked for the band’s show at Chop Suey next week with the Cancer Bats.

Seek a Lawyer: Warner Music Group posts a lawsuit against MP3 aggregator Seeqpod.

Busta Gets Probation: He pleaded guilty to assault charges, driving infractions, and weapons possession and avoided going to jail.

Lil Wayne Gets Caught: The rapper was arrested on drug charges in Arizona.

Free Fans will now be able to listen to some songs for free on demand.

Alicia Keys is Still #1: And the Juno soundtrack moved up to #2.

Also Happening Tonight

posted by on January 23 at 1:13 PM


Gui Boratto
(Music) The title of Gui Boratto’s Chromophobia is one hell of a misnomer. The Brazilian producer’s debut full-length is about as bright and colorful as minimal techno can be, full of bubbling, rhythmic arpeggios, warm washes of synth, and even the occasional acoustic piano or natural voice. His live set should bring equal parts beauty and bounce. Openers Lusine and Jerry Abstract are two of Seattle’s top electronic talents. Between them, they span everything from delicate ambient to crushing industrial techno. (Nectar, 412 N 36th St, 632-2020. 9 pm, $10, 21+.) Eric Grandy

Re: Today In Local Hiphop

posted by on January 23 at 12:19 PM

Live hiphop in the South End? Hot damn, call the cops.

The Brother from a Big Country

posted by on January 23 at 12:15 PM

When we first saw Big Country’s video for “In A Big Country” (this was around 1983 in the capital of Zimbabwe, Harare) we were amazed by the brother in the band…
Picture%206.jpg What was he doing in this part of the world? How did he get there? A brother in the middle of the whitest (soulless) song by the whitest (soulless) band we had ever heard. The things a brother will do to survive.

Put A Face to the Song You Hate

posted by on January 23 at 12:09 PM

(ht Idolator)

Jane & Barton - It’s A Fine Day

posted by on January 23 at 12:09 PM


Musik Kontrapunkt Kontrol, out of Reykjavik, an amazing blog that mostly focuses on italo-disco, recently posted this amazing discovery.

It’s the rare original version of the Rave classic, “It’s A Fine Day” which was made famous by Opus III feat. Kirsty Hawkshaw. Edward Barton was a poet and folk song writer who joined with his girl, Jane, and put out an album of all accapella folk songs in 1983.

Edward Barton would go on to become so regarded in the rave community that there is a full cover album of their work with artists like 808 State, Inspiral Carpets and A Guy Called Gerald.

It’s stunning. Go check it out!

Free Tickets to the Liars Show!

posted by on January 23 at 12:08 PM

The Showbox has a couple pairs of tickets to next Tuesday’s Liars show with No Age and Past Lives, and they want to give them to you for free. They’ll pick the winners at random, and to get included in the pool, e-mail your full name to and put LIARS in the subject line.

The Showbox will contact you if you’re a winner.

Today in Local Hiphop

posted by on January 23 at 10:54 AM

Here you will see fresh Silas Blak doing his Sentinel thing:

Silas Sentinel, one of the best local hiphop CDs of 2007, is now available on iTunes.

As for the video of Blue Scholars performing “North by Northwest” at The Program?

Check the number of views. Damn!

Illegal Leak of the Week: Heretic Pride, The Mountain Goats

posted by on January 23 at 10:05 AM


For years, I thought John Darnielle, better known to most as The Mountain Goats, had recorded his earliest albums in a department store. Albums like All Hail West Texas sure sound like it—you can practically hear the flourescent lights of a JCPenney employee bathroom hum as Darnielle goes on a tear about “The Best Ever Death Metal Band Out of Denton.” The boombox part of the story is true—unmistakable, really—but the college buddy who turned me on to “the band” mixed up the rest of it; Darnielle merely bought the boombox at a department store, then took it home to record.

But that mythos stuck in my head, especially when I first saw Darnielle in concert. He looked like a middle school science teacher, hair cropped and small glasses reflecting stage lights as he approached the microphone and meekly greeted the crowd. And then his face reacted like a middle school science experiment, red and tightening with every crazed, nasal scream, all alone on that stage. The JCPenney nutjob lived again.

So I unfairly listen to the latest Mountain Goats album, Heretic Pride, not in search of his usual, exemplary lyrics, but his unfiltered rage—the kind that builds while, say, restocking toilet seat covers. His continued push toward fidelity sees him take steps on this record toward the new-folk stylings of The Decemberists (strings, keys, and I could’ve sworn I heard a mandolin and harpsichord), something that runs clearly in contrast to my inaccurate mythos—as does the meek female chorus in “Marduk T-Shirt Men’s Room Incident” and the title track’s lyrical use of hippie fauna. Jasmine and honeysuckle? Dude.

