tag:blogger.com,1999:blog-16044994240975154102024-03-04T23:10:56.148-08:00Bar/None Turns 30!Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-1604499424097515410.post-89425410305714120532017-08-18T08:42:00.000-07:002017-08-18T12:27:05.580-07:00ADAM BERNSTEIN, THE VIDEOGRAPHER WHO HELPED PUT BAR/NONE ON THE MAP<!--[if gte mso 9]><xml>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/6XdqMGBZjGM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/6XdqMGBZjGM?feature=player_embedded" width="320"></iframe></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Television and
film director Adam Bernstein was instrumental in getting Bar None Records off
the ground.</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">“He got in touch
with me when he heard my band Rage to Live on the Luxury Condos compilation put
out by Coyote Records," recalls Bar/None owner Glenn Morrow. "He wanted to know if we were interested in making a
video. Unbeknownst to both of us, he had already made a video for They Might Be
Giants for “Put Your Hand Inside the Puppet Head.” Rage to Live was the first
release on Bar None and the TMBG debut was the second.”<br /><br />Adam went on to
make the break through videos for They Might be Giants that ended up in
heavy rotation on MTV (The Buzz Bin). Some of these include: “Put Your Hand
Inside The Puppet Head” (1986,) “Don’t Let’s Start” (1986,) “(She Was A) Hotel
Detective” (1986,) “Ana Ng” (1989,) “Birdhouse In Your Soul” (1990,) and “The
Statue Got Me High” (1992).<br /><br />In his early
career, Adam worked as an animator with Nickelodeon, where he helped TMBG
get a spot on <i>Nick Rocks </i>in 1989. He later went on to direct music videos for
“Baby Got Back” by Sir Mix-A-Lot (1992,) “Love Shack” by The B-52’s (1989,) and
“Hey Ladies” by the Beastie Boys (1989.) <br /><br />Bernstein has directed episodes of
well known TV shows such as “Scrubs,” “Oz,” “Breaking Bad,” and “30 Rock” – for
which he won an Emmy. Other awards he has received include an MTV Award for
“Love Shack” and a Peabody Award.<br /><br />Here are some
photos unearthed from the shoot for the video “They’ll Need A Crane..." </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">For the video shoot, older musicians from the New York City Musicians Union were hired to fill out the band as TMBG was still a duo at that
point, working with backing tracks when they played live. (Blog post by Ashley Fatur)<br /><br /></span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_ZPkza-LIOJqW2DGq1jLknnCnqWTR9C7mzjO55Tf04HKFBfo8MSqt0GSs0xNvkXqgAzcvQ7KQcxDOR0jnK9kTjakq6PcYgqCEsaREBW6q4SQH4H_2t7TuxBdTjJcT220-p2rrE3Tiz3d/s1600/tmbg5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="403" data-original-width="586" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_ZPkza-LIOJqW2DGq1jLknnCnqWTR9C7mzjO55Tf04HKFBfo8MSqt0GSs0xNvkXqgAzcvQ7KQcxDOR0jnK9kTjakq6PcYgqCEsaREBW6q4SQH4H_2t7TuxBdTjJcT220-p2rrE3Tiz3d/s400/tmbg5.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's videographer Adam Bernstein supervising the video shoot for They Might Be Giants' "They'll Need A Crane" video. The following photos were taken during the video's production.</td><td class="tr-caption" style="text-align: center;">.</td></tr>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com1tag:blogger.com,1999:blog-1604499424097515410.post-51091039441967480552017-02-14T19:18:00.001-08:002017-02-14T19:18:19.091-08:00DAVE SCHRAMM, SIDEMAN EXTRAORDINAIRE<div style="font-family: Consolas, monospace; font-size: 12px;">
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<span style="font-size: large;"><span style="font-family: "Trebuchet MS", sans-serif;">DAVE SCHRAMM: SIDEMAN EXTRAORDINAIRE</span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Dave Schramm has been a part of the Bar/None family since the label's inception. He's recorded with Glenn Morrow's Rage To Live, Bar/None staples likeFreedy Johnston, Kate Jacobs, and Yo La Tengo, and he appears on the first Chris Stamey/Peter Holsapple collaboration, <i>Mavericks. </i>For many years, Dave was the music director of The Radio Free Song Club, in which a wide-ranging collection of artists would record an old-timey radio hootenanny that was broadcast online. Regulars included Kate Jacobs, Amy Allison, Peter Holsapple, Don Piper, Freedy Johnston, Jody Harris, Peter Blegvad, Victoria Williams, and others.<br /><i><br /></i>Dave will be appearing at Little City Books (owned by his longtime bandmate and collaborator, Kate Jacobs) in Hoboken on Friday, February 17, at a special "Classic Country" concert. He'll be joined by Hoboken regulars like Tammy Faye Starlight, Gene "D. Plumber" Turonis, the Cucumbers, Amy Allison, Amy Rigby, and others, playing their favorite country songs from the '30's to the '70's. Tickets are available from <a href="http://littlecitybooks.com/">littlecitybooks.com</a>. </span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br />We caught up with Dave to ask him for his favorite Bar/None memories, whether he had a favorite album (we guessed correctly that he'd hate that question,) and to tell us a little about Radio Free Song Club and the "Classic Country" evening.</span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /><b>Dave: </b>I can remember a few things...<b><br /></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">While mixing a song on <i>Fakebook,</i> I'm not sure which song, Gene
Holder and Georgia were discussing drum sounds. Georgia said something
like, "I just don't want it to sound like Snare Drum and his little
friends..." That was recorded at the old Water Music across the street
from Leo's Grandevous, which I guess is still there? Leo's, not Water.
For that matter most of those records were recorded there. Definitely
Freedy's record, and <i>Fakebook,</i> and the sessions with Chris and Peter. It
had glass brick on one wall of the main recording room. The earliest Yo
La Tengo stuff was recorded there, like "River of Water" and I think
"Asparagus Song" and then later<i> Fakebook</i>. Though we went off to Boston to
record the first album. <br /><br />For Freedy's <i>Can You Fly </i>session I only played
on "Responsible" and then came back later for some EP recordings. That
was Graham Maby producing, Freedy wanted some signature lick for the
song and I managed to hit on something that worked on the lap steel. It
all happened in an instant. Often those are the most satisfying moments,
quick happy accidents.<br /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">It's likely that my records with
Freedy and with Stamey and Holsapple got me the call to work on The
Replacements <i>All Shook Down</i> record. Scott Litt was producing that and he
had worked with Peter and Chris. A rewarding experience. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Favorite?
I'm afraid you're right. I hate that question. And I hate the whole
idea of "favorite". Too restrictive. My favorite music is usually what
I'm listening to right at that moment if it's something I love. And I
love a lot of different music.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Radio Free Song
Club is about to wake up again. Has been on extended hiatus, mostly due
to my getting super busy and distracted. But we have one in the can
from before that hiatus started. With James Mastro and George Usher and a
varied cast of characters. We are hoping to record a show in March.
I'll keep you posted.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">It was Kate's idea for the
country covers show. Her bookshop. It was supposed to be classic country
from 1930 to 1970, but the envelope is being pushed a bit. Amy Allison
is going to do her father's version of "You Are My Sunshine," but it ain't
country. I'm doing a Hank Williams song channeled through Al Green and
YLT, and a Townes Van Zandt tune.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">And yes, with the presence of myself, Kate, Laura, and Amy and Amy, it will have a bit of a Song Club feel....</span></span></div>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-40844996805025849112017-01-31T09:28:00.001-08:002017-01-31T10:28:09.567-08:00THE MOSQUITOS: INDIE BOSSA NOVA AND A CLASSIC LOVE STORY<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">THE MOSQUITOS - Self/titled (August 12, 2003)<br />THE MOSQUITOS - Sunshine Barrio (October 5, 2004)<br />THE MOSQUITOS Mosquitos III (September 19, 2006)</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;">The Mosquitos' mix of Brazilian bossa nova and indie pop found a champion in Rolling Stone's David Fricke, who wrote of the band's self-titled debut, "</span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;">Just in time for summer's end: the endless summer and tender Braziliana
of this New York trio's debut, a sweet hybrid of bossa nova hypnosis and
indie-pop restraint." The band seemed an unlikely trio: Rio De Janeiro native </span></span>Juju Stulbach, singer-guitarist Chris Root, and
keyboard player/studio whiz Jon Marshall Smith teamed up to create warm, breezy music; to quote a line from one of the trio's most popular songs, they were so far out they fit right in. Chris and Jon had been professional musicians both on stage and in the studio for years when they met actress/dancer Juju, and talked her into moving to New York and becoming a singer. The band's history makes for quite the love story, as we learned when we caught up with singer/guitarist Chris Root.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Q: </b>Chris, the story of the Mosquitos is like something from a movie. You met Juju, you fell in love, you started the band... can you tell us how you remember it?<b> </b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><br />Chris: </b></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Yes, it was love at first sight for me. There are so many magical </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">details. A marriage proposal, an expired visa , a bubble wrap dress,</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">being held hostage by Brazilian police, the beach in Rio, Bar None</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> Records... during the recording of our first album, Juju finally come </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">around and fell in love. It was a beautiful time. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Q</b><span style="font-family: "trebuchet ms" , sans-serif;"><b>:</b> The early 2000's was an odd tim<span style="font-family: "trebuchet ms" , sans-serif;">e for a bossa <span style="font-family: "trebuchet ms" , sans-serif;">nova pop band from NYC to have a hit, but your <span style="font-family: "trebuchet ms" , sans-serif;">track "Boombox" became one of those ubiquitous <span style="font-family: "trebuchet ms" , sans-serif;">songs you'd hear everywhere. What do you feel was <span style="font-family: "trebuchet ms" , sans-serif;">i</span><span style="font-family: "trebuchet ms" , sans-serif;">ts unique appeal?</span></span></span></span></span></span></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Chris:</b> "Boombox almost wasn't on the record. I was struggling with it because it didn't seem to be a complete song. Jon and Juju convinced me to put it on. I think the appeal of "Boombox" for me was the naivete and spontaneous way it came about. I also love Juju's vocal and the fuzzy bass line. Our creativity together was just beginning.<b> </b></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Q:</b> Can you bring us up to date on what you, Jon, and Juju are doing today?</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><span style="font-size: x-small;"><b><br /> </b></span></span></span></div>
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<pre><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Chris</b>: A few years back, the TV show "Fraggle Rock" asked the Mosquitos to cover a song </span></span></pre>
<pre><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">from the show for a 30 year anniversary record, which you can hear <a href="http://www.insanitize.com/mosquitos/see_water.mp3" target="_blank">here. <span style="font-family: "trebuchet ms" , sans-serif;"> </span></a> We had so
much fun doing it that we kept on going and now Mosquitos have a new record </span></span></pre>
<pre><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">coming out in the spring/summer on 6 Degrees Records. We hear its a new world out there, </span></span></pre>
<pre><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">so if anyone has any advice on releasing a record in 2017, we are happy to listen. This is
the first Mosquitos record to use a producer, <a href="http://www.michaelleonhart.com/" target="_blank">Michael Leonhar<span style="font-family: "trebuchet ms" , sans-serif;">t</span>.</a> Michael is an inspiring </span></span></pre>
<pre><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">person. We worked well together, He did a wonderful job.</span></span></pre>
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<pre><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.bar-none.com/mosquitos/" target="_blank"><span style="font-family: "trebuchet ms" , sans-serif;">O<span style="font-family: "trebuchet ms" , sans-serif;">RDER </span></span>THE MOSQUITOS ON BAR-NONE.COM</a> </span></span></pre>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-50267931575084387272017-01-24T12:58:00.001-08:002017-01-28T13:55:45.649-08:00MAD HAPPY: HOBOKEN HIPPIES IN A POST-ILLTET WORLD<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIpQw9W0sSZuOjdqMIb9GCWeV1CnVzki2-P5gP_WQFmQ8YEB7-WkpYZzZXPQ8ThWFmZI886KQU0FQK8kq4zTvtfWxfAcMUS4K5IJxyJz5BW_gWcFDUl9eZHHEoE-mp7kHA5XsuecbIZVEU/s1600/mad+happy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIpQw9W0sSZuOjdqMIb9GCWeV1CnVzki2-P5gP_WQFmQ8YEB7-WkpYZzZXPQ8ThWFmZI886KQU0FQK8kq4zTvtfWxfAcMUS4K5IJxyJz5BW_gWcFDUl9eZHHEoE-mp7kHA5XsuecbIZVEU/s400/mad+happy.jpg" width="400" /></a></div>
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">MAD HAPPY - Feel Good Music...for the broke middle class</span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">(April 23, 2002)<br /><br /><span style="font-size: small;">Mike "ILL" Kilmer grew up on the streets of Hoboken and, with his childhood friend Emilio "Zef" China, formed the Sweet Lizard Illtet, whose sweaty mix of funk, hip-hop, industrial roar, and hard rock earned them a deal with Warner Bros. Records in the early Nineties. After the Illtet had run its course, Mike started to perform - first as a solo artist, then as a band - under the name Mad Happy, switching from bass to an unconventional style of guitar. He would eventually marry one of his bandmates, and Mike and Rivka would leave Hoboken for warmer climes down South. The hard, fast, almost violent beats of Sweet Lilzard Illtet presaged the coming of industrial rock and nu-metal. but on <i>Feel Good Music...for the broke middle class</i>, Mike brought a happier, hippy vibe. </span></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The inspiration for these songs came from all
sorts of places, people, and things: late-night hanging out in London,
the novels of Henry Miller, the in-your-face flamboyance of New York
City's drag queens. "'The Rock and Roll,'" Mike says, "was written for a
class of high-schoolers to whom I was teaching beginning guitar. They
love Slipknot and Incubus, and I wanted to write something simple with
cool lyrics that didn't include curses or talk about drugs. The rhythm of
the lyrics is the same as the guitar."</span></span><br />
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.bar-none.com/store/mad-happy-feel-good-music-for-the-broke-middle-class" target="_blank">MAD HAPPY ON BAR-NONE.COM</a></span></span></span></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Now based in Pensacola, Florida, Mike and Rivka are about to launch a new crowdfunding drive to finance the follow up to Mad Happy's ambitious touring rock opera, "Joys Of Armageddon." Mike was also nice enought to answer a few questions for us.</span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> </span></span></span></div>
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<b><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: The last time I saw you, you were touring Joys of Armageddon and your daughter Rinah was a baby. What have you been doing lately, and how old is Rinah? Is she interested in</span></span></b></div>
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<b><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">music or theater as well? </span></span></b></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">A: We're in Florida. Pensacola, which is about 200 miles east of New Orleans.
Rinah is 7 years old and Aśirah is 4. They are both home-schooled. Rinah
is super into visual art. Yesterday she was designing a rocking horse
that our awesome neighbor, David Alley, who is a master carpenter, will
help her construct. She and Aśirah “have a band” called The Super Rock
Girls. They both sing and play some piano. Rinah is learning guitar and
there’s a free music school two blocks from here in the Brownsville
neighborhood school they attend for two hours on Saturdays. Lamont
School of Music. It’s pretty awesome. I help out there a little and also
have a few piano students. Mostly I make websites for income these
days, am getting better at development, and becoming fairly respectable
as a Solutions Architect. Rivka has a hair salon in the house and makes
skin care products, which you can check out at <a class="" href="http://rivka.com/" target="_blank" title="This external link will open in a new window">Rivka.com</a>.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">As
far as performing, we have been fairly quiet since having the second
child. I learned accordion and we have been developing our singing
skills, as well as both becoming certified as yoga teachers, mainly
because our friend who’s studio it was made it impossible not to. We’re
also involved with the Afro-Cuban Ifà community down here, and we kind
of combine all of the above in Kirtan’s we lead, which are a cross
between a sing-a-long, ecstatic dance and meditation. We made a mantra
album with Emilio and Scott Anthony called Naad Your Heart. The act is <a class="" href="http://bhujangasangha.com/" target="_blank" title="This external link will open in a new window">Bhujanga Sangha</a>, which means Serpent Union or Cobra Community.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<b><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: I went to <a class="" href="http://madhappy.com/" target="_blank" title="This external link will open in a new window">Madhappy.com</a> and found some blog entries about computerprogramming that I won't even pretend to understand. What is this projectand what have you been working on? What's the current status of MadHappy? The last time I saw you, you were doing a mix of music and theater.</span></span></b></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">A:
We are still into both and our duo act kind of combines the two things.
The events we have been doing have been in a theater or dinner theater
setting and we do lots of bits between songs, which of course contain a
good deal of political and social commentary and encouragement. Rivka
has come out as bi-gender and we’re involved with the local trans-gender
community, as well as other community organizing and activism. I’m the
chairman of our new Historic Brownsville Community organization.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The
computer programming projects I’ve been blogging about on the Mad haPPy
site include an International Folk Dance Music archive, which includes a
lot of Macedonian, Balkan and Roma music we dance to with a small local
group, and a Faitheist Hymnal which at this point is a 75 page booklet
containing a bunch of the chants we write and some commentary on them.
