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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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",
"headTitle": "Top California Pop for 2013 | KQED",
"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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"description": "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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"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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"title": "Live This Month: December 2013",
"headTitle": "Live This Month: December 2013 | KQED",
"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. 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>[ad fullwidth]\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",
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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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"content": "\u003cp>Maybe it’s the fact that the holidays are approaching and people start to think about love, but this episode is full of buzzy new songs that seem to be about the varying stages of love or heartbreak. From Sky Ferreira’s “You’re Not the One” to an emotional cut from Mutual Benefit’s \u003ci>Love’s Crushing Diamond\u003c/i>, this playlist ushers in what can be the most lovely/cruel season of the year.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr> 1. “Tropical Oceans” — DD Dumbo, \u003ci>DD Dumbo\u003c/i>\u003cbr> 2. “Feel My Pain” — Kurt Vile, \u003ci>Wakin on a Pretty Daze: Deluxe Daze (Post Haze)\u003c/i>\u003cbr> 3. “Here Comes the Night Time” — Arcade Fire, \u003ci>Reflektor\u003c/i>\u003cbr> 4. “Goodbye Sasha” — Misun, Single\u003cbr> 5. “Pursuit” — Gesaffelstein, Single\u003cbr>6. “Realize You ” — Empress Of, Single\u003cbr>7. “Okay” — Bad Bandit, \u003ci>Conifer\u003c/i>\u003cbr> 8. “Don’t Tell Me” — Dale Earnhardt Jr. Jr., \u003ci>The Speed of Things\u003c/i>\u003cbr> 9. “You’re Not the One” — Sky Ferreira, \u003ci>Night Time, My Time\u003c/i>\u003cbr>10. “Golden Wake” — Mutual Benefit, \u003ci>Love’s Crushing Diamond\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>Maybe it’s the fact that the holidays are approaching and people start to think about love, but this episode is full of buzzy new songs that seem to be about the varying stages of love or heartbreak. From Sky Ferreira’s “You’re Not the One” to an emotional cut from Mutual Benefit’s \u003ci>Love’s Crushing Diamond\u003c/i>, this playlist ushers in what can be the most lovely/cruel season of the year.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr> 1. “Tropical Oceans” — DD Dumbo, \u003ci>DD Dumbo\u003c/i>\u003cbr> 2. “Feel My Pain” — Kurt Vile, \u003ci>Wakin on a Pretty Daze: Deluxe Daze (Post Haze)\u003c/i>\u003cbr> 3. “Here Comes the Night Time” — Arcade Fire, \u003ci>Reflektor\u003c/i>\u003cbr> 4. “Goodbye Sasha” — Misun, Single\u003cbr> 5. “Pursuit” — Gesaffelstein, Single\u003cbr>6. “Realize You ” — Empress Of, Single\u003cbr>7. “Okay” — Bad Bandit, \u003ci>Conifer\u003c/i>\u003cbr> 8. “Don’t Tell Me” — Dale Earnhardt Jr. Jr., \u003ci>The Speed of Things\u003c/i>\u003cbr> 9. “You’re Not the One” — Sky Ferreira, \u003ci>Night Time, My Time\u003c/i>\u003cbr>10. “Golden Wake” — Mutual Benefit, \u003ci>Love’s Crushing Diamond\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For some reason, November’s concert offerings include a ton of exciting reunions, returns and anniversaries. This mix includes new music from \u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a>, the shoegaze vets who are now touring behind their first album in 18 years, post-punk luminaries \u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a>, whose \u003cem>Change Becomes Us\u003c/em> finds the band fleshing out ideas first generated three decades ago, and \u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a>. Widely credited with pioneering lo-fi garage punk in the 1960s, the band’s first San Francisco performance ever comes as part of the stellar \u003ca href=\"http://www.totaltrashfest.com/\">Total Trash Halloween Bash\u003c/a>.\u003c/p>\n\u003cp>Plenty of local bands have big concerts this month too. \u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> is celebrating the release of the group’s debut LP, \u003cem>All Teeth and Nails\u003c/em>, arriving this month on local label 20 Sided Records. Meanwhile, SF songwriter \u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux\u003c/a> is pulling the audacious and exciting move of simultaneously releasing not one, but two new full-length albums this month; one of the new sets is a solo endeavor, while the other finds DeVeaux accompanied by his band, The Blue Beat Review. 