JC Brooks and the Uptown Sound, St. Louis, MO, 4.21.12

Nate Burrell has once again generously allowed us to feature his great photography here on NTSIB. This Record Store Day found JC Brooks and the Uptown Sound in St. Louis where they made an in-store appearance at Euclid Records, then played an intimate house party.

About the house party performance, Nate says, “It was a sweaty mess that saw an unfiltered JCB and crew pouring out energy over two air tight 45 minute sets. Although not on a stage…they performed like they were at the Apollo and had everyone in the room singing their praises by the night’s end.” (Which echoes my sentiments after seeing them play the Beachland Tavern back in November.)

Nate goes on to say, “St. Louis and KDHX helped break JCB into a wider audience, and our city shows them hella love every time they come around. And they show us love back by putting on these types of rare shows.”

Going a little experimental this time out, Nate used PX 600 Silver Shade film for Polaroid. I’m a fan of Polaroids, and I think you’ll agree that Nate caught some beautiful and dynamic shots.

 

[#1-5 = Euclid Records in-store]
[#6-20 = house party]

 


Photos by Nate Burrell, courtesy of KDHX

Band I Really Love: The Magnetic Fields

The Magnetic Fields: because nobody else does hilarious, cranky, sweet, biting, romantic songs like Stephin Merritt (vocals/ukelele/harmonioum/keyboard) and his merry crew, aka Claudia Gonson (vocals/percussion/piano), Sam Davol (cello/flute), John Woo (banjo/guitar) and Shirley Simms (vocals/autoharp/ukelele).

For example, Andrew in Drag, from their latest record, Love at the Bottom of the Sea. It’s been stuck in my head for weeks and so now I’m going to share it with you, so I won’t be the only one singing the chorus under my breath at random and inappropriate times. (Note: contains nudity, may be unsafe for work!)
 

The Magnetic Fields - Andrew in Drag

 
This one is called With Whom To Dance and every time I listen to it, I observe, wistfully, that really as far as I’m concerned the only wretched part of being single is not having anyone to slow dance with at weddings. You know? Everyone else gets up to sway and spin and there I am perched on the edge of my chair feeling kind of lonely and awkward about everything. Thank you for capturing that emotion in song, Mr. Merritt!
 
The Magnetic Fields - With Whom to Dance?

 
Dipping into their back catalog a little bit, here’s a live version of Drive on Driver from Distortion, the record I had on repeat for basically the four months of 2008:
 
Magnetic Fields "Drive On Driver" 10/18/08 Meymandi Concert Hall, Raleigh, NC

 
If I ever get a tattoo, it will probably include the phrase characters bold complex and shady will write my memoirs across my heart, which is a lyric from this song, which is The Nun’s Litany, also from Distortion, here performed live in Oslo in 2008:
 
The Magnetic Fields - The Nuns Litany

 
In the category of The Best Kiss-off to an Ex Ever, there’s You Must Be Out Of Your Mind from Realism, live in St. Louis in 2010. Ideal to leave on the answering machine of someone you really, really don’t ever want to go out with again.
 
The Magnetic Fields - You Must Be Out Of Your Mind - Live at The Pageant in St. Louis - 3/6/10

 
And from 69 Love Songs, their three volume concept about love songs, here is All My Little Words, a song about being wordy but still powerless, performed live in North Carolina, in 2008:
 
Magnetic Fields "All My Little Words" 10/18/08 Meymandi Concert Hall, Raleigh, NC

 
Also from 69 Love Songs: The Book of Love, which has been covered by acts as diverse as The Airborne Toxic Event and Peter Gabriel. Seriously, click on those links and watch those videos. Y’all have not lived until you have heard Airborne Toxic Event perform a delicate chamber-pop song and Peter Gabriel aim himself, his voice and an entire orchestra at Stephin Merritt’s wry, reflective lyrics. Here is Mr. Merritt himself singing it in Los Angeles in 2008:
 
http://youtu.be/qzd9zEx6Wis
 
And then, I bring you back to the present with Quick, also from Love at the Bottom of the Sea, live in Chicago during their most recent tour:
 
The Magnetic Fields "Quick" Live

 
In conclusion: some photographs from their show that I went to a few weeks ago, here in New York, at the Beacon Theater.