It’s all done with Open Source software, which means free for anyone to
use. A foundation called Puffin Foundation West has been really
supportive and one of the grants they gave us was for a two person
musical called Are We Done Yet, for which Seth Tobocman did some art
work. He’s the artist that did the artwork for the Sweet Lizard Illtet
record.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We’ve
been writing songs over the last few years, many of which are based on
music that was part of dreams. Some interesting material. We’re
recording with Emilio and our old friend Billy Martin (Medeski, Martin
and Wood) next month with Scott Anthony at his studio, Story Book Sound
(which by the way is having a grand reopening party on Feb 4th). We’re
really psyched about it. Billy, Emilio and I have not been in the studio
together since the early days of SLI so we’re all very curious to see
what the chemistry will produce.</span></span></div>
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<b><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: When you made the Mad Happy album for Bar/None, you switched from bassto guitar (a very unique style of guitar.) What inspired this switch andhow did it influence the music that Mad Happy was making at the time?</span></span></b></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Well,
I had been playing guitar for a while. I decided to learn guitar one
day when at a friend's house and a guitar was the only available harmonic
instrument. Pianos are less frequent and there aren’t really any
acoustic bass guitars that don’t require an amplifier (there were some
made at one point, I think), so they’re not very portable. There wasn’t
really a Mad haPPy previous to the guitar. Subsequent Mad haPPy records
like the one we made with Chris and Tina Frantz were more, if not
mostly, electronic.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Q: I have so many great memories of watching the Sweet Lizard Illtet growand become so popular, and one of the things I loved about the band isthat you were all kids from the streets of Hoboken. Can you talk a little about growing up there in the Eighties when the city was just starting tochange from a sleepy post-war ghost town to the booming yuppie metropolis it's become? </b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">A:
Emilio and I met in day care center and rebelled against nap time
around 1972. Our parents were part of a Co-operative Nursery School on
Castle Point Terrace, from which at age six, we would escape and run
around on the Stevens Tech campus and as far as the bluffs on River
Road, which was at that point littered with abandoned industry:
overgrown weeds and empty tanks, surrounded by cement walls. Kids would
jump of these loading trusses at the end of burned-out piers, into the
Hudson, which was still full of floating garbage and used condoms
(“Hudson River whitefish.”) These became our stomping grounds as we grew
older. We’d find murdered animals and hang out with old homeless wise
men. We used to love lighting fires. Once we even started a big enough
fire that like three fire trucks came. We thought we were really clever.
Stealing was our thing. Stealing penny candies from Nellie’s Deli on
10th and Bloomfield Street. And breaking bottles, of which there was no
shortage. And hiding from bigger scary kids, or running from them, or
getting pushed around. Occasionally befriending each other. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Our
parents were serious artists, but even more intense activists, and were
fighting school board corruption and illegal housing activities. So we
grew up with Pete Seeger, Mozart, Bach, and my mom was giving piano
lessons. KISS, the band, was huge. I remember one Halloween where it
seemed like every single kid dressed up as KISS. I transcribed the
lyrics to the song Beth — my mom’s name — and had memorized them by the
end of the transcription. Emilio explained to me that KISS sucked. The
Beatles were good. That didn’t stop us from being totally enamored by
Pegasus, who were a few years older than us and had done a KISS cover
act.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">A
video arcade called Mr. Biggs opened up on the corner of around 9th and
Washington Street. Berserk, the “Intruder Alert!” 8-bit video game was
there. A tiny little private school was started by a progressive and
selectively loving dictator, which was less scary than the public school
scene and had some great teachers. "Planet Rock" by Africa Bambaata was
playing on boomboxes. "The Message" by Grandmaster Flash was on the radio.
Once on a school trip, it seemed like half the class had that Sugar
Hill Gang song memorized. Kids started dressing like RUN-DMC and
learning to break dance and pop and lock. My brother Ben had a baseball
cap with his crew name on it and matching colored LEE jeans. Everybody
was into kung-fu with homemade nunchucks. They had double features at
this lo-fi movie theater around 1st and Hudson. Horror. Kung Fu. Pink
Floyd’s<i> The Wall</i> played there.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
<div class="" style="margin: 0px;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We
avoided the populated streets, finding our way to the trains tracks on
the West Side and toward Weehawken and the Bluffs around there. Court
Street was still really greasy and unpopulated and that was the
North/South route. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
<div class="" style="margin: 0px;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We
were terrible at sports, which is what most of the local boys, and many
girls did. I was better than Emilio. Don’t think he even tried. I was
simply last pick. Lots of football played in the streets. There were
also epic games of bottle caps and manhunt in and around the parked
cars. Tenement housing and lower-middle-class brownstones were
interlinked from one block to the next and there was a ton of Puerto
Rican and Dominican culture. Lots of Spanish being spoken and Salsa
music, in it’s dawning, was everywhere.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Along
with smoking herb came listening to Zeppelin, Van Halen, Black Sabbath,
Jimi Hendrix — the almighty god of guitar when we were like 13 = and
shortly afterward we discovered Blondie, Devo who were having hits, but
at the same time we were being introduced to local jazz musicians like
Perry Robinson and Joe Ruddick, who taught us how to improvise. This was
around the time that Steve Fallon founded the River City Fair, which
happened at the piers on River Road, which must have been a little more
cleaned up by then. It would have been the early Eighties. A kid name
Jerry Torrez played us an instrumental rock record by a band called the
Dixie Dregs, which seemed to combine rock and jazz. Pier Platters was
opened by that time and we would go in there and buy used jazz fusion
records: Mahavishnu Orchestra, Jean-Luc Ponty. They’d look at us like we
had three heads.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
<div class="" style="margin: 0px;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Joey
George taught me how to tune and begin to play the electric bass. He
played me a live video of "I Shot the Sheriff" by The Wailers, which is
unforgettable. Emilio got a cassette of Talking Heads' <i>Fear of Music
</i>record and we wore it out.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Most
of the other Hoboken kids were all about Heavy Metal. Jersey Dogs,
Attacker. We were slowly finding our way to funk and hip-hop. Tia,
Alice and Karen from Gut Bank were probably hip to various punk bands. I
think I remember Tia mentioning Siouxie or she might have had a sticker
or something. From a punk or indie perspective we were totally un-hip.
We played a lot of Dungeons & Dragons and practiced magic and
meditation. There was lots of angel dust around. A ton of it. We dabbled
for a while, smoked a ton of herb — what little we could get — and
treated psychedelics like a sacrament.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
<div class="" style="margin: 0px;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We
always had bands, but there was no place to perform. That was a
constant frustration. Emilio and I had a synth and violin electronic
music duo when we were like 15 and this place called O Roe Electric Art
Space started doing progressive events. We got to play there and also
hooked up with these poets who were doing a collective out of Maxwell’s
and we performed with them. One of the poets was a black activist named T
Obatala, from Newark. That was great. But there were no all ages venues
for our bands. The manager of The Beat'n Path wanted to love us, but
his support was trumped by his duty to the government not to allow
underage people in the venue. Eventually we were invited to sit in with
Perry Robinson’s band at Court Street. That was cool. Walter Perkins,
who had been in Charles Mingus’ band, was on the drums. We all smoked
herb in the alleyway between sets. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Having
seen the violent gentrification of Hoboken and unethical ousting of
President Carter by the Reagan/Bush regime, we were well ready for
burning oil drums and revolutionary demonstrations through the
mid-Eighties and got turned on to Gil Scott Heron’s <i>The Revolution Will
Not Be Televised</i>, which in many ways was the boiler plate for at least
an aspect of what we were doing with Sweet Lizard Illtet. That combined
with avant-garde and free jazz. We wanted to change the world and be
part of a political and social revolution. This was around the time of
what we described as “class war” on the Lower East Side, and the
Tompkins Square Park Riots. That was the period SLI became popular
during.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br class="" /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Susan
Perrin, who was one of the founders of O Roe Electric, started managing
Boo-Boos on First Street and we got to be part of a really eclectic,
integrated music scene there. Blues, Latin jazz, funk. It was awesome.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I guess that’s more than a little about it.</span></span></div>
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Mike and his old Illtet bandmate Emilio China have launched an Indiegogo campaign to fund a new musical project. You can read about it <a href="https://www.indiegogo.com/projects/mad-happy-w-emilio-china-billy-martin-promise-transgender#/" target="_blank">here...</a><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Mad Happy On iTunes</span></span></b></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"></span></span></b><a href="https://itunes.apple.com/us/album/veronica-veronica/id281153949?i=281153984" target="_blank"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Veronica, Veronica</span></span></a><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br /></span></span></b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><a href="https://itunes.apple.com/us/album/magdeline/id281153949?i=281153962" target="_blank"><span style="font-size: small;">Magdeline</span></a></span></span><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"></span></span></b></div>
<div class="">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><a href="https://itunes.apple.com/us/album/parking-lot-song/id281153949?i=281154052" target="_blank"><span style="font-size: small;">Parking Lot Song</span></a><br /><a href="https://itunes.apple.com/us/album/leaky-eyes/id281153949?i=281154028" target="_blank"><span style="font-size: small;">Leaky Eyes</span></a></span></span></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"> </span></span></b><br />
<br />Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-87062893092083490842017-01-16T16:55:00.000-08:002017-01-16T20:40:38.351-08:00HEALTH & HAPPINESS & MAKING MUSIC FOR THE FUN OF IT<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUjxLGkirXTpmrwXWG7OJHP_5PjjvikAWW35LGJ5nk3qqggO-g2U8qdDJNx05Z0XTA_X7VUPB14vzA8Wz8AyASwe3s09Ng2hooXWXeZx0Cs1UrmPvR5a_ZQOWuoKGbQd4TbFT5oKCuCPUR/s1600/health+and+happiness+tonic.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUjxLGkirXTpmrwXWG7OJHP_5PjjvikAWW35LGJ5nk3qqggO-g2U8qdDJNx05Z0XTA_X7VUPB14vzA8Wz8AyASwe3s09Ng2hooXWXeZx0Cs1UrmPvR5a_ZQOWuoKGbQd4TbFT5oKCuCPUR/s200/health+and+happiness+tonic.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgds1mGSVVIAAfh90SY1wqmModD0gePx2KgCujqtotp5V4xjCXpzlI_KK4MpP2PnicyxCdqlg5PazDf9aj5dHSttxN4XmsnGHhyphenhyphenhwz5BIma2jALnhdPEzuBji-oJbf3PiCTWN6mLoL1bb_i/s1600/health+and+happiness+instant+living.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgds1mGSVVIAAfh90SY1wqmModD0gePx2KgCujqtotp5V4xjCXpzlI_KK4MpP2PnicyxCdqlg5PazDf9aj5dHSttxN4XmsnGHhyphenhyphenhwz5BIma2jALnhdPEzuBji-oJbf3PiCTWN6mLoL1bb_i/s200/health+and+happiness+instant+living.jpg" width="200" /></a></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">The Health & Happiness Show - Tonic (October 28, 1993)<br />The Health & Happiness Show - Instant Living (July 18, 1995)</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">The Health & Happiness Show started with two old friends sitting around a kitchen table, playing Hank Williams songs and sharing a few beers. Jim Mastro had been pursuing a music career since his teenage days performing with Richard Lloyd's post-Television band. He toured the world with the Bongos and then burnt out trying to get his chamber-pop group Strange Cave signed in the major label rat race of the post-Nirvana Nineties. Vinny DeNunzio had been a founding member of the Feelies and had his share of near-miss bands as well. But playing music together in their kitchen was fun. "We </span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">started getting together with other friends around their kitchen tables,
and I realized that if I pushed all the tables together, we had the makings of a
band - a band that wanted to play just to play - not to get a record deal.
We booked a show, had a good time, and booked another." <br /><br />Vinny became St. Vincent DeNunzio. Graham Maby joined on bass, then Tony Shanahan came aboard on bass and keyboards when Graham was away on tour. They added fiddle, pedal steel, mandolin. They took their name from a Hank Williams radio show and soon became favorites on the local club scene, then did what Vinny and Jim swore they didn't want - got a record deal with Bar/None. These days, Jim Mastro still performs with friends like Karyn Kuhl and Ian Hunter, but is best known as the proprietor of the <a href="http://www.guitarbar.com/" target="_blank">Guitar Bar,</a> offering musical instruments and lessons at three locations in Hoboken and Jersey City.</span></span></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYQvsj4Zxwrq8CLChKs7BNKDY2ibI9dy8kykp-KS2pekjkCWTTbEPrzGiBTrsva_DkTcrTiu8wNmRaIOcY0vytZ2NjJqoP4xErc0dQQfnIEuAuz21pi0yhiQoJtn4WKi1PstUUnR1wVOlA/s1600/health%2526happiness2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYQvsj4Zxwrq8CLChKs7BNKDY2ibI9dy8kykp-KS2pekjkCWTTbEPrzGiBTrsva_DkTcrTiu8wNmRaIOcY0vytZ2NjJqoP4xErc0dQQfnIEuAuz21pi0yhiQoJtn4WKi1PstUUnR1wVOlA/s400/health%2526happiness2.jpg" width="400" /></a></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />Q: Looking back, it's ironic that Strange Cave is the band that was supposed to make you rich and famous, but Health & Happiness Show seems to be the band people remember most fondly. </span></span><br />
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jim Mastro: Strange Cave - my
band after The Bongos - had every major label's ear for a while. We had
endless meetings, showcases, demo deals, and were promised the moon. But
the A&R people who loved us could never convince the money people
to sign us. After awhile I realized I was playing music trying to cater
to people who were more like used car salesmen then music lovers. It was
a drag and killing my love for playing music. So as much as I loved
everyone in the band, for my sanity's sake I had to end it. After a
short while I invited my old drummer friend Vinny DeNunzio over for some
beer and donuts. The acoustic in the corner was picked up and we
started singing old Hank Williams songs. And we had fun. This turned
into a weekly get-together, and then Graham Maby started stopping in,
and other friends, too. After some time, I realized I was looking at a
band in my living room, so I booked a gig without telling them, and then
invited them to the show. Luckily, they all showed up, we played, had
more fun, and decided to continue.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHPFLb1_PUHr5pwcsW6tem498u0H2Csl9L7lc-3kHZrr181yvi3d-GcIcO3qVO6x5bx_eODFODAaUJiw2CT83x26HgTnOVHP9fl3tlXCLshovR3Ib1scJNf10kqSH6bD5fo7Zsh6u_APSR/s1600/health%2526happiness+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHPFLb1_PUHr5pwcsW6tem498u0H2Csl9L7lc-3kHZrr181yvi3d-GcIcO3qVO6x5bx_eODFODAaUJiw2CT83x26HgTnOVHP9fl3tlXCLshovR3Ib1scJNf10kqSH6bD5fo7Zsh6u_APSR/s320/health%2526happiness+1.jpg" width="320" /></a></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: Is it true you had a near death experience on the road that influenced your second Bar/None album <i>Instant Living? </i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jim: We
were on tour and heading to Nashville for some shows. A car cut us off,
and in trying to avoid hitting it, I swerved and our van - full of gear
and 5 people - rolled over twice. The vehicle was totaled, but
amazingly no one was seriously hurt. Surviving something like that
definitely reinforces your joy to be alive. Lyrically, I think I was
more introspective and philosophical on that record; musically, it's a
much more electric and faster-paced album then <i>Tonic</i> was. Hurtling at
70mph with the sound of crushing metal in your ears will do that to you.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiobTbNfwfJXV0xItVAF0jG9exLWr2693nE6OVBK23kiIWE8wtKKH9c4LSEHxGsYLNvTucHq8PMcCmVGB0oaZAPBkhyphenhyphen_YT9axk8zWowM6NOIDbkZwlzsAu02VuT3BEg9JHxcuB1rr4yxQ_t/s1600/health%2526happiness3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiobTbNfwfJXV0xItVAF0jG9exLWr2693nE6OVBK23kiIWE8wtKKH9c4LSEHxGsYLNvTucHq8PMcCmVGB0oaZAPBkhyphenhyphen_YT9axk8zWowM6NOIDbkZwlzsAu02VuT3BEg9JHxcuB1rr4yxQ_t/s400/health%2526happiness3.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: Are there any lessons you learned in your career as a working musician that's helped you in your successful career as a local businessman?</span></span><br />
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />Jim:<span style="font-family: "trebuchet ms" , sans-serif;"> </span>Learned and
still learning. Everyone's different, and everyone has a story. If
you're not a good listener. you're not going to be a good musician. And I
think the same applies for the business owner, the priest, the cop, the
checkout clerk. There's a story in every word. You just have to be open
24 hours a day to hear it.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span><br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/HONkF3qwWwo" width="560"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-46135849190514748022016-12-26T15:18:00.000-08:002016-12-26T15:18:27.227-08:00HOTEL LIGHTS SHINE BRIGHTLY ON 2016 ALBUM<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhfMUwkYIahs2FF0nq185g3WsbNL0y4CrKqdBeF1-gEBNoRfw32wMjgnPndOVg5xhK5y8AnTl-EEzVAQesN-qEMAT12IB0xRE_fm7tqEhv1o53B-WGyqPjfEGi19r4wKtlriqdsZXfcc8T/s1600/HOTELLIGHTS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhfMUwkYIahs2FF0nq185g3WsbNL0y4CrKqdBeF1-gEBNoRfw32wMjgnPndOVg5xhK5y8AnTl-EEzVAQesN-qEMAT12IB0xRE_fm7tqEhv1o53B-WGyqPjfEGi19r4wKtlriqdsZXfcc8T/s400/HOTELLIGHTS.jpg" width="387" /></a></div>
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Hotel Lights - Hotel Lights (March 7, 2006)<br />Hotel Lights - Firecracker People (August 19, 2008)<br />Hotel Lights - Girl Graffiti (August 16, 2011)<br />Hotel Lights - Get Your Hand In My Hand (March 4, 2016)</span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-size: small;">Darren Jessee is Hotel Lights, a project he's pursued for over a decade when not preoccupied by his duties as the drummer of Ben Folds Five. A North Carolina native who now lives in Brooklyn, Jessee has teamed with musician/producer Alan Weatherhead and an impressive list of session musicians to create four sterling albums renowned for their elegance, understated hooks, and refined arrangements. <i>Get Your Hand In My Hand,</i> released in March, 2016, "</span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-size: small;">continues Jessee’s tradition of writing subdued, melancholy guitar pop," wrote PopMatters.com. Kevin Matthews of PowerOfPop.com hailed the album as "p</span></span><span class="s1">erfectly constructed pop-rock tunes drawn from the
classic 60's/70's songbook, a fitting tribute to halcyon days, where
sophisticated pop ruled the airwaves and the charts." </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span class="s1"></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikfDU7GpWdxYB3UWar4NAJQ83HSTwm8mTbzkronHOzEJX_pQisiUO3Emtd1vCwazvzlR2-DJ8F2fKQCmJjZ7Mew4AypnBKKBHrtn9xV9R49agBvgIuCEwX77unH51cXuyuF0r30ECdbuqN/s1600/darren.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikfDU7GpWdxYB3UWar4NAJQ83HSTwm8mTbzkronHOzEJX_pQisiUO3Emtd1vCwazvzlR2-DJ8F2fKQCmJjZ7Mew4AypnBKKBHrtn9xV9R49agBvgIuCEwX77unH51cXuyuF0r30ECdbuqN/s400/darren.png" width="400" /></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span class="s1"><br />"</span><span class="s1">What he achieves on the album is a wonderfully crafted record with
captivating songwriting and delivery," raved the Canadian website The Revue.ca. "It’s witty, dramatic, intimate,
and emotional, at times it’s sad, but there is a warmth to it provided
by Jessee’s voice and the alluring quality of the instrumentation on
this record." </span></span></div>
<div style="text-align: left;">
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;">Q: There was a five year gap between <i>Get Your Hand</i> and its predecessor, and of course there was a Ben Folds Five reunion and world tour in there.