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We’re \u003ca href=\"http://www.brickandmortarmusic.com/event/395559-social-studies-san-francisco/\">excited to present the first show\u003c/a>, on November 4, with Upstairs Downstairs and Tartufi.\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>\u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a> — “Territories”\u003cbr>Appearing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on Mondays in November with numerous local bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/killcrocodiles\">Crocodiles\u003c/a> — “I Like It In The Dark”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 9; Wymond Miles opens the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a> — “The Witch”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 2.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> — “Lowbar”\u003cbr>Playing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Modern Man and The Union Trade on November 9.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux & The Blue Beat Review\u003c/a> — “Come & Go”\u003cbr>Co-headlining the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Great American Music Hall\u003c/a> with Con Brio on November 2; Whiskerman opens the show.\u003c/p>\n\u003cp>\u003cspan id=\"more-83392\">\u003c/span>\u003ca href=\"https://www.facebook.com/ElephantStoneHQ\">Elephant Stone\u003c/a> — “Heavy Moon”\u003cbr>With The Besnard Lakes on November 14 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magicmagicroses\">Magic Magic Roses\u003c/a> — “Valley”\u003cbr>Supporting Yesway and TaughtMe on November 21 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a> — “Love Bends”\u003cbr>On November 18, Wire and Chastity Belt come to \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Slim’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a> — “Long As The Sun”\u003cbr>Coming to \u003ca href=\"http://1015.com/\">1015 Folsom\u003c/a> with The Telescopes and LSD and the Search for God on November 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/yousgirls\">U.S. Girls\u003c/a> — “Jack”\u003cbr>Coming to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Chasms and Ether Island on November 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JuliannaBarwick\">Julianna Barwick\u003c/a> — “One Half”\u003cbr>Appearing on November 26 at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> with Mark McGuire.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/YassouBenedict\">Yassou Benedict\u003c/a> — “The Cloisters”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 8 with Debbie Neigher and There’s Talk.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Glassermusic\">Glasser\u003c/a> — “Design”\u003cbr>Playing alongside Julius Smack at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Papatheband\">PAPA\u003c/a> — “Put Me To Work”\u003cbr>Panic is Perfect and Bent Shapes support PAPA at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 22.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some reason, November’s concert offerings include a ton of exciting reunions, returns and anniversaries. This mix includes new music from \u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a>, the shoegaze vets who are now touring behind their first album in 18 years, post-punk luminaries \u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a>, whose \u003cem>Change Becomes Us\u003c/em> finds the band fleshing out ideas first generated three decades ago, and \u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a>. Widely credited with pioneering lo-fi garage punk in the 1960s, the band’s first San Francisco performance ever comes as part of the stellar \u003ca href=\"http://www.totaltrashfest.com/\">Total Trash Halloween Bash\u003c/a>.\u003c/p>\n\u003cp>Plenty of local bands have big concerts this month too. \u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> is celebrating the release of the group’s debut LP, \u003cem>All Teeth and Nails\u003c/em>, arriving this month on local label 20 Sided Records. Meanwhile, SF songwriter \u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux\u003c/a> is pulling the audacious and exciting move of simultaneously releasing not one, but two new full-length albums this month; one of the new sets is a solo endeavor, while the other finds DeVeaux accompanied by his band, The Blue Beat Review. Finally, one of our favorite SF groups, \u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a>, is holding down a Monday residency at the Brick & Mortar Music Hall all month long and inviting a bunch of their favorite local bands to take part in the shows. We’re \u003ca href=\"http://www.brickandmortarmusic.com/event/395559-social-studies-san-francisco/\">excited to present the first show\u003c/a>, on November 4, with Upstairs Downstairs and Tartufi.