Sure, Darnielle’s lo-fi aggression is on the decline. But the guy’s still generally too good a wordsmith to deny—“I am this great unstable mass of blood and foam / and no emotion that’s worth having could call my heart its home,” he mutters in “My Heart’s an Enclave.” And he still knows when to unleash his neurotic howls, most notably by the end of the gradual climber “In The Craters On The Moon,” when the narrator—wracked either by persecution or a failed relationship, guess it could go either way—finally gives up and explodes: “In the declining years of the long,” short pause, “WAR!” Ultimately, these moments don’t come often enough, resulting in an album that comes off as little more than “solid.” Sorry, Darnielle. Go mop up aisle four.

Tuesday, January 22, 2008

Charlie, Beefheart: Frustrated & Awake

posted by on January 22 at 6:07 PM

Charlie is back. The Blacklight Kid. You may remember him from his Zappa / Electric Flag and Pink Floyd reviews. He’s in 8th grade now at a school in Shoreline and he has a gigantic crate of vinyl. Charlie is razor sharp smart. Imagine him by the time he’s a senior. Here is his latest review:

Captain Beefheart’s - Lick My Decals Off, Baby


The 1970 release, Lick My Decals Off, Baby is a long way from Safe as Milk, Beefheart’s 1967 release. Lick My Decals Off, Baby is dangerous.

It is a beautiful experiment that breaks all bounds and is a musical adventure of marimbas, saxophones, and song names like “Woe-Is-Uh-Me-Bop”, and “The Buggy Boogie Woogie”, but what did you expect from Captain Beefheart and the Magic Band?

In songs, like “Doctor Dark”, and “I Wanna Find a Woman that’ll Hold My Big Toe Till AI Have to Go” it seems like they have lost all sense of musical direction and are going to crash. The moment you try to feel the beat and get into the songs, it syncopates out of control and it’s hard to keep up. When I listened to the record for the first time I didn’t like it, but after listening to it again I discovered that the confusion is what makes it a good and unique record.

Songs like “I Love You Big Dummy”, “Bellerin’ Plain”, and “Smithsonian Institute Blues” help you find your way through the tangled labyrinth of sound on this record and reacquaint you with the music. The instrumental “Peon” is a refreshing relief from the cacophony of surrounding songs.

“I Love You Big Dummy” also features a screeching harmonica performed by Mr. Don Van Vliet himself and is the perfect accompaniment to his own rough villainous voice. Ed Marimba a.k.a. Art Tripp playing the marimba on “Woe-Is-Uh-Me-Bop” is truly awesome.

The Captain along with his Magic Band delivers a revolutionary record that can frustrate and awaken the listener. It took me a while but finally I realized that Lick My Decals Off, Baby is, even in today’s standards, insanely eccentric and wonderful.

-Charlie W.

The kid is in 8th grade.

Here’s a commercial for the record that was banned from TV. When asked by the record company as to reasons for not accepting the spot, KTTV station manager Charles Young said, “I just don’t like it. I think it’s crude and don’t want it on my air. Let’s say I find the commercial unacceptable and let it go at that.” When asked for a specific reason, Young declared the album title was “obscene.”

Nate Dogg Teams Up With The Strokes

posted by on January 22 at 4:32 PM

Nate Dogg, the rapper who’s collaborated with the likes of Eminem, 50 Cent and his similarly monikered cousin Snoop Dogg, was hospitalized last month in California after suffering a mild stroke, but is now on the road to recovery, according to his reps.


Presidents of the USA to Play Paramount March 15

posted by on January 22 at 4:28 PM

Also, their new record, These Are the Good Times People, will be released March 11.

Kwab Copeland Goes Back to Sunset, Kind Of

posted by on January 22 at 3:44 PM

With Miss Bendel’s booking talents going to King Cobra, former Sunset booker Kwab Copeland has returned to his old stomping grounds part-time and he’s taking over booking Sunday afternoons. He’ll still continue to book Jules Maes and Slim’s.

From this afternoon’s press release:

I am really excited about is the weekly show I am helping produce with my good friend Fred Speakman. The show takes place EVERY SUNDAY at 4PM, taking over the time slot of Jenny Bendel’s much beloved 4 O’Clock Rock show (Jenny will be the head booker at King Cobra, for those of you keeping up on Seattle booker gossip, round of applause for Jenny and 4 O’ Clock Rock!!!!).

The show is named SUNDAY BLOODY SUNSET after the drink of choice for Sunday afternoons, the mighty BLOODY MARY (not after the U2 song, dudes). The show will be a NON-STOP CAVALCADE of LIVE MUSIC, COMEDY, FILM and VARIETY presented by original Sunset discovery JOHNNY SKOLFUK who many might remember from the old 4 O’ Clock Punk Rock days…for the meager cover of $5, come enjoy coffee, doughnuts, delicious drinks and good friends while experiencing a show like none you have ever seen…

The first installment will be Sunday, February 17 with surprise bands and host Johnny Skolfuk.

My Gas Huffer Shirt

posted by on January 22 at 3:30 PM


Reading Brendan Kiley’s “Confessions of a Gasoline Huffer” in this week’s issue reminded me of a low point in my own life. No, I wasn’t experimenting with inhalants. I was experimenting with punk rock. And t-shirts.

