Category: Rock ‘n’ Roll Photog

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July Video Challenge: Starry Saints, Angels

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The gentlemen above are the Starry Saints, and they are based in Portland, OR. This song is from their most recent record Serenade. I like this video because it’s in a familiar format – a live performance – but they project different moving images on to the wall behind them during the show, which adds texture but yet doesn’t look weird and fake. I also enjoy the dramatic close-ups on the keyboards.

And the song is pretty cool, too. I was hooked in the first thirty seconds and still humming the chorus in the shower two days later.

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July Video Challenge: All of My Best Friends (Are Behind Bars), Justin Haigh

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This month I’ve set myself a challenge: post a video every day. I’ve mentioned before that I have A Lot Of Feelings About Video, which is true, but more than that, I have A Lot Of Feelings About Music Television, or rather, what used to be music television, and, at least in some locations – CMT doesn’t seem to have been affected as thoroughly as MTV – is now All Reality TV, All The Time.

Mostly I’m interested in the intersection of music and image, and how artists, directors and choreographers work together to bring a song to visual life. I’m starting today with All of My Best Friends (Are Behind Bars), sung by Justin Haigh (Apache Ranch Records) and directed by Jim Shea.

I like the song, but the video itself is also a delight, because it is beautifully shot and lit and, most importantly, playfully highlights the wordplay in the title without overworking the punchline:

 

Apache Ranch Records Presents Justin Haigh's All My Best Friends (Are Behind Bars) - Official MV

 

Originally from South Dakota, Justin Haigh now lives in Texas, and before he was a country singer, he was a lot of other things, including: cattle rancher, meat packer, trucker and U. S. Air Force service man. As you might expect, he has stories to tell, and you can hear them on his new record People Like Me.

Here’s what I can tell you about the record: It was circulating through my “To Listen To” playlist during exams, and the title track never failed to make me grin and tap my pen to the beat. I also enjoyed the slower, more reflective songs, like his cover of  Kevin Higgins’ Monahans, as well as The Leaving in Your Eyes and Is It Still Cheating.

There are no melancholy love songs like country melancholy love songs, and those hit the same sweet spot as Ghost in this House, by Shenandoah, and Vern Gosdin’s Set ‘Em Up Joe. This, ladies and gentlemen, is the good stuff, and you should check it out.

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The Wild Joys of Living: Emily Zuzik

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IMG_9432Emily Zuzik

Emily Zuzik is a veteran of the New York City music scene, but you might also recognize her voice from Moby’s latest record – she collaborated on a track called The Low Hum – or from television and movies: her songs have appeared in Smallville, Ticking Clock, and Fifth Form.

 

IMG_9436L to R: Wes Hutchinson, Ryan Vaughn, Emily Zuzik and Brian Killeen.

 

She has just released her seventh record, The Wild Joys of Living, and I had the pleasure of attending her show at The Living Room – a venue as tiny and cozy as the name would suggest – this past Saturday night, where she played the record in its entirety. Ladies and gentlemen, it is delicious. The songs run the gamut from sweet pop morsels to fuzzier, more aggressive rock and roll. I was especially fond of Motels, which is about naughty things people do in motels, and also You’re The One, which is sweet but not treacle-y love song.

As a taste, I give you a video of her singing Want to Go Out Tonight?, which is the first single off of the new record:

 

Emily Zuzik Band_You Wanna Go Out Tonight?_R2

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Postcards from the Pit: Empires / The Constant / Follower, 6/17/2011

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Empires, still the scrappy little band of my heart, won’t be on the cover of Rolling Stone this year. They are, however, on tour right now and may very well be coming to a tiny club near you sometime soon. And if you can make it out to see them, you should. I had the pleasure of catching up with them and also some promising local bands last Friday night.

The first opener was Follower, who are so new that this show was actually their second show ever. If the two songs I was able to hear were a reasonable representative sample, they play like a much more experienced band – tight, focused and powerful. Here is one of the three decent pictures I managed to take of them:

IMG_9163Follower

 

Next was The Constant, who are poppier than Follower and Empires, but yet are still definitely rock and roll, and also significantly grittier live than they are online:

IMG_9180The Constant

 

And then it was time for Empires. They started with The Night is Young, a song created during the whole Rolling Stone contest, and then powered through a set that included another song written for the RS contest (Hell’s Heroes) but was mostly a solid mix of  Bang and Howl and included I Want Blood, Damn Things Over, Hello Lover, Spit the Dark, I Know You Know, Voodooized and Bang.