\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>\u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a> — “Territories”\u003cbr>Appearing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on Mondays in November with numerous local bands.\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/killcrocodiles\">Crocodiles\u003c/a> — “I Like It In The Dark”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 9; Wymond Miles opens the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a> — “The Witch”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 2.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> — “Lowbar”\u003cbr>Playing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Modern Man and The Union Trade on November 9.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux & The Blue Beat Review\u003c/a> — “Come & Go”\u003cbr>Co-headlining the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Great American Music Hall\u003c/a> with Con Brio on November 2; Whiskerman opens the show.\u003c/p>\n\u003cp>\u003cspan id=\"more-83392\">\u003c/span>\u003ca href=\"https://www.facebook.com/ElephantStoneHQ\">Elephant Stone\u003c/a> — “Heavy Moon”\u003cbr>With The Besnard Lakes on November 14 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magicmagicroses\">Magic Magic Roses\u003c/a> — “Valley”\u003cbr>Supporting Yesway and TaughtMe on November 21 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a> — “Love Bends”\u003cbr>On November 18, Wire and Chastity Belt come to \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Slim’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a> — “Long As The Sun”\u003cbr>Coming to \u003ca href=\"http://1015.com/\">1015 Folsom\u003c/a> with The Telescopes and LSD and the Search for God on November 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/yousgirls\">U.S. Girls\u003c/a> — “Jack”\u003cbr>Coming to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Chasms and Ether Island on November 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JuliannaBarwick\">Julianna Barwick\u003c/a> — “One Half”\u003cbr>Appearing on November 26 at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> with Mark McGuire.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/YassouBenedict\">Yassou Benedict\u003c/a> — “The Cloisters”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 8 with Debbie Neigher and There’s Talk.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Glassermusic\">Glasser\u003c/a> — “Design”\u003cbr>Playing alongside Julius Smack at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Papatheband\">PAPA\u003c/a> — “Put Me To Work”\u003cbr>Panic is Perfect and Bent Shapes support PAPA at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 22.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> was the first rock star to truly mess up my mind. It was the end of the ’70s; I was in high school. With no older siblings and few friends to guide me — my sweet boyfriend was a classical cellist — I was stumbling around trying to educate myself about the foundations of the punk scene I desperately wanted to make my home. I haunted record-store cutout bins because the remaindered albums there, commercial failures, were cheap. I’d buy whatever looked vaguely roughneck (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15394716\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> and the scruffy early \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a> had revolutionized my life) or theatrical (after \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">Bowie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> started the wheels turning). One day, I saw a cover shot of Reed, whom I recognized because I had that \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> banana album, wearing aviator shades and looking both Hollywood-glamorous and oily. A car’s headlight made a starburst in the plastic that hid his eyes.\u003c/p>\n\u003cp>The album was \u003cem>Street Hassle\u003c/em>, the first solo album that Reed, an acknowledged godfather of punk, made with that movement’s snotty children spitting back at him. Released in 1978, \u003cem>Street Hassle \u003c/em>was a self-corrective — Tom Carson, in his \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.rollingstone.com/music/albumreviews/street-hassle-19780406\" target=\"_blank\" rel=\"noopener\">review\u003c/a>, called it “an admission of failure that becomes a stunning, incandescent triumph,” an antidote to Reed’s post Velvets plunge into all kinds of excess. But the way I heard it, having not yet discovered the melodrama of \u003cem>Berlin \u003c/em>or the glam glory of \u003cem>Transformer\u003c/em> or the mean noise of \u003cem>Metal Machine Music\u003c/em>, was as a corrective to me, the listener. Reed made me realize that, for all of my self-stylings as a rebel in love with noise that stripped away bulls- – -, I didn’t know the first thing about how rock music could provide a certain kind of unsought enlightenment.