Is Hotel Lights something you can put aside for a period of time, or are you always writing and demo'ing? Can you write on the road or do you need
a period of quiet study? Does the fact that the album came together over a protracted period of time explain how the songs seem to segue through a
number of different styles and genres? </span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIpfiXZNoh9M-CYn9eMAiDmf2WmJvqBGt7kHBkVadYT6S5HFWUaNReFvKynDI8gS818sC-HtIR9jgph5N09TCHGb_puKb_o9OfHwcPGGbigfWKuCXQ6Itbc5xJXWFcUQHZMrKYDQ-7wUaC/s1600/HotelLights.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIpfiXZNoh9M-CYn9eMAiDmf2WmJvqBGt7kHBkVadYT6S5HFWUaNReFvKynDI8gS818sC-HtIR9jgph5N09TCHGb_puKb_o9OfHwcPGGbigfWKuCXQ6Itbc5xJXWFcUQHZMrKYDQ-7wUaC/s400/HotelLights.jpeg" width="292" /></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;">Darren Jessee: Yes. There was a Ben Folds Five reunion album and tour, and after that I traveled the world as part of Sharon Van Etten's band. I'm currently touring with Hiss Golden
Messenger. I don't write a lot while I'm on the road beyond gathering a few ideas here and there. It takes a routine for me most of the time. But when I'm home, I am
often writing. I have new songs written for what will be the first Darren Jessee album. <br /><br /><b>Q: The tone of <i>Get Your Hand</i> <i>In My Hand</i> is also quite a bit different than the album before it, less joke and much more pensive and introspective. Was that a
result of personal changes in your life (there are some great break up songs on this album) or is just the way your muse spoke to you?
</b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />Darren: If you listen to the tone of the first two Hotel lights albums, they could also be considered as you described, more introspective and pensive. The album you're
referring to --Girl Graffiti, was a conscience decision on our third album to keep it looser and try different moods. I've gone back to my emotional landscape roots on
the new album, and it's my favorite Hotel Lights album experience.
<br /><br /><b>Q: I noticed in most of the reviews of <i>Get Your Hand</i> that many critics didn't seem to recognize "Lens Flare" as a bossa nova. How do you feel
about the state of criticism today. the way your work is received, and the prevalence of DIY blogs over the magazines and newspapers of a
generation ago? </b><br /><br />Darren: I'm grateful for anyone who wants to write about my albums. There are so many hyperbolic statements in music criticism today, you really must listen for yourself
to know what anything is. The idea that a music critic knows a bossa beat or even how to play chords on the piano is asking a lot. Almost every review of Hotel Lights
starts by by citing that I was in Ben Folds Five and co-wrote Brick. The artfulness of Hotel Lights is often overshadowed by the discussion of defining me and then
comparing it all to my past.
<br /><br /><b>Q: A lot of rock music starts with a hook or a catchy, repeating chorus; you eschew those tools. When you start writing a song, what's foremost in
your mind? Are you writing to a listener, or to yourself?
</b><br /><br />Darren: I'm writing for myself and trusting my intuition about it. But I do like to imagine how one of my friends will feel when they hear a new idea. That comes later when I'm
mixing. I aspire to go with the flow of being creative when I'm writing. The hooks are subtle, yet they grow on you in the best way.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /><b>Q: There is a lot of the new album that reminds me of Big Star or Game Theory, bands that never had "hits" but which endure because to certain
fans, those bands are the most important thing in their life. You said that you aren't that active in social media, but I'm wondering if you
manage to maintain a sense of community with your fans?
</b><br /><br />Darren: I feel like Big Star endures because of the quality of those albums. When I'm on tour as a freelance drummer, I meet fans every day who don't know about my records.
Which is also a problem Big Star ran into. I'm hesitant to compare us beyond that. I feel better when I'm limiting my time on social media. A little mystery completes a
person. I was once pretty famous for a musician from NC, on MTV every hour. I didn't completely enjoy that part of it. I don't feel myself leaning into the idea of
cultivating an image or seeking constant affirmation. I simply love being an artist and making meaningful music. I like keeping my mind in that space. </span><br />
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-70277776451035031992016-12-20T06:22:00.001-08:002016-12-20T06:22:03.408-08:00VINICIUS CANTUARIA: BLAME IT ON THE BOSSA NOVA<br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Vinicius </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Cantuária </span> - Horse And Fish (May 11, 2004)</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br /><span style="font-size: small;">Vinicius </span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Cantuária </span>came to Bar/None as an established star in his native Brazil, a leading figure in the worlds of bossa nova and jazz. </span></span><span style="font-size: large;"><span style="font-size: small;">Leader of the rock band O Terco, he released six albums in Brazil in
the 80's and with his album <i>Sol na Cara</i> (Grammavision), was a pioneer
of the neo-Brazilian music in 1996.The multi-talented singer, composer, guitarist, and percussionist came to New York in the mid-90's and immersed himself in the city's avant-garde underground, collaborating with artists like Arto Lindsay, David Byrne, Brian Eno, and Laurie Anderson. In 200<span style="font-family: "trebuchet ms" , sans-serif;">4</span>, he teamed with Bar/None for <i>Horse And Fish,</i> his 11th studio album. "</span></span>Since the earliest days of bossa nova in the 1950's, Brazilian singers
and musicians have competed with each other to be the most understated,
subtle practitioners of the form," wrote Chris Moss for the BBC. "Vinicius Cantuária is arguably the current master of the subliminally sensual." JazzTimes opined, "Even as </span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Cantuária </span>aims toward modernism, he interprets canonical
Brazilian themes like 'O Barquinho' and Jobim's 'Ligia,' his voice
taking on a strikingly intimate, vulnerable quality on the latter." These days, <span style="font-size: large;"><span style="font-size: small;">Vinicius owns a studio in New York City and still travels frequently to Brazil, where he continues to create and produce. </span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Q: You came to America with an international reputation in jazz and bossa nova, but when you came to New York, you worked with many artists in the avant-rock world like Arto Lindsay, Laurie Anderson, and David Byrne. How did these collaborations change the course of your career, and what influence from these people have you brought into your current work?</b></span>
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<i><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Vinicius: When I started to work with that group of musicians I
felt I had found a sound that entered well in my music and my aesthetic.
It was a rich give and take of possibilities. I was influenced and in
turn influenced these artists and together we made some fantastic music.
Of course this all took my music to another level and my work still
reflects this time in New York<br /> </span></span></i><br />
<b><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: Many Americans (including myself) were introduced to bossa nova by Frank Sinatra's collaborations with Jobim. How do you think Jobim's legacy and artistry has survived 40 years later? Is he still influencing the music in Brazil and elsewhere?</span></span>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /><i>Vinicius: Jobim is one of the biggest
musical influences of the past century and his music is still alive and
current, continuing to influence musicians across the world. And one of
the reasons why his music is still current is that his harmonies and
melodies, in addition to their Brazilian touch, create a bridge between
jazz and classical music - something that makes it universal, seductive
and appreciated by musicians and listeners <br /> </i></span></span><br />
<b><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Q: What would you tell the American listener who is not familiar with bossa nova to get them to give it a try? What about this music is universal and timeless and appeals to so many different tastes?</span></span></b><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Vinicius: I think
everyone has heard one way or another a song by Jobim, so in that way
everyone has heard Bossa Nova, but for someone starting out I would
recommend listening to the classic album with Stan Getz playing the
classic "The Girl from Ipanema" From there you can discover many other
recordings with the interplanetary music of Jobim and other bossa nova artists.</i></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-74923693176139083432016-12-12T18:11:00.000-08:002016-12-12T18:12:36.502-08:00TWINKLE, TWINKLE, TINY LIGHTS<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Tiny Lights - The Young Person's Guide To Tiny Lights (October 17, 1995)</span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Tiny Lights - The Smaller The Grape, The Sweeter The Wine (March 18, 1997)</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Tiny Lights straddled both the New Brunswick and Hoboken pop scenes when they formed in 1985, the brainchild of singer/guitarist John Hamilton and singer/violinist Donna Croughn. The original lineup included cellist Jane Scarpantoni, bassist Dave Dreiwitz, and drummer John Mastro (brother of the Bongos' Jim Mastro.) The group enjoyed a remarkable decade-plus career, releasing seven albums and touring the country with artists like Michelle Shocked, 10,000 Maniacs, Henry Rollins, Poi Dog Pondering, the Feelies, and many others. The band's unique mixture of orchestral pop and psychedelic improvisation - often expanding its lineup to include trumpet, saxophone, tabla, and bass clarinet - inspired Rolling Stone to dub the group "Sly & The Family Partridge."<br /><br />Bar/None released the career-spanning compilation <i>The Young Person's Guide To Tiny Lights</i> in 1995, and the group's final album,<i> The Smaller The Grape, The Sweeter The Wine,</i> in 1997. Dave Dreiwitz and Jane Scarpantoni went on to enjoy long careers, Dreiwitz as a member of Ween and Scarpantoni as accompanist for Lou Reed, R.E.M., Bob Mould, 10,000 Maniacs, the Indigo Girls, and Bruce Springsteen. Hamilton and Croughn married and are now raising a family in Cambridge, Massachusetts, where John is a professor at Harvard University.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Tiny Lights (l. to r.) John Mastro, Donna Croughn, John Hamilton, Dave Dreiwitz</td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Dave Dreiwitz:</b> </span><span class="_5yl5">When Tiny Lights began, our goal was to make and perform beautiful music together. We worked very hard touring and recording. We had our own sound and that was what was most important to us.The very first Tiny Lights concert was in 1983 opening for The Bongos at the Showplace. I was a senior in high school. Somehow we always managed to get on some really cool bills. We played with so many different bands including John Cale, 10,000 Maniacs, Lenny Kaye, The Hoodoo Gurus, Lucinda Williams, Jim Carroll and The Feelies. When we started touring nationally we opened for Henry Rollins, Mojo Nixon and Michelle Shocked all on the same tour! In the early 90's, I remember one great bill at the original Knitting Factory with Kramer, David Peel (with the Pope of Pot!) and Luscious Jackson.</span></span><br />
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<br />Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-45345048728938335302016-12-06T13:11:00.000-08:002016-12-06T13:15:29.522-08:00THE FEELIES ANNOUNCE NEW ALBUM COMING IN FEBRUARY<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br />The Feelies - Here Before (April 21, 2011)</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>The New Yorker </i>proclaimed the Feelies "one of America's most beloved alternative rock bands," <i>Rolling Stone </i>listed their groundbreaking debut <i>Crazy Rhythms</i> as one the 50 best albums of the Eighties, and a small army of jangling, pastoral, and frenetic indie-rockers have claimed them as an influence over the last three decades. Mostly, though, the Feelies remain an American original. "<span style="font-family: "trebuchet ms" , sans-serif;">From their Passaic County fastness, the Feelies imbued nerdy suburban goofiness with spare downtown cool, rocking out all the while," wrote Robert Christgau. <span style="font-family: "trebuchet ms" , sans-serif;">But <span style="font-family: "trebuchet ms" , sans-serif;">per<span style="font-family: "trebuchet ms" , sans-serif;">haps percussionist Dave Weckerman said it best, speaking to <i>Jersey Beat</i> fanzine back in 1986: <span style="font-family: "trebuchet ms" , sans-serif;">"Being in the Feelies is like living in a pyramid. Nothing ever changes and no one ever grows older."</span></span></span></span> </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Bar/None released <i>Here Before</i> in 2011, ushering the Feelies into the 21st Century following a 20-year hiatus. The label has also reissued the Feelies' four classic previous albums - <i>Crazy Rhythms,</i> 1986's <i>The Good Earth</i>, 1988's <i>Only Life,</i> and 1991's <i>Time For A Witness<span style="font-family: "trebuchet ms" , sans-serif;">, </span></i><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">which are available <a href="http://www.bar-none.com/the-feelies/" target="_blank">here.</a></span></span> </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />O</span>n February 24, 2017, Bar/None will release the Feelies' sixth album, <i>In Between</i>, and the band recently gave fans a first taste from that album with the song "Been Replaced." We asked Stan Demeski - the Feelies' drummer since 1986's The Good Earth - how new songs come together these days, with the band spread out over five cities in three states.<br /><br /><b> </b></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><b>Stan Demeski:</b> </span></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Since we started playing again in 2008 we’ve had enough shows
where we would have to get together several times a year to prepare for
them. So we do see each other more than you might think. Both members
who don’t live in the area anymore still have family here as well so
there’s reasons other than the band to come back. If someone has a new song and feels like playing it at rehearsal or
sound check, we give it a shot. But usually demos are sent out before we
play a new song. For myself, I work on them at home and try to learn
the song forms. If Glenn has a drum part on his demos, I try to play
what he has. I might change it to fit my style a bit or to how I think
it could be more effective. That’s mostly changing the bass drum part to
fit with the rhythm guitar part.
Bill will record guitar only demos at home, put them on CD and send them
to the other band members. Glenn does a similar thing but his demos
tend to have more to them since he writes the lyrics and most of the
melody lines. Some of his demos are almost complete songs. We did some
demos for this new LP with just the three of us recording. I think Glenn put
bass on those tracks to fill them out and get a better idea of the
arrangements.<br />
<span class="im"><br /><b>Q: Looking at the entire timeline of the Feelies, the past few years
have turned out to have been some of the <span style="font-family: "trebuchet ms" , sans-serif;">group<span style="font-family: "trebuchet ms" , sans-serif;">'s </span></span>most prolific. Is the band
just in a good place now, or is there a sense of urgency that
no one is getting any younger and there may only be time for a few more
releases?</b><br /><br />
</span>Stan: A bit of both. I wish we would have gotten back together sooner
but it didn’t work out that way. I think not playing music to make a
living certainly frees things up. And we are getting older for sure.
Glenn and Bill both seem to write more now, I’m not sure why. Bill has
already mentioned working on 'the next record.'</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /><b>Q: Th</b><span class="im"><b>e Feelies have always been a band that radiated humility, in
everything from the band's onstage persona to its interactions with its
audience to the very humble interviews we'd read from Glenn and Bill.
I'm just wondering if, when you're by yourselves,does the band every start talking about its legacy
and where the Feelies fit into the pantheon of American rock?</b><br /><br />
</span>Stan: I don’t, that’s for sure. And it’s their band, I just get to play
in it. They can think about those points if they like, but I don’t think
they do.<br />
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<br />Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-33759062213227514702016-11-28T20:10:00.000-08:002016-11-29T08:52:32.031-08:00LIKE A BIRDIE ON A WIRE: BIRDIE BUSCH<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Birdie Busch - The Ways We Try (January 1, 2005) </span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Birdie Busch - Penny Arcade (September 27, 2007)</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">Emily "Birdie" Busch, "</span><span style="font-family: "trebuchet ms" , sans-serif;">Philadelphia's whimsical, verse-weaving siren," according to NPR, has always had a way
with storytelling. Her lyrics are introspective, offbeat, and oozing with sentimentality. The nickname "Birdie" has nothing to do with singing; "it was bestowed upon me by a friend after a beret with metal studs was
bestowed upon my head. It had nothing to do with singing, just silliness.
So when they ask, 'what came first, the beret or the bird?' I say
the beret," she told YellowBirdProject Blog.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">After ingratiating herself in Philadelphia's alt-folk scene in the early '00's, Birdie's debut album<i><b> </b>The Ways We Try<b> </b></i>was recorded with producer Devin Greenwood (Amos Lee, the Weeds, JF Maher) and released on Bar/None in 2005. </span> <span style="font-family: "trebuchet ms" , sans-serif;">At only age 25, Birdie captured the sweetness and complexity of some of America's finest singer/songwriters; A.D. Amorosi in the <i>Philadelphia City Paper</i>
described the record as "Not dag funky but odd funky - her crackled rosiness draws you into [the songs] as would a painter's
smallest strokes, asides that speak volumes when you stand closer. So
get closer." Birdie worked with Devin Greenwood again for her Bar/None follow up album <i>Penny Arcade</i> two years later, recording the bulk of the album at Devin's South Philly home studio (dubbed "The Honey Jar,") imbuing the album with a homey intimacy.</span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">One of the standout songs is “The Huff Singers (North Philly,)” about a
gospel singing group Birdie met while waitressing at a gospel brunch.