When I was a teenager, I must’ve seen Gas Huffer play at the Old Firehouse a dozen times. One of those times, I bought a t-shirt. It was puke green, with a caricature of a dude with a big nose hunched over a canister of rocket fuel, fumes wafting up into his giant nostrils, maybe x’s on his eyes (anyone have an image of said shirt?). It was probably extra large for that baggy, mid ’90s suburban alterna-teen look. Anyway, I got the shirt home and my mom cut it up with a pair of scissors and threw it in the trash. She was worried that I was going to start huffing gas or that the shirt encouraged drug use or something. I did do drugs, but I never huffed gas, and Kiley’s story makes it pretty clear that obscure psych textbooks, not punk rock, is the real gateway into huff-town. Mom wouldn’t reimburse me the $10 I spent on the shirt. I’ve still never huffed gas.

Skeletons With Flesh on Them: The Fish Don’t Mind

posted by on January 22 at 3:21 PM


Since Oink went away I’ve hardly been downloading anything at all. A lot of that may have to do with the fact that very few albums come out this time of year, and nobody tours so I’m not seeing many new bands live. Needing some new tunes, I decided to pillage the bins of CDs in the Stranger office for some new material. There are a plethora of albums scattered around the office; so many of which I have never heard of, so many which look like they will absolutely suck. I rummaged through the bins looking for local bands - the only way I could judge any of these albums possible worth was by their album artwork. So, note to local bands: if you want idiots at newspapers to listen to your music, make it look pretty. I picked out a handful of new bands and listened to the first of them last night.

Skeletons With Flesh on Them was a refreshing start to my music blind dates. While listening to their EP The Fish Don’t Mind I was reminded of the following bands: Cherry Peel era Of Montreal, old Piebald (if Travis could sing in key), the theme song from Cheers, Pinkerton era Weezer, and Ted Leo and the Pharmacists. I was overjoyed to hear a band that was using my favorite aspects of jangly 90s indie pop rock, and using them well without feeling dated. Skeletons do a great job keeping their pop catchy and warmhearted without being cheesy, which is no easy task.

The only song on the EP I couldn’t really get down with was their ballad “Everybody is Our Savior.” The guitars and vocals leave behind earlier pop sensibilities and adopt a more traditional folk edge, and the lyrics turn to addressing the woes of the world. Although it’s not a particularly bad song, all of a sudden I’m not having fun anymore, and I hate that.

In all though The Fish Don’t Mind is a strong release from these local dudes. I don’t know if they’ve got any play on KEXP yet, but their sound seems to fit right in the pocket of local rock that station seems to go nuts for. They play on Feb. 29th at the Comet.

Disco Exchange

posted by on January 22 at 2:45 PM

One of my favorite things to do during my free time, is visiting my local record stores and spending hours looking through crates and crates of used vinyl trying to find rare disco gems. This definitely has been a huge addiction of mine for sometime, especially since last year when I went to New York and walked away with 30 + plus rare disco records after an eight plus hour straight search. That being said, One of the hot items on my “wantlist” is LTG Exchange’s 1974 disco-funk flavored self-titled LP,LTG Exchange. This classic latin funk record includes some amazing singles including, “Waterbed” and “Corazon” as well as some solid standout album cuts like “Trouble on the Run” and “Give It Love”. The “Corazon” track has made it’s way onto some great mix compilations including Dimitri From Paris’s Dimitri’s Disco Forever and The Idjut BoysSaturday Nite Live Volume Two. The two singles have most recently been re-edited and made up the first series of the Underdog Edits, which is probably your best bet in finding the classic version of the singles. While most of the re-edits that I’ve heard from this record are worth owning, I would reccommend hunting down an original copy of the LP, the record is pretty solid all the way through and a rare find, especially for people who enjoy the more latin side of disco.

LTG Exchange - Waterbed Pt.1
LTG Exchange - Waterbed (Underdog Edit)


posted by on January 22 at 1:04 PM

crowbar1.jpgA couple months ago I made up a fictional band called Crowbar who had an unclean, germ spreading bass player. Sure enough, there is a real band called Crowbar from New Orleans. They play sludge-core and sound exactly like you would think they sound. Large evil dudes with goatees you would not want to piss off who’s music approaches Orc-Rock.

Of course there is a Crowbar. In many ways it’s a perfect name, synonymous with and standing for all that is sludge-core. An object used with blunt force to strike another person, usually in the head area.

Lets do a quick band name exercise. Make up band names you think probably exist:

1) Destruction – Yes. Destruction. German thrash metal. A gimme.

2) Satan Finger – Almost. There is a Satan’s Fingers and the Hospital Bombers from New Brunswick, NJ. I never would have guessed the Hospital Bombers part.

3) Blotto – There’s a Mr. Blotto. A jam band from Chicago.