\u003c/p>\n\u003cp>You might call it moral clarity. Ellen Willis did, writing about the Velvet Underground in her landmark essay on the Velvets, \u003ca href=\"http://www.amazon.com/Stranded-Rock-Roll-Desert-Island/dp/030681532X\" target=\"_blank\" rel=\"noopener\">first published\u003c/a> the same year \u003cem>Street Hassle\u003c/em> came out. Identifying Reed as an “aesthete punk” whose relationship to the urban demimonde he always wrote about was intellectual, stylized and distanced, Willis noticed that because he also really grasped the pain of those shadowed characters he wrote about, he ended up a moralist: a writer primarily concerned with the choices that make up people’s lives, choices to hurt or help others, to be safe or potentially self-destructive, to love or to harden the heart. “The point was not to glorify the punk, or even to say f- – – you to the world, but to be honest about the strategies people adopt in a desperate situation.”\u003c/p>\n\u003cp>Listening to \u003cem>Street Hassle\u003c/em>, with its songs about feelings no one would ever want to admit, with titles like “Dirt” and “Leave Me Alone,” I slowly realized what most of the punk or New Wave rock I loved so much rarely gave me. Clarity! Most music was too earnest, too clever, too deliberately gorgeous or bloody exciting to require what Reed’s demanded, which was that a listener sit with the ugliness of a moment and really grasp the fatal mistakes and collapses that go hand-in-hand with the risks that bring humans to life.\u003c/p>\n\u003cp>Reed’s songs are actually often quite pretty, his pop ear well-tuned by the ’50s rockabilly and doo-wop he loved as a Long Island teenybopper kid. But he would always show the sweat on the lips of the beauty queens and muscle boys he sang about. The fact that those queens were often in drag, and the boys were paying the rent with their erotic encounters, is in some ways secondary. (In another way it’s central, since few other rockers\u003cstrong>\u003c/strong> fleshed out those characters, especially the queer ones, the way Reed did.) Reed was just as willing to explore conventional married life unsparingly, as he did on his turning-40 album \u003cem>The Blue Mask\u003c/em>, the New Wave crossover hit \u003cem>New Sensations\u003c/em> or his late-in-life albums about partnered bliss with his artistic soulmate \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a>. What matters most in Reed’s music is the commitment to what’s difficult, whether it’s expressed through distorted guitar, lyrics whose exposure of a self or a situation peels deeper with each verse, or the kind of melodic richness that doesn’t comfort but instead renders a song’s singer vividly vulnerable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Street Hassle’s \u003c/em>\u003ca href=\"http://www.youtube.com/watch?v=bkG9BKgDvNI\" target=\"_blank\" rel=\"noopener\">centerpiece\u003c/a>, now considered one of Reed’s greatest accomplishments, taught me that getting just what I wanted from a song (uplift, for example, or sloppy catharsis) wasn’t always the best thing. “Street Hassle” includes bluntly sexual lines that turned me on, but also made me feel the edge of my own prudery. It explores how one person dehumanizes another and, just a few minutes later, how losing one person can make a person feel real and whole for the first time. It’s a song suite that doesn’t sound at all like punk; it features strings, female back-up singers and Reed definitely crooning. There’s also an \u003ca href=\"http://www.springsteenlyrics.com/lyrics/s/streethassle.php\" target=\"_blank\" rel=\"noopener\">uncredited spoken-word passage by the then-rising Springsteen\u003c/a> that adds in some of that future superstar’s trademark grandiosity, serving as a telling contrast to Reed’s own cooler storytelling. The song’s triptych of scenarios is very Velvets: A probable transvestite picks up a male hooker at a bar; a drug dealer worries about how to get rid of an overdose victim’s body; and, in the last verse, a more anonymous lover laments his man’s departure in naked, needful agony. A lot happens musically around these stories, but every violin stroke, guitar bend and percussive push intensifies the focus on Reed’s core message: that opening up your being — to sex or drugs or just to feeling — is inevitable, dangerous and the main purpose of life.