“Mr. Huff, who is in his 80’s, carries a Polaroid camera around and
he asked me if he could take my picture and then he gave me the copy. I
love to visit the group in their rehearsal space and listen to them swap old time songs and recordings; we
have made an effort to bridge the gap between cultures, and it’s a real
pleasure for me,” Birdie said at the time.<br /><br />These days, Birdie Busch continues to perform and record in Philadelphia, with strong support from NPR's Acoustic Cafe and Philly's WXPN. She released her latest album <i>Thunder Bridge</i> in June, 2016, and will be appearing at Ortlieb's in Philadelphia on December 7.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /><b><span style="font-size: large;"> Birdie Busch On Philadelphia:</span></b></span><br />
<div>
<span style="font-family: "trebuchet ms" , sans-serif;">Philly has been a city that has allowed me time and space to react,
write,record.live, love, and everything in between. It's not a "hustle"
kind of place although it is incredibly diverse and amazing. My
relationship has changed in that I've come to feel more responsible for
my contributions to this place, not only artistically but civically. I
do a lot within the context of my community and use my art and music to
make it all happen, including using albums to raise money for public
schools and also visual art grants, which you can check out at link
below.<a href="http://www.emilybirdiebusch.com/civic-art/" target="_blank" title="This external link will open in a new window"> http://www.emilybirdiebusch.<wbr></wbr>com/civic-art/</a></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;">For
me, the dawn of the Internet had less computer time and more real time.
Not that that wasn't an element of it. But initially, there was a lot of
hanging out at bars, open mics, etc. And when hanging at bars, you were
really there! Ha. No one was looking down at the screens, present
focused energy seemed to still be upheld. Gosh I miss that. The
collective experience without fractured attention. </span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;">Philly
has so many amazing musicians and that's always felt like a constant to
me. Right now, I've been really enjoying <a href="http://rosali.bandcamp.com/album/out-of-love" target="_blank">Rosali Middleman.<br /> </a></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;">I also really love <a href="http://www.sloweyandtheboats.com/#slowey" target="_blank">this group </a>that plays a lot of vintage Hawaiian kind of stuff. </span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;">But I could honestly send you a long list of great music from Philly of all different feels. </span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;">Being
in a smaller city has benefits and setbacks. I have had friends that
left for bigger cities to seek more paid work in music, especially
engineers and people in the production side of things. Many of us here
combine many different things to make our lives work. Music is a huge
part of my vitality, but with the state of music and living here I do a
lot of different things. In the end I think it all informs each other
and strengthens my soul. </span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-11822355796826518902016-11-21T19:06:00.000-08:002016-11-21T19:06:58.347-08:00SHEFFIELD BEAT: REMEMBERING STANDARD FARE<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br />Standard Fare - The Noyelle Beat (March 16, 2010)</span></span><span style="font-family: "trebuchet ms" , sans-serif;"> </span><br />
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<div style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;">Music was the family business for Emma Kupa. Her mother was in the Eighties anarcho-punk band Poison Girls. So perhaps it wasn't too surprising when she and teenaged pal Danny How started playing together. When they poached drummer Andy Beswick from Danny's brother's band, Standard Fare's alluring blend of adolescent crushes, young adult sexual longing, and gleeful indie-pop melody was born. Pitchfork.com wrote of the Sheffield, UK trio, "</span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The album's highlights-- 'Fifteen (Nothing Happened),' in which lead
singer and bassist Emma struggled mightily with her temptation to
sleep with a 15-year-old, or 'Philadelphia,' where she waited a year to
revisit an overseas fling in the titular city-- hit upon an acidic,
wide-eyed middle ground." Bar/None released Standard Fare's debut album <i>The Noyelle Beat</i> in March, 2010. After a second album, <i>Out Of Sight, Out Of Town </i>in 2011, the group disbanded in 2013 but remains on friendly terms.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Standard Fare today</span></td></tr>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>A Conversation With Standard Fare</b></span></span></div>
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<i><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;">Q.) Emma is playing with Mammoth Penguins these days. What are Dan and Andy up</span><span style="color: #212121; letter-spacing: 0pt;"><br />
</span><span style="color: #212121; letter-spacing: 0pt;">to?</span></span></span></i></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;">Dan:
We have a couple of bands together; Skeletal Shakes, where we play
indie-punk-pop, and The Hangtown Thieves, which is old-time
country-rockabilly. They're quite different but both great fun to play
around with. We don't take them out much, but we're always writing
and recording new things.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br /><i>Q.)
You got to tour America twice around the time of The Noyelle Beat. What was</i></span><i><span style="color: #212121; letter-spacing: 0pt;"><br />
</span><span style="color: #212121; letter-spacing: 0pt;">your
biggest surprise in the States, something you weren't expecting</span><span style="color: #212121; letter-spacing: 0pt;">?</span></i><span style="color: #212121; letter-spacing: 0pt;"><i><br />
</i><br />Dan:
The biggest surprise to me was how far this scene went. We traveled
all that distance and to cities we'd never been to, but we'd still meet
these bands who played and loved the same music as us. </span><span style="color: #432158; letter-spacing: 0pt;">We'd
meet people in the afternoon and they'd drive 2 hours just to see the
show that night, and people who'd let 3 strangers stay at their house
just because they had guitars!</span><span style="color: #212121; letter-spacing: 0pt;"> Everyone
really looked out for us.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;">Andy:
Having the chance to tour the US, twice! with the guys and the band!
was the best thing ever, and was a lot of fun! The roads there are much
much longer than any road in the UK, haha. However every gig we played
was well worth the drive! I'd say the Splorks
gig was something I wasn't expecting, when they combined chucking an
array of teddy bears around the audience in a mosh pit (</span><span style="color: #212121; letter-spacing: 0pt;">and
</span><span style="color: #212121; letter-spacing: 0pt;">we
all joined in)</span><span style="color: #212121; letter-spacing: 0pt;">.</span><span style="color: #212121; letter-spacing: 0pt;"> </span><span style="color: #212121; letter-spacing: 0pt;">T</span><span style="color: #212121; letter-spacing: 0pt;">hat
was the most insane thing I had ever witnessed :) </span><span style="color: #212121; letter-spacing: 0pt;"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br />Emma:
The DIY scene in the US is full of such lovely people. We were shown
such kindness. The first Philadelphia show we did was in a warehouse in
the middle of nowhere and we were getting electric shocks off the
microphones but it was fun. There were a lot of long
drives but the drive from NYC to New Haven was the worst as it was
during a major storm and we had to keep driving past and even getting
out to move fallen down trees in the road. We got to a dive bar pretty
shell-shocked but played our set anyway.</span><span style="color: #212121; letter-spacing: 0pt;"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br /><i>Q.)
I know you played SXSW in Austin and a festival in Athens,GA, two</i></span><i><span style="color: #212121; letter-spacing: 0pt;">
</span><span style="color: #212121; letter-spacing: 0pt;">cities
that have produced great U.S. indie rock. Did you have any heroes </span><span style="color: #212121; letter-spacing: 0pt;">or
landmarks in those cities that you were especially excited about?</span></i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #432158; letter-spacing: 0pt;"><br /></span></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #432158; letter-spacing: 0pt;">Andy:
I just remember weaving through people, with beers in our hands, in the
sun, walking around the streets at the SXSW festival and there was a
different sound coming out of every door we passed!</span><span style="color: #212121; letter-spacing: 0pt;"> It
was incredible there being a</span><span style="color: #212121; letter-spacing: 0pt;"> </span><span style="color: #212121; letter-spacing: 0pt;">part
of it. We had a busy schedule, but I do remember getting the chance to
see Rival Schools set. I had never seen them before, and they were
awesome, they had a massive sound with popping drums!</span></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Emma: There was a great buzz in both cities while we were there. SXSW is such
an experience and I remember a hairy late night drive with a red-neck
taxi driver… We were keen to play Athens because Happy Happy Birthday To
Me records had put out some great bands including
Sourpatch.</span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"></span></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><i><br />Q.)
In NYC, you got to play Death By Audio, one of the city's (now sadly</i></span><i><span style="color: #212121; letter-spacing: 0pt;"> </span><span style="color: #212121; letter-spacing: 0pt;">defunct)
all ages, DIY venues. I've met people from Europe and Japan who </span><span style="color: #212121; letter-spacing: 0pt;">marvel
at the concept of illegal, unlicensed underground clubs like that </span><span style="color: #212121; letter-spacing: 0pt;">flourishing
in a major city. What was your reaction to DBA and are there </span><span style="color: #212121; letter-spacing: 0pt;">venues
like it in your part of the UK?</span></i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br />Dan:
I don't think we really understood the concept until we tried to find
the place! I think it was a brilliant idea really, that music should be
available to everyone.</span><span style="color: #212121; letter-spacing: 0pt;"> </span><span style="color: #212121; letter-spacing: 0pt;">It
might be the difference in legal drinking ages making pubs more
accessible but I've only recently started to see similar places in the
UK, like an old vegetable warehouse in Nottingham. We played a couple of
warehouse shows whilst we were in the US, everyone
was totally up for it, it felt really in the moment and it never got
out of hand.</span><span style="color: #212121; letter-spacing: 0pt;"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br />Emma:
The all-ages thing is really important in the US I think and it is
getting more so in the UK. I think it’s difficult to start up unlicensed
venues here in the UK but there are more DIY spaces that are legal but
are all-ages and bring your own booze like JT
Soar (Nottingham) that Dan mentioned and The Audacious Art Experiment
(Sheffield) and DIY Space for London.</span><span style="color: #212121; letter-spacing: 0pt;"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br /><i>Q.)
As one of the few non-American acts to have been on Bar/None, do you</i></span><i><span style="color: #212121; letter-spacing: 0pt;"> </span><span style="color: #212121; letter-spacing: 0pt;">have
any bands who have recorded for the label who were big influences or </span></i><span style="color: #212121; letter-spacing: 0pt;"><i>favorites
of yours growing up?</i></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;">Dan:
When Bar/None first got in touch I remember seeing they put out Evan
Dando's solo album and that was it, I was completely in. He's an
absolute hero of mine, the varying sound, slow-soft/fast-loud, I still
have the same albums of his on repeat now. It's something
I can always go back to and suits many different moods.
Now, whenever I hear They Might Be Giants on the radio, it reminds me that we were a part of something really cool.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br />Andy:
I'd not listened to a great deal of the stuff on their label before we
were in contact with them, but now, I seem to have records and follow
quite a few on it now! Like the Front Bottoms, The Moms, Parlour Tricks,
and Of Montreal. It was a pleasure meeting
Glenn and Mark and was great fun working with them too, they have a
great studio!</span><span style="color: #212121; letter-spacing: 0pt;"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #212121; letter-spacing: 0pt;"><br />Emma:
I had a similar experience to Dan in that the connection to Evan Dando was really exciting for me.
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-73029184015708639812016-11-14T17:48:00.000-08:002016-11-14T17:48:15.439-08:00THE ORDINAIRES - ANYTHING BUT ORDINARY!<div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZBITh5xZm0kc16MBB9yRj9EgYc5eQY9rOPzn_jsqHi-CPt4BmbyMKeZtQIZHF8EDXMPbqEJpwUCNrqGluQ7oei7Y9sP6O2RbTTfmEZt-r7jsRfuGiiCH1RP8XO4em7T8tc0_-XQrychUl/s1600/Ordinaires-One.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZBITh5xZm0kc16MBB9yRj9EgYc5eQY9rOPzn_jsqHi-CPt4BmbyMKeZtQIZHF8EDXMPbqEJpwUCNrqGluQ7oei7Y9sP6O2RbTTfmEZt-r7jsRfuGiiCH1RP8XO4em7T8tc0_-XQrychUl/s320/Ordinaires-One.jpg" width="309" /></a></b></span></span></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">The Ordinaires - <i>One</i> (April 26, 1989)</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The Ordinaires were a nine-piece<span style="font-family: "trebuchet ms" , sans-serif;"> art-rock<span style="font-family: "trebuchet ms" , sans-serif;"> </span></span>ensemble who came out of New York City's post-punk/No Wave scene of the Eighties, a band whose avant-garde eclecticism drew comparisons to everything from Henry Mancini, Captain Beefheart, Philip Glass, and Stravinsky. In truth, though, the music of the Ordinaires was simply unclassifiable, which is perhaps why the band found a much more receptive audience in Europe than in the U.S. Bar/None released <i>One</i> in 1989 in an effort to find the Ordinaires wider stateside distribution and appreciation. </span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Co-produced by Martin Bisi (Material, Sonic
Youth, Live Skull), Bill Krauss (They Might Be Giants) and The
Ordinaires, <i>One</i><span style="font-family: "trebuchet ms" , sans-serif;">'s cover art featured </span></span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">an eerie computer-generated composite photograph of all nine members of the band</span>. The <span style="font-family: "trebuchet ms" , sans-serif;">Ordinaires</span> disbanded<span style="font-family: "trebuchet ms" , sans-serif;"> </span>in 1991. <br /><br />Largely <span style="font-family: "trebuchet ms" , sans-serif;">ignored</span> for more than a decade, the Ordinaires became the obsession of radio producer, field recordist, and songwriter Myke Dodge Weiskopf, who has produced a fascinating audio documentary about the band. "Nine Views Of The Ordinaires" can be enjoyed <span style="font-family: "trebuchet ms" , sans-serif;">below</span>. Myke Dodge Weiskopf th<span style="font-family: "trebuchet ms" , sans-serif;">e</span>n explains what inspired the documentary and some of the challenges in completing it.</span> </span></span><br />
<br />
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/292034799&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b> </b></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Myke Dodge Weiskopf: </b> Any
music documentary worth its salt has to start with the music. I came of
age listening to the Ordinaires' albums in the Midwest in the
pre-Internet era, so their music always seemed like a gloriously strange
anomaly. Even now, with the ability to dive deeply into any genre of
music from every time and place, their music still sounds utterly
unique. And from a storytelling perspective, the backstory of the
Ordinaires seemed like a no-brainer: a nine-piece orchestral rock band
coming out of this crazy downtown New York art/performance scene and
trying to make the big time. So the documentary served two
purposes: to expose more people to this unjustly obscure, yet brilliant
and idiosyncratic band, and to explore the individual and group
dynamics that went into keeping a project like that afloat. Fortunately,
all I had to do was scratch the surface and the stories came pouring
out. It was a dream come true in every way</span></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">What I find fascinating about the Ordinaires is
that their trajectory seems to mirror that of the Lower East Side scene
more broadly. They started off as a modest but idiosyncratic
home recording project - with echoes of Arthur Russell, to my ears - and
then adopted this very brittle, post-punk/No Wave sound, which was very
much the archetypal sound of that scene in 1980-1982. But as the Lower
East Side scene swelled, with folks like They Might Be Giants and Ann
Magnuson and Steve Buscemi and Eric Bogosian breaking out into the
larger world, the Ordinaires' sound blossomed magnificently into this
new kind of organism that featured very lush and ambitious arrangements,
but still welded to that rock'n'roll core. And I think by that point -
say, 1986 and onwards - the Ordinaires were entirely their own thing. As
Elliott Sharp says in the piece, they represented the maturing of that
scene into a beautiful and expressive new art form. Then, as the LES
scene fractured and imploded due to gentrification and other social
factors by the end of the '80s, the band was also splitting at the
seams. So in a way, the Ordinaires are a perfect allegory for the scene
from which they came. It was a glorious moment in time, perhaps one of
the most riotously creative in NYC's musical history, but it was never
built to last. And that is both the poignancy and the perfection of the
Ordinaires' story.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The Ordinaires and their extended circle were
almost universally enthusiastic and helpful in putting the piece
together. They were generous not just with their time, but also with
their material keepsakes: gig posters, cassettes and DATs of archival
material, VHS tapes of TV appearances and videos, you name it. And they
each gave such great interviews: reflective and honest and funny and
clear-eyed about the history and legacy of this most improbable band.</span></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The
hardest thing, really, was just putting it all together afterwards. I
conducted 15 interviews in five days and received hours and hours of
archival audio. It was just an overwhelming amount of material. It took
me a long time to sit with it and let it marinate and allow the
structure and the key elements to rise to the surface. And there were
other personal mitigating factors that kept me from getting it done ...
but here we are.</span></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">And yes, there are still a few members
of the inner circle that I'd like to incorporate into a revised version
of the piece, and I'm hoping those folks will come through once they've
had a chance to listen to it. I think it's only natural that some folks
aren't as interested in looking back, but it would be a shame to miss
those voices in the freewheeling cacophony that defined the Ordinaires.