It’s been a year or so since I saw Empires last, and I was once again entranced by the depth and richness of their sound, especially the blues at the core. To me they sound like the essence of certain aspects of Chicago: the stockyards, the sexy menace of mobsters in heavy coats and molls in sleek furs, speakeasies, the rumble of the El, and the snap in the air as snow falls on the mighty river.

These are the two best pictures from the evening:

 

IMG_9221Tom Conrad, intent on his chords

IMG_9218Sean Van Vleet

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We Believe in the Spirit of Rock and Roll: Cowboy Mouth / Jon Batiste Band / Sharon Little, High Line Ballroom, 6/9/11

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Among the many things happening in New York this month is the 30th Anniversary Blue Note Jazz Festival. While I have something of an allergy to jazz – the result of a traumatic smooth jazz experience early in life – but when I saw Cowboy Mouth among the show listings I couldn’t resist.

But first let me talk about the openers for a minute. Sharon Little, who is a tiny person with a big beautiful voice, was first up:

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Followed by the Jon Batiste Band:

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This is only a small fraction of the band; they actually took up almost the entire stage. And they were incredible. Highlights of their set include a jazz-funk rendition of These Are A Few of My Favorite Things, the piano melody shining like a bright beacon amid the horns and drums; a stomp-along funk-heavy Iko Iko; and a sweet sad St. James Infirmary gliding into a tight, focused Hi Di Ho,  Batiste conducting them so gracefully that it was almost invisible.

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And  then it was time for the main event. The one, the only, the joyful ruckus, Cowboy Mouth.

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If you have not seen them before, you should know that there are some things that are not optional at Cowboy Mouth shows, including: putting your hands in the air and waving and/or clapping, screaming, jumping up and down, and otherwise rocking the hell out. Also, they open and close every show by asking each member of the audience to hug the person next to them, whether it is a friend or a stranger. They are totally committed to raucous positivity, and their set was basically a 90 minute celebration of the joys (and sorrows, but mostly joys) of being alive. Their motto is, essentially, Life is too short, let’s rock and roll.

I am terrible with setlists but I know they played Belly, Voodoo Shop, It’s So Sad About Me, Tell the Girl, Everybody Loves Jill (complete with a hail of red plastic spoons), Take Me Back to New Orleans, they closed down with a mash-up of I Believe and Jenny Says, and the encore was The Avenue. There was also a new song, which may have been called Enough Drama. Other highlights included the band leading the crowd in  an Amen chorus for This Little Light of Mine; a spontaneous between-songs burst of Who Dat?, the New Orleans Saints fight song from somewhere in the center of the crowd; and a punk-rock version of Iko Iko.

It was truly an epic evening. Their next tour starts tomorrow, June 16th, in Greensboro, SC, and after that they will be spending several weeks wending their way through the South and portions of the Midwest. If they come near you, go and see them. It will be a good time.

A few more pictures:

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Fred LeBlanc, gleefully drumming.

IMG_9145John Thomas Griffith (piano) and Cassandra Faulconer (bass)

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Cassandra Faulconer (bass) and Matt Jones (guitar)

 

IMG_9150And one more of Fred LeBlanc and the fleur-de-lis

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Songs I Love Best: Wildflowers

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I don’t remember now how I first discovered Trio, the record Dolly Parton, Linda Ronstadt and Emmyloud Harris put out together in 1987, but I know I bought it on tape because I can remember both the garish pink cover, and the number of times I carefully cued up various tracks for mixes. I acquired it again recently – digitally, this time – when I went on an Emmylou Harris collecting tangent and realized I had missed it, somehow, when I was filling in other digital gaps.

I liked the whole thing, by and large – I can also remember singing along (hand stapled firmly to forehead) to The Pain of Loving You and Those Memories of You at various times in high school – but my favorite track is, was, and ever shall be Wildflowers. If (when) I get a tattoo, “no regrets for the path that I chose” will be a part of it. Of course that’s now, when I’ve been walking a while and had some time to actually make some choices; then, it was more about the hope of invoking the appearance of the path.