\u003c/p>\n\u003cp>Lou Reed’s music takes in and gives us back the whole picture. \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/lou-reed/about-lou-reed/687/\" target=\"_blank\" rel=\"noopener\">Describing\u003c/a> another one of Reed’s signature works, the Velvet Undergound opus “Heroin,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=14867686\" target=\"_blank\" rel=\"noopener\">Patti Smith\u003c/a> once fittingly assessed Reed’s breadth of vision. “‘Heroin,’ to me, is one of our more perfect American songs,” she said, “because it addresses a very conflicting subject that has so many stigmas attached to it. It addresses the deeply painful and destructive elements of it, and also whatever is precious about it, just with Lou’s beautiful, simple, direct language.” Reed himself often explained that he was simply doing what artists in other media do; novelists or filmmakers don’t limit their subject matter. Dedicating himself to rock and roll, though, kept Reed committedly exploring the visceral in ways other artists could avoid. In the funky rhythms he borrowed from early rock ‘n’ roll and especially in the drone and noise that connected him over the years to both minimalist composers like \u003ca href=\"http://en.wikipedia.org/wiki/La_Monte_Young\" target=\"_blank\" rel=\"noopener\">La Monte Young\u003c/a> and hard rockers like Metallica, Reed moved through what felt like confusion toward a sense of grace.\u003c/p>\n\u003cp>Sometimes what Reed moved through was a minefield. He didn’t worry about offending anyone or, preferably sometimes, everyone. \u003cem>Street Hassle\u003c/em>, for example, also contains “I Wanna Be Black,” a proto-rap unspooling of racist stereotypes that makes fun of white hipsters by forcing a deep wallow in ignorance. Plenty of Reed fans find \u003cem>Metal Machine Music, \u003c/em>his 1976 excursion into nothing but guitar feedback, unlistenable. Others feel that way about his theatrical collaborations with Robert Wilson; I myself sat through the time-stopping \u003cem>Timerocker \u003c/em>at the Brooklyn Academy of Music in 1997 and felt every spring in my seat. Even Reed’s most accessible efforts proudly bear painful twists: The gorgeous ballad “\u003ca href=\"http://www.youtube.com/watch?v=NcDuR9BF0Oc\" target=\"_blank\" rel=\"noopener\">Pale Blue Eyes\u003c/a>” turns on a blunt justification of adultery; my favorite of his almost-pop dance numbers, “\u003ca href=\"http://www.youtube.com/watch?v=EIdc0NGumVc\" target=\"_blank\" rel=\"noopener\">Vicious\u003c/a>,” is a lighthearted account of personal repulsion.\u003c/p>\n\u003cp>And then there’s “\u003ca href=\"http://www.youtube.com/watch?v=QYEC4TZsy-Y\" target=\"_blank\" rel=\"noopener\">Perfect Day\u003c/a>,” Lou Reed’s “Hallelujah.” Like \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>‘s irreverent secular hymn, this one has been milked for exultation by many interpreters. \u003ca href=\"http://www.npr.org/artists/16256054/duran-duran\" target=\"_blank\" rel=\"noopener\">Duran Duran\u003c/a> covered it; so did the talent show diva \u003ca href=\"http://www.npr.org/artists/121776884/susan-boyle\" target=\"_blank\" rel=\"noopener\">Susan Boyle\u003c/a>. It was featured in \u003cem>Trainspotting\u003c/em> (in a \u003ca href=\"http://www.youtube.com/watch?v=v6uBkJSbQO0\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> that played upon the theory that Reed’s perfect imagined lover is heroin, not a person), got an all-star charity remake in the late ’90s and most recently, formed the basis for a \u003ca href=\"http://www.adweek.com/adfreak/lou-reed-helps-sony-have-perfect-day-playstation-4-153160\" target=\"_blank\" rel=\"noopener\">Sony Playstation\u003c/a> ad. It’s a song that will live on, both enhancing and apart from Reed’s expansive legacy.\u003c/p>\n\u003cp>But, like the essence of Lou Reed, “Perfect Day” is tricky. In the original recording, Mick Ronson’s piano gives Reed’s stately melody a French feel, something like an \u003ca href=\"http://www.npr.org/artists/106547755/edith-piaf\" target=\"_blank\" rel=\"noopener\">Edith Piaf\u003c/a> song. David Bowie’s production adds heft: the thing swells. Reed goes along for the ride. The choruses ring, anthemic, but why is Reed singing about how his ideal lover just keeps him hanging on? At the end of the second verse, Reed’s voice dips and his diction clips. “You made me forget myself,” he nearly whispers. “I thought I was someone else. Someone good.” And the song ends in anger, with Reed muttering, over and over again, “You’re going to reap what you sow.” The soft focus that seemed to dominate the song in its beginning has sharpened. As Lester Bangs, the writer most passionately dedicated to understanding Reed, once \u003ca href=\"http://www.theguardian.com/music/2011/nov/08/lou-reed-lester-bangs-interview\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>, “If ‘Perfect Day’ is autobiographical, he must be the most guilt-ridden person on the face of the earth.