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"content": "\u003cp>Almost 100 years after it was made, the Charlie Chaplin film \u003ca href=\"http://en.wikipedia.org/wiki/The_Vagabond_%28film%29\">\u003ci>The Vagabond\u003c/i>\u003c/a>, still leaves audiences laughing and swooning, no matter where it plays. I’ve seen children on the Indian subcontinent laughing uproariously at Chaplin’s antics the same way that elderly movie-goers did on a different occasion in California. Chaplin’s silent films are hypnotic. The fact that no words are audible adds to their allure. But “silent film” can be a misnomer. Many silent films were made to have a musical accompaniment, and modern screenings of anything by Chaplin, Lon Chaney, and other silent-era greats are almost expected to have an aural component. \u003c/p>\n\u003cp>That’s where Jon Mirsalis comes in. An accomplished pianist who’s one of the world’s foremost historians on Chaney’s works and silent film in general, Mirsalis will accompany three Chaplin shorts that are playing at the Castro Theatre on Saturday, January 11, 2014. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the \u003ca href=\"http://www.silentfilm.org\">San Francisco Silent Film Festival\u003c/a>. Mirsalis interprets each film scene on the spot. How to play for a silent film? For Mirsalis, it’s about improvisation. And it’s about creating sheets of sound that — in a counter-intuitive way — are both noticed and unnoticed. The best musical accompaniments to silent films, Mirsalis says, stay in the background.\u003c/p>\n\u003cp>“What makes a good score is, first, you don’t want to call attention to yourself,” he says. “There are and have been accompanists who love to put in what I call musical gags. One accompanist would play, whenever there was a fire sequence, the song \u003ci>Blaze Away\u003c/i>. If you know the song, it’s ‘Ha, ha. Isn’t that cute?’ But that’s a terrible thing to do. Because it takes people off the film. I should be invisible. In fact, the best compliment that people give me when a film is over is to come up to me and say, ‘You began playing the film and for the first minute or so, I was conscious you were playing. And then I just tuned you out.’ And people are often apologetic. They’ll say, ‘I completely forgot you were there until the end credits came on and you stood up and people applauded.’ That’s the best compliment, because that’s the way it’s supposed to work. The music is supposed to provide the mood of the film. Even a film today, like a John Williams score for \u003ci>Star Wars\u003c/i> or \u003ci>Indiana Jones\u003c/i> or \u003ci>Lincoln\u003c/i> — you don’t sit there and say, ‘Wow, this is a great score.’ You are sucked into the movie.” \u003c/p>\n\u003cp>In the hey-day of silent films, between the 1890s and 1920s, about 20,000 were made, according to Mirsalis. After “talkies” appeared around 1929, and the demand for silent films badly ebbed, movie studios destroyed thousands of original-print silent films, including films by Chaney and other major stars. The only reason some of these films still exist: Copies happen to have been held in archives. Even today, rare silent films are occasionally found in old houses and old storage spaces. Chaney, for example, made more than 150 films, but a relative few survive, Mirsalis says. Chaney’s work for Universal Studios is almost completely lost.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/k3t18c2axRw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>“It’s ridiculous,” Mirsalis says. “Of the 110 films he did for Universal, I want to say about 10 or fewer survive. That’s because, in 1948, Universal burned all their silent library. MGM lost one vault of films due to a fire. Fox lost a lot of films just to neglect. Paramount likewise with neglect. Universal said, ‘Gee, we have no use for this silent film. We’re paying storage costs on all this flammable nitrate film. We’re paying high insurance costs. There’s absolutely no market for it.’ This was just before TV was starting to take off. And TV wasn’t doing much with silent films other than shows that made fun of them. They took these old films and ran them in 24-frames-per second, and made them really fast and silly and put a gag narration track on it. So there was no market. And Universal felt they could melt the films down and extract the silver. So they destroyed everything that didn’t have a soundtrack. So the reissue of \u003ci>The Phantom of the Opera\u003c/i> and \u003ci>The Man Who Laughs\u003c/i>, which had a soundtrack, and a handful of late 1920s films, they destroyed. They destroyed all the original material from \u003ci>The Hunchback of Notre Dame\u003c/i>. This is beyond dumb.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mirsalis, who runs the website \u003ca href=\"http://lonchaney.org/\">lonchaney.org\u003c/a>, solidified his silent-film expertise in his “off hours.” His day job is as a research scientist at SRI International, a major Menlo Park research and development center. Mirsalis’ title: Managing Director, Division Operations, and Director, Preclinical Development, SRI Biosciences. He has doctorates in toxicology and genetics from North Carolina State University. Mirsalis’ interest in silent film dates back to when he was 10, when he was a regular reader of \u003ca href=\"http://en.wikipedia.org/wiki/Famous_Monsters_of_Filmland\">\u003ci>Famous Monsters of Filmland\u003c/i>\u003c/a>, a magazine that chronicled cinematic ghouls and published flattering articles on Chaney’s films. In 1974, Mirsalis began assembling notes about as many Chaney films as he could, and he bought his first film: an eight-millimeter print of \u003ci>The Phantom of the Opera\u003c/i>. His collection has gotten much bigger, as well as his reputation. In the last 30 years, Mirsalis has done everything from program a Chaney film series at the Pacific Film Archive to scoring the music for the Milestone Films’ release of \u003ci>The Phantom of the Opera\u003c/i>. \u003c/p>\n\u003cp>Mirsalis, 61, lives in the Peninsula area called Emerald Hills and is part of an elite group of silent-film accompanists. About six veteran accompanists live in the Bay Area, he says. He doesn’t compartmentalize his interests, so colleagues at SRI International know about his outsized interest in Lon Chaney and silent films. “Everyone knows about it — in fact, the CEO of our company is a violinist, and many of my staff show up when I play for films,” he says. “I keep them separate in the sense that I have a day job. I go to work and I do science in the daytime, but I usually don’t spend my weekends doing science. But you’ll find that, traditionally, there’s a link between science and music. An awful lot of scientists are musicians. And if you go back to Galileo and Leonardo da Vinci times, it’s like a left-right brain thing. People who tend to have aptitude in science also tend to have aptitude in music. And I am a pretty good researcher, whether I’m researching cures for infectious disease or what the proper credits were on a 1914 film. Some of the skills are the same, in that you use all your resources, and you compile it all. And in both science and in film history, sometimes you have to make educated guesses as to what really happened.” \u003c/p>\n\u003cp>Before our interview ended, Mirsalis threw out a fact that few people know about: “Before my piano playing days, I was a pretty good rock guitarist in a reasonably successful band in the Cleveland area. I knew \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Walsh\">Joe Walsh\u003c/a> growing up. But I quickly realized that that is not the life you can make money at or have a good time at. Even for the people who are successful, it’s a rough life. In fact, my old guitar teacher, Walt Nims, wrote \u003ca href=\"http://www.youtube.com/watch?v=I95xCjQe6Jg\">Precious and Few\u003c/a>, which was a big hit. He was also the lead guitarist of \u003ca href=\"http://en.wikipedia.org/wiki/The_Outsiders_%28American_band%29\">The Outsiders\u003c/a>. But it’s a tough life. How many big bands of the 1970s are still around? And I enjoy science, which I find to be challenging.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Jon Mirsalis will accompany three Charlie Chaplin film shorts at the Castro Theatre on Saturday, January 11, 1pm. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the San Francisco Silent Film Festival. For \u003ca href=\"http://www.silentfilm.org/special-events/the-little-tramp-at-100\">tickets and more information\u003c/a> visit silentfilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 100 years after it was made, the Charlie Chaplin film \u003ca href=\"http://en.wikipedia.org/wiki/The_Vagabond_%28film%29\">\u003ci>The Vagabond\u003c/i>\u003c/a>, still leaves audiences laughing and swooning, no matter where it plays. I’ve seen children on the Indian subcontinent laughing uproariously at Chaplin’s antics the same way that elderly movie-goers did on a different occasion in California. Chaplin’s silent films are hypnotic. The fact that no words are audible adds to their allure. But “silent film” can be a misnomer. Many silent films were made to have a musical accompaniment, and modern screenings of anything by Chaplin, Lon Chaney, and other silent-era greats are almost expected to have an aural component. \u003c/p>\n\u003cp>That’s where Jon Mirsalis comes in. An accomplished pianist who’s one of the world’s foremost historians on Chaney’s works and silent film in general, Mirsalis will accompany three Chaplin shorts that are playing at the Castro Theatre on Saturday, January 11, 2014. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the \u003ca href=\"http://www.silentfilm.org\">San Francisco Silent Film Festival\u003c/a>. Mirsalis interprets each film scene on the spot. How to play for a silent film? For Mirsalis, it’s about improvisation. And it’s about creating sheets of sound that — in a counter-intuitive way — are both noticed and unnoticed. The best musical accompaniments to silent films, Mirsalis says, stay in the background.\u003c/p>\n\u003cp>“What makes a good score is, first, you don’t want to call attention to yourself,” he says. “There are and have been accompanists who love to put in what I call musical gags. One accompanist would play, whenever there was a fire sequence, the song \u003ci>Blaze Away\u003c/i>. If you know the song, it’s ‘Ha, ha. Isn’t that cute?’ But that’s a terrible thing to do. Because it takes people off the film. I should be invisible. In fact, the best compliment that people give me when a film is over is to come up to me and say, ‘You began playing the film and for the first minute or so, I was conscious you were playing. And then I just tuned you out.’ And people are often apologetic. They’ll say, ‘I completely forgot you were there until the end credits came on and you stood up and people applauded.’ That’s the best compliment, because that’s the way it’s supposed to work. The music is supposed to provide the mood of the film. Even a film today, like a John Williams score for \u003ci>Star Wars\u003c/i> or \u003ci>Indiana Jones\u003c/i> or \u003ci>Lincoln\u003c/i> — you don’t sit there and say, ‘Wow, this is a great score.’ You are sucked into the movie.” \u003c/p>\n\u003cp>In the hey-day of silent films, between the 1890s and 1920s, about 20,000 were made, according to Mirsalis. After “talkies” appeared around 1929, and the demand for silent films badly ebbed, movie studios destroyed thousands of original-print silent films, including films by Chaney and other major stars. The only reason some of these films still exist: Copies happen to have been held in archives. Even today, rare silent films are occasionally found in old houses and old storage spaces. Chaney, for example, made more than 150 films, but a relative few survive, Mirsalis says. Chaney’s work for Universal Studios is almost completely lost.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/k3t18c2axRw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>“It’s ridiculous,” Mirsalis says. “Of the 110 films he did for Universal, I want to say about 10 or fewer survive. That’s because, in 1948, Universal burned all their silent library. MGM lost one vault of films due to a fire. Fox lost a lot of films just to neglect. Paramount likewise with neglect. Universal said, ‘Gee, we have no use for this silent film. We’re paying storage costs on all this flammable nitrate film. We’re paying high insurance costs. There’s absolutely no market for it.’ This was just before TV was starting to take off. And TV wasn’t doing much with silent films other than shows that made fun of them. They took these old films and ran them in 24-frames-per second, and made them really fast and silly and put a gag narration track on it. So there was no market. And Universal felt they could melt the films down and extract the silver. So they destroyed everything that didn’t have a soundtrack. So the reissue of \u003ci>The Phantom of the Opera\u003c/i> and \u003ci>The Man Who Laughs\u003c/i>, which had a soundtrack, and a handful of late 1920s films, they destroyed. They destroyed all the original material from \u003ci>The Hunchback of Notre Dame\u003c/i>. This is beyond dumb.