The Magnetic Fields were as delightful as ever – at one point Stephin Merritt did an amazing dramatic reading of a stray gum wrapper that had made its way to the stage, and I decided that “I would listen to him/her/them read me a gum wrapper” is going to replace “sing me the phonebook” as my personal term of ridiculous fannish devotion – and DeVotchKa, who opened for them, did an exquisite acoustic set.

DeVotchKa
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The Magnetic Fields
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Y’all Need to Listen to This: JJAMZ

First, an introduction.

Some of you may recognize those faces, but, for those of you that don’t, they are, from left to right: James B. Valentine (Maroon 5), Alex Greenwald (Phantom Planet, Mark Ronson & The Business INTL), Z Berg (The Like), Michael Runion (solo artist, The Chances) and Jason Boesel (solo artist, Rilo Kiley, Bright Eyes), and together they are JJAMZ.

Second, a brief meditation on the nature of film, and also of music and video. One of my friends recently noted that “the measure of a film may be how narratively clear and deeply moving it is even if you don’t have the language at all.”

I’d expand on that to say the measure if a music video is how narratively clear and deeply moving it is even if you’re watching it with the sound off.

I give you as an example the video below, for JJAMZ’s new song Never Enough, starring Z Berg and Brie Larson (21 Jump Street, United States of Tara) and directed by Eddie O’Keefe.

It is just exquisite. Beautifully shot, with delicate and precise use of color and light – both shimmery, golden Californian sunlight and harsher neon tones – it absolutely works as a silent film about a complex and passionate friendship between two girls.

That said, I definitely encourage you to watch it with the sound on, too, because the song is great.

Additional warning/enticement: contains tasteful semi-nudity, smoking, cute girls with guns, a glamorous party, and assorted alcohol-induced shenanigans. Bonus fun: spotting the musicians making cameo appearances in the party scene!
 

JJAMZ – Never Enough from Eddie O'KEEFE on Vimeo.

 

JJAMZ will be releasing their first record, Suicide Pact, on July 10, 2012, via Dangerbird Records.

To tide you over until then they have another song entitled Heartbeat available as a free download. I have listened to it several times now, and I can tell you that, as you might expect, they really know how to write a pop hook.

And, okay, NERD ALERT, but part of the reason I was playing it over and over again was to try and focus on the individual parts, specifically, the way the guitars are layered with the synthesizers, and then the way the guitar solo floats up through the hum and crash, like a ray of summer light breaking through dark clouds.

Get it here:

 
Finally, they will also be playing several shows around Los Angeles in the near future, and will be at The Satellite every Monday night in June. For late breaking news and updates, you can subscribe to their Facebook or Twitter feed.

In Defense of Liner Notes

 

It was a part of the deal for me, sometimes consumed before the music was even played. Vinyl had them. CDs had them. Even fricking cassettes had them. And in the pre-internet age when all of the information I sought was not gathered in one convenient location, it was a cornerstone on which I built my reputation as someone who knew too much shit about music.

Liner notes – sometimes stately and elegant, sometimes silly, sometimes anemic, I would pore over every word of them. From musician histories to who played what instrument on which track to “The band would like to thank…”, I digested it.

Taken as a whole, stories and portraits began to emerge from seemingly unrelated albums. Hey, that bass player from that other band I used to like is now playing with these guys, and the guitarist from this band is thanked in the liner notes from that album, and those two bands use the same graphic designer, while this album and that other album were produced by the same person. Previously errant bits of information began to fit together in a great jigsaw puzzle of musical minutiae enlightenment. It was a continuing education with strands that could take you into forever if you had the mind to follow wherever they led. I learned who was most often involved in making the music I liked and was able to more successfully choose future albums to buy and enjoy, as well as being led to bands I never would have known about otherwise. I got to feel like an insider for catching on to certain jokes. And I gained an arsenal of facts that no one but me really cared about and was able to annoy my friends with them accordingly.