Lets take it a little further:

4) Plow Fire 60 – Nope. There’s a Plow, a Mr. Plow, and a Snow Plow.


nightwish.jpg5) Night Wish – We’ve got a hit. It’s Nightwish though, one word, not two. Colossally shitty Euro-sleeze metal with orchestral cheese ballads. Their release Dark Passion Play is nominated for best album at the Finnish “Emma” Awards.

If cheese were speed, Nightwish travel at light-speed.

I didn’t expect the metal aspect to a band named Nightwish. I expected more spiritual goddess. They combine crappy orchestral singing with every metal lick you played when you were in seventh grade. Not only is there a goatee going on, there is a double-split twirled goatee going on. Bass player, Marco:


This concludes today’s band name exercise. You are traveling light-speed, your goatee is split twirled, you have an orc axe, a million MySpace friends, and you’re nominated for best album / band of the year.

Oh, and you’re smoking crack. You smoke so much crack that you think you live in Hobbiton. You’re Finnish, you’re paranoid, and you sleep with your bass and a shield. You also hide pellets of crack in your goatee because if you don’t smoke every twenty minutes, you withdraw and breakdown at the realization that you write metal ballads about battling dragons and play them in front of people.

Re: Jenny Bendel Will Book King Cobra

posted by on January 22 at 12:55 PM

So, maybe this is old news. Here’s a fresh question: How are Jason Rothman (former editor of Disheveled Mag, no booking experience) and Bendel (who’s been booking Sunday matinee shows at the Sunset) going to fill a 500 person capacity room across the street from Neumo’s?

Dan Deacon’s Ultimate Reality Tour

posted by on January 22 at 12:00 PM


Taken at Sunday night’s show by smastrong.

Valerie Dore - Get Closer

posted by on January 22 at 11:55 AM


First off, Valerie Dore is not a woman. Valerie Dore is a project. Not even a band. Members and singers changed with every successive release, causing some confusion about who or what Valerie Dore was/is.

In 1982 Italian model Monica Stucchi, born in Monte Carlo of French and Italian decent, was recruited by Italo producer Roberto Gasparini to front his group Valerie Dore. Based on the minor keyed, slow rhythm dance sound of bands like Gazebo and Savage (whose famous hit, “Don’t Cry Tonight” was recently given new life on the Pet Shop Boys Back To Mine compilation), Valerie Dore’s first single, “The Night,” became a sensation in Europe. It has all the Italo trademarks: poorly enunciated English vocals sung slightly out-of-tune, with those mellow synths and handclaps.

The song wasn’t actually sung by Stucchi, it was sung by a famous Italo singer named Dora Carofiglio (she sang the classic vocal line on Answering Service’s Italo-rap hit “Call Me Mr. Telephone,” “Funky Is On” by Funky Family, “You Got My Soul” by Domina and served as lead singer of Novacento). Stucchi, who lip-synched the song “live” made the group more famous however for her eccentric dancing and costuming (think early ‘80’s Madonna with a distinctly Roman nose stealing from Kate Bush’s interpretive dance playbook.)

Not satisfied with a single hit, Gasparini and his partners Lino, Nino and Ross Nicolosi used nearly the exact same music arrangement and added new lyrics to create the song “Get Closer,” this time sung by both Carofiglio and Stucchi.

“Get Closer” is the pinnacle of the Romantic Dancing Italo sub-genre. Other great romantic dancing tunes would follow (most notably Katy Gray’s “Hold Me Tight”), but the influence of Valerie Dore’s “Get Closer” can still be felt today in the work of modern Italo artists like Sally Shapiro and Cloetta Paris.

The song was recently checked in the recent Royksopp Back To Mine, but even before that, and the homages given by Shapiro and Paris, artists have been playing around with its sound.

In 2001 Play Paul (né Paul de Homem-Christo, that’s right, the brother of Guy de Homem-Christo of Daft Punk) released a deep French-house track called “Spaced Out” on Guy’s Crydamoure label, which samples extensively from “Get Closer.” So much so, in fact, I like to mark the beginning of the modern age of the Re-Edit with it’s release. It is cut into so many small chunks and put back together in crazy ways, but the basics of the tune, the hand claps, the crying synths are all still there; just with crazy sped-up French house beats.

Then, in 2003, trance group Master Blaster used extensive samples of the vocal track, sped up to Minnie Mouse-esque heights, in its own song called “Get Closer” on their We Love Italo album.

Since then, white labels of the original have been released, it’s been name-checked and dropped into sets by Italo artisans like Johan Argebjorn and DJ I-F as well as being paid homage by other nouveau Italo bands, like Chromatics and Glass Candy.

So every time you hear mellow sighing synths played with a bit of glide, handclaps, and female vocals, with short lilting verses you know who to thank.

Valerie Dore.

Samples of some of the above mentioned tracks can be found here.

Here’s a snippet of Valerie Dore (fronted by Monica Stucchi) performing “Get Closer”.

Cosmic Pizza vs French Toast

posted by on January 22 at 11:27 AM

#4 Someday Lounge//Jan 14th//Portland,OR

This show was amazing. Thanks for the Portland Mercury and their blog, there was a good crowd at the neat venue. Ah Holly Fam’ly and mattress played wonderfully and I felt like I was doing something wrong during my set.