The piece will go on either way!<br /><br /><u><i><b><span style="font-family: "trebuchet ms" , sans-serif;">The Ordinaires on iTunes</span></b></i></u></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://itunes.apple.com/us/album/kashmir/id281155893?i=281156521" target="_blank">"Kashmir"</a> </span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://itunes.apple.com/us/album/death/id281155893?i=281156209" target="_blank">"Death"</a> </span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://itunes.apple.com/us/album/the-dance-of-the-coco-crispies/id281155893?i=281156027" target="_blank">"The Dance Of The Coco Crispies"</a></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="https://itunes.apple.com/us/album/bacchanal/id281155893?i=281156374" target="_blank">"Bacchanal</a><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/bacchanal/id281155893?i=281156374" target="_blank">"</a></span> </span></span></div>
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<a href="https://vimeo.com/29733474">Ordinaires - Kashmir</a> from <a href="https://vimeo.com/user4950171">Ernie Fritz</a> on <a href="https://vimeo.com/">Vimeo</a>.Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-19546945015100341562016-11-13T11:37:00.000-08:002016-11-13T11:37:00.504-08:00GLASS EYE'S KATHY McCARTY INTERVIEWS FORMER BANDMATE LISA CAMERON<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdxq7tpQVMszHcU8LISuJgs6ZRXaWVbgJqP_W99FIPtwowbbxThQloadi6oZ4A6l-bH1cwuu7qPMGeEpC1myNcFKBmwnWbTx5C9m4YIG5ipRe9ihIlfX1lAw6RAM2Cvdpsi8rSNgTffr9N/s1600/glasseye-helloyounglover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvIym36JFsoKZgrrEnS703lwvsNbCYk-lCKGPThGX4zEma5ZIq1YvzYtpSE_51LTZEfF7t8YMU5sPyEvpReOy9dr57CKVlP2l03Q0L2bMe5I8tay5Bp1OzPIz2-HkjxxJJmcNjP-fa8pjD/s1600/glasseye-christine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvIym36JFsoKZgrrEnS703lwvsNbCYk-lCKGPThGX4zEma5ZIq1YvzYtpSE_51LTZEfF7t8YMU5sPyEvpReOy9dr57CKVlP2l03Q0L2bMe5I8tay5Bp1OzPIz2-HkjxxJJmcNjP-fa8pjD/s200/glasseye-christine.jpg" width="200" /></a><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdxq7tpQVMszHcU8LISuJgs6ZRXaWVbgJqP_W99FIPtwowbbxThQloadi6oZ4A6l-bH1cwuu7qPMGeEpC1myNcFKBmwnWbTx5C9m4YIG5ipRe9ihIlfX1lAw6RAM2Cvdpsi8rSNgTffr9N/s200/glasseye-helloyounglover.jpg" width="200" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFr2roaIwKBs4DyZgtxg3-IGoaxpKyFZ93ks__oZ-ac92VE-I4RaWqwDMfXsBNTquGJHYC-yhu9sxNFIEqcJm5TQCcjfcONHKyo_wqulAADeEHZNNHjz3FRUkdEHe76xZPCqVoimDa56GK/s1600/Glasseye-BentByNature.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFr2roaIwKBs4DyZgtxg3-IGoaxpKyFZ93ks__oZ-ac92VE-I4RaWqwDMfXsBNTquGJHYC-yhu9sxNFIEqcJm5TQCcjfcONHKyo_wqulAADeEHZNNHjz3FRUkdEHe76xZPCqVoimDa56GK/s200/Glasseye-BentByNature.jpg" width="200" /></a></div>
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<br /><span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">GLASS EYE - Bent By Nature (1988)<br />GLASS EYE – Christine, Hello Young Lovers (1989)<br />KATHY McCARTY – Dead Dog’s Eyeball (1992)<br />KATHY McCARTY - Sorry Entertainer (1995) </span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrry7Enx8KVsiTiwUdNytOBG7Q6isla2msg_t2CpiZQgbXekEyC1hxx4Sk1GuLGp-jXAE7NbTZItEK8Ybn62m0piJEZM1wZltsdUWzg4mOCSZF1zA8gM-X8lXDO9K_DNGW1GLJ6K0J21ut/s1600/dave+cameron.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrry7Enx8KVsiTiwUdNytOBG7Q6isla2msg_t2CpiZQgbXekEyC1hxx4Sk1GuLGp-jXAE7NbTZItEK8Ybn62m0piJEZM1wZltsdUWzg4mOCSZF1zA8gM-X8lXDO9K_DNGW1GLJ6K0J21ut/s200/dave+cameron.jpeg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Photo by Todd V. Wolfson </span></td></tr>
</tbody></table>
<h3 class="post-title entry-title" itemprop="name">
<span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">We've revisited Glass Eye's contributions to Bar/None <a href="http://barnoneturns30.blogspot.com/2016/04/glass-eye-bent-by-nature-1988-glass-eye.html" target="_blank">before</a>, but we wanted to bring this to our readers' attention: In this 2007 piece from The Austin Chronicle, Glass Eye's Kathy McCarty interviewed her former bandmate Lisa Cameron, who transitioned from Dave Cameron after decades as one of Austin's most popular, beloved musicians. </span></span></span></h3>
<h3 class="post-title entry-title" itemprop="name">
<a href="http://www.austinchronicle.com/features/2007-06-08/481955/" target="_blank">http://www.austinchronicle.com/features/2007-06-08/481955/ </a></h3>
Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-1436994369590707792016-11-08T10:43:00.003-08:002016-11-08T10:43:31.154-08:00STARLING ELECTRIC: EVERYTHING GOOD ABOUT MUSIC FROM 1965 TO 1977<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLJXs_GfKdStuOQIwSA6Jom96r5J286aVwlloNrtvvtRjgJ1spx8o144McI9vudRPje_c9KzgGnzF9mJPkG8_21ggznTg4LlNaGfwRBgzl72OEHvQ9yeAL1iqhgOQoupvRUb7CdOaZhXx0/s1600/Starlinig+Electric.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLJXs_GfKdStuOQIwSA6Jom96r5J286aVwlloNrtvvtRjgJ1spx8o144McI9vudRPje_c9KzgGnzF9mJPkG8_21ggznTg4LlNaGfwRBgzl72OEHvQ9yeAL1iqhgOQoupvRUb7CdOaZhXx0/s400/Starlinig+Electric.jpg" width="400" /></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br />Starling Electric - Clouded Staircase (August 19, 2008)<br /><br /><span style="font-size: small;">Originally the solo project Ann Arbor, Michigan native Caleb Dillon, Starling Electric had morphed into a full-fledged band by the time Dillon boasted that on his self-released, homemade power-pop debut <i>Clouded Staircase </i>"we </span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;">specialize in everything truly great about pop music from 1965 to 1977." Robert Pollard, the Posies, and the underground music press quickly became champions, and Bar/None gave the album a wider release in 2008. <i>Pitchfork</i> opined, "</span></span>it hits all the right notes-- the harmonies, the chiming guitars, the
baroque arrangements, the slightly psychedelic twists and turns," equal parts "Beach Boys, Byrds, Beatles, Big Star, and even a few bands that don't begin with B." A decade later, after innumerable lineup changes, Dillon and Starling Electric have just released a fourth album, <i>Electric Company.</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzOwC9A91dowKaiHoCNDSLLyvPPu4VkV6KcHIcZKpECEhdNEVJQXcBxFQd8WczfBJxXwGO60BPEtOAtHNucC8s9AMuKJdTzmILBtHgvv9IaxIuUBkYyDs3WWdedelOzybqBK_gr1U5JEG/s1600/starling+electric-2008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzOwC9A91dowKaiHoCNDSLLyvPPu4VkV6KcHIcZKpECEhdNEVJQXcBxFQd8WczfBJxXwGO60BPEtOAtHNucC8s9AMuKJdTzmILBtHgvv9IaxIuUBkYyDs3WWdedelOzybqBK_gr1U5JEG/s400/starling+electric-2008.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Starling Electric, 2008</span><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Q: Promo for Clouded Staircase boasted that it was "recorded entirel<span style="font-family: "trebuchet ms" , sans-serif;">y in bedrooms, basements, closets, and bathrooms." <span style="font-family: "trebuchet ms" , sans-serif;">How are you recording these days?</span></span></span></span></b><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Caleb Dillon: For <b><i>Electric Company</i></b>,
we recorded in every possible way and with every level of fidelity and
equipment quality. A small handful of songs were recorded in a local
studio that we briefly had free access to, but then I smeared on layers
of gross 4-track cassette parts over them. In the instances that I'd
started recording something at home, it often ended up in a more
polished version through our home studio. </i></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Whenever I record
anything it's a huge mess, especially since I don't use computer
programs. It's up to our resident genius, Ben, and the other amazing
musicians in the band to figure out how to make my feeble, noisy,
garbage music as palatable as possible. To someone unfamiliar with
recording, it's definitely NOT the way to do it - but it works for us.
Anything recorded "incorrectly" is enormously appealing to me.</i></span></span>
<br />
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Q: You've been compared to bands as intimate as 10CC, as sophisticated as<br />
Genesis, as pop as Elton John, and as grandiose as ELO and Queen. When
you create a new song, are you writing to a certain imagined audience,
or just to the muse in your head at the time? Does the song dictate the arrangement, or do you conceive the "sound" you want first and work backwards to achieve it?</b></span></span></div>
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>CD: A lot of those musical
associations were meant to describe our live show and attitude, as
opposed to how the songs are presented on an album. My imagined audience
is never anyone but myself and what I happen to be into in that moment.
I try to set the bar high, so that what I write has to sit comfortably
in my mind alongside some of those musical influences. And I rarely
achieve that, but at least I start out with pretty lofty standards! </i><br /><i>It's
more about the "feel" that I'm looking for than the "sound," since the
"right sound" is not something I do very well on my own. I might be
really obsessed with Gary Lewis & The Playboys on a particular day
and want to try to write something similar...but I'm so inept at what I
do that I'll end up with a synth-and-drum-machine-fueled Gary Numan
ballad or something. That's not an official example, but it may as well
be. Basically, anything good I've ever done has been an accident.<br /></i></span></span></div>
<div>
<i>
</i><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Caleb Dillon, 2016</span></td></tr>
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<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Q: Are you still in Ann Arbor? What's the political climate been this past year in the middle of America? Are you rooting for fellow Michiganers MC5 to get into the RnR Hall of Fame, and was the legacy of Detroit's MC5 and Stooges an influence on your development as a musician and songwriter?</b></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b><br /></b></span></span></div>
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>CD: I lived in Ann Arbor for about
10 years, and recently relocated to Grand Rapids. I really don't care
about politics. It's not interesting to me personally, and it has
nothing to do with music. Music is supposed to be an antidote to all
that business and trickery and money and ridiculousness...they're just
not even in the same universe. </i></span></span></div>
<div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>I respect and
appreciate the Stooges and MC5, but they weren't important to me or my
good friends growing up. My songwriting is much less informed by having
grown up in Michigan specifically than having lived in small towns and
rural areas in general, where the spirit of making your own fun
permeates every day. Even when I was a teenager, Detroit seemed scary; a
dirty, morally bankrupt dead-end place that I had no desire to even
visit. I realize that's exactly what made it appealing to a lot of other
people! </i></span></span></div>
<div>
<i><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I love punk, and Iggy Pop is clearly one of
the great minds of our time. I love "Bored" by Destroy All Monsters. I
love Motown and "96 Tears." But if you're talking about home state
music, I'm much more of a Del Shannon kind of guy.</span></span></i></div>
<div>
<i>
</i><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Q: What's the nicest thing anyone's ever said/wrote about your music, and what's the most incomprehensibly wrong-headed?</b></span></span><br />
</div>
<div>
<i><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">CD: Whatever anyone's opinion is of my music is valid; it's their opinion,
and it's not for me to say what's right or what's wrong. Once I create
music and put it out into the ether, it's irrelevant how I think someone
should feel about it. Several people with immaculate musical taste and
knowledge have singled out one or more of my albums as one of their
favorites of the modern age, and it's pretty hard to beat that. When
your heroes put their arm around you and tell whoever is with them "you
gotta listen to this guy", that's pretty intense. I can run on that
energy for a long, long time.</span></span></i></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xH32xYIhTjc" width="560"></iframe>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i> </i></span> </span><br />
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<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JzUdx3ZMDQk" width="560"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-87170161022822119352016-11-04T15:01:00.001-07:002016-11-04T15:02:30.626-07:00HAPPY 30TH ANNIVERSARY, TMBG!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXiZdRvZDw_wKTiPqpUUKgZKjFbkiMvH8u1PzWYX5MoEOo7Jxh9BCAH7i_ki_Ss_A7x-PZ64Il6sSsFEp00vBuUuU5zkBX3hDKwtSNsncH3JfZR_0OkpmWG2TjSIiQTCYXZZctn7jqODgs/s1600/tmbg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXiZdRvZDw_wKTiPqpUUKgZKjFbkiMvH8u1PzWYX5MoEOo7Jxh9BCAH7i_ki_Ss_A7x-PZ64Il6sSsFEp00vBuUuU5zkBX3hDKwtSNsncH3JfZR_0OkpmWG2TjSIiQTCYXZZctn7jqODgs/s320/tmbg.jpg" width="319" /></a></div>
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">HAPPY 30TH ANNIVERSARY, THEY MIGHT BE GIANTS!</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Bar/None released They Might Be Giants' debut self-titled album on November 3, 1986. It became a sensation on college radio and MTV put the video for "Don't Let's Start," filmed at the New York State Pavilion from the 1964 World's Far, on heavy rotation. The team of John Flansburgh and John Linnell, childhood friends from Massachusetts, formed the band when the duo found themselves living in the same Brooklyn apartment building after college. The group's unusual name came from the</span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> 1971 film <i>They Might Be Giants</i>, which in turn was taken from a <i>Don Quixote </i>passage about how Quixote mistook windmills for evil giants. And Cervantes was inspired to create that image by a canto in </span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Dante Alighieri'<b>s </b>14th-century epic poem, "The Inferno."</span></span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span> </span></span>\
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nb4Lcw3rtsE" width="560"></iframe>
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pAmFTmCs3IY" width="560"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-18730499853911204032016-10-25T06:09:00.002-07:002016-10-25T15:28:04.200-07:00THE MOMS: NOT YOUR DAD'S ROCK 'N' ROLL BAND<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie1WtS4fT9LhbOu45EwFhmoHO6BzTvdTeCJaLhvX6kNCJB91FtBIwVQ_ZjsFsdT9ybSbvpo1BWdGMcWsXCzF1D_prhfyHI0u8QBjd8mm3iWIIXycHwrGyz1j2NDE2jDNPg6FLWczNHPFWy/s1600/themoms.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie1WtS4fT9LhbOu45EwFhmoHO6BzTvdTeCJaLhvX6kNCJB91FtBIwVQ_ZjsFsdT9ybSbvpo1BWdGMcWsXCzF1D_prhfyHI0u8QBjd8mm3iWIIXycHwrGyz1j2NDE2jDNPg6FLWczNHPFWy/s320/themoms.jpg" width="320" /></a></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">The Moms - "Snowbird EP" (September 16, 2016)</span></span></div>
<div style="text-align: left;">
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Bar/None has always been known for its close association with the Hoboken music scene, but The Mom's, one of the label's most recent signings, is better described as the quintessential New Brunswick band. The power trio formed at Rutgers when its members weren't old enough to get into bars yet and honed its talents in the Hub City's fabled basement-show scene. <span style="font-family: "trebuchet ms" , sans-serif;">Once the band started performing, the boys never looked back, hitting the road and releasing early recordings on two <span style="font-family: "trebuchet ms" , sans-serif;">small labels. </span></span> The Moms' Bar/None debut EP "Snowbird"<span style="font-family: "trebuchet ms" , sans-serif;"> </span></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">w</span>as co-produced by Pete Steinkopf (Bouncing Souls) and Brett
Romnes (I Am The Avalanche) and mastered by Jon Marshall (Misfits, The
Front Bottoms, Murphy’s Law).</span> T<span style="font-family: "trebuchet ms" , sans-serif;">he E<span style="font-family: "trebuchet ms" , sans-serif;">P ("</span></span></span></span><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">six short sharp bursts of discordant punk rock that should improve your day immensely and keep a smile on your face" - <a href="http://thepunksite.com/reviews/the-moms-snowbird-ep/" target="_blank">T</a><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://thepunksite.com/reviews/the-moms-snowbird-ep/" target="_blank">he Punksite</a>)<span style="font-family: "trebuchet ms" , sans-serif;"> </span></span></span></span>offers just a taste of what to expect from this up-and-coming combo, composed of </span></span><span style="font-family: "trebuchet ms" , sans-serif;">Joey Nester, and brothers Jon and Matt Stolpe.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2VC1TIurmTz2YbDTmw4d73FRqAFPAThuuJ6yEoBt42ybJ9de0h-3tShwtMGW3ZLVuC_6-kOpgSpAVK_WiI3GYdnEMG-AxSWJWL6Qe-zJnWFk-MqevhgRYq9jReL_d2Uyx8Z4UaxFk9fL_/s1600/themoms.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2VC1TIurmTz2YbDTmw4d73FRqAFPAThuuJ6yEoBt42ybJ9de0h-3tShwtMGW3ZLVuC_6-kOpgSpAVK_WiI3GYdnEMG-AxSWJWL6Qe-zJnWFk-MqevhgRYq9jReL_d2Uyx8Z4UaxFk9fL_/s400/themoms.jpg" width="400" /></a></div>
<div style="text-align: center;">
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<b><span style="font-family: "trebuchet ms" , sans-serif;">Joey Nester: </span></b><span style="font-family: "trebuchet ms" , sans-serif;">The Moms formed in the closet of my New Brunswick apartment on 16 Central Ave, where I had my amps stacked up among my clothing. This is the place that most of the early Moms
songs came to be. It wasn't, however, until after I left Rutgers after two semesters that we began to play shows. Our first drummer Don and I had girlfriends that lived at 63 Plum St and we coerced them into throwing shows in the basement, a haven on which we bestowed the name "Dickland." I have a fondness in my heart for New Brunswick basement shows. It is a scene unlike any I have witnessed across the country due in part to the sheer amount of shows that occur all year round. These shows embody a spirit that is distinctively Rock and Roll. They are subversive, all inclusive avenues for young people to express themselves without worry of jaded promoters or age restrictions. It is arguably the only scene in New Brunswick outside of the library where there are no ulterior motives of violence or girl/guy ratios - just good clean appreciation for music, fun, and the community where it thrives. New Brunswick basement shows are a good example of what i believe to be a good slogan for Rock and Roll - "everybody's invited!"<br /><br />In today's day and age, there are plenty of places that will not allow underage bands to play. This restriction is hardly an issue in New Jersey because there are plenty of places to play where age is of no concern - basements, VFW halls, all-ages venues like Montclair's Meatlocker, etc... When The Moms embarked on our first tour, I was underage and this posed a concern as several of the shows on that tour were 21+. My solution was a money order to China that resulted a few weeks later in a fake ID. That got me through a few years at out of state venues where I technically should not have been allowed to play. As we've gotten older, I realize that there is a shift in the crowd. Younger fans at a bar show are only concerned with the music being played, whereas the older crowd has a partial motivation for the booze. This past September, we had a big issue at our "Snowbird EP" release show in Morristown. We had booked the venue far in advance with the promoter's permission to make it an 18+ show. We had talked about the details and logistics of having underage people in the crowd and the bands and it was all well and good - until we showed up to play. Much to our surprise, the owners of the bar had put a kabash on the 18+ rule at the very last minute and at 10 PM, the bouncers swept the crowd and purged the room of anybody underage. It was a ridiculous shortsight of the staff that left a very bad taste in our mouth for the venue. Corrina, Corrina was told that they couldn't even go back into the bar to get their gear! Fortunately, nobody that was forcibly removed from the bar held it against us. We're still figuring out how we're going to make it up to those people.<br /><br />One of our favorite places ever to play was The Asbury Lanes - a sentiment shared with many, many people in the NJ Rock and Roll scene. Leave it to government to use eminent domain as an excuse to bury one of the greatest institutions for punk in the whole country. Perhaps it wasn't as iconic as The Stone Pony. Or maybe it was because the only ones that voiced an objection to its closing were "just a buncha punks," but the scene lost a good all ages venue in Asbury Lanes. Other venues worth mentioning are Swayzes in Atlanta, Buzzbin in Canton, Churchill's in Miami, The Cavern in Russellville, AR, and basically any place anywhere with good, passionate bands full of solid people.<br /><br />As for crazy stories, there are many - like the time we were robbed in Cincinnati, only to get everything back a few minutes later. Or the time Jon pooped his pants on stage. Or the time I drank too much whiskey and hopped on a freight train in Lexington, KY. Or the time I drank too much whiskey and got a firm talking to from Steve-o of The Holy Mess, or the time we played one of the most unexpectedly great last minute show in Shitsplat, Nebraska to a bar full of Moms fans, or the time we ended up at a diner in Japan with good buddy from home Dwyer, or the time we got pulled over in North Carolina and Jon had to eat all the weed, or all the times when we DIDN'T get pulled over, or the time we had to change an alternator on the side of the road in Long Island and still made it to the show in time, or the time we had to drive through the Rockies on 5 of 8 cylinders, or the time we drove 16 hours between Bismarck and Boise in a blizzard, or the many, many times where we were almost murdered with alcohol by the bar we played in, or the time we were almost robbed by a guy with a sword in Connecticut, or the time we saw a vagrant with a rifle and had to take shelter behind a church, or the time Matty literally went crazy. The list goes on and on... to live in a van and play in a rock and roll band is to open yourself to a wide array of hairy experiences.</span></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Listen To The Moms:</span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/the-bottom/id1152672295?i=1152672802" target="_blank"><span style="font-size: small;">The Bottom</span></a> </span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/seen-enough/id1152672295?i=1152672800" target="_blank"><span style="font-size: small;">Seen Enough</span></a> </span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/road-soda/id1152672295?i=1152672797" target="_blank"><span style="font-size: small;">Road Soda</span></a> </span></span> </div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/criminals/id1152672295?i=1152672801" target="_blank">Criminals</a></span><br />