In any case, bursting with enthusiasm and keen to share it with all of y’all, I then went to YouTube to find a video and on first skim it seemed like there were precious few for the original song. (The two quasi-live performances are 1) a clip from a movie and 2) a clip that appears to be the result of  pointing the camera at the tv set and pressing record.)  A little bit of further digging pulled up this, which at least as a slideshow of pictures of Dolly Parton, Emmylou Harris and Linda Ronstadt through the years:

 

http://youtu.be/aDxrQFrGipo

 

Because I am a magpie, though, I got distracted from my main search by all of the cover versions that I found. The following are a few of the highlights:

This version, by The Clear Branch, is probably the most faithful to the original overall, and the beautiful voice you are about to hear belongs to Signe Salvesen, who moved from Norway to the hills of East Tennessee to study mountain music. She’s accompanied by Clint Riddle (guitar, banjo, mandolin), originally from Decatur, Alabama, with a background in Delta blues.

 

 

In this version, which features just Ginny White and her guitar and was recorded at the  New Harmonies Exhibit, Culp Building, Johnson County Historical Society in Warrensburg, Missouri, it’s stripped down to its barest essentials and transformed into something quite like a hymn.

 

http://youtu.be/-DZH58V8D6A

 

This one, performed by Tuva and The Far-Out Orchestra, and recorded in the Privaten Cafè in Holmsbu, Norway, occupies the patch of ground where indie rock and bluegrass overlap, and tends to slide more towards the indie rock end of the spectrum. Tuva Andersen has a rich, full and flexible voice, and it shines here.

 

Tuva & the Far Out Orchestra - Wildflowers (Dolly Parton)

 

This one, by the Sandy Bottom Bluegrass Band (according to YouTube, they are: Neil – Mandolin, Ken – Guitar, Steve – Dobro, Wayne – Banjo, Rick – Bass, and Denise – Autoharp), of Florida, is a solidly bluegrass rendition; the instrumental underpinning is perhaps a hair or two richer than the original.

 

Wildflowers Dont Care Where They Grow - complete band

 

As I was exploring, I also got to thinking about who I’d like to hear cover this song. Gillian Welch and Dar Williams sprang to mind first, and I spent a good ten minutes contemplating who I’d make the third part of that trio before I decided on Lucinda Williams, though I think Neko Case and/or Alison Krauss might also work well there.

And then my thoughts took a more critical turn. You know it is kind of plinky. Couldn’t we fuzz that up a little bit? Give it some muscle? said I to myself, and I  shuffled my mental deck of voices some more, and came up with Courtney Love, which was actually kind of a stumbling block because the pairings that seem to me to be obvious there (Kim Gordon and Kim Deal) are, shall we say, complicated. Though on further reflection, I’ve decided swapping in, say, Pink and Shirley Manson might produce just the right kind of fireworks.

Now tell me, dear readers, who would you pick?

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Postcards from the Balcony: Panic! at the Disco / fun. / Foxy Shazam, Terminal 5, 5/24/11

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I was up on the balcony for this one largely in the interest of self-preservation; I don’t do well in large crowds I can’t get out of, and Terminal 5 was almost literally packed to the rafters.

The first band was Foxy Shazam:

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I’ve seen this band four times now, twice on their headlining tour last summer (I went for one of their opening acts and developed an affection for them along the way), once when they opened for Courtney Love (!), and then at this show. Eric Nally whirled around the stage as he always does, but somehow they seemed a little bit subdued. And by “subdued” I mean Eric Nally did a headstand in the middle of a song –

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– but didn’t do the bit where he eats lit cigarettes (which I can’t actually bear to watch). Though I suspect that bit of business was sacrificed due to them being confined to a truncated opening act set. In any case, I was pleased to visit with them again.

The next band was fun., which is Nate Ruess (vocals; The Format), Andrew Dost (piano, keyboard, fluegelhorn, and glockenspiel; Anathello), Jack Antonoff (guitar; also currently with Steel Train) at the core and also currently has Will Noon (drums; Straylight Run), Nate Harold (bass) and Emily Moore (keys/guitar) as traveling with them, and to my surprise they were actually fun. I was surprised because when Aim & Ignite came out I tried to get into their tunes and it just didn’t work. Their live show is strong, however,  and I am still humming bit of the chorus to All The Pretty Girls almost a week later.