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mirsalis, who runs the website \u003ca href=\"http://lonchaney.org/\">lonchaney.org\u003c/a>, solidified his silent-film expertise in his “off hours.” His day job is as a research scientist at SRI International, a major Menlo Park research and development center. Mirsalis’ title: Managing Director, Division Operations, and Director, Preclinical Development, SRI Biosciences. He has doctorates in toxicology and genetics from North Carolina State University. Mirsalis’ interest in silent film dates back to when he was 10, when he was a regular reader of \u003ca href=\"http://en.wikipedia.org/wiki/Famous_Monsters_of_Filmland\">\u003ci>Famous Monsters of Filmland\u003c/i>\u003c/a>, a magazine that chronicled cinematic ghouls and published flattering articles on Chaney’s films. In 1974, Mirsalis began assembling notes about as many Chaney films as he could, and he bought his first film: an eight-millimeter print of \u003ci>The Phantom of the Opera\u003c/i>. His collection has gotten much bigger, as well as his reputation. In the last 30 years, Mirsalis has done everything from program a Chaney film series at the Pacific Film Archive to scoring the music for the Milestone Films’ release of \u003ci>The Phantom of the Opera\u003c/i>. \u003c/p>\n\u003cp>Mirsalis, 61, lives in the Peninsula area called Emerald Hills and is part of an elite group of silent-film accompanists. About six veteran accompanists live in the Bay Area, he says. He doesn’t compartmentalize his interests, so colleagues at SRI International know about his outsized interest in Lon Chaney and silent films. “Everyone knows about it — in fact, the CEO of our company is a violinist, and many of my staff show up when I play for films,” he says. “I keep them separate in the sense that I have a day job. I go to work and I do science in the daytime, but I usually don’t spend my weekends doing science. But you’ll find that, traditionally, there’s a link between science and music. An awful lot of scientists are musicians. And if you go back to Galileo and Leonardo da Vinci times, it’s like a left-right brain thing. People who tend to have aptitude in science also tend to have aptitude in music. And I am a pretty good researcher, whether I’m researching cures for infectious disease or what the proper credits were on a 1914 film. Some of the skills are the same, in that you use all your resources, and you compile it all. And in both science and in film history, sometimes you have to make educated guesses as to what really happened.” \u003c/p>\n\u003cp>Before our interview ended, Mirsalis threw out a fact that few people know about: “Before my piano playing days, I was a pretty good rock guitarist in a reasonably successful band in the Cleveland area. I knew \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Walsh\">Joe Walsh\u003c/a> growing up. But I quickly realized that that is not the life you can make money at or have a good time at. Even for the people who are successful, it’s a rough life. In fact, my old guitar teacher, Walt Nims, wrote \u003ca href=\"http://www.youtube.com/watch?v=I95xCjQe6Jg\">Precious and Few\u003c/a>, which was a big hit. He was also the lead guitarist of \u003ca href=\"http://en.wikipedia.org/wiki/The_Outsiders_%28American_band%29\">The Outsiders\u003c/a>. But it’s a tough life. How many big bands of the 1970s are still around? And I enjoy science, which I find to be challenging.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jon Mirsalis will accompany three Charlie Chaplin film shorts at the Castro Theatre on Saturday, January 11, 1pm. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the San Francisco Silent Film Festival. For \u003ca href=\"http://www.silentfilm.org/special-events/the-little-tramp-at-100\">tickets and more information\u003c/a> visit silentfilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Live This Month: January 2014 | KQED",
"content": "\u003cp>As we mentioned several podcasts ago, \u003ca href=\"http://magikmagik.com/\">The Magik*Magik Orchestra\u003c/a> has been adding welcome orchestral layers to local indie music for years. The orchestra is celebrating its fifth birthday with a special concert at the Fox Theater this month, where they’ll be joined by a bevy of great acts, including past collaborators How to Dress Well, The Dodos and John Vanderslice.\u003c/p>\n\u003cp>Speaking of anniversaries, hats off to the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> for 10 years as one of the city’s best venues, consistently booking interesting bills of local and touring acts. The Rickshaw’s series of anniversary concerts this month is no exception, with Mikal Cronin, Geographer, Yacht and many more taking the stage over six nights. Speaking of the Rickshaw, it’s also the setting for \u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>‘ album release party. \u003cem>Forever\u003c/em> is the first LP from the local duo, who craft rich psychedelic pop songs.\u003c/p>\n\u003cp>Among notable touring bands, it’s been almost two years since Tennis released its last LP, but November’s \u003cem>Small Sound\u003c/em> EP was a welcome reminder of the indie pop band’s talents. We’re also excited to see the return of UK noise poppers \u003ca href=\"https://www.facebook.com/yuckband\">Yuck\u003c/a>. The group rebounded from the departure of singer/guitarist Daniel Blumberg with the shoegazey \u003cem>Glow & Behold\u003c/em> last year. Finally, \u003ca href=\"https://www.facebook.com/DarksideUSA\">Darkside\u003c/a> pairs electronic wiz Nicolas Jaar with guitarist Dave Harrington; on \u003cem>Psychic\u003c/em>, the twosome nimbly winds its way through a dense blend of rock and electronic sounds. \u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a> — “Here It Comes”\u003cbr>Celebrating the release of \u003cem>Forever\u003c/em> at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on January 17 with Soft Metals, Melted Toys, and Ears of the Beholder DJs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pickwickmusic\">Pickwick\u003c/a> — “Window Sill”\u003cbr>Coming to \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on January 9; Elliott Brood and Fine Points open the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Grandmas-Boyfriend/220075284692581\">Grandma’s Boyfriend\u003c/a> — “Hearts Feelin Lo”\u003cbr>Performing on January 8 at \u003ca href=\"http://www.elriosf.com/calendar/\">El Rio\u003c/a> with Apogee Sound Club and UFOFBI.\u003c/p>\n\u003cp>\u003ca href=\"http://parquetcourts.wordpress.com/\">Parquet Courts\u003c/a> — “Stoned and Starving”\u003cbr>Touring with White Fence, Parquet Courts plays the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=1&dyear=2014\">Great American Music Hall\u003c/a> on January 16; CCR Headcleaner opens.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/yuckband\">Yuck\u003c/a> — “Rebirth”\u003cbr>Playing at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on January 29; The She’s open.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tennisinc\">Tennis\u003c/a> — “Mean Streets”\u003cbr>Performing on January 10 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> with Kyle M. Terrizzi.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/purebathingculture\">Pure Bathing Culture\u003c/a> — “Dream the Dare”\u003cbr>Joining La Luz on January 20 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/naturalchildband\">Natural Child\u003c/a> — “Saturday Night Blues”\u003cbr>Supporting Futurebirds on January 30 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003cbr>\u003cem>Update: Natural Child has cancelled its tour dates with Futurebirds\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Wooden-Shjips/44944152975\">Wooden Shjips\u003c/a> — “Everybody Knows”\u003cbr>Headlining a show with Carlton Melton and Golden Void at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on January 23.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> — “No Blondes (In California)”\u003cbr>Performing at a \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> 10th Anniversary show with Mikal Cronin and Cool Ghouls on January 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/johnvanderslicemusic\">John Vanderslice\u003c/a> — “The Piano Lesson”\u003cbr>Joining Nicki Bluhm, The Dodos, Geographer and many, many more at the Magik*Magik Orchestra’s five year anniversary concert on January 31 at the \u003ca href=\"http://www.thefoxoakland.com/calendar.php\">Fox Theater\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mutualbenefit\">Mutual Benefit\u003c/a> — “Advanced Falconry”\u003cbr>Dan Casey and Dim Peaks support Jordan Lee’s project at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on January 25.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DarksideUSA\">Darkside\u003c/a> — “Paper Trails”\u003cbr>Appearing with High Water at \u003ca href=\"http://thefillmore.com/calendar/\">The Fillmore\u003c/a> on January 24.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/superhumanoids\">Superhumanoids\u003c/a> — “Bad Weather (Tropics Remix)”\u003cbr>Playing a \u003ca href=\"http://yourstru.ly/\">Yours Truly\u003c/a>-presented show at\u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on January 23.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we mentioned several podcasts ago, \u003ca href=\"http://magikmagik.com/\">The Magik*Magik Orchestra\u003c/a> has been adding welcome orchestral layers to local indie music for years. The orchestra is celebrating its fifth birthday with a special concert at the Fox Theater this month, where they’ll be joined by a bevy of great acts, including past collaborators How to Dress Well, The Dodos and John Vanderslice.\u003c/p>\n\u003cp>Speaking of anniversaries, hats off to the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> for 10 years as one of the city’s best venues, consistently booking interesting bills of local and touring acts. The Rickshaw’s series of anniversary concerts this month is no exception, with Mikal Cronin, Geographer, Yacht and many more taking the stage over six nights. Speaking of the Rickshaw, it’s also the setting for \u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>‘ album release party. \u003cem>Forever\u003c/em> is the first LP from the local duo, who craft rich psychedelic pop songs.\u003c/p>\n\u003cp>Among notable touring bands, it’s been almost two years since Tennis released its last LP, but November’s \u003cem>Small Sound\u003c/em> EP was a welcome reminder of the indie pop band’s talents. We’re also excited to see the return of UK noise poppers \u003ca href=\"https://www.facebook.com/yuckband\">Yuck\u003c/a>. The group rebounded from the departure of singer/guitarist Daniel Blumberg with the shoegazey \u003cem>Glow & Behold\u003c/em> last year. Finally, \u003ca href=\"https://www.facebook.com/DarksideUSA\">Darkside\u003c/a> pairs electronic wiz Nicolas Jaar with guitarist Dave Harrington; on \u003cem>Psychic\u003c/em>, the twosome nimbly winds its way through a dense blend of rock and electronic sounds. \u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a> — “Here It Comes”\u003cbr>Celebrating the release of \u003cem>Forever\u003c/em> at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on January 17 with Soft Metals, Melted Toys, and Ears of the Beholder DJs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pickwickmusic\">Pickwick\u003c/a> — “Window Sill”\u003cbr>Coming to \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on January 9; Elliott Brood and Fine Points open the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Grandmas-Boyfriend/220075284692581\">Grandma’s Boyfriend\u003c/a> — “Hearts Feelin Lo”\u003cbr>Performing on January 8 at \u003ca href=\"http://www.elriosf.com/calendar/\">El Rio\u003c/a> with Apogee Sound Club and UFOFBI.\u003c/p>\n\u003cp>\u003ca href=\"http://parquetcourts.wordpress.com/\">Parquet Courts\u003c/a> — “Stoned and Starving”\u003cbr>Touring with White Fence, Parquet Courts plays the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=1&dyear=2014\">Great American Music Hall\u003c/a> on January 16; CCR Headcleaner opens.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/yuckband\">Yuck\u003c/a> — “Rebirth”\u003cbr>Playing at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on January 29; The She’s open.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tennisinc\">Tennis\u003c/a> — “Mean Streets”\u003cbr>Performing on January 10 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> with Kyle M. Terrizzi.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/purebathingculture\">Pure Bathing Culture\u003c/a> — “Dream the Dare”\u003cbr>Joining La Luz on January 20 at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/naturalchildband\">Natural Child\u003c/a> — “Saturday Night Blues”\u003cbr>Supporting Futurebirds on January 30 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>.\u003cbr>\u003cem>Update: Natural Child has cancelled its tour dates with Futurebirds\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Wooden-Shjips/44944152975\">Wooden Shjips\u003c/a> — “Everybody Knows”\u003cbr>Headlining a show with Carlton Melton and Golden Void at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on January 23.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> — “No Blondes (In California)”\u003cbr>Performing at a \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> 10th Anniversary show with Mikal Cronin and Cool Ghouls on January 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/johnvanderslicemusic\">John Vanderslice\u003c/a> — “The Piano Lesson”\u003cbr>Joining Nicki Bluhm, The Dodos, Geographer and many, many more at the Magik*Magik Orchestra’s five year anniversary concert on January 31 at the \u003ca href=\"http://www.thefoxoakland.com/calendar.php\">Fox Theater\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mutualbenefit\">Mutual Benefit\u003c/a> — “Advanced Falconry”\u003cbr>Dan Casey and Dim Peaks support Jordan Lee’s project at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on January 25.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/DarksideUSA\">Darkside\u003c/a> — “Paper Trails”\u003cbr>Appearing with High Water at \u003ca href=\"http://thefillmore.com/calendar/\">The Fillmore\u003c/a> on January 24.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/superhumanoids\">Superhumanoids\u003c/a> — “Bad Weather (Tropics Remix)”\u003cbr>Playing a \u003ca href=\"http://yourstru.ly/\">Yours Truly\u003c/a>-presented show at\u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on January 23.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Good tidings! The Noise Pop Podcast got you a gift — a reprieve from the same old holiday music you hear every season. We’ve assembled our favorite alternative Christmas songs from our favorite artists and put them together in a mix that covers the full range of emotions the holidays can bring. Put this mix on while you’re bundled up next to a fire or unwrapping presents. Have a happy holidays and we’ll see you in 2014.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “Lumberjack Christmas / No One Can Save You From Christmases Past” — Sufjan Stevens, \u003ci>Silver & Gold\u003c/i>\u003cbr>2. “Christmas in Prison” — John Prine, \u003ci>A John Prine Christmas\u003c/i>\u003cbr>3. “A Change at Christmas (Say It Isn’t So)” — The Flaming Lips, \u003ci>Ego Tripping At The Gates of Hell\u003c/i> EP\u003cbr>4. “I Wish It Was Christmas Today” — Julian Casablancas, Single\u003cbr>5. “Everything Is One Big Christmas Tree” — The Magnetic Fields, \u003ci>Realism\u003c/i>\u003cbr>6. “Christmas Card From A Hooker In Minneapolis” — Tom Waits, \u003ci>Used Songs\u003c/i>\u003cbr>7. “It’s Christmas Now” — The Wearing, Single\u003cbr>8. “Merry Christmas (I Don’t Want To Fight Tonight)” — The Ramones, \u003ci>Brain Drain\u003c/i>\u003cbr>9. “Green Grows The Holly” — Calexico, \u003ci>Holidays Rule\u003c/i>\u003cbr>10. “Just Like Christmas” — Low, \u003ci>Christmas\u003c/i>\u003cbr>11. “King Knight” — Salem, \u003ci>King Night\u003c/i> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Good tidings! The Noise Pop Podcast got you a gift — a reprieve from the same old holiday music you hear every season. We’ve assembled our favorite alternative Christmas songs from our favorite artists and put them together in a mix that covers the full range of emotions the holidays can bring. Put this mix on while you’re bundled up next to a fire or unwrapping presents. Have a happy holidays and we’ll see you in 2014.