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>See, there’s the whole picture. Happiness intermingled with self-loathing. Freedom all tied up in dependency. Rage bubbling through tenderness. It took discipline to put all of this into a song, a determination to not soften into earnestness or excuse the hard stuff in the name of romance. “The core of Reed’s sensibility is his visceral aversion to corn,” the critic \u003ca href=\"http://www.robertchristgau.com/xg/rock/reed-96.php\" target=\"_blank\" rel=\"noopener\">Robert Christgau\u003c/a> once put it, succinctly. For the last three decades of his life, Lou Reed was a \u003ca href=\"http://www.loureed.com/power/\" target=\"_blank\" rel=\"noopener\">tai chi practitioner\u003c/a>; he learned how to move slowly through uncomfortable positions. All the art he’s left us will continue to help us learn to do that, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Lou+Reed+Taught+Me&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> was the first rock star to truly mess up my mind. It was the end of the ’70s; I was in high school. With no older siblings and few friends to guide me — my sweet boyfriend was a classical cellist — I was stumbling around trying to educate myself about the foundations of the punk scene I desperately wanted to make my home. I haunted record-store cutout bins because the remaindered albums there, commercial failures, were cheap. I’d buy whatever looked vaguely roughneck (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15394716\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> and the scruffy early \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a> had revolutionized my life) or theatrical (after \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">Bowie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> started the wheels turning). One day, I saw a cover shot of Reed, whom I recognized because I had that \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> banana album, wearing aviator shades and looking both Hollywood-glamorous and oily. A car’s headlight made a starburst in the plastic that hid his eyes.\u003c/p>\n\u003cp>The album was \u003cem>Street Hassle\u003c/em>, the first solo album that Reed, an acknowledged godfather of punk, made with that movement’s snotty children spitting back at him. Released in 1978, \u003cem>Street Hassle \u003c/em>was a self-corrective — Tom Carson, in his \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.rollingstone.com/music/albumreviews/street-hassle-19780406\" target=\"_blank\" rel=\"noopener\">review\u003c/a>, called it “an admission of failure that becomes a stunning, incandescent triumph,” an antidote to Reed’s post Velvets plunge into all kinds of excess. But the way I heard it, having not yet discovered the melodrama of \u003cem>Berlin \u003c/em>or the glam glory of \u003cem>Transformer\u003c/em> or the mean noise of \u003cem>Metal Machine Music\u003c/em>, was as a corrective to me, the listener. Reed made me realize that, for all of my self-stylings as a rebel in love with noise that stripped away bulls- – -, I didn’t know the first thing about how rock music could provide a certain kind of unsought enlightenment.\u003c/p>\n\u003cp>You might call it moral clarity. Ellen Willis did, writing about the Velvet Underground in her landmark essay on the Velvets, \u003ca href=\"http://www.amazon.com/Stranded-Rock-Roll-Desert-Island/dp/030681532X\" target=\"_blank\" rel=\"noopener\">first published\u003c/a> the same year \u003cem>Street Hassle\u003c/em> came out. Identifying Reed as an “aesthete punk” whose relationship to the urban demimonde he always wrote about was intellectual, stylized and distanced, Willis noticed that because he also really grasped the pain of those shadowed characters he wrote about, he ended up a moralist: a writer primarily concerned with the choices that make up people’s lives, choices to hurt or help others, to be safe or potentially self-destructive, to love or to harden the heart. “The point was not to glorify the punk, or even to say f- – – you to the world, but to be honest about the strategies people adopt in a desperate situation.”\u003c/p>\n\u003cp>Listening to \u003cem>Street Hassle\u003c/em>, with its songs about feelings no one would ever want to admit, with titles like “Dirt” and “Leave Me Alone,” I slowly realized what most of the punk or New Wave rock I loved so much rarely gave me. Clarity! Most music was too earnest, too clever, too deliberately gorgeous or bloody exciting to require what Reed’s demanded, which was that a listener sit with the ugliness of a moment and really grasp the fatal mistakes and collapses that go hand-in-hand with the risks that bring humans to life.