I felt I am dirty. My songs are about sex, drug, and fake IDs. How dirty.
However, I can’t change that suddenly, we just have to accept who we are.

Surprisingly enough, I sold about 15 CDs and Shirts.
That was the day received my debut album on Slender Means Society too.
I love the artwork by E-rock. It’s such a pleasant feeling to have my music “looking” nice.
Next day, I had big french toasts and coffee with Matt Carlson.


#5 Cozmic Pizza//Jan 15th//Eugene,OR

Wow, this is the hippie town everyone is talking about.
They don’t have plastic bags or Coca Cola.
They have brown paper bags and fake cola made of organic sugar.

The space reminded me of Trabant Chai Lounge in U-district Seattle.
They had a good pizza.
I played a fine set and met Chad, who sets up house shows. Next time, I will play a house in Eugene!

I went to Diablo’s Downtown Lounge with Sho, Junior at U of O and had 2 beers.
It was Free Pool Tuesday Night, we played 10 games and he quickly got good at it.


#6 Hemlock Tavern//Jan 17th//San Francisco, CA

I took a 13 hour greyhound ride from Eugene at midnight.
In the early afternoon of Jan 16th, I met up with Clark who used to live in this Central District house “Holy Land”.
We went to Casanova Lounge. I sat on a couch and felt something soft.

That was a black beret hat. Everyone there said it looks good on me, so I kept it.

Next day, I did an interview with Giant Robot.
They asked me who I think is the best guitarist, so I told them Roland Dyens is.
He is a classical guitar composer and he plays flawlessly.
“What about Yngwee Malmsteen?” they asked me back.
So I said he is pretty funny but not the best. Kind of like a cult leader.

Hemlock Tavern is on the border of a yuppie neighborhood and a sketchy crackhead neighborhood. I was told so. The show was with Jib Kidder and Beefy Cakes.
Although I liked their sets a lot, neither of them were satisfied with what they did.
A lot of kids were from Seattle and yelled after each song and I felt like I was being welcomed by the whole city.
All the girls who bought my CDs were really cute and it made me wanna move there.
I don’t know cute girls are buying my CDs or the fact they are buying my CDs make them look attractive.

I asked a girl at the bar where I can party and she took me to a bar called Delirium in the mission district.
She paid for the cab so I bought 3 40s on our way to Clark’s place.

Tracking the Kimya Dawson Renaissance

posted by on January 22 at 9:44 AM


Thanks to the Juno soundtrack and her own singular talent, Kimya Dawson is suddenly and deservedly totally hot shit. (Here’s yesterday’s New York Times profile of Dawson, and here’s footage of yesterday’s Moldy Peaches reunion (!) on The View (!!).

This couldn’t make me happier. I’ve loved the lady’s work since 2001’s The Moldy Peaches, and my love only grew deeper as she began releasing her amazing solo recordings.

A couple years ago, Dawson and her family moved to the Northwest (first to Seattle, then to Olympia), which afforded me the opportunity to hype Dawson for a Stranger Genius Award in Literature (lyrics count, bitches):

The Genius Awards committee has been talking for years about including a songwriter in the writing category, but not until Kimya Dawson landed in the Northwest did we see reason to do it. A Dawson primer: After earning acclaim as one half of New York City’s antifolk superstars the Moldy Peaches, Dawson started making records of her own—adamantly lo-fi affairs showcasing her acoustic guitar and sweet, plain, conversational singing. The magic was in the lyrics: Moving past the Moldy Peaches’ witty goofs, Dawson dug deep, unearthing a kaleidoscopic torrent of words that jelled into songs that were unlike anything that had come before—simultaneously ridiculous and profound, childish and wise, shockingly personal and laugh-out-loud funny.

Dawson’s released five solo records since 2002; some are knockouts, some are negligible, all contain moments of singular brilliance (2004’s My Cute Fiend Sweet Princess remains her best approximation of a start-to-finish Great Album). She’s also unapologetically precious: love and hugs and silver-pink ponies are recurring motifs. But such diversions are deserved for a writer who so resolutely refuses to gloss over the ugliness of the world, and when she’s on her game—when the whimsy and horror are in perfect balance—she gets more accomplished in less space than any songwriter going. Here’s the refrain from “Anthrax”: “The air is filled with computers and carpets/Skin and bones and telephones and file cabinets/Coke machines, firemen, landing gear, and cement/They say that it’s okay but I say don’t breathe that shit in.”

Obviously, it’s about life in NYC following 9/11. In 2005, Dawson relocated from NYC to Seattle; last year, she and her family moved to Olympia. The Northwest is lucky to have her.

And now, thanks to a most wonderful collision of timing, art, and commerce, she suddenly belongs to the world. Call me a drama queen, but this gives me hope for humankind. In this rancid age of Britney, we need more cameras and microphones aimed at folks like Kimya Dawson. (Even if the images are hilariously mislabelled—thanks, Jezebel!)