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And then it was time for Panic! at the Disco. The last time I wrote about them here was in February, when they played a special show in New York to introduce some of their newer tunes and promote their (unreleased at that time) third record, Vices & Virtues. Up until that point, the Panic!-focused internet (including me) had been collectively hovering over them like a hen with one chick, waiting anxiously for new tunes, and to see if the band had survived the departure of two of its members, including the chief lyricist. The songs I heard that show were promising; the record finally appeared in late March, and I loved it.  As of right now I can tell you: they have caught the thermals and are soaring.

As I noted after the show: now that was a rock concert. They started with Ready to Go (Get Me Out of My Mind) and proceeded to power through a high-energy mix of old and new songs. I was especially pleased to finally hear Hurricane live, and also Memories; and as much as I love Always, I was a little bit sad that Northern Downpour didn’t make it into the set-list this time around.

It was also a visual spectacle. They have new steam-punk stage furniture – Spencer Smith’s kit was perched atop a raised platform that looked like it would be at home in 2000 Leagues Under the Sea, with matching old-fashioned pipe organs on either side -  and Brendon Urie threw himself all over the stage, incorporating some of the dance moves from their recent video for Ready to Go (Get Me Out of My Mind). The rest of the band wasn’t standing still either, and the audience was definitely into it too.

Watching the pit sway and heave, I was both filled with joy to see people pogoing hard and grateful I had claimed a spot in safer territory. And, for those of you who may be keeping track of their tour covers, they did Careless Whisper (instrumental) by George Michael, Panic by The Smiths and Carry On My Wayward Son, by Kansas.

I don’t have that many pictures of them this time around, partially because I was on the balcony, and partially because I was busy trying to dance and not flail all over my neighbors. The following are a few of my favorites from the evening. The first one is from when Brendon Urie came up to the balcony to sing Always:

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And this one is probably the best picture of drummers in general and Spencer Smith in particular that I have yet managed to take, thanks to the spotlight rolling over him at just the right moment:

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And then, finally, a wider-screen shot of the view from the balcony, taken while Ian Crawford (guitar, left), Spencer Smith and Dallon Weekes (bass, right) were waiting for Brendon to return from his balcony visit, and which I like mainly for the atmospheric look of everything, including  the pinpoints of light visible in the pit:

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Postcards from the Pit: Whitesnake

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I saw Whitesnake at Irving Plaza last week – now there is a sentence I never expected to write – and about two songs into their set, it occurred to me: these are the kind of rock stars I fell in love with the first time. Not these specific rockstars, maybe, what with Whitesnake having been reconstituted several times since they started, but certainly of this general type: the shredding, hair-flying-everywhere, flowing-shirts-and-leather-trousers flavor of musician.

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Though I certainly do have a massive soft spot for Whitesnake in particular, and this incarnation of the band is a solid one. David Coverdale sounds great, and he’s got some heavy metal all-stars behind him, with Doug Aldrich (Dio) and Reb Beach (Winger) on guitars, Brian Tichy (Foreigner) on drums, Michael Devin (Lynch Mob) on bass and Brian Ruedy (Bret Michaels, Brian “Head” Welch, of KORN) on keys.

The set was a mixture of old and new songs – Whitesnake has a new record out! – and from what I could tell they were really enjoying themselves. This is one of my favorite pictures from the evening, taken during the “epic battling guitar solo” portion of the evening, and I love it mainly because Reb Beach and Doug Aldrich are grinning at each other like they have just invented a new holiday and it involves electric guitars:

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In short, it was a fantastic evening. Here are a few more pictures:

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Reb Beach (“former singing waiter of this parish”- David Coverdale) mugging as he shreds

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Doug Aldrich

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Brian Tichy, mid-solo

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L to R: David Coverdale, Michael Devin, Brian Ruedy

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David Coverdale, listening to the crowd sing to him.

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Artist I Really Like: Rob Zombie

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That’s the sum total of the thesis of this post, y’all: Rob Zombie, I Really Like His Tunes and His Style.  My reasons, in video form:

 

White Zombie - More Human Than Human

More Human than the Human (1995)

This one is actually from when he was part of White Zombie, and was one of the first songs I heard when I started going clubbing in Glasgow in 1996. I’m not quite sure how I missed it before that, but I did. It was definitely a “What is that and where can I get some more?” moment. When I got home I decamped to Tower Records where – this was the downside of living in suburbia when the Internet was still very young – all they had was the remix album, Supersexy Swingin’ Sounds, which was interesting but not . . . quite . . . what I was after.