\u003c/p>\n\u003cp>Reed’s songs are actually often quite pretty, his pop ear well-tuned by the ’50s rockabilly and doo-wop he loved as a Long Island teenybopper kid. But he would always show the sweat on the lips of the beauty queens and muscle boys he sang about. The fact that those queens were often in drag, and the boys were paying the rent with their erotic encounters, is in some ways secondary. (In another way it’s central, since few other rockers\u003cstrong>\u003c/strong> fleshed out those characters, especially the queer ones, the way Reed did.) Reed was just as willing to explore conventional married life unsparingly, as he did on his turning-40 album \u003cem>The Blue Mask\u003c/em>, the New Wave crossover hit \u003cem>New Sensations\u003c/em> or his late-in-life albums about partnered bliss with his artistic soulmate \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a>. What matters most in Reed’s music is the commitment to what’s difficult, whether it’s expressed through distorted guitar, lyrics whose exposure of a self or a situation peels deeper with each verse, or the kind of melodic richness that doesn’t comfort but instead renders a song’s singer vividly vulnerable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Street Hassle’s \u003c/em>\u003ca href=\"http://www.youtube.com/watch?v=bkG9BKgDvNI\" target=\"_blank\" rel=\"noopener\">centerpiece\u003c/a>, now considered one of Reed’s greatest accomplishments, taught me that getting just what I wanted from a song (uplift, for example, or sloppy catharsis) wasn’t always the best thing. “Street Hassle” includes bluntly sexual lines that turned me on, but also made me feel the edge of my own prudery. It explores how one person dehumanizes another and, just a few minutes later, how losing one person can make a person feel real and whole for the first time. It’s a song suite that doesn’t sound at all like punk; it features strings, female back-up singers and Reed definitely crooning. There’s also an \u003ca href=\"http://www.springsteenlyrics.com/lyrics/s/streethassle.php\" target=\"_blank\" rel=\"noopener\">uncredited spoken-word passage by the then-rising Springsteen\u003c/a> that adds in some of that future superstar’s trademark grandiosity, serving as a telling contrast to Reed’s own cooler storytelling. The song’s triptych of scenarios is very Velvets: A probable transvestite picks up a male hooker at a bar; a drug dealer worries about how to get rid of an overdose victim’s body; and, in the last verse, a more anonymous lover laments his man’s departure in naked, needful agony. A lot happens musically around these stories, but every violin stroke, guitar bend and percussive push intensifies the focus on Reed’s core message: that opening up your being — to sex or drugs or just to feeling — is inevitable, dangerous and the main purpose of life.\u003c/p>\n\u003cp>Lou Reed’s music takes in and gives us back the whole picture. \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/lou-reed/about-lou-reed/687/\" target=\"_blank\" rel=\"noopener\">Describing\u003c/a> another one of Reed’s signature works, the Velvet Undergound opus “Heroin,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=14867686\" target=\"_blank\" rel=\"noopener\">Patti Smith\u003c/a> once fittingly assessed Reed’s breadth of vision. “‘Heroin,’ to me, is one of our more perfect American songs,” she said, “because it addresses a very conflicting subject that has so many stigmas attached to it. It addresses the deeply painful and destructive elements of it, and also whatever is precious about it, just with Lou’s beautiful, simple, direct language.” Reed himself often explained that he was simply doing what artists in other media do; novelists or filmmakers don’t limit their subject matter. Dedicating himself to rock and roll, though, kept Reed committedly exploring the visceral in ways other artists could avoid. In the funky rhythms he borrowed from early rock ‘n’ roll and especially in the drone and noise that connected him over the years to both minimalist composers like \u003ca href=\"http://en.wikipedia.org/wiki/La_Monte_Young\" target=\"_blank\" rel=\"noopener\">La Monte Young\u003c/a> and hard rockers like Metallica, Reed moved through what felt like confusion toward a sense of grace.\u003c/p>\n\u003cp>Sometimes what Reed moved through was a minefield. He didn’t worry about offending anyone or, preferably sometimes, everyone. \u003cem>Street Hassle\u003c/em>, for example, also contains “I Wanna Be Black,” a proto-rap unspooling of racist stereotypes that makes fun of white hipsters by forcing a deep wallow in ignorance. Plenty of Reed fans find \u003cem>Metal Machine Music, \u003c/em>his 1976 excursion into nothing but guitar feedback, unlistenable. Others feel that way about his theatrical collaborations with Robert Wilson; I myself sat through the time-stopping \u003cem>Timerocker \u003c/em>at the Brooklyn Academy of Music in 1997 and felt every spring in my seat. Even Reed’s most accessible efforts proudly bear painful twists: The gorgeous ballad “\u003ca href=\"http://www.youtube.com/watch?v=NcDuR9BF0Oc\" target=\"_blank\" rel=\"noopener\">Pale Blue Eyes\u003c/a>” turns on a blunt justification of adultery; my favorite of his almost-pop dance numbers, “\u003ca href=\"http://www.youtube.com/watch?v=EIdc0NGumVc\" target=\"_blank\" rel=\"noopener\">Vicious\u003c/a>,” is a lighthearted account of personal repulsion.