Tonight in Music

posted by on January 22 at 9:30 AM


Whiting Tennis, 3-Way Stitch
(Rendezvous) The way I know him, Whiting Tennis is a visual artist, a maker of objects that seem to drag long, tiring lives with them into a gallery or museum, sort of like the sad-eyed artist himself. As a musician, Tennis and his band (Tennis on vocals and electric guitar, D. W. Burnam on vocals and drums, Kevin Warner on vocals and bass, and Tom Price on keyboard) have a similar world-weariness that comes across as the pleasurable sound of low blood pressure. On their MySpace page, the band is listed as “Indie/Folk Rock/Other,” but to me it’s more reverb country. I’m grateful they’re out at all: Tennis’s band in New York, the Scholars, was determined to play only in libraries—so they ended up playing only in his DUMBO painting studio. JEN GRAVES

Monday, January 21, 2008

Ellen Allien, Sascha Funke Coming to Seattle

posted by on January 21 at 9:35 PM


They’re playing Thursday, 05/01 at Chop Suey. I’m about to start listening to Funke’s new one, Mango, now. Let you know how it is soon.

(hat tip to Division)

Jaguar Love Sign To Matador

posted by on January 21 at 8:22 PM


The new band featuring Johnny and Cody from the Blood Brothers and J. Clark of Pretty Girls Make Graves have just announced that they will Join the Matador Records family, home to many remarkable bands. Congratulations boys.

The Best One Minute and Thirty Seconds in Purple Rain

posted by on January 21 at 5:24 PM

Jenny Bendel Will Book King Cobra

posted by on January 21 at 5:20 PM

Jenny Bendel, who has been booking Sunset Tavern’s 4 O’Clock Rock shows, is leaving (her booking position at) the Ballard venue (to book for) Capitol Hill’s newest club King Cobra.

Her last afternoon rock showcase will be February 10 with Neon Nights, Rain City Schwillers, Rat City Ruckus, and Blue Ribbon Boys.

(Thanks to Line Out reader Tony for the news.)

Coachella Lineup Announced

posted by on January 21 at 3:58 PM

Here’s a partial roster via LA Times:

Roger Waters
The Verve
The Raconteurs
My Morning Jacket
Rilo Kiley
Jack Johnson
Death Cab for Cutie
Love & Rockets
The Breeders
Sasha & Digweed
Cafe Tacuba
Fatboy Slim

There will be about 125 artists total, so there’s more to come. Obvs.

UPDATE: Here are more, via URB:

Tegan and Sara
Animal Collective
Sharon Jones
Enter Shikari
Aesop Rock
Midnight Juggarnauts
Does it Offend You, Yeah?
Spank Rock
Minus the Bear
Dan le Sac vs Scroobius Pip
Adam Freeland
Vampire Weekend
Dan Deacon
Sasha & Digweed
Jens Lekman
Hot Chip
Cold War Kids
Stephen Malkmus and the Jicks
Gogol Bordello
Danny Tenaglia
Booka Shade
Cool Kids
Les Savy Fav
Holy Fuck
Black Kids
Black Mountain
Man Man
I’m from Barcelona
Kid Sister
Austin TV
Shout Out Louds
The Bees
Professor Murda
Cut Copy
Busy P
Institube DJs
VHS or Beta
Mark Ronson
The Streets
Flogging Molly
Dwight Yoakum
Slightly Stoopid
The Swell Season
John Butler Trio
The Fields
Dimitri From Paris
Sons & Daughters
Manchester Orchestra
Dead Mouse
American Bang
Mos Elektrik
Rogue Wave
Rev and the Makers
Erol Alkan

Tickets go on sale this Friday at 10 am. The festival will be April 25-27.

Visit for all the info.

“It’s Kind of Horrific”

posted by on January 21 at 3:57 PM

That’s what Bono said about seeing himself perform in 3-D at the premier of U2 3D at Sundance.

Seattle, Meet Your New Pop Culture Trivia Champions

posted by on January 21 at 1:24 PM


On Saturday night, this motley crew, LouKingDiamondPhillipsHeadScrewDriver (featuring local rockers Eric Christianson from Kane Hodder and Neil Of Steel from Sunday Night Blackout) won the All-Star Pop Culture Trivia championship at Jillian’s, beating out the finalists from San Francisco, Little Lebowski Urban Achievers (a team that featured Jeopardy champion Ken Jennings, no less).

This is the second season in a row that LouKingDiamond walked away with the trophy.

Before they were declared champs this weekend, there was a round of semi-finals, where four teams had to do stuff like identify the first-name only female singer based on short song clips of their not-so-hit singles (Jewel, Pink, Ashanti, Beyonce) and identify the TV show/made for TV movie based on stills from the show (Knight Rider 2.0, Lost, and some stuff I had never heard of).

The two teams with the highest scores—LouKingDiamond and Little Lebowski—moved on to the finals.


Q: Which drummer was the inspiration for Animal from the Muppet Show.