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “Lumberjack Christmas / No One Can Save You From Christmases Past” — Sufjan Stevens, \u003ci>Silver & Gold\u003c/i>\u003cbr>2. “Christmas in Prison” — John Prine, \u003ci>A John Prine Christmas\u003c/i>\u003cbr>3. “A Change at Christmas (Say It Isn’t So)” — The Flaming Lips, \u003ci>Ego Tripping At The Gates of Hell\u003c/i> EP\u003cbr>4. “I Wish It Was Christmas Today” — Julian Casablancas, Single\u003cbr>5. “Everything Is One Big Christmas Tree” — The Magnetic Fields, \u003ci>Realism\u003c/i>\u003cbr>6. “Christmas Card From A Hooker In Minneapolis” — Tom Waits, \u003ci>Used Songs\u003c/i>\u003cbr>7. “It’s Christmas Now” — The Wearing, Single\u003cbr>8. “Merry Christmas (I Don’t Want To Fight Tonight)” — The Ramones, \u003ci>Brain Drain\u003c/i>\u003cbr>9. “Green Grows The Holly” — Calexico, \u003ci>Holidays Rule\u003c/i>\u003cbr>10. “Just Like Christmas” — Low, \u003ci>Christmas\u003c/i>\u003cbr>11. “King Knight” — Salem, \u003ci>King Night\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>We asked \u003ci>Forum\u003c/i>‘s producers to each pick their favorite arts show from 2013. Producer Irene Noguchi explains her pick:\u003c/i>\u003c/p>\n\u003cp>I’m a sucker for Latin music, so I had to go with Oakland composer Hector Pérez, who goes by the name “\u003ca href=\"http://www.sistemabomb.com/\">Sistema Bomb\u003c/a>.” I love how he blends his two worlds on the mixing board: the old-school Mexican \u003ca href=\"http://en.wikipedia.org/wiki/Jarocho\">Jarocho music\u003c/a> he grew up with in Los Angeles where men strummed small guitars, and the modern electronic beats you hear in dance clubs. It was great to hear a deep conversation about finding ways to preserve one’s culture through new art forms. It also doesn’t hurt to have great tunes for the producer to dance to in the control room!\u003c/p>\n\u003cp>\u003c/p>\u003ch2>Interview Highlights\u003c/h2>\n\n\u003cp>\u003cb>On the Name “Sistema Bomb:”\u003c/b>“A lot of us Chicanos speak in \u003ca href=\"http://www.merriam-webster.com/dictionary/spanglish\">Spanglish\u003c/a>. [When we speak with other Chicanos], half of our sentences are in English and the other half in Spanish. That’s why in the name there’s a Spanish word and an English word — ‘Sistema’ and then ‘Bomb’ is the English. I hadn’t named it until I finished all of the tracks. Then when I stepped away and listened to it a few times, I thought ‘The sound of it is really bombastic.’ It was a collective who put it together but I didn’t want to use the word ‘collective’ because so many bands have the word ‘collective’ in it. So I just whipped out the thesaurus and saw the word ‘System’ and I thought, ‘Oh! That’s much better,’ but then I wanted the Spanish thing so it’s ‘Sistema Bomb.'”\u003c/p>\n\u003cp>\u003cb>On the Early Musical Influences in His Life:\u003c/b> “Being a Chicano from the barrios in LA, on the weekend we’re \u003ca href=\"http://www.npr.org/blogs/altlatino/2013/09/30/227834004/cumbia-the-musical-backbone-of-latin-america\">listening to our cumbias\u003c/a> with ‘camaron pelao tu quieres.’ Then during the week were listening to hip hop, like \u003ca href=\"http://www.youtube.com/watch?v=vCadcBR95oU\">Salt-n-Pepa\u003c/a>, \u003ca href=\"http://youtu.be/dNT-sc1ymEM\">The Fat Boys\u003c/a>, and then some pop on the radio. And this is all reflected in this record — the Electro-Jarocho record. That’s my hip hop roots, my cumbia roots, my \u003ca href=\"http://smithsonianeducation.org/migrations/bord/txmxcon.html\">Latino conjunto\u003c/a> roots — it’s all this posole — this soup.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On the Los Lobos Song That Changed Everything\u003c/b>\u003cbr>“As kids, we’re all exposed to folkloric music, especially Latino kids. We’re exposed to it during the Cinco De Mayo celebrations, and all that stuff. I’ve always been exposed to Son Jarocho, I’ve just never really paid attention to it, and as it turns out, a lot of Latinos don’t. It all happened on a record by \u003ca href=\"http://www.npr.org/artists/15221330/los-lobos\">Los Lobos\u003c/a>. It’s a Grammy winning record, \u003ca href=\"https://itunes.apple.com/us/album/la-pistola-y-el-corazon/id309586498\">\u003ci>La Pistola Y El Corazón\u003c/i>\u003c/a>. There’s a song on there called “La Guacamaya” and when I heard that song, that was it for me. It resonated. I went on a hunt for years to try to figure out what that little instrument was that sounded African, percussive, melodic. It turned out to be the requinto, the main melodic instrument of Son Jarocho music.\u003c/p>\n\u003cp>\u003cb>On Making Music for the Masses:\u003c/b>\u003cbr>“I have a company, \u003ca href=\"http://musicorange.com/\">Music Orange\u003c/a>, work in San Francisco and I do music for commercials all day long — for Nike, Adidas, Reebok, the NFL — and so my main goal for music is creating something that is listenable, since I’m used to writing music for the masses. That’s why I injected all these other instruments that are more familiar to the audiences [in the U.S.] to see if I could get people here to find it interesting.”\u003c/p>\n\u003cp>\u003cb>On “El Convite” Being an iTunes Single of the Week:\u003c/b>\u003cbr>“This record, [Electro-Jarocho], had zero followers, no money. 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As is typical of a lot commercialized music here [in America], we want to know ‘who is the front man?’ But for me, I wanted to celebrate Son Jarocho, so I wanted to be a bit anonymous. The plan was I would wear the mask during live shows, no one would know who I was, and I would highlight the musicians from Veracruz who I fly in for performances. The problem happened is that I couldn’t see the computer screen out of the mask, so in the middle of the gig, I’d have to take it off. But it is luchador inspired, with some combination of the Zapatista revolutionaries, with how they wear the masks over their faces, because some of the music seems to be socially conscious with a political slant.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On the Los Lobos Song That Changed Everything\u003c/b>\u003cbr>“As kids, we’re all exposed to folkloric music, especially Latino kids. We’re exposed to it during the Cinco De Mayo celebrations, and all that stuff. I’ve always been exposed to Son Jarocho, I’ve just never really paid attention to it, and as it turns out, a lot of Latinos don’t. It all happened on a record by \u003ca href=\"http://www.npr.org/artists/15221330/los-lobos\">Los Lobos\u003c/a>. It’s a Grammy winning record, \u003ca href=\"https://itunes.apple.com/us/album/la-pistola-y-el-corazon/id309586498\">\u003ci>La Pistola Y El Corazón\u003c/i>\u003c/a>. There’s a song on there called “La Guacamaya” and when I heard that song, that was it for me. It resonated. I went on a hunt for years to try to figure out what that little instrument was that sounded African, percussive, melodic. It turned out to be the requinto, the main melodic instrument of Son Jarocho music.\u003c/p>\n\u003cp>\u003cb>On Making Music for the Masses:\u003c/b>\u003cbr>“I have a company, \u003ca href=\"http://musicorange.com/\">Music Orange\u003c/a>, work in San Francisco and I do music for commercials all day long — for Nike, Adidas, Reebok, the NFL — and so my main goal for music is creating something that is listenable, since I’m used to writing music for the masses. That’s why I injected all these other instruments that are more familiar to the audiences [in the U.S.] to see if I could get people here to find it interesting.”\u003c/p>\n\u003cp>\u003cb>On “El Convite” Being an iTunes Single of the Week:\u003c/b>\u003cbr>“This record, [Electro-Jarocho], had zero followers, no money. We had, I think 110 Facebook followers, which was mostly my family and friends who I forced to populate the page. On the week of its release, we got iTunes Song of the Week, which does not happen to anyone who is not backed by some institution. We got to see some raw data of what that actually translates to in terms of downloads, which to me was a fascinating experiment: let’s take this thing that nobody knows of, that has zero CD sales, zero music sales, what does an iTunes Song of the Week do? And it actually translated to 30,000 downloads. However, you would think, ‘Wow, 30,000! That is going to translate to some money!’ But they’re free.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>On Wearing a Luchador Mask:\u003c/b>\u003cbr>“Well, the plan was I would wear this mask because [this project] wasn’t about celebrating me. As is typical of a lot commercialized music here [in America], we want to know ‘who is the front man?’ But for me, I wanted to celebrate Son Jarocho, so I wanted to be a bit anonymous. The plan was I would wear the mask during live shows, no one would know who I was, and I would highlight the musicians from Veracruz who I fly in for performances. The problem happened is that I couldn’t see the computer screen out of the mask, so in the middle of the gig, I’d have to take it off. But it is luchador inspired, with some combination of the Zapatista revolutionaries, with how they wear the masks over their faces, because some of the music seems to be socially conscious with a political slant.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cp>As usual, our year-end wrap-up podcast comes leaden with hemming, hawing and caveats aplenty. How can another wide-ranging year full of impressive Bay Area releases be distilled down to a coherent list of “best” works? The obvious answer is that it can’t. Ultimately, this podcast collects thirteen bands that had an impressive 2013, including a number of groups that won’t be a surprise to attendees of Bay Bridged events or close followers of the blog.\u003c/p>\n\u003cp>This was once again a banner year for local garage rock, with another stellar album from \u003ca href=\"https://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a> and extremely catchy debut LPs from \u003ca href=\"https://www.facebook.com/coolghouls\">Cool Ghouls\u003c/a> and \u003ca href=\"https://www.facebook.com/warmsoda777\">Warm Soda\u003c/a>. The Bay Area also delivered some compelling heavier releases, with \u003ca href=\"https://www.facebook.com/deafheaven\">Deafheaven\u003c/a>‘s breakout \u003cem>Sunbather\u003c/em> and the retro psych rock of \u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">Fuzz\u003c/a>. If it’s something poppier you’re after, though, consider the noisy pop of \u003ca href=\"https://www.facebook.com/tonymolina650\">Tony Molina\u003c/a> or \u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a>‘s great \u003cem>MCII\u003c/em>. Local songwriters also delivered this year, including \u003ca href=\"https://www.facebook.com/WymondMiles\">Wymond Miles\u003c/a>, \u003ca href=\"https://www.facebook.com/josephchildressband\">Joseph Childress\u003c/a> and \u003ca href=\"https://www.facebook.com/dancaseysrv\">Dan Casey\u003c/a>.\u003c/p>\n\u003cp>Another two excellent local songwriters will actually be touring together next year with their bands, \u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown\">Thao & The Get Down Stay Down\u003c/a> and \u003ca href=\"https://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a>. Sonny Smith may win the award for hardest working (or at least most prolific) local musician this year, releasing an LP with the Sunsets and the third volume of his \u003cem>100 Records\u003c/em> series, and compiling the wonderful \u003cem>I Need You Bad\u003c/em> compilation, which showcased a variety of great local bands. Finally, we’ve included here one from SF electronic pop artist \u003ca href=\"https://www.facebook.com/giraffage\">Giraffage\u003c/a>, from his stellar 2013 mixtape \u003cem>Needs\u003c/em>.\u003c/p>\n\u003cp>Here’s to more great local music in 2014!\u003c/p>\n\u003cp>Track Listing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WymondMiles\">Wymond Miles\u003c/a> — “Passion Plays”\u003cbr>\u003ca href=\"https://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a> — “Dark Corners”\u003cbr>\u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown\">Thao & The Get Down Stay Down\u003c/a> — “Holy Roller”\u003cbr>\u003ca href=\"https://www.facebook.com/coolghouls\">Cool Ghouls\u003c/a> — “Queen Sophie”\u003cbr>\u003ca href=\"https://www.facebook.com/warmsoda777\">Warm Soda\u003c/a> — “Waiting For Your Call”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">Fuzz\u003c/a> — “Loose Sutures”\u003cbr>\u003ca href=\"https://www.facebook.com/tonymolina650\">Tony Molina\u003c/a> — “Change My Ways”\u003cbr>\u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a> — “Shout It Out”\u003cbr>\u003ca href=\"https://www.facebook.com/deafheaven\">Deafheaven\u003c/a> — “Dream House”\u003cbr>\u003ca href=\"https://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a> — “Minotaur”\u003cbr>\u003ca href=\"https://www.facebook.com/josephchildressband\">Joseph Childress\u003c/a> — “Dance with Me”\u003cbr>\u003ca href=\"https://www.facebook.com/dancaseysrv\">Dan Casey\u003c/a> — “Empty City”\u003cbr>\u003ca href=\"https://www.facebook.com/giraffage\">Giraffage\u003c/a> — “Feels”\u003c/p>\n\n",