For someone who is a devourer of words as well as a lover of music, liner notes are a beautiful synthesis of the two, like an extra gift with every album. The more extensive the liner notes, the brighter my eyes light up.

But as the digital download becomes more prevalent, with some albums never released in a hard copy format, I watch with dismay and genuine sadness as liner notes begin to disappear. Every once in a while, a band will make me happy by including full liner notes in a .pdf with the digital version of their album (bless you, James Leg and the Dad Horse Experience), most albums only include a cover art .jpg and the songs, and sometimes even the cover art is dispensed with.

But… who produced this? Where was it recorded? Who is that playing zither on the third track? In what coy way does the guitarist wish to thank his girlfriend? I NEED TO KNOW THESE THINGS, PEOPLE!

Why are liner notes growing rare? As mentioned previously, such things can be produced in the form of a .pdf file or by other electronic means. And your average band website (which, in the case of some bands I listen to is just a Facebook page or an outdated MySpace profile) doesn’t bother going into production minutiae of each song.

Look at it this way, musicians: In a time when many of you are working your asses off by taking on the additional role of being your own PR rep, liner notes can add another avenue of connection with listeners. Aside from including the more technical notes that some of us really-I-promise are interested in, you could share stories, in-jokes, candid photos that haven’t already been reproduced on countless websites. Give the people a little more incentive to come see your live shows and buy your tour merch by giving them a deeper look into who you are and what you’re about.

The gradual disappearance of liner notes has been on my mind for a while, but this post was given a swift kick into existence by the fact that I was recently a part of creating liner notes for a forthcoming album. A close friend was asked to write these notes for one of his favorite bands, and I was honored when he asked me to be his editor. The experience of getting that first view of the words my friend chose to communicate the essence of the music brought to mind another, rarer connection that can be found in liner notes, that of reading what someone else has written about what you’re listening to and thinking, “Yes! That’s how I feel, too!” (And isn’t that personal resonance the basis for much of our love of music?)

So, musicians, while you’re busy connecting to your audience on an unprecedented personal level, don’t let the actual transmission and digestion aspect of your recorded output grow less personal. What I’m saying is: Give me my fucking liner notes! Junkie needs a fix!

 

A Good Read, a Good Listen, and a Good Drink: The Imperial Rooster

 

It’s a simple yet sublime pleasure, and just thinking about it can make you feel a little calmer, a little more content. Imagine: You bring out one of the good rocks glasses (or your favorite mug or a special occasion tea cup) and pour a couple fingers of amber liquid (or something dark and strong or just some whole milk). You drop the needle on the jazz platter (or pull up a blues album on your mp3 player or dig out that mixtape from college). Ensconcing yourself in the coziest seat in the house, you crack the spine on a classic (or find your place in that sci-fi paperback or pull up a biography on your e-book reader). And then, you go away for a while. Ah, bliss.

In this series, some of NTSIB’s friends share beloved albums, books and drinks to recommend or inspire.


One of the best perks about this music blogging gig is the like-minded friends you can make. I got to know Dusty Vinyl thanks to the appearance of everyone’s favorite porch-dwellers The Imperial Rooster at the inaugural Couch by Couchwest in the spring of 2011, and the Rooster drummer has been a good buddy ever since (and simpatico enough that he chose one of my favorite books for his read).

The Imperial Rooster has two albums under its belt now, and has been gigging hard whenever it can. If you’re in the Santa Fe area you can catch them:

April 27 w/Split Lip Rayfield @ Sol, Santa Fe
May 22 w/The Misery Jackals @ The Underground, Santa Fe

 

“April” – The Imperial Rooster
(They tell me it’s a coincidence that this song has my name on it, but I’m not buying it.)

 

Good Read:
Our Band Could Be Your Life by Michael Azerrad.
I’m probably preaching to the choir in this space but I’ve been surprised before by how many folks with similar tastes in music have never read this book. It tells the story of most of the important underground rock bands of the 80s up until their breakup or signing to a major label.