\u003c/p>\n\u003cp>And then there’s “\u003ca href=\"http://www.youtube.com/watch?v=QYEC4TZsy-Y\" target=\"_blank\" rel=\"noopener\">Perfect Day\u003c/a>,” Lou Reed’s “Hallelujah.” Like \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>‘s irreverent secular hymn, this one has been milked for exultation by many interpreters. \u003ca href=\"http://www.npr.org/artists/16256054/duran-duran\" target=\"_blank\" rel=\"noopener\">Duran Duran\u003c/a> covered it; so did the talent show diva \u003ca href=\"http://www.npr.org/artists/121776884/susan-boyle\" target=\"_blank\" rel=\"noopener\">Susan Boyle\u003c/a>. It was featured in \u003cem>Trainspotting\u003c/em> (in a \u003ca href=\"http://www.youtube.com/watch?v=v6uBkJSbQO0\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> that played upon the theory that Reed’s perfect imagined lover is heroin, not a person), got an all-star charity remake in the late ’90s and most recently, formed the basis for a \u003ca href=\"http://www.adweek.com/adfreak/lou-reed-helps-sony-have-perfect-day-playstation-4-153160\" target=\"_blank\" rel=\"noopener\">Sony Playstation\u003c/a> ad. It’s a song that will live on, both enhancing and apart from Reed’s expansive legacy.\u003c/p>\n\u003cp>But, like the essence of Lou Reed, “Perfect Day” is tricky. In the original recording, Mick Ronson’s piano gives Reed’s stately melody a French feel, something like an \u003ca href=\"http://www.npr.org/artists/106547755/edith-piaf\" target=\"_blank\" rel=\"noopener\">Edith Piaf\u003c/a> song. David Bowie’s production adds heft: the thing swells. Reed goes along for the ride. The choruses ring, anthemic, but why is Reed singing about how his ideal lover just keeps him hanging on? At the end of the second verse, Reed’s voice dips and his diction clips. “You made me forget myself,” he nearly whispers. “I thought I was someone else. Someone good.” And the song ends in anger, with Reed muttering, over and over again, “You’re going to reap what you sow.” The soft focus that seemed to dominate the song in its beginning has sharpened. As Lester Bangs, the writer most passionately dedicated to understanding Reed, once \u003ca href=\"http://www.theguardian.com/music/2011/nov/08/lou-reed-lester-bangs-interview\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>, “If ‘Perfect Day’ is autobiographical, he must be the most guilt-ridden person on the face of the earth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>See, there’s the whole picture. Happiness intermingled with self-loathing. Freedom all tied up in dependency. Rage bubbling through tenderness. It took discipline to put all of this into a song, a determination to not soften into earnestness or excuse the hard stuff in the name of romance. “The core of Reed’s sensibility is his visceral aversion to corn,” the critic \u003ca href=\"http://www.robertchristgau.com/xg/rock/reed-96.php\" target=\"_blank\" rel=\"noopener\">Robert Christgau\u003c/a> once put it, succinctly. For the last three decades of his life, Lou Reed was a \u003ca href=\"http://www.loureed.com/power/\" target=\"_blank\" rel=\"noopener\">tai chi practitioner\u003c/a>; he learned how to move slowly through uncomfortable positions. All the art he’s left us will continue to help us learn to do that, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Lou+Reed+Taught+Me&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week we are revisiting that juicy, albeit nerdy, topic of odd time signatures in popular music. Our first podcast on this topic, back in April, demonstrated that we were only scratching the surface. So we’re back now to show off 10 more songs that effectively utilize odd time signatures in rock. Enjoy!\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “5-4=Unity” — Pavement \u003ci>Crooked Rain, Crooked Rain\u003c/i> (5/4)\u003cbr> 2. “15 Step” — Radiohead, \u003ci>In Rainbows\u003c/i> (5/4)\u003cbr> 3. “Moon” — Bjork, \u003ci>Biophilia\u003c/i> (17/8)\u003cbr> 4. “Wuthering Heights” — Kate Bush, \u003ci>The Kick Inside\u003c/i> (Chorus is 4/4, 2/4,3/4)\u003cbr> 5. “Blockhead” — Devo, \u003ci>Duty Now For The Future\u003c/i> (11/8)\u003cbr> 6. “I Say A Little Prayer” — Aretha Franklin, \u003ci>Aretha Now\u003c/i> (10/4 verse, 11/4 chorus)\u003cbr> 7. “Demons” — The National, \u003ci>Trouble Will Find Me\u003c/i> (7/4)\u003cbr> 8. “Cygnus, Vismund Cygnus” — The Mars Volta, \u003ci>Frances The Mute\u003c/i> (3/4, 4/4, 23/8, 16/8… )\u003cbr> 9. “Modern Man” — Arcade Fire, \u003ci>The Suburbs\u003c/i> (9/8)\u003cbr> 10. “Strange Reuninons” — Yeasayer, \u003ci>Odd Blood\u003c/i> (5/4, 6/4, 5/4, 4/4)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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