A: Keith Moon.

They also had to identify albums based on textless album art (Linkin Park), know which Baldwin brother is on Dr. Drew’s reality show Celebrity Rehab (Daniel), identify the original song and artist by listening to a clip of a cover (Jenny Owen Young’s cover of Nelly’s “Hot in Herre”), and know the URL for some random reality show website about some dude looking for some chick (

LouKingDiamond missed only one question in the first half of the finals, taking the lead 32 to 21. The second half got a little shaky, though, as the questions got harder.

One question that surprisingly stumped both teams was a Star Wars question, a question I was sure both teams would know the answer to since it was clear both teams were full of trivia geeks who not only love Star Wars but also freakishly remember every nugget of useless information ever.

Q: In the original Star Wars, who did George Lucas intend to be a dwarf?

Lou King Diamond guessed Chewbacca.
Little Lebowski guessed Obi-Wan Kenobi.

The answer? Luke Skywalker.

The whole room laughed and expressed a loud, disappointed, “ooooooh!” “Man, that would’ve been so much better!” yelled one spectator.

In the end LouKingDiamond had 63 points to Little Lebowski’s 49. Along with the trophy, they also got over $500.

A new season starts this Thursday at 7 pm, and anyone’s invited to put together a team of six (or less) to compete. Visit for all the info.

(Now the question I have for Jillian’s is why the fuck don’t you put cherries in your Shirley Temples?)

Question to Talkers

posted by on January 21 at 12:58 PM


Jesse Sykes and Phil Wandscher played an acoustic set to a sold out Tractor Tavern this past Friday. They stitched up their watery nocturnes and turned January into a summer night. Phil toasted old Ballard and Jesse dug into the people talking at the bar. “It’s probably the people who live in the condos,” she said. The hum of chatter did seem loud, especially in the context of the acoustic performance.

Jesse and Phil’s set and sounds were satiated and resonant. With no bass and drums, Jesse was able to hang her snug vocals right in your ear like a ghost you know is there, but aren’t afraid of. Phil coated and drew sounds from his DeArmond Starfire Special guitar. The man paints the setting sky of the planes and that’s all there is to it. Jon Hyde on pedal steel joined in for a few. Jon was winging it, but didn’t sound like he was winging it. Wing Commander, more like it.

Question to talkers: why go to a club, pay the cover, and then talk during the entire set? Why not go to a club where there’s no live band? You’ll be saving money by not having to pay a cover. I think it’s valid in the case of this Sykes set because it was acoustic. When the music is way loud and the crowd-talk doesn’t cut in, that’s ok, it’s not disrupting anything. But when you see that it’s an acoustic set, and the singer is asking you to be a bit quieter, so she can hear her guitar, is it really not possible for you to shut your fucking mouth for a few songs worth of music?

Please forgive the darkness of the footage. Damn it was dark in there:

PWRFL Power Tour Diary, pt. 1

posted by on January 21 at 12:00 PM


This is the first post of PWRFL POWER tour diary.
The tour started on Jan 11th and it’s about 60 shows-long.
I’ve got a macbook to blog this, hope you enjoy reading what I am up to!


#1 Island Music Guild//Jan 11th//Bainbridge Island

I took the ferry to get to the island.
It was moving so quietly, I didn’t know where I was.
At 6:15PM, I asked people around

“when does this ferry leave Seattle? we have been stuck here for like..40minutes!”

And they gave me a weird look and said

“We are already here, boy.”

1st “B” island experience, yes.
Julia, a tall young girl with glasses, came to pick me up from the terminal.
There was a basket ball game at the same night and a lot of people chose the game over me. My balls were not big enough for kids, aw.
We indie musicians should know that, in small towns, basket ball games/dance parties/meetings at churches DIRECTLY affects the draw to your show.

I met Korum, Jherek (dead Science)’s brother and we ate cakes. Actually the show was very fun!


#2 Healthy Times Fun Club//Jan 12th//Seattle

Capitol Hill’s coolest DIY venue HTFC! Shows here can’t be bad, like no way!
Baby Cakes, the most awesome protagonist, the alskas, and Everett Trust all played delightful sets.

I decided to act a little angry/sad that night, that added a weird layer to my performance and I didn’t sell that many CDs.
Experimentation is cool but looking pissed isn’t mentally and financially. Lesson learned!


#3 Le Voyeur//Jan 13th//Olympia

I got into town on Greyhound. The city was cold and so was a music room at the Voyeur.
Conclusion first—There was no one and the venue has never been good.
3 Japanese kids showed up to see me. I felt real sorry for them because their PA system is beaten up like nothing else and the room was as cold as outside.

After the show I went to one of the kids, Yuki’s House and drank Olympia beer.
We all slept there and next day, I found out a blanket I used has a lot of Elmo faces.