Puzzled but not put off, I went back to college; meanwhile, White Zombie broke up and Rob Zombie went solo, and eventually put out Hellbilly Deluxe, in 1998. By then I had jumped across the ocean again (for work, this time) and on weekends I was going to places where they played these two songs a whole lot:

 

Rob Zombie - Dragula

Dragula (1998)

Rob Zombie - Superbeast

Superbeast (1999)

 

My favorite part of the video for Dragula is that he seems to be trying to play Grand Theft Auto in a tricked-out Model-T.  Anyway, jumping forward in time a few years: when The Sinister Urge came out in 2001, I was back in the U.S. again, in Brooklyn, and had mostly stopped clubbing.  I moved again about a year afterwards, and discovered that it’s also a great driving music. Never Gonna Stop (The Red, Red Kroovy) is an especially delicious way to start a long trip. And Feel So Numb is the track I frequently put on in the evenings this past semester as I was walking either to or from class:

 

Rob Zombie - Feel So Numb

Feel So Numb (2001)

 

As I’ve been putting this together I discovered I missed a record while I was in (cultural) exile: Educated Horses, in 2006 (whoops!), so my next and last favorite song is What? from Hellbilly Deluxe 2, in 2010. I have been dancing around my apartment to it for a while now, and also, because this is what I do in my spare time, dreaming of ways I would make a video for it. When I went to looking for the “official” video, I found that a) there isn’t one and b) two fierce ladies have stepped up and made their own, complete with really amazing dance moves:

 

http://youtu.be/jUZ8ba1-TZg

“What?” direct by BODYCON, starring BODYCON and Kristina Z (2010)

 

The last reason I really like Rob Zombie fits under the heading of “style” and is this: when I (finally!) got to see him live a year or so ago, not only did he play all of my favorite songs, he also did something I’d never encountered at a hard rock show before: he called a special ladies’ only pit, scolded the dudes who tried to crash it, and gave the girls hanging on the barrier a chance to mosh.

I couldn’t get in it myself – I was back by the soundboard at the time, since I had come  up late, after school, just in time for him to come on – but I appreciated the gesture, and him for making it, because in a very real way, a place in the pit is a place at the table. Thank you, Rob Zombie, for the all of the tunes, and for that moment. I look forward to whatever your next musical adventure may be.

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The Bell

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Band members (from left to right): Nicklas, Mathias, Jan. Photo  courtesy of Bad Man Recording Co.

The Bell are Nicklas Nilsson, Mathias Stromberg and Jan Petterson, from Malmö and Stockholm, Sweden. Last month they released Great Heat, their second record, which they put together with a great deal  of help from modern technology. I carried it around with me on my iPod for a week or so, and then, intrigued by their beats, made use of technology myself, and had an email chat with Mathias and his bandmates:

Mathias, I see that you sing, but which instruments do the rest of the band play?

Jan and Nicklas play all instruments, but write most of the songs on guitar and keyboard/piano. They fiddle with the computers and then we record vocals (all of us even though I do lead) and produce/mix everything together the three of us.

 

Why did you name the band The Bell?

There really is no specific answer to this question, it springs from a lot of things. From “For Whom The Bell Tolls” by Hemingway, which is just such an excellent title – to just sounding neat. We like the singular notion of One Bell, as well. THE Bell. It sounds alarming and like enlightenment.

 

I checked a map to see just how far apart Malmö and Stockholm are, and it looks like it’s approximately the same distance, as, say, New York City to the tip of Cape Cod, in Massachusetts, or about a six hour drive. I know you managed to record and mix the record while living in the different cities, but how did you all meet in the first place? And also who lives in Malmö and who lives in Stockholm?

Jan and Nicklas are small town boys both geographically and by heart. Jan’s from the north of Sweden originally and Nicklas from the south. I’m from and in Stockholm. Me and Jan go to know each other out on the town, as he used to live here. We realized we were into the same music (and books, films, wine and fonts) so we hung out more and more. Then he moved to Malmö for love.

 

Fonts? Which ones? Which font do you both appreciate the most, and why?