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"content": "\u003cp>An exceptional year in music, 2013 was arguably one of the best in recent memory. As sad as we are to see it go, we are so delighted to round up our yearly favorites for this episode. We packed this playlist full of the top songs swarming around the Internet and our own weekly playlists, we also asked a few friends to chime in with their selections for song of the year.\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr>1. “Counting” — Autre Ne Veut, \u003ci>Anxiety\u003c/i>\u003cbr>2. “New Slaves” — Kanye West, \u003ci>Yeezus\u003c/i>\u003cbr>3. “Byegone” — Volcano Choir, \u003ci>Repave\u003c/i>\u003cbr>4. “The Hunter” — On An On, \u003ci>Give In\u003c/i> \u003cbr>5. “Royals” — Lorde, \u003ci>The Love Club\u003c/i> EP \u003cbr>6. “Collard Greens” — Schoolboy Q, \u003ci>Oxymoron\u003c/i>\u003cbr>7. “Dream House ” — Deafheaven, \u003ci>Sunbather\u003c/i>\u003cbr>8. “Good Ass Intro” — Chance the Rapper, \u003ci>Acid Rap\u003c/i>\u003cbr> 9. “Mother We Share” — Chvrches, \u003ci>The Bones of What You Believe\u003c/i>\u003cbr>10. “She Will” — Savages, \u003ci>Silence Yourself\u003c/i>\u003cbr>11. “Save” — Glenn Jackson, \u003ci>Morning Swim\u003c/i>\u003cbr>12. “When a Fire Starts to Burn” — Disclosure, \u003ci>Settle\u003c/i>\u003cbr>13. “Retrograde” — James Blake, \u003ci>Overgrown\u003c/i>\u003cbr>14. “Three Days” — Rhye, \u003ci>Woman\u003c/i>\u003cbr>15. “Now I’m All Messed Up” — Tegan and Sara, \u003ci>Heartthrob\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An exceptional year in music, 2013 was arguably one of the best in recent memory. As sad as we are to see it go, we are so delighted to round up our yearly favorites for this episode. We packed this playlist full of the top songs swarming around the Internet and our own weekly playlists, we also asked a few friends to chime in with their selections for song of the year.\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr>1. “Counting” — Autre Ne Veut, \u003ci>Anxiety\u003c/i>\u003cbr>2. “New Slaves” — Kanye West, \u003ci>Yeezus\u003c/i>\u003cbr>3. “Byegone” — Volcano Choir, \u003ci>Repave\u003c/i>\u003cbr>4. “The Hunter” — On An On, \u003ci>Give In\u003c/i> \u003cbr>5. “Royals” — Lorde, \u003ci>The Love Club\u003c/i> EP \u003cbr>6. “Collard Greens” — Schoolboy Q, \u003ci>Oxymoron\u003c/i>\u003cbr>7. “Dream House ” — Deafheaven, \u003ci>Sunbather\u003c/i>\u003cbr>8. “Good Ass Intro” — Chance the Rapper, \u003ci>Acid Rap\u003c/i>\u003cbr> 9. “Mother We Share” — Chvrches, \u003ci>The Bones of What You Believe\u003c/i>\u003cbr>10. “She Will” — Savages, \u003ci>Silence Yourself\u003c/i>\u003cbr>11. “Save” — Glenn Jackson, \u003ci>Morning Swim\u003c/i>\u003cbr>12. “When a Fire Starts to Burn” — Disclosure, \u003ci>Settle\u003c/i>\u003cbr>13. “Retrograde” — James Blake, \u003ci>Overgrown\u003c/i>\u003cbr>14. “Three Days” — Rhye, \u003ci>Woman\u003c/i>\u003cbr>15. “Now I’m All Messed Up” — Tegan and Sara, \u003ci>Heartthrob\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Top California Pop for 2013",
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"content": "\u003cp>The word for 2013 is versatility. Julia Holter straddles pop, theater and classical worlds. Jonathan Wilson and Ty Segall are equal parts scene catalysts, producers, collaborators, cheerleaders and prolific, multi-faceted artists in their own right. It’s how one excels in the wilderness that is the music “business” today, where the major-label world and mainstream radio are essentially non-existent for all but the most pop-conscious. For the best of the rest, that can be liberating: Figure it all out for yourself, and do it all yourself. Be yourself. Most of the top California acts of the year have done just that, and in the process found — or stimulated — a supportive, enriching community around them. That’s great for the willing artists and us music lovers alike.\u003c/p>\n\u003cp>My 2013 California pop Top 10, in alphabetical order:\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foxygen-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Foxygen, \u003ci>We Are the 21st Century Ambassadors of Peace & Magic\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Jajaguwar)\u003cbr>If the title wasn’t tongue-in-cheek audacious enough, the first two songs — “In the Darkness” and “No Destruction” — see the young Agoura Hills-rooted duo of Sam France and Jonathan Rado evoking, respectively, the Beatles and Bob Dylan. The latter is particularly bold, walking the fine line between tribute and parody, but succeeding on both fronts. But the album would merit inclusion on this list for the song “San Francisco” alone, not just for the subject matter, but the gleefully inventive, elfin psych-pop weirdness employed to portray the city. Think Scott McKenzie cavorting with Tony Bennett, the chorus hook “I left my love in San Francisco” answered by a female voice shrugging first “That’s okay, I was bored anyway” (and, a couplet later, “That’s okay, I was born in L.A.”). Gleefully inventive weirdness is the Foxygen hallmark throughout the album, extending as well into solo projects this year by Rado and sometime-drummer Shaun Fleming (under the inventively weird name Diane Coffee).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/KtdWGGpvY1s\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holter-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Julia Holter, \u003ci>Loud City Song\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Domino)\u003cbr>Ambitious? Holter’s previous album, the home-made \u003ci>Ekstasis\u003c/i>, is a musical examination of the Greek title word’s concept of being “outside oneself” (and it’s predecessor, \u003ci>Tragedy\u003c/i>, was inspired by Euripedes’ play Hippolytus). With \u003ci>Loud City Song\u003c/i>, her first real studio recording, the CalArts grad reaches just as high with her somber-hued melange of art, poetry and philosophical musings, highlighted by the skittery classical-jazz “In the Green Wild.” But her pretension is tempered by an earnestly romantic pop sense, as in the dreamy “Hello Stranger” and chipper “This Is a True Heart.” Holter’s “Memory Drew Her Portrait,” commissioned by the Los Angeles Philharmonic was just premiered in a concert of the orchestra’s New Music Group, spotlighting four young L.A. composers and conducted by no less than John Adams. Legitimately ambitious.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/H5M8qRN_Rl0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/anobject-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>No Age, \u003ci>An Object\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Sub Pop)\u003cbr>The punk-art intersection is nothing new (L.A.’s Black Flag and New York’s Sonic Youth for just two iconic examples). Through three buzz-building albums, Angeleno duo No Age — drummer-singer-bassist Dean Spunt and guitarist Randy Randall — explored that territory, but seemed limited, stuck in a sonic grey-scale. But here they bring in a whole range of colors, each song seeming to emerge from a sonic miasma to take its own shape. The album ranges from the Sonic Youth-meets-the-Ramones rush of several songs to the stripped-down “An Impression,” recalling Brian Eno’s ambient minimalism to the closing “Commerce, Comment, Commence,” which eschews melody and beat for pure noise, buzz and distortion, a return to the chaotic stew. All that makes for a strong context for the duo to go fairly straightforward with the rocker “C’mon, Stimmung” (even as the title references German avant-gardist Karlheinz Stockhausen’s 1960s landmark “Stimmung”) and the happily inviting “I Won’t Be Your Generator.” \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/santacecilia-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>La Santa Cecilia, \u003ci>Treinta Dias\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Universal Music)\u003cbr>The singer calls herself La Marisoul — not just una Marisoul — and deservedly so. The band is named after the patron saint of music — also deservedly so. Even on this 25-minute mini-album there is much music, from East L.A. street sounds to powerful soul to cumbia-ska, and much Marisoul (nee Marisol Hernandez), the forceful vocal presence at the center of it all, belting and cooing and purring throughout. Her No. 1 fan, Elvis Costello, duets on “Losing Game” (the only song in English), but it’s her presence and the strengths of her compatriots Pepe Carlos (accordion and requinto), Miguel “Oso” Ramirez (percussion) and Alex Bendana (bass) with well-used supplementary guest musicians that give such songs as the opening “Nuestra Señora La Reina dew Los Angeles” seductive spirit. The set closes with “ICE — El Hielo,” which addresses the immigration issue with deep compassion (illustrated in a video done with the National Day Laborer Organizing Network and featuring undocumented workers). Most impressive is how the they refuse to be pigeonholed in style and content. If these seeds blossom fully, La Santa Cecilia could be the next essential L.A. band.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/0lNJviuYUEQ\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sleeper-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ty Segall, \u003ci>Sleeper\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Drag City)\u003cbr>Also: Fuzz, \u003ci>Fuzz\u003c/i> and \u003ci>Live in San Francisco\u003c/i> (In the Red)\u003cbr>Laguna Beach-raised, formerly San Francisco-based Ty Segall was the 2013 California indie-rock MVP. He certainly was the MPP — Most Prolific Presence, with something like eight releases in the last two years, plus some reissues. With the largely acoustic solo \u003ci>Sleeper\u003c/i>, he furthers the maturing songwriter talents he showed off with last year’s \u003ci>Ty Segall Band\u003c/i> album, adding strings (the gorgeous title song) and emotional range without losing the DIY rawness and energy. Fuzz, in which he’s the drummer, is all rawness and energy, sheets of power-trio roar fully living up to the band name. Meanwhile, his catalytic inspiration can also be heard in collaborations with childhood friend Mikal Cronin (who’s album \u003ci>MCII\u003c/i> is another 2013 standout) and Echo Park polymath Tim Presley, who records as White Fence (ditto for his albums \u003ci>Cyclops Reap\u003c/i> and another \u003ci>Live in San Francisco\u003c/i> release).\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sweatshirt-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Earl Sweatshirt, \u003ci>Doris\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Tan Cressida/Columbia)\u003cbr>Not going to tiptoe around it: There’s some rough stuff on this solo album by perhaps the oddest of L.A.’s Odd Future Wolf Gang Kill Them All hip-hop collective, following an also-odd series of episodes in which the rapper disappeared for a bit (off to Samoa, he has said, sent by his mother to a school for at-risk youth). Still just 19, he shows a matured confidence in the minimalist musique concrete of his beats and the rivulets and eddies of his rhymes. There’s plenty of shock value in the lyrics’ sex and violence, sure. But there’s, well, value in the shock. What could be taken as gratuitous images prove to be part of a process of someone working things out, addressing inner turmoil and disturbing thoughts. There is a jumbled nature to the whole thing, both in terms of that flow of ideas and the coming and going of guests (fellow Odd Futurites Tyler the Creator and Frank Ocean, Wu-Tang’s RZA among them), but that disjointedness is a key part of the character. Ultimately, \u003ci>Doris\u003c/i> manages the difficult trick of seeming the work of a fevered mind possessed by an artist in total control. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thao-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Thao & the Get Down Stay Down, \u003ci>We The Common\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Ribbon Music)\u003cbr>Uncommon is more like it when talking about San Francisco’s Thao Nguyen (pronounced win). Unbound too. The key moment may be in the title song, when in the chorus she starts to whoop, wordlessly in pure, um, unbridled expression. The song is dedicated to Valerie Bolden, a life-term inmate at the Central California Women’s Facility in Chowchilla where Nguyen does outreach programs (there’s a great YouTube video of the singer doing it outside the prison with a banjo, Pete Seeger-like). But it’s a non-protest protest song, non-anthem anthem. Her politics, mostly, are personal (in “Every Body” she sings “Save my bed for the big ideas”) and the band she’s assembled is designed to follow her well outside any conventional genre boundaries as her whims might dictate, from the country-ish “Kindness Be Conceived” (with guest vocals from kindred spirit Joanna Newsom) to the Black Keys-like guitar stomp of “City” to the horn-drenched funk of “We Don’t Call.” Eccentric? Sure. Uncommonly so. Exactly as we want it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/1GIhARLtI6I\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/transplants-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Transplants, \u003ci>In a War Zone\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Epitaph)\u003cbr>The California punk summit of Tim Armstrong (from Berkeley-rooted Rancid), Travis Barker (drummer of San Diego’s Blink-182) with their rapper-singer friend/roadie Rob “Skinhead Rob” Aston has been skittering around various combinations of rock, rap, reggae and dub since coalescing as a side-project trio in 2002 from jams in Armstrong’s L.A. home. But with their third album — the first since 2005’s \u003ci>Haunted Cities\u003c/i> — they strip it down to the punk core, with bracing results. Not that the other elements are absent, but they’re woven through the songs in nuanced ways that never disrupt the vibrant energy and heady rush, built on a foundation that perfectly blends the spirits of Berkeley’s Gilman Street scene and the San Diego/Orange County punk world that, respectively, birthed Rancid and Blink in the early ’90s. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fanfare-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Jonathan Wilson, \u003ci>Fanfare\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Downtown)\u003cbr>It would be too easy to judge Wilson from the company he keeps. That wouldn’t really be a bad thing, per se. He counts Jackson Browne and Graham Nash among his mentors/advocates. He’s produced stellar acts from L.A. upstarts Dawes and Jenny O to English eccentric folk icon Roy Harper. He’s been playing a lot with Bob Weir and the remnants of the Grateful Dead. He built a warmly rustic Echo Park studio in collaboration with Bright Eyes’ Conor Oberst. But they all judge him on his music and talents as a singer, writer and particularly guitarist. And with his second solo album, a followup to the promising but somewhat unformed \u003ci>Gentle Spirit\u003c/i> of 2010, it’s clear why. With each song, Wilson uses touchstones ranging from those aforementioned mentors to John Lennon and Pink Floyd as launching pads for flights of fancy, that can be alternately hypnotic and thrilling, or both at once — from the opening title song/overture to the near-symphonic “Dear Friends” to the space-folk epic “Cecil Taylor.” \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shirim-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Various Artists, \u003ci>Shirim Meshumashin\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>There have been several Tom Waits tribute albums of note over the years. But, as far as we can tell, this is the first one all in Hebrew. It’s a labor of love from Israeli producer Guy Hajaj, who worked hard for four years, ultimately putting together 22 Waits songs interpreted by a range of the country’s artists. The versions are at once true to Waits’ spirit and entirely new, whether the gruff side of him (the opening “Kapayim” — “Clap Hands” — by the duet of Yaron Ben Ami & Noa Golandski) or the tender (an acoustic “Martha” by David Blau). The band Morphlexis turns “Brakhot Leyom Ha-ahava” (“Blue Valentines”) into a meditation that goes from languidly, atmospherically jazzy to fuzzy rock over the course of eight minutes. And Oren Raab gives “HaBlues shel Tom Traubert” (“Tom Traubert’s Blues”) a somber feel, including the novel experience of hearing the “Waltzing Matilda” interludes Waits included translated into this language. But novel as these things are, the album is not a novelty, but rather an affectionate, artistic and entrancing experience. And context alone makes Ursula Shwartz’s pumping take on “Elohim Yatza Letyul Asakim” (“God’s Away on Business”) worth consideration. The album is available for download on Bandcamp on a “name your price” basis, which means you can get it for free. But c’mon, don’t be a cheapskate! It’s certainly worth a few shekels. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The California Report's Steve Hochman provides his list for the best California albums of 2013.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The word for 2013 is versatility. Julia Holter straddles pop, theater and classical worlds. Jonathan Wilson and Ty Segall are equal parts scene catalysts, producers, collaborators, cheerleaders and prolific, multi-faceted artists in their own right. It’s how one excels in the wilderness that is the music “business” today, where the major-label world and mainstream radio are essentially non-existent for all but the most pop-conscious. For the best of the rest, that can be liberating: Figure it all out for yourself, and do it all yourself. Be yourself. Most of the top California acts of the year have done just that, and in the process found — or stimulated — a supportive, enriching community around them. That’s great for the willing artists and us music lovers alike.\u003c/p>\n\u003cp>My 2013 California pop Top 10, in alphabetical order:\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/foxygen-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Foxygen, \u003ci>We Are the 21st Century Ambassadors of Peace & Magic\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Jajaguwar)\u003cbr>If the title wasn’t tongue-in-cheek audacious enough, the first two songs — “In the Darkness” and “No Destruction” — see the young Agoura Hills-rooted duo of Sam France and Jonathan Rado evoking, respectively, the Beatles and Bob Dylan. The latter is particularly bold, walking the fine line between tribute and parody, but succeeding on both fronts. But the album would merit inclusion on this list for the song “San Francisco” alone, not just for the subject matter, but the gleefully inventive, elfin psych-pop weirdness employed to portray the city. Think Scott McKenzie cavorting with Tony Bennett, the chorus hook “I left my love in San Francisco” answered by a female voice shrugging first “That’s okay, I was bored anyway” (and, a couplet later, “That’s okay, I was born in L.A.”). Gleefully inventive weirdness is the Foxygen hallmark throughout the album, extending as well into solo projects this year by Rado and sometime-drummer Shaun Fleming (under the inventively weird name Diane Coffee).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/KtdWGGpvY1s\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holter-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Julia Holter, \u003ci>Loud City Song\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Domino)\u003cbr>Ambitious? Holter’s previous album, the home-made \u003ci>Ekstasis\u003c/i>, is a musical examination of the Greek title word’s concept of being “outside oneself” (and it’s predecessor, \u003ci>Tragedy\u003c/i>, was inspired by Euripedes’ play Hippolytus). With \u003ci>Loud City Song\u003c/i>, her first real studio recording, the CalArts grad reaches just as high with her somber-hued melange of art, poetry and philosophical musings, highlighted by the skittery classical-jazz “In the Green Wild.” But her pretension is tempered by an earnestly romantic pop sense, as in the dreamy “Hello Stranger” and chipper “This Is a True Heart.” Holter’s “Memory Drew Her Portrait,” commissioned by the Los Angeles Philharmonic was just premiered in a concert of the orchestra’s New Music Group, spotlighting four young L.A. composers and conducted by no less than John Adams. Legitimately ambitious.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/H5M8qRN_Rl0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/anobject-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>No Age, \u003ci>An Object\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Sub Pop)\u003cbr>The punk-art intersection is nothing new (L.A.’s Black Flag and New York’s Sonic Youth for just two iconic examples). Through three buzz-building albums, Angeleno duo No Age — drummer-singer-bassist Dean Spunt and guitarist Randy Randall — explored that territory, but seemed limited, stuck in a sonic grey-scale. But here they bring in a whole range of colors, each song seeming to emerge from a sonic miasma to take its own shape. The album ranges from the Sonic Youth-meets-the-Ramones rush of several songs to the stripped-down “An Impression,” recalling Brian Eno’s ambient minimalism to the closing “Commerce, Comment, Commence,” which eschews melody and beat for pure noise, buzz and distortion, a return to the chaotic stew. All that makes for a strong context for the duo to go fairly straightforward with the rocker “C’mon, Stimmung” (even as the title references German avant-gardist Karlheinz Stockhausen’s 1960s landmark “Stimmung”) and the happily inviting “I Won’t Be Your Generator.” \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/santacecilia-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>La Santa Cecilia, \u003ci>Treinta Dias\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Universal Music)\u003cbr>The singer calls herself La Marisoul — not just una Marisoul — and deservedly so. The band is named after the patron saint of music — also deservedly so. Even on this 25-minute mini-album there is much music, from East L.A. street sounds to powerful soul to cumbia-ska, and much Marisoul (nee Marisol Hernandez), the forceful vocal presence at the center of it all, belting and cooing and purring throughout. Her No. 1 fan, Elvis Costello, duets on “Losing Game” (the only song in English), but it’s her presence and the strengths of her compatriots Pepe Carlos (accordion and requinto), Miguel “Oso” Ramirez (percussion) and Alex Bendana (bass) with well-used supplementary guest musicians that give such songs as the opening “Nuestra Señora La Reina dew Los Angeles” seductive spirit. The set closes with “ICE — El Hielo,” which addresses the immigration issue with deep compassion (illustrated in a video done with the National Day Laborer Organizing Network and featuring undocumented workers). Most impressive is how the they refuse to be pigeonholed in style and content. If these seeds blossom fully, La Santa Cecilia could be the next essential L.A. band.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/0lNJviuYUEQ\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sleeper-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ty Segall, \u003ci>Sleeper\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Drag City)\u003cbr>Also: Fuzz, \u003ci>Fuzz\u003c/i> and \u003ci>Live in San Francisco\u003c/i> (In the Red)\u003cbr>Laguna Beach-raised, formerly San Francisco-based Ty Segall was the 2013 California indie-rock MVP. He certainly was the MPP — Most Prolific Presence, with something like eight releases in the last two years, plus some reissues. With the largely acoustic solo \u003ci>Sleeper\u003c/i>, he furthers the maturing songwriter talents he showed off with last year’s \u003ci>Ty Segall Band\u003c/i> album, adding strings (the gorgeous title song) and emotional range without losing the DIY rawness and energy. Fuzz, in which he’s the drummer, is all rawness and energy, sheets of power-trio roar fully living up to the band name. Meanwhile, his catalytic inspiration can also be heard in collaborations with childhood friend Mikal Cronin (who’s album \u003ci>MCII\u003c/i> is another 2013 standout) and Echo Park polymath Tim Presley, who records as White Fence (ditto for his albums \u003ci>Cyclops Reap\u003c/i> and another \u003ci>Live in San Francisco\u003c/i> release).\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sweatshirt-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Earl Sweatshirt, \u003ci>Doris\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Tan Cressida/Columbia)\u003cbr>Not going to tiptoe around it: There’s some rough stuff on this solo album by perhaps the oddest of L.A.’s Odd Future Wolf Gang Kill Them All hip-hop collective, following an also-odd series of episodes in which the rapper disappeared for a bit (off to Samoa, he has said, sent by his mother to a school for at-risk youth). Still just 19, he shows a matured confidence in the minimalist musique concrete of his beats and the rivulets and eddies of his rhymes. There’s plenty of shock value in the lyrics’ sex and violence, sure. But there’s, well, value in the shock. What could be taken as gratuitous images prove to be part of a process of someone working things out, addressing inner turmoil and disturbing thoughts. There is a jumbled nature to the whole thing, both in terms of that flow of ideas and the coming and going of guests (fellow Odd Futurites Tyler the Creator and Frank Ocean, Wu-Tang’s RZA among them), but that disjointedness is a key part of the character. Ultimately, \u003ci>Doris\u003c/i> manages the difficult trick of seeming the work of a fevered mind possessed by an artist in total control. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thao-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Thao & the Get Down Stay Down, \u003ci>We The Common\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Ribbon Music)\u003cbr>Uncommon is more like it when talking about San Francisco’s Thao Nguyen (pronounced win). Unbound too. The key moment may be in the title song, when in the chorus she starts to whoop, wordlessly in pure, um, unbridled expression. The song is dedicated to Valerie Bolden, a life-term inmate at the Central California Women’s Facility in Chowchilla where Nguyen does outreach programs (there’s a great YouTube video of the singer doing it outside the prison with a banjo, Pete Seeger-like). But it’s a non-protest protest song, non-anthem anthem. Her politics, mostly, are personal (in “Every Body” she sings “Save my bed for the big ideas”) and the band she’s assembled is designed to follow her well outside any conventional genre boundaries as her whims might dictate, from the country-ish “Kindness Be Conceived” (with guest vocals from kindred spirit Joanna Newsom) to the Black Keys-like guitar stomp of “City” to the horn-drenched funk of “We Don’t Call.” Eccentric? Sure. Uncommonly so. Exactly as we want it.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/1GIhARLtI6I\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/transplants-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Transplants, \u003ci>In a War Zone\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Epitaph)\u003cbr>The California punk summit of Tim Armstrong (from Berkeley-rooted Rancid), Travis Barker (drummer of San Diego’s Blink-182) with their rapper-singer friend/roadie Rob “Skinhead Rob” Aston has been skittering around various combinations of rock, rap, reggae and dub since coalescing as a side-project trio in 2002 from jams in Armstrong’s L.A. home. But with their third album — the first since 2005’s \u003ci>Haunted Cities\u003c/i> — they strip it down to the punk core, with bracing results. Not that the other elements are absent, but they’re woven through the songs in nuanced ways that never disrupt the vibrant energy and heady rush, built on a foundation that perfectly blends the spirits of Berkeley’s Gilman Street scene and the San Diego/Orange County punk world that, respectively, birthed Rancid and Blink in the early ’90s. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fanfare-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Jonathan Wilson, \u003ci>Fanfare\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Downtown)\u003cbr>It would be too easy to judge Wilson from the company he keeps. That wouldn’t really be a bad thing, per se. He counts Jackson Browne and Graham Nash among his mentors/advocates. He’s produced stellar acts from L.A. upstarts Dawes and Jenny O to English eccentric folk icon Roy Harper. He’s been playing a lot with Bob Weir and the remnants of the Grateful Dead. He built a warmly rustic Echo Park studio in collaboration with Bright Eyes’ Conor Oberst. But they all judge him on his music and talents as a singer, writer and particularly guitarist. And with his second solo album, a followup to the promising but somewhat unformed \u003ci>Gentle Spirit\u003c/i> of 2010, it’s clear why. With each song, Wilson uses touchstones ranging from those aforementioned mentors to John Lennon and Pink Floyd as launching pads for flights of fancy, that can be alternately hypnotic and thrilling, or both at once — from the opening title song/overture to the near-symphonic “Dear Friends” to the space-folk epic “Cecil Taylor.” \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shirim-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Various Artists, \u003ci>Shirim Meshumashin\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>There have been several Tom Waits tribute albums of note over the years. But, as far as we can tell, this is the first one all in Hebrew. It’s a labor of love from Israeli producer Guy Hajaj, who worked hard for four years, ultimately putting together 22 Waits songs interpreted by a range of the country’s artists. The versions are at once true to Waits’ spirit and entirely new, whether the gruff side of him (the opening “Kapayim” — “Clap Hands” — by the duet of Yaron Ben Ami & Noa Golandski) or the tender (an acoustic “Martha” by David Blau). The band Morphlexis turns “Brakhot Leyom Ha-ahava” (“Blue Valentines”) into a meditation that goes from languidly, atmospherically jazzy to fuzzy rock over the course of eight minutes. And Oren Raab gives “HaBlues shel Tom Traubert” (“Tom Traubert’s Blues”) a somber feel, including the novel experience of hearing the “Waltzing Matilda” interludes Waits included translated into this language. But novel as these things are, the album is not a novelty, but rather an affectionate, artistic and entrancing experience. And context alone makes Ursula Shwartz’s pumping take on “Elohim Yatza Letyul Asakim” (“God’s Away on Business”) worth consideration. The album is available for download on Bandcamp on a “name your price” basis, which means you can get it for free. But c’mon, don’t be a cheapskate! It’s certainly worth a few shekels. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Golden State of Jazz: The Best California Jazz CDs of 2013",