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-1707708314457559792016-10-17T20:29:00.001-07:002016-10-17T20:29:32.954-07:00TOM PRENDERGAST: ON THE RADIO<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvj2SLHLphnCGUay5TDl8hoK_RuMud5QqVVkia1DZmMPEsSmluTCqXRA7PqgBvTmdriEd99-EZ8rA2FQTAiEbkB4Eq7eUZ3AndSAdFRoYyy2HSJO2sRUKRNtvGah9i2rqGRNZDfD5eJ7D2/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvj2SLHLphnCGUay5TDl8hoK_RuMud5QqVVkia1DZmMPEsSmluTCqXRA7PqgBvTmdriEd99-EZ8rA2FQTAiEbkB4Eq7eUZ3AndSAdFRoYyy2HSJO2sRUKRNtvGah9i2rqGRNZDfD5eJ7D2/s400/1.jpg" width="400" /></a></div>
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">TOM PRENDERGAST - BAR/NONE FOUNDER</span></span><br />
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Tom Prendergast deserves his own plaque somewhere in Hoboken. As one of the founders of both Pier Platters (the town's pre-eminent record store in the Eighties and Nineties) and Bar/None Records, he's one of the unsung heroes of the Mile Square City's music scene. These days, Tom lives in his native Ireland but he's keeping his hand in music with a weekly radio show called "Last Bus Home" on Limerick City Community Radio, 99.9 FM. The program offers an eclectic mix that ranges from jazz and American standards to indie rock. Last Bus Homes airs on 99.9FM at 10:30 pm on Sunday nights on but you can listen any time online at <a href="http://www.mixcloud.com/LCCR">www.mixcloud.com/LCCR</a>.</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>Tom:</b> <span id="yui_3_16_0_1_1476207959108_7829">This isn't the first time I've done a radio show. I worked at a pirate radio station in the 1970's, but not since then.</span><span id="yui_3_16_0_1_1476207959108_7929">Limerick City Community Radio is three years old and I've been with it for two and a half years. I got on there by simply asking! Thank you for listening and please do tell your friends.</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">PLAYLIST FOR THE LAST BUS HOME, SUNDAY THE 2ND OF OCTOBER </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">IVOR CUTLER-LIFE IN A SCOTCH SITTING ROOM</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">FRANKIE SIMS-SHE LIKES TO BOOGIE REAL SLOW</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">NAZARENE CONGREGATIONAL CHURCH CHOIR OF BROOKLYN-WHO'LL JOIN THIS UNION</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">SILVER JEWS-TRANSYLVANIA BLUES</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">JOE HENRY-CURT FLOAT</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">TON T HALL-I LOVE</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">ROY ORBISON-THE CROWD</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">THE UNTHANKS-HERE'S THE TENDER COMING</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">IVOR CUTLER-BEAUTIFUL COSMOS</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">MY FAIR LADY-ASCOT GAVOTTE</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">ELVIS COSTELLO-SHE</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">KD LANG-THE AIR THAT I BREATHE</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">TIM BUCKLEY-SONG TO THE SIREN</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">CHARLI HADEN-WAYFARING STRANGER</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">IVOR CUTLER-THE SURLY BUDDY</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">ANITA O DAY-TEA FOR TWO</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GOTAN PROJECT-CHUNKAS REVENGE</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">DANGERMOUSE AND DANIELE LUPPI-THE ROSE WITH A BROKEN NECK</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">MEL TORME-GUILTY</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">IVOR CUTLER-BIG JIM</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">BETTY DAVIS-THEY SAY I'M DIFFERENT</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">RAY CHARLES-HONEY HONEY</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">IVOR CUTLER-EVERYBODY GOT</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">PLAYLIST FOR THE LAST BUS HOME SUNDAY SEPTEMBER 25TH </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">MIA-MANGO PICKLE DOWN RIVER</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">JOHN ZORN-STRATEGIES</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">TONY ALLEN-GET TOGETHER</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">DISCLOSURE-WHEN A FIRE STARTS TO BURN</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">HOLFER CZUKAY-HEY BABA REBOP</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">PEADAR O RIADA-SEAN O RIADA</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">JUNIOR CREHAN-LAMENT FOR WILLIE CLANCY</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> -FAREWELL TO MILLTOWN MALBAY/MOTHER'S DELIGHT</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">BOB DYLAN-THE MIGHTY QUINN</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">THE BYRDS-CHESTNUT MARE</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">MOUSE- A PUBLIC EXECUTION</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">DANGERMOUSE WITH SPARKLEHORSE-STAR EYES</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">JIM O ROURKE-THESE HANDS</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">TORO Y MOI-WHAT YOU WANT</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">PAUL MC CARTNEY-MAYBE I'M AMAZED</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">THE KINKS-MILK COW BLUES</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">DR FEELGOOD-RIOT IN CELL BLOCK NO 9</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">JONATHAN RICHMAN-SHE CRACKED</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">CHARLES MINGUS-LOS MARIACHIS</span></span></div>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com1tag:blogger.com,1999:blog-1604499424097515410.post-16509120315556878772016-10-11T12:42:00.000-07:002016-10-11T12:42:52.698-07:00GLENN MERCER'S INCIDENTAL HUM: INSTRUMENTAL BLISS<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Glenn Mercer - Incidental Hum (September 9, 2015)</span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /><span style="font-size: small;">Incidental Hum,from Feelies founding member Glenn Mercer, is a collection of 15 instrumentals, ranging from original compositions to striking covers of classic tunes like "Somewhere Over The Rainbow" and Eno's "Here Come The Warm Jets." The album was recorded at his home studio, with Mercer providing all the instrumentation. <i> Incidental Hum</i> follows Mercer's first solo album, 2007's <i>Wheels In Motion</i>, although it is his first purely instrumental release. Bar/None released Incidental Hum in September, 2015; the label has also released the Feelies' 2011 comeback album <i>Here Before</i>, and has reissued <i>Crazy Rhythms, The Good Earth, Only Life</i>, and <i>Time For A Witness.</i></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi2R2d7sUl8h3Tg-fh1oCOmv_1GjY17HqzaAdgxAs1M3uJLYR4562Tdi7P2obBB9uOkgT20KTGD36jOD65kgybXA89dqD_sH7Hm-EkD32lkCvfXzXDDrRfjPNKpTU9z1_uNMwY2BXPFLN5/s1600/Link.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi2R2d7sUl8h3Tg-fh1oCOmv_1GjY17HqzaAdgxAs1M3uJLYR4562Tdi7P2obBB9uOkgT20KTGD36jOD65kgybXA89dqD_sH7Hm-EkD32lkCvfXzXDDrRfjPNKpTU9z1_uNMwY2BXPFLN5/s1600/Link.jpg" /></a><a href="http://www.bar-none.com/featured-artists/#/the-feelies/" target="_blank"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Glenn Mercer's Incidental Hum on Bar-None.com<br /><br />The Feelies on Bar-None.com</span></span></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b> Glenn Mercer:</b><b> </b>I originally
started playing bass when I was around 13.
I can’t even remember the first songs I learned how to play. I remember that when I switched to guitar,I played
stuff like early Creedence, “Sweet Jane” was an early song I learned on guitar… People have to remember that it
wasn’t like it is today, where there are billions and billions of bands and you
can just go online and hear pretty much anything ever recorded. Back then, you learned about bands from
reading about them, mostly. I had two
older brothers who were into music and had a lot of records, but basically it
was pretty easy to find out about stuff like the Stooges or whatever just by
reading your favorite magazines. There really wasn’t that much going on, so it
wasn’t that hard to find good music. </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">I think people think that because bands like the Velvet Underground and the Stooges didn’t get played on the radio, nobody knew them.
People assume that most people got exposed by being on the radio, but that
really wasn’t true at the time I was
getting into music seriously. It was
probably true a few years earlier, like ’66.
You’d hear a lot of stuff on AM radio, that was pretty much the only
source you’d hear new music. But then
FM came in and albums got more important than singles, and things just really
took off from that point.</span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />I don’t remember the name, but the
first band I played in that was semi-professional was when I was about 15 or 16, and we
played pretty much every weekend for an entire summer. That was when I was
still playing the bass. There was a band called the Outkids where I first played guitar. Originally we were a cover band and did what
was popular at the clubs around that time. Like, Bowie was big, Mott The
Hoople, things like that. Once we
started writing original music, the sound veered into the “Nuggets”
garage-rock thing. We did a lot of covers from the “Nuggets” album and a lot of
garage-y type stuff. So by the time we
were doing all our own originals and playing in New York, we were a garage-rock
band.</span></span>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>About <i>Incidental Hum</i>:</b></span></span></div>
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Some of the songs on this album go back really far, like
almost ten years. Since I have the ability to record in
my house, it's my favorite thing to do, even beyond performing. So
every opportunity I have to record something, I will. I've done a ton
of cover songs over the years, and other projects. The idea [for<i> Incidental Hum</i>] started to take form when I began reminiscing about working with [Feelies songwriting
partner] Bill Million on the soundtrack for [the 1982 Susan Seidelman film] <i>Smithereens.</i> That was something I really enjoyed doing, watching the screen and
improvising stuff to go with the movie. That kind of led into
the Willies (an instrumental band that performed in the dark during a
period when the Feelies were largely inactive,) where we discovered a
new way of working that wasn't performance based, it was recording
based. It was very liberating to have a completely free palette to
work with. And then I was thinking also of a lot of
the groups I used to love, back in the pre-Feelies period, when albums
like Bowie's <i>Low</i> and <i>Heroes</i> came out, and Kraftwerk and Philip Glass; there was a lot of instrumental stuff that I was listening to back then. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />Sometimes I would just turn the recorder on with no idea of what I was
going to do, and just improvise, and that worked well, that led to a
song, and I kept going from there. Then I'd listen to the
stuff and think, boy, this would be really good for a film. I could
visualize a specific scene or place in my mind where this would fit. So
then I thought, what if I went the other way, and had the image of the
scene first, like I was scoring a film, and try to write the score for
these images in my mind that didn't even exist. And that kind of took
off.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Then I found this box of old cassettes in my basement. There were a lot of demos and songs I started but never finished. There was some instrumental stuff on there too, so I
thought, whoa, this isn't really that new for me, I've done instrumental
stuff before. So I took the cassettes and transferred them to digital
and added some parts, and used some of that music too. There was no deadline, I was just doing it for fun, but I happened to give a tape of some of the songs to our
manager while we were talking about something else, and he liked it so
much that he talked me into looking into getting it released. But I
never started out to make another solo album. This was all done just as
an experiment for fun.</span></span><br />
<i><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"></span></span>[Interviews courtesy of JerseyBeat.com and NJ.com]</i><br />
<br />
<i> </i>
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5QYwQd8Iyx0" width="560"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-86932319248461226432016-10-04T12:54:00.000-07:002016-10-04T12:56:54.408-07:00'A GIRL LIKE YOU' - AN UNLIKELY HIT FROM EDWYN COLLINS<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAuAh3O4XTdHs_LkFFrnLMb_70hQZ-mwmnaMzYj0JELjSGMhM2ZvatEUid66E2sewEMyEywq3d1sVbyd__OxSPtNpabyTHE_4HvG7-Shi3NgvbtPDUdhPIwlqRPb6zzHPQTxGoPaNGwaUI/s1600/Edwyn+Collins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAuAh3O4XTdHs_LkFFrnLMb_70hQZ-mwmnaMzYj0JELjSGMhM2ZvatEUid66E2sewEMyEywq3d1sVbyd__OxSPtNpabyTHE_4HvG7-Shi3NgvbtPDUdhPIwlqRPb6zzHPQTxGoPaNGwaUI/s1600/Edwyn+Collins.jpg" /></a></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Edwyn Collins - Gorgeous George (June 20, 1995)</span></span><br />
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">"A <span style="font-family: "trebuchet ms" , sans-serif;">Girl Like You" became one of Bar<span style="font-family: "trebuchet ms" , sans-serif;">/None's unlikeli<span style="font-family: "trebuchet ms" , sans-serif;">est hits when it soar<span style="font-family: "trebuchet ms" , sans-serif;">ed up the U.<span style="font-family: "trebuchet ms" , sans-serif;">S</span>. charts in the sum<span style="font-family: "trebuchet ms" , sans-serif;">mer of 199<span style="font-family: "trebuchet ms" , sans-serif;">5. Th<span style="font-family: "trebuchet ms" , sans-serif;">e stylish, acerbic<span style="font-family: "trebuchet ms" , sans-serif;">,</span> witty singer/songwriter </span>Edwyn Collins had been a working musician for 15 years when - after a successful stint as the lead singer of post-punk hitmakers Orange Juice - he released his first solo album, <i>Gorgeous George, </i>in 1994. The critics hated it - the reviewer from England's esteemed <i>Guardian</i> advised Collins to give up music and find another job - but "A Girl Like You"<span style="font-family: "trebuchet ms" , sans-serif;"> (written as a t<span style="font-family: "trebuchet ms" , sans-serif;">ribute to Iggy Pop) </span>caught the public's fancy, fi<span style="font-family: "trebuchet ms" , sans-serif;">rst in England and then across Europe. (A litt<span style="font-family: "trebuchet ms" , sans-serif;">le known fact: </span>Paul Cook, drummer of the Sex Pistols, played vibraphone o<span style="font-family: "trebuchet ms" , sans-serif;">n the track.) </span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">The song samples the drums track of Len Barry's 1965 hit "1-2-3". It <span style="font-family: "trebuchet ms" , sans-serif;">appeared onscreen for the first time in the <i>Empire Records</i> <span style="font-family: "trebuchet ms" , sans-serif;">soundtrack</span>, and again in the music for <i>Charlie's Ange</i><span style="font-family: "trebuchet ms" , sans-serif;"><i>ls: Full Throttle.</i> It's also been featured on television on the shows <i>Cle</i><span style="font-family: "trebuchet ms" , sans-serif;"><i>opatra 25</i><span style="font-family: "trebuchet ms" , sans-serif;"><i>25</i><span style="font-family: "trebuchet ms" , sans-serif;"> and </span><i>Spin City,</i> and in a commercial for Marks & Spencer. </span></span></span></span>Alvin and the
Chipmunks covered the song as a bonus track on their 2007 video game
<i>Alvin and the Chipmunks. </i></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Bar/None signed Collins in 1995, and "A Girl Like You" proved just as popular in the United States, which resulted in Collins and his band performing the track on <i>Late Night </i>with Conan O<span style="font-family: "trebuchet ms" , sans-serif;">'Brien. </span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPDrCDh9FhoqYkUbX4FgG8cvYiHIbTrtYzN29HZmgDDrzRjKWs6zWzlamVSnyqqcj3-H5OFU_4OV1JpsnnnfH9CVRmJVNNf1TNMMbjMb2KZYZmQ2iW2fNxLG2D6PdJkXQC0hB9HfcnWHgG/s1600/Edwyn+Collins+Cue+Cards.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPDrCDh9FhoqYkUbX4FgG8cvYiHIbTrtYzN29HZmgDDrzRjKWs6zWzlamVSnyqqcj3-H5OFU_4OV1JpsnnnfH9CVRmJVNNf1TNMMbjMb2KZYZmQ2iW2fNxLG2D6PdJkXQC0hB9HfcnWHgG/s400/Edwyn+Collins+Cue+Cards.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Conan O'Brien's cue cards</span></td></tr>
</tbody></table>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/a-girl-like-you/id474269994?i=474270145" target="_blank">Edwyn Collins' "A Girl Like You" on iTu</a><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/a-girl-like-you/id474269994?i=474270145" target="_blank">nes.</a></span></span></span>
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<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x-kZi2DD7T0" width="560"></iframe>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YcsfjbqaZ2o" width="560"></iframe><br />
<span style="font-family: "trebuchet ms" , sans-serif;">This video was produced by John Flansburgh of They Might By Giants.</span><br />
<br />Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-14442709088572939992016-09-27T13:04:00.001-07:002016-09-27T13:17:56.575-07:00SPEED THE PLOUGH: 30 YEARS AND COUNTING<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1Yj9gFhE7yZezaVHgT2ydwvE0PuZ3PrNyGhI83HnAXp8oDM5Y73IukeyKCvWPAu06O9PEZgtQvUuNC_d_1evvdGWO3b1FuVpswhCfEd3GRKavzTX92IFZLfLMIRdmo70sCTQIpuOYYfz/s1600/speedtheplough.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1Yj9gFhE7yZezaVHgT2ydwvE0PuZ3PrNyGhI83HnAXp8oDM5Y73IukeyKCvWPAu06O9PEZgtQvUuNC_d_1evvdGWO3b1FuVpswhCfEd3GRKavzTX92IFZLfLMIRdmo70sCTQIpuOYYfz/s320/speedtheplough.jpg" width="319" /></a></span></div>
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Speed The Plough - The Plough & The Stars (Sept. 17, 2013)<br /><br /><span style="font-size: small;">Speed The Plough's story dates back to the early Eighties, when high-school friends Marc Francia, Toni Paruta, John Baumgartner, and Elbus Kelemet first formed the Trypes. With the Feelies largely on hiatus in those days, Speed The Plough's ranks grew to include Feelies Glenn Mercer, Bill Million, Stan Demeski, Dave Weckerman, and Brenda Sauter. When the Feelies started performing actively again in 1984, the Trypes morphed into Speed The Plough, with Marc, John, and Toni forming their own group. The name, from an old Scottish folk song, was plucked from a book of
sheet music just days before their first gig, which was at Maxwell’s in Hoboken, NJ. STP has had numerous line-ups over the years, including former members Rich Barnes, Stanley Demeski, Jim DeRogatis, John Neilson, Chris O’Donovan, Frank O’Toole, and Pete Pedulla. John and Toni married, and after some quiet years spent raising families and pursuing careers, Speed The Plough found new life in 2009 with the children of the original members bringing fresh energy and ideas to the group's signature chamber-pop sound: Marc's sons Dan and Ian Francia took over bass and drums, while John and Toni's son Michael came aboard on guitar. The current lineup includes old family friends Cindi Merklee and Ed Seifert on bass and guitar, Michael Baumgartner on guitar, Stan Demeski's son John on drums, and multi-instrumentalist/vocalists John and Toni on accordion, keyboards, flute, and woodwinds. </span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"> Speed The Plough: Then And Now</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ4IZ2A29k2ZMgkYNc4t_cERMFVcStltmgEp4gGhSWA9_c8SzncBIvyckWyMj2o24vl1cnNTmBBQgMEUSttBoBPAn7cgIhZtGGe2aGmO46EOa9ECXciLLjX4nIucqWNlGi9RJQsaEG8Gg2/s1600/stp-NOW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ4IZ2A29k2ZMgkYNc4t_cERMFVcStltmgEp4gGhSWA9_c8SzncBIvyckWyMj2o24vl1cnNTmBBQgMEUSttBoBPAn7cgIhZtGGe2aGmO46EOa9ECXciLLjX4nIucqWNlGi9RJQsaEG8Gg2/s400/stp-NOW.jpg" width="400" /></a></div>
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<br />
<span style="color: blue;"><b><span style="font-family: "trebuchet ms" , sans-serif;">John Baumgartner: </span></b></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span font-size:="" small=""><span style="color: #0000ee;"><i>The Plough & The Stars</i> started to come tog<span style="color: #0000ee;">ether ar<span style="color: #0000ee;">ound 2010 </span>when <span style="color: #0000ee;">Marc's kids (Ian and Dan)<span style="color: #0000ee;"> kicked us in the ass<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">.