Today I would have to say old Poster Bodoni. Getting that fifties Italian café vibe …

 

Did you ever meet in the middle, as it were, to work on things? Or was the entire record made solely with the help of modern technology?

As mentioned earlier, we did most of the groundwork over the web and then met up to do vocals and production, both in our “home studio” in Malmö and rented spaces both in Malmö and Stockholm. So in short: we were creative online and anal producers in studio.

 

How did you all get interested in this particular kind of dark, drum-propelled synth-pop?

We all got laid for the first time in the eighties. So that’s where our very most primal love lies. For me personally, there was a lot of great synth clubs in Stockholm (and not very much else apart from horrible metal places where you’d get beaten up unless you looked like a muscular transvestite) so when I started to go out in my teens I tended to go to goth caves getting into EBM and electronic stuff. All this sort of evolved over time into more guitar driven stuff such as the Factory and Creation stuff in the late eighties.

 

The Stockholm club scene sounds like an “it’s all ABBA or Opeth” kind of situation. It is an interesting dichotomy, that “Swedish music”, or at least what Americans know of it, swings between two wildly different extremes of bright, bubbly pop and/or dance music and, well, death-metal.

Well, this it was it used to be like. Nowadays we get a lot of different clubs, ranging from obscure indie and electronica to just plain … well, bad stuff. So although I think these extremes exist (even if the death metal scene really is Norweigan rather than Swedish – here, the long hairs do garage rock or sleaze it seems) it is not as it once was.  And for this we’re very thankful. Swedes have always been an extremely open minded people so that narrow mindset does not work for the younger generations.

 

Which episode of Jersey Shore did your song end up in, and which song was it? Have there been any recent placements that top that one?

Can ANYTHING top Jersey Shore??? No but seriously, checking online the episode was called “The Tanned Triangle” … haha. How great is that? We had a song from our last album in Vampire Diaries last spring and a recent placement in No Ordinary Family and hoping to get a few more in the next few months.

 

A Jersey Shore appearance is indeed pretty epic, even if I can’t bear to watch that show at all, not even with the sound off.

I would like to be diplomatic and state that “it’s great that they’re doing their thing” but that would be indicating it had some level of artistic integrity.

 

And then the three that I ask everyone, the modified Proust Questionnaire, if you will:

What was your transformative song – the rock and roll lightning strike?

Matthias: Today I would have to say There is a light that Never Goes Out by The Smiths. It’s when I discovered heart & soul in music. Before that it was all … surface. Obviously, this soundtracked long make-out sessions when I was 14 together with the rest of the tracks on The Queen is Dead. Such a beautiful work of art. After that I realized that the alternative came in different flavours.

Nicklas: I had a friend who had a synthesizer. One evening while he was out in the kitchen eating with his parents I learned to play The Model. I think I was 8 years old at that time. Music became more transparent after that.  I suddenly knew I could play the same melodies and harmonies that were actually pressed on vinyl. Strange and shocking. I still sometimes revisit that feeling when using keyboards today.

Jan: Television – Venus

 

What was your first show (that you attended, not that you played)?

Matthias: Kraftwerk in Stockholm in … 1985, I think. It was fucking excellent.

Nicklas: 1982. A local new romantic band with loads of delay on vocals and guitars. The drummer had a white shirt with lace and very very long sleeves. The volume was so high that I lost my balance every now and then. I can’t remember a single tone they played. But I still want a shirt like that.

Jan: Ian Hunter in my home town of SkellefteÃ¥. I was 10 years old and I desperately tried to copy Ian’s haircut.

 

What was the first record/tape/etc that you bought? What was the last one?

Matthias: The first of any importance was Yazoos You and Me Both in 1983 and the last … I’m sorry, I’m from Sweden. We don’t really buy records. We subscribe to Spotify. But on that note, I listened to The Crystal Stilts new album just a minute ago and that is awsome!

Nicklas: I bought Tintin Red Rackham’s Treasure. Not much good music on that one. But almost immediately I traded it for Kraftwerk’s Radio-Activity. The last one was a pretty lousy demo by a local band. I can’t mention the band name. I know the guitarist.

Jan: Donny Osmond – Puppy Love and The Maccabees – O.A.V.I.P


An example of their groove: Today, from their new record, Great Heat:

The Bell - Today