"headTitle": "The Golden State of Jazz: The Best California Jazz CDs of 2013 | KQED",
"content": "\u003cp>What’s most striking about this year’s crop of jazz releases is the sheer abundance of impressive work. I could easily double this list and the creative bar wouldn’t drop an inch. Most painfully, I had to overlook several releases for which I wrote the liner notes (curse you, conflict of interest rules!). Ultimately I selected the albums I found myself returning to for repeat listening. There’s no overarching pattern or stylistic trend, but considering that I’m not generally drawn to solo piano sessions it’s notable that they constitute almost a third of my picks.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/iancarey-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ian Carey Quintet +1, \u003ci>Roads & Codes\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Kabocha Records)\u003cbr>East Bay trumpeter Ian Carey isn’t letting the CD slip into obsolescence without a fight. From his eye-catching cover art to his equally intricate arrangements, he’s created an album that adds up to more than the sum of its impressive parts. Alternating unexpected material like Neil Young’s film theme “Dead Man” and Stravinsky’s “Andante” with his evocative originals, Carey investigates a series of sweeping soundscapes with his long-time quintet, a highly cohesive ensemble expanded by the ever incisive altoist Kasey Knudsen.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/unfold-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ben Goldberg, \u003ci>Unfold Ordinary Mind\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(BAG Productions)\u003cbr>Unleashing the bassist within, brilliant Berkeley reed explorer Ben Goldberg offers a program of subversively funky jazz on Unfold Ordinary Mind. While he occupies the lower registers on a rumbling contra alto clarinet, Wilco guitarist Nels Cline shreds, drummer Ches Smith erupts, and tenor saxophonists Rob Sudduth and Ellery Eskelin lay down slinky, impossibly beautiful melodies. Unfold’s companion release, \u003ci>Subatomic Particle Homesick Blues\u003c/i> with tenor sax star Joshua Redman, is equally compelling.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/koXU99_Buv8\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/keezer-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Geoffrey Keezer, \u003ci>Heart of the Piano\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Motêma Music)\u003cbr>San Diego’s Geoffrey Keezer has inspired awe ever since he took over the piano chair in Art Blakey’s Jazz Messengers at 18 back in 1989. This solo session captures him at his most emotionally naked, transforming a disparate program into a series of gorgeous soul-bearing excursions, from pop tunes like Rush’s “Limelight” and Peter Gabriel’s “Come Talk to Me” and Robert Burns’ “My Love Is Like A Red Red Rose” to lovingly rendered jazz tunes by piano mentors James Williams and Donald Brown.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tonada-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>María Márquez, \u003ci>Tonada\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Adventure Music)\u003cbr>With her floating sense of time and throaty cello-like tone there’s simply no mistaking María Márquez’s voice for anyone else’s. Her first new album in a decade features a program of haunting melodies, most of which hail from her native Venezuela. Working closely with Oakland percussionist John Santos and Venezuelan quatro master Hernán Gamboa, the North Bay singer renders each song with the quiet intensity of a foxhole prayer.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/melford-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Myra Melford, \u003ci>Life Carries Me This Way\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Firehouse 12 Records)\u003cbr>Berkeley pianist/composer Myra Melford made her name as the leader of a series of high energy, talent-laden bands, performing music often inspired by mystical poetry. On her first album of solo piano she introduces a gorgeous new set of original compositions inspired by the paintings of a family friend, the late Sacramento-based artist Don Reich. Spacious and inviting, her melodies unspool with understated eloquence, revealing a new, becalmed corner of Melford’s roiling creative realm. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/icecrystals-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Nicole Mitchell’s Ice Crystals, \u003ci>Aquarius\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Delmark)\u003cbr>Southern California flutist/composer Nicole Mitchell fully blossomed as an artist in Chicago, and her music is deeply marked by the city’s tremendously rich avant garde jazz legacy. Featuring vibraphonist Jason Adasiewicz, bassist Joshua Abrams and drummer Frank Rosaly, her Ice Crystals quartet features three Chicago stalwarts, and as suggested by the band’s name the instrumentation lends itself to a translucent, elemental sonic palette that’s striking in its purity.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/83078707&color=ff6600&auto_play=false&show_artwork=true\">\u003c/iframe>\n\u003c/center>\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/morrison-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Barbara Morrison, \u003ci>A Sunday Kind of Love\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Savant)\u003cbr>Despite a series of health setbacks in recent years, vocalist Barbara Morrison sounds ageless on her new album, a delectable selection of standards. A mainstay on the LA jazz scene for nearly four decades, she infuses everything she sings with a subtle blues sensibility. Joined by the brawny-toned tenor saxophonist Houston Person, who also co-produced the album, Morrison turns even the most familiar songs into remarkably intimate experiences.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/edreed-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ed Reed, \u003ci>I’m A Shy Guy\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Blue Shorts Records)\u003cbr>East Bay vocalist Ed Reed adds another chapter to his remarkable late-blooming career with this suave and heartfelt tribute to the Nat “King” Cole Trio, his fourth release since turning 78. Covering hits (“It’s Only a Paper Moon” and “Straighten Up and Fly Right”) and undeserved obscurities (“‘Tis Autumn” and the title track), he adds a welcome dose of vulnerability to Cole’s impeccably urbane style of crooning. With a taut but relaxed delivery unlike anyone else on the scene, Reed is once again accompanied by a stellar band led by pianist Randy Porter. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jackieryan-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Jackie Ryan, \u003ci>Listen Here\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(OpenArt)\u003cbr>Since the release of her first CD in 2000, San Rafael singer Jackie Ryan has earned a national following with a series of increasingly confident albums showcasing her lustrous voice, deft sense of swing, and polyglot repertoire. Arranged and produced by bass maestro John Clayton, \u003ci>Listen Here\u003c/i> ranks among her best work. Supported by a superlative cast, including piano star Gerald Clayton (John’s son), San Diego trumpeter Gilbert Castellanos, and LA saxophonist Rickey Woodard, Ryan can dazzle with her power (“Gypsy In My Soul”) and mesmerize with blue flame sensuality (“I Loves You Porgy”).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/XRV19ahyBag?list=PLEF38CC344B7A0DF0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wofford-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Mike Wofford, \u003ci>It’s Personal\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Capri Records)\u003cbr>With a career stretching back to the early 1960s, Mike Wofford has steadily burnished his reputation as a pianist’s pianist. His latest solo album seems to encompass a lifetime of inspiration, with one revelatory piece after another. Nothing better captures his fierce intelligence and improvisational wit than his “Once In A Lifetime” medley, which weaves together Anthony Newley and Leslie Bricusse’s anthem from “Stop the World – I Want to Get Off” with the Talking Heads song of the same name. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The California Report's Andrew Gilbert picks his ten favorite California jazz CDs for 2013.",
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"description": "The California Report's Andrew Gilbert picks his ten favorite California jazz CDs for 2013.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s most striking about this year’s crop of jazz releases is the sheer abundance of impressive work. I could easily double this list and the creative bar wouldn’t drop an inch. Most painfully, I had to overlook several releases for which I wrote the liner notes (curse you, conflict of interest rules!). Ultimately I selected the albums I found myself returning to for repeat listening. There’s no overarching pattern or stylistic trend, but considering that I’m not generally drawn to solo piano sessions it’s notable that they constitute almost a third of my picks.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/iancarey-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ian Carey Quintet +1, \u003ci>Roads & Codes\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Kabocha Records)\u003cbr>East Bay trumpeter Ian Carey isn’t letting the CD slip into obsolescence without a fight. From his eye-catching cover art to his equally intricate arrangements, he’s created an album that adds up to more than the sum of its impressive parts. Alternating unexpected material like Neil Young’s film theme “Dead Man” and Stravinsky’s “Andante” with his evocative originals, Carey investigates a series of sweeping soundscapes with his long-time quintet, a highly cohesive ensemble expanded by the ever incisive altoist Kasey Knudsen.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/unfold-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ben Goldberg, \u003ci>Unfold Ordinary Mind\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(BAG Productions)\u003cbr>Unleashing the bassist within, brilliant Berkeley reed explorer Ben Goldberg offers a program of subversively funky jazz on Unfold Ordinary Mind. While he occupies the lower registers on a rumbling contra alto clarinet, Wilco guitarist Nels Cline shreds, drummer Ches Smith erupts, and tenor saxophonists Rob Sudduth and Ellery Eskelin lay down slinky, impossibly beautiful melodies. Unfold’s companion release, \u003ci>Subatomic Particle Homesick Blues\u003c/i> with tenor sax star Joshua Redman, is equally compelling.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/koXU99_Buv8\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/keezer-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Geoffrey Keezer, \u003ci>Heart of the Piano\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Motêma Music)\u003cbr>San Diego’s Geoffrey Keezer has inspired awe ever since he took over the piano chair in Art Blakey’s Jazz Messengers at 18 back in 1989. This solo session captures him at his most emotionally naked, transforming a disparate program into a series of gorgeous soul-bearing excursions, from pop tunes like Rush’s “Limelight” and Peter Gabriel’s “Come Talk to Me” and Robert Burns’ “My Love Is Like A Red Red Rose” to lovingly rendered jazz tunes by piano mentors James Williams and Donald Brown.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tonada-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>María Márquez, \u003ci>Tonada\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Adventure Music)\u003cbr>With her floating sense of time and throaty cello-like tone there’s simply no mistaking María Márquez’s voice for anyone else’s. Her first new album in a decade features a program of haunting melodies, most of which hail from her native Venezuela. Working closely with Oakland percussionist John Santos and Venezuelan quatro master Hernán Gamboa, the North Bay singer renders each song with the quiet intensity of a foxhole prayer.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/melford-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Myra Melford, \u003ci>Life Carries Me This Way\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Firehouse 12 Records)\u003cbr>Berkeley pianist/composer Myra Melford made her name as the leader of a series of high energy, talent-laden bands, performing music often inspired by mystical poetry. On her first album of solo piano she introduces a gorgeous new set of original compositions inspired by the paintings of a family friend, the late Sacramento-based artist Don Reich. Spacious and inviting, her melodies unspool with understated eloquence, revealing a new, becalmed corner of Melford’s roiling creative realm. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/icecrystals-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Nicole Mitchell’s Ice Crystals, \u003ci>Aquarius\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Delmark)\u003cbr>Southern California flutist/composer Nicole Mitchell fully blossomed as an artist in Chicago, and her music is deeply marked by the city’s tremendously rich avant garde jazz legacy. Featuring vibraphonist Jason Adasiewicz, bassist Joshua Abrams and drummer Frank Rosaly, her Ice Crystals quartet features three Chicago stalwarts, and as suggested by the band’s name the instrumentation lends itself to a translucent, elemental sonic palette that’s striking in its purity.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/83078707&color=ff6600&auto_play=false&show_artwork=true\">\u003c/iframe>\n\u003c/center>\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/morrison-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Barbara Morrison, \u003ci>A Sunday Kind of Love\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Savant)\u003cbr>Despite a series of health setbacks in recent years, vocalist Barbara Morrison sounds ageless on her new album, a delectable selection of standards. A mainstay on the LA jazz scene for nearly four decades, she infuses everything she sings with a subtle blues sensibility. Joined by the brawny-toned tenor saxophonist Houston Person, who also co-produced the album, Morrison turns even the most familiar songs into remarkably intimate experiences.