We had this huge catalog of material and they kept saying we should be
playing it, and they really prompted us to get the band out of
mothballs. And that directly led to the realization that we had put out
a lot of albums <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">and wouldn't it be nice to pick our favorite stuff and get it back in print? We had solicited some fan input over the year<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">s
about what they wanted to hear again, so we included that. But the
whole idea was really an outgrowth of getting the youngsters involved<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;"> and realizing that maybe we had something worth sharing.<br /><br /><span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">Once
we had an idea for what we wanted to do, the next step was to ask,
where we can do it? And Bar/None was an obvious choice. <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">Our history really paralleled Bar/None<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">'s and how things had evolved in the Hoboken music scene over the years. <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">Oddly, for all of the music we had re<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">leased,
the idea of working with Bar/None had never come up, so the first thing
I did was call Glenn (Morrow) and ask if he would be interested in
working with us on this retrospective project. <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">I
think we had the feeling that we were really pretty far under the radar
compared to a lot of the stuff he had been putting out, so we had no
idea if <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">Bar/<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">None
would be interested, but it seemed like a logical fit. And I can't say
enough about how accommodating Glenn was about understanding this
strange vision we had of doing a "Best Of" chronicling the history of
the band.<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span> And then we were sitting on top of half a dozen new songs that we had recorded, so we adde<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">d</span></span> an LP of n<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">ew material </span></span>to the whole caper. It might have been more than a l<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">ot of labels would have bitten off<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">. We actually <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">at one time had this crazy idea of doing this all on 10<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">-inch LP's and <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">Glenn</span></span>
talked us off the ledge of that, but in every other way, he came
through and respected our vision. It was especially important for us to
include the booklet, <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">just
because we've had this convoluted history going back to the earliest
days of the Trypes/Willies/Feelies/Yung Wu, and all the flak we used to
get from people asking, why does there have to be so many bands, all
with the same people? It was hard to convince<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;"> people that it was four or five different bands because it was four or five different kinds of music<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;"> that were al<span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">l individual visions <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">unto themselves, and Speed The <span style="color: #0000ee;"><span style="font-family: "trebuchet ms" , sans-serif;">Plough obviously continued that.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span> </span></span></span></span></span></span>
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<a href="http://www.bar-none.com/featured-artists/#/speed-the-plough/" target="_blank"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Speed The Plough on Bar-None.com</span></span></a></div>
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<u><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Speed The Plough on iTunes:</span></span></u><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span></div>
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<span style="color: black;"><a href="https://itunes.apple.com/us/album/aeroplanes/id698648587?i=698648713" target="_blank"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Aeroplanes</span></span></a><u><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></u><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/tommys-house/id698648587?i=698648708" target="_blank">Tommy's House</a><br /><a href="https://itunes.apple.com/us/album/late-birds/id698648587?i=698648718" target="_blank">Late Birds</a></span></span></span></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://itunes.apple.com/us/album/big-bus/id698648587?i=698648709" target="_blank">Big Bus</a></span></span></div>
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Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-39481379930197291552016-09-20T04:43:00.000-07:002016-09-20T14:37:10.073-07:00HOT LAVA: BUBBLY LO-FI BOUNCE<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><br />Hot Lava - Lavology (October 7, 2008)<span style="font-size: small;"><br /><br />Like many bands, Hot Lava started out as art school geeks before they started making music. Allison Apperson studied design, Jared Sosa and Andrew Mowe wanted to be filmmakers, and Matt Deans did illustration and design. The band's visual imagination revealed itself in song titles like "JPG In The Sun" and "Blue Dragon." The band eventually bubbled up through Richmond, Virginia's indie scene, their A/V background providing a natural entre' into art galleries and loft parties. It proved a little harder opening the doors of Richmond's rock club scene; Hot Lava's conceptual mix of Nineties indie-rock and Sixties pop tropes didn't really fit in with anything else going on at the time. Eventually the band realized that there were other weird little bands in other towns that "got" them and the band formed a network of like-minded artists up and down the East Coast. Bar/None released the group's only release, <i>Lavology</i>, in the fall of 2008. <i>Wondering Sound.com </i>enthused, "</span></span><span style="font-size: small;">It's no surprise [Hot Lava] align themselves with Dan Deacon's Wham City
collective — they have a similarly quirky, 8-bit sound, complete with
short song lengths and <i>lots</i> of non-sequiturs. </span><span style="font-size: small;">The highlight on <i>Lavology</i>, their debut full-length, is 'Apple+Option+Fire,' a mega-catchy lo-fi bounce that would be twee if it
weren't so all-over-the-place." </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><br /><b>Allison Apperson: </b></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We wanted to keep things weird to keep it interesting, but it
wasn't just for the sake of being weird - it was because we were all art
school weirdos. We changed things up a lot each show, sometimes we
would have some dancers, or invite our other friends in bands to play a
cover with us, we tried playing to a metronome and bringing in some of
the effect used on our album. I think the art school, creative
background pushed us to keep things interesting. It also came through in
show fliers and in the band artwork. Everything was very DIY. We were
also lucky to have a good friend who worked on a Hot Lava logo and
almost our whole identity from the start. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We were in Richmond, VA. We did make a few trips to NYC and DC. SXSW
one year with a tour on the way. For us, the band kind of happened by
accident. It happened right after we finished college and some of us had
full-time jobs. We tried to make it all work, but our other lives, the
day job lives, didn't allow for a full-fledged tour. Also, touring just
wasn't really our thing. The most fun came when we were recording and
writing; touring had a different vibe. We might not have been cut out to
be road dogs.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">There
were plans (for a second album,) and honestly I would still like to take a stab at those
working recordings one day. The songwriting sort of stopped for a good
while, but came back right as everyone in the band was moving. We have a
couple of things in the vault that were pretty cool, but aren't quite
there yet. If it ever does come out, I don't know if it would be a Hot
Lava album or something else. We'll see. I bet one day we'll finish
those tracks.<br /><br />I
think our 60's sensibilities were almost by accident. I love simple pop
songs and without knowing it so much, ripped some style from the 60's.
We performed with a lot of bands that later became influences and are
people I'm really glad we met. Deep Time in particular, a band from
Austin, Texas, pushed our writing style a bit. The split that we
released on our own was influenced a bit by them. They're a great band. I
did meet Kim Deal a few years ago and gave her a Hot Lava record. She
probably wouldn't like all the bleep blops and keyboards.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://variety.com/2016/digital/news/youtube-buzzfeed-try-guys-broke-1201853769/" target="_blank">Jared </a>is crushing it these days. [His <a href="https://www.instagram.com/scienceisfun/?hl=en" target="_blank">Instagram account</a> has more than 20,000 followers.] I just moved to Chicago and am working as an Art
Director. Outside of that I just wrapped up a documentary on a beloved
practice space in Richmond (our hometown) that shut down in June. Hot
Lava played and recorded there a tiny bit, but our friends and a ton of
other bands really called that place home and it's a shame to see it
go. [You can check it out <a href="https://vimeo.com/169745946" target="_blank">here</a>.] I just wrapped that up before moving. Kind of a farewell present to Richmond. Love that place.</span></span></div>
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<span style="font-size: 12.8px;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><a href="http://www.bar-none.com/featured-artists/#/hot-lava/" target="_blank">Hot Lava </a>on Bar-None.com. </span></span></span><br />
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<span style="font-size: 12.8px;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Hot Lava on iTunes.com<br /><a href="https://itunes.apple.com/us/album/blue-dragon/id291882446?i=291882501" target="_blank"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">"Blue Dragon"</span></span></a><span style="font-size: small;"> </span></span></span></span><br />
<span style="font-size: 12.8px;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><a href="https://itunes.apple.com/us/album/apple+option+fire/id291882446?i=291882483" target="_blank"><span style="font-size: small;">"Apple<span style="font-family: "trebuchet ms" , sans-serif;">+Option<span style="font-family: "trebuchet ms" , sans-serif;">+Fire"</span></span></span></a><span style="font-size: small;"> </span></span></span></span><br />
<span style="font-size: 12.8px;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><a href="https://itunes.apple.com/us/album/jpg-in-the-sun/id291882446?i=291882536" target="_blank"><span style="font-size: small;">"JPG In the Su<span style="font-family: "trebuchet ms" , sans-serif;">n"</span></span></a></span></span></span><br />
<span style="font-size: 12.8px;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span><a href="https://itunes.apple.com/us/album/mummy-beach/id291882446?i=291882520" target="_blank"><span style="font-size: small;">"Mum<span style="font-family: "trebuchet ms" , sans-serif;">my B<span style="font-family: "trebuchet ms" , sans-serif;">each"</span></span></span></a></span></span></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/cUE8mD-9pIk" width="560"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-38261066153563763442016-09-13T08:59:00.000-07:002016-09-14T13:50:52.015-07:00BAR/NONE RELEASES BURNSIDE PROJECT'S "LOST" SECOND ALBUM<br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2CLBhEU4hJQCzBGiefTeSmsrgq4gLLbE5tMM6RdynEeLfFNEtCfYar2Rh7N7Lr9zcB-hc7xeg6284kmS1UB0TPRSqoDs2Y3ogqnyMxn-Ht7xGUKC9sLA4JjmI8Lzky7tIr0HYUm6-lWMU/s1600/burnsideprojecet-networks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2CLBhEU4hJQCzBGiefTeSmsrgq4gLLbE5tMM6RdynEeLfFNEtCfYar2Rh7N7Lr9zcB-hc7xeg6284kmS1UB0TPRSqoDs2Y3ogqnyMxn-Ht7xGUKC9sLA4JjmI8Lzky7tIr0HYUm6-lWMU/s200/burnsideprojecet-networks.jpg" width="200" /></a></span></b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIfLtWKPknxAfrbMbE_2PlO-Tl_fVvzWa8AMDDKF4eweNevMBvj0Lr1EiczS1KQ8Bz-PZhxAPxygd-KlIP5W9LlOph-GMIK0uJPcZEdq1xX6tiEqEUryQQAwLCKbVpnAVA2IOo-T826p-m/s1600/burnsideproject-finestexample.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIfLtWKPknxAfrbMbE_2PlO-Tl_fVvzWa8AMDDKF4eweNevMBvj0Lr1EiczS1KQ8Bz-PZhxAPxygd-KlIP5W9LlOph-GMIK0uJPcZEdq1xX6tiEqEUryQQAwLCKbVpnAVA2IOo-T826p-m/s200/burnsideproject-finestexample.jpg" width="200" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;">Burnside Project -</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: large;"><span class="a-size-large" id="productTitle"><i>Networks Circuits Streams Harmonies </i>(January 21, 2003)<br />Burnside Project - <i>The Finest Example Is You </i>(<span style="font-family: "trebuchet ms" , sans-serif;">October 15, 2005</span>)<br />Burnside Project - <i>Syntax And S<span style="font-family: "trebuchet ms" , sans-serif;">e</span>mantics</i> (September 9, 2016)</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Richard Jankovich's self-released, self-titled <i>Burnside Project </i>album announced the arrival of this <span style="font-family: "trebuchet ms" , sans-serif;">New York City-</span>based electro-pop outift in 2000, and Bar/None followed up with the release of <a href="http://www.bar-none.com/store/burnside-project-the-networks-the-circuits-the-streams-the-harmonies" target="_blank"><i>Networks Circuits Streams Harmonies</i> </a>(with the band now expanded to include Gerald Hammill) in 2003. <i>Spin</i> raved that the band's "desperate, skittering tracks" </span><span style="font-size: small;">constituted "dance music for people who approach the dance floor with great trepidation;" Seattle's KEXP spun the album on heavy rotation; and the single "Cue The Pulse To Begin" became the theme song for the television's edgy "Queer As Folk" and a Top 10 radio hit in Japan. The future looked bright, but then, somehow, everything fell apart. The group's follow up album, <i>Syntax And Semantics, </i>fell into a black hole, never to be heard until Bar/None released it as a free digital download in September, 2016. Burnside Project did regroup for a third album, <i><a href="http://www.bar-none.com/store/burnside-project-the-finest-example-is-you" target="_blank">The Finest Example Is You</a>,</i> which Bar/None released in 2008 ("</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span itemprop="description">Its surging synth-based arrangements fall
somewhere between the pop-friendly sound of the Postal Service and the
brooding atmosphere of the Faint." - CD Universe.) B</span>ut the group's moment had passed.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Download <i>Syntax And Semantics</i> <a href="https://itun.es/us/3YgEeb" target="_blank">here</a></span></span></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Read Burnside Project's interview on PopMatters.com <a href="http://www.popmatters.com/feature/assessing-their-performance-the-burnside-project-legacy/" target="_blank">here</a></span></span> </div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;">Gerald Hammill: </span></b><br />
<div class="MsoNormal">
<span style="font-family: "arial";">From very early on, Bar/None
Records has always held a special place in my heart, the New Jersey-based label
being the gateway for me into the independent music world. In 1986, the same
year that Bar/None put out its first handful of releases, a teenaged me began
digging deeper into left-of-the-dial sounds. Sure, I’d already been buying
records by crossover punk and new wave artists like the Clash, the Cure, and
the Psychedelic Furs for a few years. Yet the first time I heard They Might Be
Giants’ quirky, catchy “Don’t Let’s Start” played on my hometown’s beloved
community radio station (Tampa Bay’s WMNF), my musical trajectory shifted. Unlike
commercial rock, there was this indescribable intimacy, and that same feeling
extended beyond the band. I remember taking the album home from the record
store and staring at the Bar/None logo on the back cover while I listened –
there was just something no-frills yet wonderfully homegrown looking about it
that drew me in. I began picking up LPs and CDs by the likes of Glass Eye,
Freedy Johnston, and Yo La Tengo just by the simple merit of seeing that Bar/None
imprint. The door had been opened to a whole new universe of eclectic sounds, and
soon I was exploring releases on other indie labels as well – from Homestead to
Touch and Go, to 4AD to Creation Records. </span></div>
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<span style="font-family: "arial";">Fast forward to 1992 when good
friend Julian Koster (future Music Tapes and Neutral Milk Hotel member) shared
the exciting news that Bar/None was going to release his debut Chocolate USA
album – a record in which I had contributed guitar on a few tracks when he was
recording it in Florida. The label indeed was the perfect fit for Julian’s