A lot of my favorite bands of all time are represented: Black Flag, The Replacements, Sonic Youth, The Minutemen (whose “History Lesson Part II” is where the book cribs its title from) Husker Du, and the immortal Mudhoney.
Every story is worth reading even if you’re unfamiliar with the band’s music (never been into Beat Happening) as a snapshot of all the different vibrant music regions around the country, as cautionary tales, and as a doorway to your new favorite band.

Good Listen:
For Your Own Special Sweetheart – Jawbox
As the flipside to the overall theme of the book I just wrote about Jawbox’s For Your Own Special Sweetheart is the rare “underground rock band jumps to major label” story where the band’s major label output smokes their indie stuff.
Washinton DC’s Jawbox was a major band in that city’s burgeoning post hardcore scene, alongside Fugazi and Shudder To Think and the jump from super anti corporate Dischord to mega major Atlantic was a shock. Even more shocking was how great the resulting major label debut was. Two big events shape this record: Jawbox went on tour with Helmet and they got a real recording budget. The budget allowed their sonic pallette to expand while at the same time the tour with Helmet inspired their riffs to be big and jagged and muscular. The band remained uncompromising with their hardcore influenced indie rock. The songs are unrelenting, fantastic and multilayered and the album as a whole is a completely satisfying listen. Definitely check it out.

 

“Savory” – Jawbox

“Motorist” – Jawbox

 

Good Drink:
Trippel (New Belgium Brewery)
My beer of choice when I’m going to the store New Belgium’s take on a trippel style ale is perfection in a bottle. Its hoppy and sweet and it’s 7.8 ABV ensures that you’ll be feeling good a couple bottles in without all the beer bloat.

 

“Overunderstimulated” – The Imperial Rooster

 

The Imperial Rooster @ Bandcamp

The Imperial Rooster @ ReverbNation

The Imperial Rooster @ Facebook

 

Graphic by Jenn Bando

Saturday Matinee: If I Should Fall from Grace: The Shane MacGowan Story

 

This documentary about the lead singer of Irish-by-way-of-London band the Pogues paints a complex, heartrending, and ultimately frustrating portrait of an artist who could still be contributing so much to music if he could just get his shit together. But it’s never as easy as that, is it?

 

Markers: 2 Years

Today is the second anniversary of me being part of this music blogging adventure, so: thanks, y’all, once again, for joining us, whether it’s once or all the time. Have some pretty spring flowers as an expression of my appreciation:

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I’m also declaring today Lurker Amnesty Day. Drop me a comment or an an email and say hi, y’all. Share a song or a video, ask a question, or just wave shyly, it’s all good.

Daniel Knox Is Coming to Cleveland (and Other Points East)

 

Oh, I’ve been waiting for this one. The sardonic Mr. Daniel Knox is bringing his unsettling cabaret songs to the Beachland Ballroom this Wednesday, April 11, when he opens for the Traveling Ladies’ Cello Society, a.k.a., Rasputina.

I was taken by Knox’s rockbottom warble and dancehall piano (and kazoo – don’t forget the kazoo) when I first heard him play Couch by Couchwest back in 2011. He graced the stage again at CXCW this year with a magical rendering of his ethereally menacing “Ghostsong”.

 

 

Incidentally, in addition to great albums like Evryman for Himself, Disaster, etc., Daniel has a new single – “To Make You Stay” (with the return of Akron son Ralph Carney on saxophone) b/w “Blue Car” – available at Bandcamp.

 

 

Show details:
Wed, Apr 11 | 8:30 PM (7:30 PM door)
Rasputina
Daniel Knox
$15.00 adv / $17.00 dos
Ballroom | All Ages

 

You can also catch Daniel with Rasputina at these dates:

04.06.12 Buffalo, NY The Tralf Music Hall
04.07.12 Toronto, ON Lee’s Palace
04.09.12 Detroit, MI Magic Stick
04.10.12 Chicago, IL Double Door
04.12.12 Morgantown, WV 123 Pleasant St
04.13.12 Baltimore, MD Ottobar
04.14.12 Brooklyn, NY Knitting Factory

 

Daniel Knox Official Website

Daniel Knox @ Tumblr

Daniel Knox @ Twitter

Daniel Knox @ Facebook

Soulsavers: Longest Day

 

The Soulsavers first came to my attention through their work with Mark Lanegan on It’s Not How Far You Fall, It’s The Way You Land, and I was bowled over from my first listen of “Revival”.