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/edreed-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Ed Reed, \u003ci>I’m A Shy Guy\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Blue Shorts Records)\u003cbr>East Bay vocalist Ed Reed adds another chapter to his remarkable late-blooming career with this suave and heartfelt tribute to the Nat “King” Cole Trio, his fourth release since turning 78. Covering hits (“It’s Only a Paper Moon” and “Straighten Up and Fly Right”) and undeserved obscurities (“‘Tis Autumn” and the title track), he adds a welcome dose of vulnerability to Cole’s impeccably urbane style of crooning. With a taut but relaxed delivery unlike anyone else on the scene, Reed is once again accompanied by a stellar band led by pianist Randy Porter. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jackieryan-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Jackie Ryan, \u003ci>Listen Here\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(OpenArt)\u003cbr>Since the release of her first CD in 2000, San Rafael singer Jackie Ryan has earned a national following with a series of increasingly confident albums showcasing her lustrous voice, deft sense of swing, and polyglot repertoire. Arranged and produced by bass maestro John Clayton, \u003ci>Listen Here\u003c/i> ranks among her best work. Supported by a superlative cast, including piano star Gerald Clayton (John’s son), San Diego trumpeter Gilbert Castellanos, and LA saxophonist Rickey Woodard, Ryan can dazzle with her power (“Gypsy In My Soul”) and mesmerize with blue flame sensuality (“I Loves You Porgy”).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/XRV19ahyBag?list=PLEF38CC344B7A0DF0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wofford-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Mike Wofford, \u003ci>It’s Personal\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>(Capri Records)\u003cbr>With a career stretching back to the early 1960s, Mike Wofford has steadily burnished his reputation as a pianist’s pianist. His latest solo album seems to encompass a lifetime of inspiration, with one revelatory piece after another. Nothing better captures his fierce intelligence and improvisational wit than his “Once In A Lifetime” medley, which weaves together Anthony Newley and Leslie Bricusse’s anthem from “Stop the World – I Want to Get Off” with the Talking Heads song of the same name. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s December again, which means something of a slow down in the world of live music. Tours become more infrequent as bands avoid winter weather, and few albums are being released during a time when most critics are putting the finishing touches on their best-of lists. Likely to appear on more than a few of those lists is \u003ca href=\"https://www.facebook.com/pages/King-Krule/184334471606543\">King Krule\u003c/a>‘s \u003cem>6 Feet Beneath the Moon\u003c/em>, the debut LP from British songwriter Archy Marshall, a 19-year-old with a distinct voice and a penchant for raw art-pop. Meanwhile, fresh off a great performance at the Treasure Island Music Festival, \u003ca href=\"https://www.facebook.com/HolyGhostNYC\">Holy Ghost!\u003c/a> returns for a two-night stint at The Independent; the super-fun electronic-rock band’s New Year’s Eve show is understandably sold out.\u003c/p>\n\u003cp>Locally, we’re most excited about seeing \u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a> lead a great lineup of locals at our rock and roll beer festival, \u003ca href=\"https://thebaybrewed.eventbrite.com\">The Bay Brewed 2013\u003c/a>, at \u003ca href=\"http://publicsf.com/\">Public Works\u003c/a> on December 7. He’ll be joined by Shannon and the Clams, Kelley Stoltz, Golden Void, French Cassettes, and Magic Fight, as well as unlimited beer tasting from 13 SF Brewers Guild breweries. While The Bay Brewed has become an annual tradition, a reunion show from \u003ca href=\"http://theherms.com/\">The Herms\u003c/a> is much less expected, but equally welcome. The band was an early Bay Bridged favorite, and a collection of their demos, \u003cem>Drop Out Vol. 1\u003c/em>, was issued earlier this year by Castle Face Records. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s December again, which means something of a slow down in the world of live music. Tours become more infrequent as bands avoid winter weather, and few albums are being released during a time when most critics are putting the finishing touches on their best-of lists. Likely to appear on more than a few of those lists is \u003ca href=\"https://www.facebook.com/pages/King-Krule/184334471606543\">King Krule\u003c/a>‘s \u003cem>6 Feet Beneath the Moon\u003c/em>, the debut LP from British songwriter Archy Marshall, a 19-year-old with a distinct voice and a penchant for raw art-pop. Meanwhile, fresh off a great performance at the Treasure Island Music Festival, \u003ca href=\"https://www.facebook.com/HolyGhostNYC\">Holy Ghost!\u003c/a> returns for a two-night stint at The Independent; the super-fun electronic-rock band’s New Year’s Eve show is understandably sold out.\u003c/p>\n\u003cp>Locally, we’re most excited about seeing \u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a> lead a great lineup of locals at our rock and roll beer festival, \u003ca href=\"https://thebaybrewed.eventbrite.com\">The Bay Brewed 2013\u003c/a>, at \u003ca href=\"http://publicsf.com/\">Public Works\u003c/a> on December 7. He’ll be joined by Shannon and the Clams, Kelley Stoltz, Golden Void, French Cassettes, and Magic Fight, as well as unlimited beer tasting from 13 SF Brewers Guild breweries. While The Bay Brewed has become an annual tradition, a reunion show from \u003ca href=\"http://theherms.com/\">The Herms\u003c/a> is much less expected, but equally welcome. The band was an early Bay Bridged favorite, and a collection of their demos, \u003cem>Drop Out Vol. 1\u003c/em>, was issued earlier this year by Castle Face Records. Another noteworthy local is \u003ca href=\"https://www.facebook.com/pages/Adam-Widener/227199104044053\">Adam Widener\u003c/a>, playing the Hemlock Tavern this month in support of \u003cem>Vesuvio Nights\u003c/em>, which arrived in October on Speakertree Records.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/King-Krule/184334471606543\">King Krule\u003c/a> — “Border Line”\u003cbr>Appearing at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on December 16 and 17.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a> — “Weight”\u003cbr>Headlining \u003ca href=\"https://thebaybrewed.eventbrite.com\">The Bay Brewed 2013\u003c/a> at \u003ca href=\"http://publicsf.com/\">Public Works\u003c/a> on December 7; Shannon and the Clams, Kelley Stoltz, Golden Void, French Cassettes, and Magic Fight also perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Lee-Ranaldo-Official/158711314207687\">Lee Ranaldo and The Dust\u003c/a> — “Ambulancer”\u003cbr>Coming to \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on December 11; Bill Orcutt and Jacob Felix Heule also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BL00DSISTER\">Blood Sister\u003c/a> — “Psychic Flashes”\u003cbr>Playing at \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> on December 12 with Cocktails and Happy Diving.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hlgrms\">Holograms\u003c/a> — “Meditations”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.e53SIoyb.dpbs\">Bottom of the Hill\u003c/a> on December 18; TV Ghost and G. Green support.\u003c/p>\n\u003cp>\u003ca href=\"http://theherms.com/\">The Herms\u003c/a> — “Power Joystick”\u003cbr>Playing with Warm Soda and POW! at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.e53SIoyb.dpbs\">Bottom of the Hill\u003c/a> on December 17.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Adam-Widener/227199104044053\">Adam Widener\u003c/a> — “Fake Flowers Never Die”\u003cbr>Performing at the \u003ca href=\"http://hemlocktavern.com/calendar.php?month=12&year=2013\">Hemlock Tavern\u003c/a> on December 7 with Primitive Hearts, Big Tits, and The Shanghais.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/guyfoxband\">Guy Fox\u003c/a> — “San Francisco”\u003cbr>Playing an all-local show on December 5 with Bonnie and the Bang Bang and Growwler at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BasiaBulat\">Basia Bulat\u003c/a> — “Tall Tall Shadow”\u003cbr>On December 9, Bulat performs with Haunted Summer at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sunaraw.com/main.html\">Sun Araw\u003c/a> — “Evening Meditations”\u003cbr>Coming to \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on New Year’s Eve, along with The Fresh & Onlys, Vetiver, and Pure Bliss.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HolyGhostNYC\">Holy Ghost!\u003c/a> — “Okay”\u003cbr>Headlining \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on December 30 and 31.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gold Panda — “Brazil (\u003ca href=\"https://www.facebook.com/slowwmagic\">Slow Magic\u003c/a> Remix)”\u003cbr>Slow Magic is supporting El Ten Eleven at \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=12&dyear=2013\">Slim’s\u003c/a> on December 13.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As we’ve long said, we love great beer almost as much as we love great music. Combine the two, and you’ve got a recipe for a good time. This mixtape is something of a successor to \u003ca href=\"http://www.thebaybridged.com/2011/11/21/mixtape-music-to-drink-beer-to-podcast-261/\">our 2011 rock and beer pairing\u003c/a>, collecting a whole mess of local rock and roll bands that sound great when paired with a tasty pint. The mix features music from 20 Bay Area bands, including garage nuggets from \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> and \u003ca href=\"https://www.facebook.com/warmsoda777\">Warm Soda\u003c/a>, hard rock jams courtesy of \u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a> and \u003ca href=\"https://www.facebook.com/steelcranesband\">Steel Cranes\u003c/a>, the psych grooves of \u003ca href=\"https://www.facebook.com/pages/Wooden-Shjips/44944152975\">Wooden Shjips\u003c/a> and \u003ca href=\"https://www.facebook.com/SleepySun\">Sleepy Sun\u003c/a>, and heavy songs from \u003ca href=\"https://www.facebook.com/deafheaven\">Deafheaven\u003c/a> and \u003ca href=\"https://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a>.\u003c/p>\n\u003cp>If you enjoy great local rock and beer, then we’ll see you at \u003cstrong>\u003ca href=\"https://thebaybrewed.eventbrite.com/\">The Bay Brewed 2013\u003c/a>\u003c/strong>, our third annual rock and roll beer festival, which takes place at \u003ca href=\"http://publicsf.com\">Public Works\u003c/a> on Saturday, December 7. The fest features music from \u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a>, \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a>, \u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, \u003ca href=\"https://www.facebook.com/goldenvoid\">Golden Void\u003c/a>, \u003ca href=\"https://www.facebook.com/frenchcassettes\">French Cassettes\u003c/a>, and \u003ca href=\"https://www.facebook.com/magicfight\">Magic Fight\u003c/a>, as well as unlimited local beer tasting from 13 great \u003ca href=\"http://sfbrewersguild.org/\">SF Brewers Guild\u003c/a> breweries.\u003c/p>\n\u003cp>Enjoy the mix and we’ll see you on December 7!\u003c/p>\n\u003cp>\u003cstrong>Track Listing:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> — “Into a Dream”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a> — “What’s In My Head”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Wooden-Shjips/44944152975\">Wooden Shjips\u003c/a> — “Back to Land”\u003cbr>\u003ca href=\"https://www.facebook.com/HotLunchRocks\">Hot Lunch\u003c/a> — “Hooray For Everything”\u003cbr>\u003ca href=\"https://www.facebook.com/lecherousgaze\">Lecherous Gaze\u003c/a> — “Lyin’ In The Road”\u003cbr>\u003ca href=\"https://www.facebook.com/waxidols\">Wax Idols\u003c/a> — “Sound of a Void”\u003cbr>\u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a> — “Shout It Out”\u003cbr>\u003ca href=\"https://www.facebook.com/SleepySun\">Sleepy Sun\u003c/a> — “The Lane”\u003cbr>\u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> — “Fountain of Youth”\u003cbr>\u003ca href=\"http://ccrheadclnr.tumblr.com/\">CCR Headcleaner\u003c/a> — “Steal the Light”\u003cbr>\u003ca href=\"https://www.facebook.com/deafheaven\">Deafheaven\u003c/a> — “Dream House”\u003cbr>\u003ca href=\"https://www.facebook.com/permanentcollection\">Permanent Collection\u003c/a> — “No Reality”\u003cbr>\u003ca href=\"https://www.facebook.com/thespyrals\">The Spyrals\u003c/a> — “Out of Sight”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Swiftumz/136749736372949\">Swiftumz\u003c/a> — “Willy”\u003cbr>\u003ca href=\"https://www.facebook.com/warmsoda777\">Warm Soda\u003c/a> — “Reaction”\u003cbr>\u003ca href=\"https://www.facebook.com/ssaammffllaaxx\">Sam Flax\u003c/a> — “Fire Doesn’t Burn Itself”\u003cbr>\u003ca href=\"https://www.facebook.com/blackcobravipers\">Black Cobra Vipers\u003c/a> — “On the Road”\u003cbr>\u003ca href=\"https://www.facebook.com/steelcranesband\">Steel Cranes\u003c/a> — “Moving On”\u003cbr>\u003ca href=\"https://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a> — “Container Ships”\u003cbr>\u003ca href=\"https://www.facebook.com/goldenvoid\">Golden Void\u003c/a> — “Sickle Clowns”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we’ve long said, we love great beer almost as much as we love great music. Combine the two, and you’ve got a recipe for a good time. This mixtape is something of a successor to \u003ca href=\"http://www.thebaybridged.com/2011/11/21/mixtape-music-to-drink-beer-to-podcast-261/\">our 2011 rock and beer pairing\u003c/a>, collecting a whole mess of local rock and roll bands that sound great when paired with a tasty pint. The mix features music from 20 Bay Area bands, including garage nuggets from \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> and \u003ca href=\"https://www.facebook.com/warmsoda777\">Warm Soda\u003c/a>, hard rock jams courtesy of \u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a> and \u003ca href=\"https://www.facebook.com/steelcranesband\">Steel Cranes\u003c/a>, the psych grooves of \u003ca href=\"https://www.facebook.com/pages/Wooden-Shjips/44944152975\">Wooden Shjips\u003c/a> and \u003ca href=\"https://www.facebook.com/SleepySun\">Sleepy Sun\u003c/a>, and heavy songs from \u003ca href=\"https://www.facebook.com/deafheaven\">Deafheaven\u003c/a> and \u003ca href=\"https://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a>.