wide-eyed surrealist pop, and I was personally thrilled to have my name (listed
here as Gerry “Fengers” Hammill) in the credits of an actual Bar/None release. A
year later, Julian would introduce me to label owner Glenn Morrow at a Freedy
Johnston showcase at Austin’s SXSW music festival, and I remember thinking at
the time that I had just met independent music’s equivalent of Ahmet Ertegun.<br />
<br />
Having played in bands since I was a teenager, I finally picked up from Florida
and moved to NYC in 2000 with the hopes of being a part of a bigger music
scene. I blew through most of my meager savings pretty quickly on shows, but made
many great friendships and experiences. Joy Zipper’s Tabitha and Vinny were two
such people and coincidentally, their album had just come out on Bar/None. The
same would be said for the Mendoza Line. It was also during this time that I
became close friends with Richard Jankovich (a former Bar/None intern and
longtime fan of the label as well), who would invite me over to his Hoboken recording
studio to collaborate with him on Burnside Project’s soon-to-be-named <i>The Networks, the Circuits, the Streams, the
Harmonies</i>. The demos would catch the ear of none other than Glenn Morrow; it’s
funny how the universe works sometimes.</span></div>
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<span style="font-family: "arial";">With the studio just blocks
away from the Bar/None office, Glenn would come by after work from time to time
to check on the album’s progress, offer us creative advice, and even lay down a
guitar track or two. That said, on one such visit, and this is a few years after
<i>The Networks</i> (during sessions for <i>Syntax and Semantics</i>), he stopped by
while we were discussing a song’s vocal take. Glenn felt the melody was too
sleepy and in trying to demonstrate a more passionate direction, caught us all
of guard by letting out a guttural wail that you just couldn’t imagine coming
out of his lungs. It sounded like the Cure’s Robert Smith, if possessed by a
demon. Band member Paul Searing’s swig of beer ended up splashed across his
keyboard and I think Richard almost fell out of his chair. We’ve always
jokingly referred to this as the only bad advice Glenn ever gave us, and we
love him dearly for it. </span></div>
<span style="font-family: "arial";"><br />
Aside from our just-released “lost album," <i>Syntax and Semantics</i>, Burnside Project has been inactive for 10
years now, but we all still keep in touch with Glenn. His friendship and
influence continues to be invaluable. It goes without saying that it’s been such
an honor to be a part of Bar/None’s amazing family of artists and staff, and the
label remains as wonderfully eclectic and yes, intimate as ever. Happy 30<sup>th</sup>,
Bar/None, and thank you, Glenn! <br /><br />-Gerald Hammill (Burnside Project)</span>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-13579368913067229142016-09-06T08:00:00.000-07:002016-09-06T08:00:19.034-07:00HAPPYNESS IS.. TWO KYNDS OF YCE CREAM<br />
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Happyness - Weird Little Birthday (March 23, 2015)<br /><br /><span style="font-size: small;">Happyness is... three cheeky lads from South London. </span></span></span><span style="font-family: "trebuchet ms" , sans-serif;">Their slapdash approach to writing and recording music means that roles within
the band remain fairly fluid, but Jonny Allan and Benji Compston do lead
vocals and Ash Cooper does drums.</span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> The trio formed in 2013 and, after several false starts, recorded their debut eponymous album and an EP at their own Jelly Boy Studios, </span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">a one-time carpentry warehouse and butterfly commune an hour or so outside of London. Bar/None came into the picture for the re-release of Happyness' first full-length, <i>Weird Little Birthday</i>, in the United States, </span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">gussied up with a few bonus tracks that originally appeared on the EP and new track from 2015. <br /><br /><i>Pop Matters</i> summed up the band's approach simply: "</span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Happyness’ main plan is simple: have Compston whisper some
clever/cynical lyrics over lo-fi strumming, toss out a few gentle hooks,
and keep it chill/weird, man, which is to say Pavement after a
Fall-ectomy. 1990s Amerindie has its adherents and modern-day
practitioners (Yuck, California X), and Happyness fit right in with that
crew." </span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">The band's also drawn comparisons to Granddaddy, Teenage Fan Club, and Wilco. UK's <i>Guardian </i>opined, "</span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Happyness switch effortlessly between fuzzy pop and downcast, desolate ballads, alternately thrilling and charming," while<i> NME </i>added, "</span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span class="article_body" itemprop="articleBody">London trio Happyness
might have adapted their sonic template from American college/indie rock
bands like Pavement, Rilo Kiley and Sparklehorse, but the wit and
lyrical context of their music is all British." <br /><br />Currently</span> working on their second album, Happyness will release a stop-gap EP on September 23 and have just released the video "Anna, Lisa Calls." "This is our first phone-call song and our fifth song in E Major," the band notes. We eagerly await more.</span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Happyness: </b>Glenn and Mark gave us a copy of <i>I, Brute Force: Confections Of Love</i>
just before our last US tour - and have sent at least one email since
urging us not to be TOO influenced by it. I think we've probably done 3000
miles or so soundtracked by that record.
Last time we were in New York [to start another US tour], we somehow ended
up at a pool party (if you can call it that) with Glenn & Mark to
celebrate the opening of a new condo opposite the Bar None offices where
there was a free buffet and a handful of plastic flags/deflated balloons.
I think Glenn knows the super and so we had a way in. We wanted to find a
nearby guitar store in order to pick up the cheapest electric guitar we
could find (we briefly had the idea of Benji playing a second guitar with
his foot through a Big Muff for one song, it never quite worked out), so
Glenn drove us down to 'Guitar Bar' in Hoboken where we managed to pick up
a tiny red electric guitar for $30 - we still have a pick from 'Guitar
Bar' in our studio somewhere as something of a momento.
Bar None have released some of our favourite records by some of our
favourite artists (The Feelies - <i>Crazy Rhythms</i> & Yo La Tengo - <i>Fakebook</i>
among them), so being on their label is very special for us. </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB1xn9aU5Qud_hnle6wH4Lk2v0zCB9cgFD5vQJBKF8IYj3O2PPpZh0I0CXtpHCwj13rRa-iWlIurF09xXFfxIm11WCEkzO9lL7RB26S98qZi8N1b0RFD0FecfgcRu5vtXLXqRlKLcHjrBp/s1600/Happyness+Pool+Party.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB1xn9aU5Qud_hnle6wH4Lk2v0zCB9cgFD5vQJBKF8IYj3O2PPpZh0I0CXtpHCwj13rRa-iWlIurF09xXFfxIm11WCEkzO9lL7RB26S98qZi8N1b0RFD0FecfgcRu5vtXLXqRlKLcHjrBp/s400/Happyness+Pool+Party.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "trebuchet ms" , sans-serif;">Happyness crashing a U.S. pool party. Where are the balloons?</span></td></tr>
</tbody></table>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Press: <a href="http://www.brooklynvegan.com/uk-trio-happyness-ready-new-ep-watch-video-for-anna-lisa-calls/" target="_blank"><br />BrooklynVegan.com announces new Happyness EP</a></span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"></span><br /></span></span>
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.popmatters.com/review/191548-happyness-weird-little-birthday/" target="_blank"><span style="font-family: "trebuchet ms" , sans-serif;">Weird L<span style="font-family: "trebuchet ms" , sans-serif;">ittle Birthday review on PopMatters.com</span></span></a></span></span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LQ_dg6Sswvs" width="560"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-9384994516077035402016-08-30T06:19:00.002-07:002016-08-30T06:21:15.892-07:00PARLOUR TRICKS: ROMANTIC POP BY THE BOOK<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT9lZyG2iZjWHgKq1HFTKGhIsQtsgMiK1t0Jjn5SpF1IRNTi7rjXBZsrsvVPVXY6b-Zf010_VLWxxZ3MuUKaG5_ihg-Ay3xm0HYRa4vdcz76zrjVpUrG6oITj6UnH2eQa-Olys5srBDZSF/s1600/ParlourTricks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT9lZyG2iZjWHgKq1HFTKGhIsQtsgMiK1t0Jjn5SpF1IRNTi7rjXBZsrsvVPVXY6b-Zf010_VLWxxZ3MuUKaG5_ihg-Ay3xm0HYRa4vdcz76zrjVpUrG6oITj6UnH2eQa-Olys5srBDZSF/s320/ParlourTricks.jpg" width="320" /></a></div>
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<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Parlour Tricks - Broken Hearts/Bones (June 23, 2015)</span></span></div>
<div style="text-align: left;">
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /><span style="font-size: small;">Like that little black dress or tweedy sports jacket you spot in your favorite <span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">thrift </span>store, Parlour Tricks<span style="font-family: "trebuchet ms" , sans-serif;">' luscious blend of three-part vocal harmonies and songs of romantic tumul<span style="font-family: "trebuchet ms" , sans-serif;">t will strike you as both vintage and timeless. </span></span></span></span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">Lead singer and songwriter Lily Cato, bassist and synth player Brian
Kesley, drummer Terry Moore, and guitarist Angelo Spagnolo met in college
and first played together on a whim when Cato decided to try her hand
at songwriting. A few months later Cato asked Morgane Hollowell and
Darah "DeeDee" Golub (also friends from college) to join when she
realized that nearly every song she'd written was begging for three
female voices.With influences as dispar<span style="font-family: "trebuchet ms" , sans-serif;">ate as the Andrews Sisters and Vampire Weekend, and a stage show that inco<span style="font-family: "trebuchet ms" , sans-serif;">r<span style="font-family: "trebuchet ms" , sans-serif;">po<span style="font-family: "trebuchet ms" , sans-serif;">rates matching </span></span></span></span></span></span></span></span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">clothing and synchronized dance moves, making sure
that everyone is having a blast both onstage and off is paramount to
all six members. Seeing as how <i>The Village Voice</i> named them 2014’s Best Pop
Band in New York City, it seems like a mission accomplished.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Lily Cato: </b></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span><br />
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">I first met (Bar/None's) Mark (Lipsitz) in early December, 2014. He had reached out to the
band after seeing some live videos on YouTube, and Brian and I agreed to
meet him at a diner in the East Village. The meeting went well
(clearly), but that's not actually what made the afternoon memorable.
Upon introducing ourselves, Mark pulled out a book called <i>A Pickpocket's Tale</i> by
Timothy Gilfoyle. He said he'd done some research on the band and knew
that my writing was often inspired by non-fiction books like this, so he
thought he'd bring one and hoped I'd like it and hoped I didn't already
have it; maybe it would provide me with some new ideas. I was instantly
taken aback by how different this behavior was from what we'd been used
to in the music industry. Mark was just about as different as humanly
possible from the "suits" we were accustomed to meeting, who would take
us out to a fancy meal and maybe had heard a few songs of ours but had
no idea who we actually were, nor did they seem to care. Mark, unlike
anyone we'd met with, had apparently done a lot of homework and brought
me a gift based on what he'd learned. I was impressed and touched by the
gesture. Anyone who knows me knows that I like nothing more than a good
book, especially that kind of book. We sat and talked for a few hours,
and within the next two months we were signed to Bar/None with our debut
album set to be released 5 months later. I got to know Mark and Glenn
much better over those next few months, of course. But that first
impression set the tone for our relationship. It allowed me to
immediately understand that Bar/None is the rare label that enjoys
taking time to get to know their artists. They relish the opportunity to
find music that excites them, and it makes them happy to discover what
makes those artists tick. In an extremely and increasingly jaded and
cynical industry, their approach has been a breath of fresh air. </span></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Oh and the book was awesome, too. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXOwINJrYrUeUGJ7FWIZyyzAwDsoKfSpnKC6N4W4A6VFK3h6ackQkK8lm9HXuO-5_9l0kWqrU5Rcq_KE3JZ9ZkmAkb2rG2wpzw7uV27KN_T8ua-70h6QUYCTlE_gWJj3Se4qCfgmCQ69c/s1600/PARLOURTRICKS.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXOwINJrYrUeUGJ7FWIZyyzAwDsoKfSpnKC6N4W4A6VFK3h6ackQkK8lm9HXuO-5_9l0kWqrU5Rcq_KE3JZ9ZkmAkb2rG2wpzw7uV27KN_T8ua-70h6QUYCTlE_gWJj3Se4qCfgmCQ69c/s400/PARLOURTRICKS.png" width="400" /></a></div>
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</div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nF2nn1JziQg" width="560"></iframe></span></span>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com0tag:blogger.com,1999:blog-1604499424097515410.post-63008769088093295302016-08-23T06:17:00.000-07:002016-08-23T14:46:18.929-07:00RICHARD BARONE'S GLOW: A BONGO ON BAR/NONE<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Z5fr0ZBiajx3GTljmKdUWGxmDP-IukZoDxMtjnXcFa4dGvzAjXg24S1y9lsGOBydyudPjstSBzz0f24GyahjDksCIk92WHzEaYfTd7wlFgGeoRldZDU0BqLr5EthjMs62VviUBE5Thnu/s1600/richard_barone_glow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Z5fr0ZBiajx3GTljmKdUWGxmDP-IukZoDxMtjnXcFa4dGvzAjXg24S1y9lsGOBydyudPjstSBzz0f24GyahjDksCIk92WHzEaYfTd7wlFgGeoRldZDU0BqLr5EthjMs62VviUBE5Thnu/s400/richard_barone_glow.jpg" width="400" /></a></div>
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Richard Barone - Glow (September 10, 2010)</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 14.0pt;">No Bar/None artist shares as
much history with owner Glenn Morrow as Richard Barone.<span style="mso-spacerun: yes;"> </span>They were roommates when both first arrived
in Hoboken in the late 70’s, and played together in “a,” which became the first
band to play at Maxwell’s under its then-new owner, Steve Fallon.<span style="mso-spacerun: yes;"> </span>Shortly thereafter, Glenn formed the
Individuals and Richard went on to make Hoboken history as the lead singer of
the Bongos;<span style="mso-spacerun: yes;"> </span>it wouldn’t<span style="mso-spacerun: yes;"> </span>be until 2010 that these old friends would team
up again.<br style="mso-special-character: line-break;" />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Richard Barone:</span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"> <span style="mso-spacerun: yes;"> </span></span></b><span style="font-size: 14.0pt;">I
was always envious of the fact that Glenn went on to start a label. I’ve always
loved the idea of being in control of a label like that, and he does have one
of the best curated labels around. That’s why they’ve been around for 30 years,
because he’s so careful of what he puts out.<span style="mso-spacerun: yes;">
</span>Most of the Glow album was produced by Tony Visconti; he and I had been
writing the songs together, everything but the T-Rex cover were written by the
two of us, and right in the middle of that, I ran into Glenn at the (Geri
Fallo) Hoboken Christmas show at Maxwell’s. That night, Glenn said, why don’t
we do an album? And I said, well, you know, I’m right in the middle of making
this album with Tony Visconti, so why don’t we do that?<span style="mso-spacerun: yes;"> </span>Once Glenn was involved, he really helped
pick the songs and sequence the songs in the way that a traditional A&R
person would have done in the heyday of the music industry, something that’s no
longer with us. It was really nice to work with someone who knew, understood, and
cared. <span style="mso-spacerun: yes;"> </span>I sent him tracks, one by one,
and he picked which ones made the album. There were songs that he didn’t want
on the album, and I was okay with that.<span style="mso-spacerun: yes;"> </span><span style="font-family: "trebuchet ms" , sans-serif;">He helped make it a b<span style="font-family: "trebuchet ms" , sans-serif;">etter<span style="font-family: "trebuchet ms" , sans-serif;"> album</span>."</span></span> <br /><br /><span style="font-family: "trebuchet ms" , sans-serif;">Richard is currently preparing for the release of "Sorrows & Promises: Greenwich Village In The Sixties," a crowdfunded collection of songs written by <span style="font-family: "trebuchet ms" , sans-serif;">folk artists including John Sebastian, Buddy Holly, Pa<span style="font-family: "trebuchet ms" , sans-serif;">ul Simon, Janis Ian, and<span style="font-family: "trebuchet ms" , sans-serif;"> Fred Neill. You can order the new album <a href="http://www.pledgemusic.com/projects/richardbarone" target="_blank">here.</a></span></span></span></span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 14.0pt;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span></span></span></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Hby9UDRub3M" width="420"></iframe>Bar None 30th Anniversaryhttp://www.blogger.com/profile/04185792153699017327noreply@blogger.com2