At Capital Music, I tried this parlor guitar made by Washburn.
$700 and totally worth it!
“I will be back from LA on monday, so call me.” This owner guy gave me a card. I looked at it and his name was printed with big bold letters; ROBERT JOHNSON





Shift in Seattle

posted by on January 21 at 11:15 AM

For real? Dubstep in Seattle is for real.
Cover_FrontFINAL500X500-1.jpg Don’t believe me? Check out Shift’s promo mix.

Compared with UK dubstep, Shift’s is angrier, heavier, and denser. The melancholy—a posthuman sorrow—is still there in the mix of things, but it doesn’t implode the structure and progress of the tracks. The digital melancholy moves with each evil step of the dub beat.

Today’s Music News

posted by on January 21 at 11:10 AM

RIP John Stewart: The writer of the Monkees hit “Daydream Believer” is dead at 68.

Supposedly: Portishead and Radiohead are (respectively) playing the West and East Coast 2008 Coachella festivals? Official line-up is being announced today.

And a few new live Morrissey videos have hit the internet:

Rainier Cheers

posted by on January 21 at 11:05 AM


Taken at the Baranoff by Stranger Flickr Pool contributor kurt schlosser.

The Future of Music

posted by on January 21 at 10:24 AM

According to the Indo-Asian News Service, Mary J. Blige thinks “the future of music depends on” Amy Winehouse.

Tonight in Music

posted by on January 21 at 10:00 AM

Throw Me the Statue are playing Chop Suey, as they have every Monday this month, and tonight’s guests are Damien Jurado and Ben Zavada. Ben Zavada, though, is not a real person. The real person who’s actually playing tonight has a different name made up with the same letters found in Ben Zavada’s name. Look closely, think hard, it’s a puzzle.

To give you a hint, here’s a picture of the real performer with his face rearranged like the letters in is alter-ego’s name. I also added a hat because I think a guy named Ben Zavada would wear a hat:


Get it now?

I have a lot of time on my hands…

Sunday, January 20, 2008

Joanna Newsom Live

posted by on January 20 at 3:16 PM


Here is a link to an amazing live video of Joanna Newsom performing at a Philadelphia church in 11/06. It’s a full 90 minute set, good resolution, and best of all - it’s downloadable. There are a ton of other great live sets on the site as well. Enjoy.


posted by on January 20 at 12:00 PM


Taken by Stranger Flickr Pool contributor Nic Launceford.

Tonight in Music

posted by on January 20 at 10:30 AM

There’s this:


Johanna Kunin, Loch Lomond, Matt Sheehy
(Sunset) At Seattle songstress Johanna Kunin’s last show at Nectar, a friend wondered why Kunin, who obviously possesses a lovely, entrancing voice, sings so quietly all the time. The reason: There can be greater beauty—and there is certainly greater longing—in restraint. Kunin’s music speaks volumes through understatement, her hushed vocals wrapped up in stark piano chords, gently brushed drums, and elegant electronic flourish. The past two years saw Kunin play Bumbershoot, earn time on KCRW and KEXP, and release her debut full-length. She’s currently in the midst of recording a follow-up. Word is she’ll be airing new material at this show. “Less is more” doesn’t work for everyone, but Kunin does it with a tempered lusciousness that’s mesmerizing. JONATHAN ZWICKEL

And then there’s Dan Deacon’s Ultimate Reality Tour at Neumos:


Dan Deacon and Jimmy Joe Roche’s new multimedia workout, Ultimate Reality, is something of an endurance test. Just how much slow-mo, stroboscopic, mirror-image, split-screen, digitally psychedelicized Arnold Schwarzenegger can you take? Forty minutes? How about if they throw in some synth drones, ring modulator freak-outs, and tribal-by-way-of–Wham City drumming?

And there’s also Orlando Voorn’s set at the Baltic Room, highlighted in this week’s Bug in the Bassbin:


After the sound went worldwide, the phrase “Detroit techno” embodied a sonic aesthetic more than a place of origin. One of the early adopters and innovators of the sound, Orlando Voorn, first caught wind of the music in his native Amsterdam two decades ago. Since then, Voorn has quietly lived and worked in Seattle, bridging the gap between his adopted city, the birthplace of techno, and his own Dutch origins.

Voorn started his career as a hiphop/electro DJ, famously storming the stage after a second-place finish at the 1986 World DMC Championships. After that, he moved into electronic music production.

And finally, there’s Accordi-O-Rama: A Squeezebox Spectacular! From Town Hall’s website:

Bring the whole family for a squeezebox Sunday serenade exploring the world’s greatest musical instrument. Featured are the wild and wonderful sounds of the Northwest’s finest players including Irish accordion master Johnny Connolly with fiddler Dale Russ, avante-gardist Amy Denio and Hell’s Bellows!, Toby Hanson, Tom Demski and the Smilin’ Scandinavians, Bulgarian star Milen Slavov with singer Zhivka Papancheva, and harmonica virtuoso Mark Graham.

Which reminds me… What is the difference between an accordionist walking down the road with his accordion, and a goldfish swimming down the gutter with a banjo on his back?

The goldfish has a gig to go to!

Ba duh dum dum!