\u003c/p>\n\u003cp>If you enjoy great local rock and beer, then we’ll see you at \u003cstrong>\u003ca href=\"https://thebaybrewed.eventbrite.com/\">The Bay Brewed 2013\u003c/a>\u003c/strong>, our third annual rock and roll beer festival, which takes place at \u003ca href=\"http://publicsf.com\">Public Works\u003c/a> on Saturday, December 7. The fest features music from \u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a>, \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a>, \u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, \u003ca href=\"https://www.facebook.com/goldenvoid\">Golden Void\u003c/a>, \u003ca href=\"https://www.facebook.com/frenchcassettes\">French Cassettes\u003c/a>, and \u003ca href=\"https://www.facebook.com/magicfight\">Magic Fight\u003c/a>, as well as unlimited local beer tasting from 13 great \u003ca href=\"http://sfbrewersguild.org/\">SF Brewers Guild\u003c/a> breweries.\u003c/p>\n\u003cp>Enjoy the mix and we’ll see you on December 7!\u003c/p>\n\u003cp>\u003cstrong>Track Listing:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> — “Into a Dream”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Fuzz/424864160921258\">FUZZ\u003c/a> — “What’s In My Head”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Wooden-Shjips/44944152975\">Wooden Shjips\u003c/a> — “Back to Land”\u003cbr>\u003ca href=\"https://www.facebook.com/HotLunchRocks\">Hot Lunch\u003c/a> — “Hooray For Everything”\u003cbr>\u003ca href=\"https://www.facebook.com/lecherousgaze\">Lecherous Gaze\u003c/a> — “Lyin’ In The Road”\u003cbr>\u003ca href=\"https://www.facebook.com/waxidols\">Wax Idols\u003c/a> — “Sound of a Void”\u003cbr>\u003ca href=\"https://www.facebook.com/MikalCroninMusic\">Mikal Cronin\u003c/a> — “Shout It Out”\u003cbr>\u003ca href=\"https://www.facebook.com/SleepySun\">Sleepy Sun\u003c/a> — “The Lane”\u003cbr>\u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> — “Fountain of Youth”\u003cbr>\u003ca href=\"http://ccrheadclnr.tumblr.com/\">CCR Headcleaner\u003c/a> — “Steal the Light”\u003cbr>\u003ca href=\"https://www.facebook.com/deafheaven\">Deafheaven\u003c/a> — “Dream House”\u003cbr>\u003ca href=\"https://www.facebook.com/permanentcollection\">Permanent Collection\u003c/a> — “No Reality”\u003cbr>\u003ca href=\"https://www.facebook.com/thespyrals\">The Spyrals\u003c/a> — “Out of Sight”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Swiftumz/136749736372949\">Swiftumz\u003c/a> — “Willy”\u003cbr>\u003ca href=\"https://www.facebook.com/warmsoda777\">Warm Soda\u003c/a> — “Reaction”\u003cbr>\u003ca href=\"https://www.facebook.com/ssaammffllaaxx\">Sam Flax\u003c/a> — “Fire Doesn’t Burn Itself”\u003cbr>\u003ca href=\"https://www.facebook.com/blackcobravipers\">Black Cobra Vipers\u003c/a> — “On the Road”\u003cbr>\u003ca href=\"https://www.facebook.com/steelcranesband\">Steel Cranes\u003c/a> — “Moving On”\u003cbr>\u003ca href=\"https://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a> — “Container Ships”\u003cbr>\u003ca href=\"https://www.facebook.com/goldenvoid\">Golden Void\u003c/a> — “Sickle Clowns”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dear Bill Callahan,\u003c/p>\n\u003cp>Can I call you Bill? I feel like I know you so well, those playful guitar picking skills and that particular baritone. We’ve been on so many journeys together, long nights on the record player, road trips, and the occasional campsite. I’ve seen you in five cities, but never in San Francisco. I tried once, but my date thought he could buy tickets at the door. What a fool. I should have left him out in the cold that night at the Independent. You’re playing two shows this weekend and even though they are both sold out and I’m going by myself, I’ll be in solidarity with my fellow Bill Callahan fans, listening in awe.\u003c/p>\n\u003cp>As someone who has spent a fair amount of time in the west surrounded by cowboys, I always imagined you as the strong and silent type. When I saw you as Smog for the first time at the Parish in Austin, TX nearly a decade ago, I was at odds with myself. You were rocking out, as much as a man in double denim and boots, pretty much alone on a stage singing incredibly deliberate and calculated songs can. What exactly was I witnessing and why was there a feeling of elation followed by peaceful calm in my head after the show? I fell in love that night, and have never missed an opportunity to see you live since. I’ve also never seen you dance like that again. Maybe one of the two nights in San Francisco will be the time.\u003c/p>\n\u003cp>In a music world filled with production bells and whistles, and a visual world overflowing with screens, effects, and hashtags, you force perspective. You force us to hear, to remember and to see. With just a few words, precise chords, and impeccably timed language you can place the listener in a quiet place meant for experiencing nature and exploring its glory. \u003ci>Dream River\u003c/i>, your newest release, has been received with the highest acclaim from both fans and critics. Where twang might normally reside in country-influenced songs, you make the electric guitar whine. These tracks are full-bodied and age well with each listen. Still heavily influenced by the wild, this record takes on a more astute study of human connection. Bill, are you bewildered or intrigued?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/12/billcallahan.jpg\" style=\"margin-bottom: 10px;\" alt=\"Bill Callahan\">\u003cbr>Photo: Hanly Banks\u003cbr>\u003c/center>\n\u003cp>Connection is about hanging on every word. It’s about taking into account what the other person might feel when you express an opinion, drinking in their every response and trying not to miss a blink, smile, or breath. You sing, “All I want to do is make love to you with a careless mind. The true spring is in you,” on “Spring.” Previously it seemed the only connection you were actively seeking to understand was with nature and how small man is by comparison, but now, now there’s someone else. Even the strong and silent types deserve to find another for the journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I really like it when I take the control from you and you take the control from me, I really am a lucky man flying this small plane.” The language is simple, yet sophisticated. I nod in agreement with your sentiments, having experienced similar feelings in my relationships to others and to the natural world. You probably don’t even need firelight when you’re wandering the desert at night, it would disrupt the pale cool moonlight from above. I’m drawn to the landscape you’ve created on \u003ci>Dream River\u003c/i>; there are so many layers to listen to, jazz flutes and hand percussion trickling in and out. Your iconic guitar playing complimented by strings and echoes that can only be likened to a piercing eagle cry.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/96xpXS3hbec\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Most of the time I’m just amazed by your use of musical arrangement combined with meticulous vocal delivery. It makes me question why stripped-down lyrics are so incredibly powerful and important. That seems like a question that could be easily answered by any run-of-the-mill poet or intellectual, but I struggle with why it works so well coming from you as an artist. And then on “Summer Painter” you unleash the verse, “Like a beaver is a damn builder you never really quit.” Reminding me that we must all push on because without the search, without the connection, and certainly without the poetry, what separates us from that beaver besides her will to work?\u003c/p>\n\u003cp>It’s hard to pinpoint your musical genius. Even though I have been a fan since that warm night in Austin so many years ago, I have always wondered why and how exactly your music has appealed to such a large audience. It isn’t the most accessible. Simplistic and complicated, slow and tailored, dark and full of truth, light and airy — it is rife with contradictions. Your queries on \u003ci>Dream River\u003c/i> are what have inspired me to write this letter rather than say what other critics have in so many words, that this record is arguably a masterpiece. Perhaps it is because the marriage of nature and the essence of human existence has found a way to reside in the same space for you. In poetry.\u003c/p>\n\u003cp>Sincerely Your Often Stupefied but Adoring Fan,\u003c/p>\n\u003cp>Roscoe\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bill Callahan plays The Great American Music Hall on November 16 and The Chapel November 17, 2013. Both shows are sold out so hang on to your tickets for dear life, but should you need any further information visit Great American Music Hall’s \u003ca href=\"http://tickets.gamh.com/evinfo.php?eventid=333829\">ticket page\u003c/a> or The Chapel’s \u003ca href=\"http://www.thechapelsf.com/event/315647-bill-callahan-san-francisco/\">event site\u003c/a>. \u003ci>Dream River\u003c/i> was released on Drag City earlier this month and is available through most major music retailers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Bill Callahan,\u003c/p>\n\u003cp>Can I call you Bill? I feel like I know you so well, those playful guitar picking skills and that particular baritone. We’ve been on so many journeys together, long nights on the record player, road trips, and the occasional campsite. I’ve seen you in five cities, but never in San Francisco. I tried once, but my date thought he could buy tickets at the door. What a fool. I should have left him out in the cold that night at the Independent. You’re playing two shows this weekend and even though they are both sold out and I’m going by myself, I’ll be in solidarity with my fellow Bill Callahan fans, listening in awe.\u003c/p>\n\u003cp>As someone who has spent a fair amount of time in the west surrounded by cowboys, I always imagined you as the strong and silent type. When I saw you as Smog for the first time at the Parish in Austin, TX nearly a decade ago, I was at odds with myself. You were rocking out, as much as a man in double denim and boots, pretty much alone on a stage singing incredibly deliberate and calculated songs can. What exactly was I witnessing and why was there a feeling of elation followed by peaceful calm in my head after the show? I fell in love that night, and have never missed an opportunity to see you live since. I’ve also never seen you dance like that again. Maybe one of the two nights in San Francisco will be the time.\u003c/p>\n\u003cp>In a music world filled with production bells and whistles, and a visual world overflowing with screens, effects, and hashtags, you force perspective. You force us to hear, to remember and to see. With just a few words, precise chords, and impeccably timed language you can place the listener in a quiet place meant for experiencing nature and exploring its glory. \u003ci>Dream River\u003c/i>, your newest release, has been received with the highest acclaim from both fans and critics. Where twang might normally reside in country-influenced songs, you make the electric guitar whine. These tracks are full-bodied and age well with each listen. Still heavily influenced by the wild, this record takes on a more astute study of human connection. Bill, are you bewildered or intrigued?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/12/billcallahan.jpg\" style=\"margin-bottom: 10px;\" alt=\"Bill Callahan\">\u003cbr>Photo: Hanly Banks\u003cbr>\u003c/center>\n\u003cp>Connection is about hanging on every word. It’s about taking into account what the other person might feel when you express an opinion, drinking in their every response and trying not to miss a blink, smile, or breath. You sing, “All I want to do is make love to you with a careless mind. The true spring is in you,” on “Spring.” Previously it seemed the only connection you were actively seeking to understand was with nature and how small man is by comparison, but now, now there’s someone else. Even the strong and silent types deserve to find another for the journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I really like it when I take the control from you and you take the control from me, I really am a lucky man flying this small plane.” The language is simple, yet sophisticated. I nod in agreement with your sentiments, having experienced similar feelings in my relationships to others and to the natural world. You probably don’t even need firelight when you’re wandering the desert at night, it would disrupt the pale cool moonlight from above. I’m drawn to the landscape you’ve created on \u003ci>Dream River\u003c/i>; there are so many layers to listen to, jazz flutes and hand percussion trickling in and out. Your iconic guitar playing complimented by strings and echoes that can only be likened to a piercing eagle cry.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/96xpXS3hbec\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Most of the time I’m just amazed by your use of musical arrangement combined with meticulous vocal delivery. It makes me question why stripped-down lyrics are so incredibly powerful and important. That seems like a question that could be easily answered by any run-of-the-mill poet or intellectual, but I struggle with why it works so well coming from you as an artist. And then on “Summer Painter” you unleash the verse, “Like a beaver is a damn builder you never really quit.” Reminding me that we must all push on because without the search, without the connection, and certainly without the poetry, what separates us from that beaver besides her will to work?\u003c/p>\n\u003cp>It’s hard to pinpoint your musical genius. Even though I have been a fan since that warm night in Austin so many years ago, I have always wondered why and how exactly your music has appealed to such a large audience. It isn’t the most accessible. Simplistic and complicated, slow and tailored, dark and full of truth, light and airy — it is rife with contradictions. Your queries on \u003ci>Dream River\u003c/i> are what have inspired me to write this letter rather than say what other critics have in so many words, that this record is arguably a masterpiece. Perhaps it is because the marriage of nature and the essence of human existence has found a way to reside in the same space for you. In poetry.\u003c/p>\n\u003cp>Sincerely Your Often Stupefied but Adoring Fan,\u003c/p>\n\u003cp>Roscoe\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bill Callahan plays The Great American Music Hall on November 16 and The Chapel November 17, 2013. Both shows are sold out so hang on to your tickets for dear life, but should you need any further information visit Great American Music Hall’s \u003ca href=\"http://tickets.gamh.com/evinfo.php?eventid=333829\">ticket page\u003c/a> or The Chapel’s \u003ca href=\"http://www.thechapelsf.com/event/315647-bill-callahan-san-francisco/\">event site\u003c/a>. \u003ci>Dream River\u003c/i> was released on Drag City earlier this month and is available through most major music retailers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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