(Do this: In the evening, after dusk, when the sky is deep blue, just before black, turn out every light and turn on “Revival”. Turn it up loud enough to fill the room and immerse yourself in it as if it was the sea. Feel it push and pull you, gently drift you, threaten to smash you against the jagged rocks just off the coast. Do nothing but listen, let it turn into a meditation. And when the song is over, slowly emerge back into the world, like walking out of the sea onto the sand. Feel a little water-logged, a little battered, with salt in your mouth and grit in your hair, but somehow cleansed)

The band have also put Richard Hawley, Will Oldham, Gibby Haynes, Mike Patton, and Jason Pierce in the singer capacity. This time around, with The Light the Dead See, the Soulsavers are collaborating with Depeche Mode’s Dave Gahan – who is a self-professed Soulsavers fan and “Lanegan junkie”. Take a listen to “Longest Day”.

 

Soulsavers – Longest Day by Cooperative Music

 

By all accounts, the recording was an effortless and magical experience, even despite Soulsavers’ head man Rich Machin being hit hard with a case of tinnitus shortly after the process began. The end result will be released May 22nd.

 

Soulsavers @ Facebook

Soulsavers @ Twitter

Ray Wylie Hubbard: Grifter’s Hymnal

Photo credit: Todd Wolfson

1. Who is Ray Wylie Hubbard? He’s Gandalf, if The Lord of The Rings had been written as a team effort by Warren Ellis and Charles Portis.

2. Once, very long ago, when I had only just begun to wander, I fetched up in a church in the center of London. There was music playing when I walked through the door, organ music, swelling and rolling and bouncing between the marble floors and pillars and filling up the soaring arches.

I drifted around, muddled by jet-lag, enjoying the music and only vaguely paying attention to the people who were with me. Eventually the music stopped, and a small, gray-haired man emerged from behind the organ, and I realized a) he had been playing the whole time and b) I had been walking quietly so I didn’t disturb the angels that I had thought were there and c) it had not seemed the tiniest bit irregular to me, that an off-duty angel should have stopped in to a random church in central London to keep the organ in good tune.

(I was really jet-lagged. About two hours later I would fall upon the only 7-11 in town like a hungry, homesick locust and eat the hot dogs of the lonesome and far from home.)

Dirty rock clubs are not (usually) churches, and Ray Wylie Hubbard is not an angel. But as the organ music contained within it the solemn peace and worn but still stately grandeur of that church, his music contains stages scratched by amps and dented by stomping boots and upright basses, mysterious unsavory puddles of liquor left by drinks gone astray, the shimmer-shine of rodeo buckles and lucite heels bathed in multi-colored neon lights, the rumble of truck engines out in the parking lot, and the sweet bite of whiskey against the back of your throat and smoke in your lungs in cold night air.

3. This is the video for Coricidin Bottle, from Grifter’s Hymnal, his most recent record:
 


 
4. And here he is at Couch by CouchWest, with Trainyard Blues, also from Grifter’s Hymnal:
 
Ray Wylie Hubbard @ CXCW

 
5. This one doesn’t come from the new record but I’m going to put it here for you to watch anyway because I like it. It is his cover of James McMurtry’s Choctaw Bingo, and appears on Delerium Tremolos:
 
Ray Wylie Hubbard // Choctaw Bingo

 

6. Other songs I’m fond of on Grifter’s Hymnal include: Lazarus, Henhouse, New Year’s Eve at the Gates of Hell and Mother Blues. They are, collectively and variously, bluesy and stompy and rambly and thoroughly delightful. Though really that describes the whole record.

7. Delightful and educational: Ray Wylie Hubbard’s Twitter feed. Young musicians, take note, there’s solid advice in there among the shenanigans.