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"content": "\u003cp>While death metal and indie rock have both gained a strong following among its people, Sweden is primarily on the music map for its pop stars. From mega-super pop stars on crack \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fifoxqw5ld0e\" target=\"offsite\" rel=\"noopener\">ABBA\u003c/a> to Top Gun-soundtrack-spawn \u003ca href=\"http://www.roxette.se/\" target=\"offsite\" rel=\"noopener\">Roxette\u003c/a> to alternative-bubble-gum-popsters \u003ca href=\"http://www.cardigans.com/\" target=\"offsite\" rel=\"noopener\">The Cardigans\u003c/a>, Sweden has produced massively and internationally successful pop acts. Now, \u003ca href=\"http://www.peterbjornandjohn.com/\" target=\"offsite\" rel=\"noopener\">Peter Bjorn and John\u003c/a> carry on the tradition with stylish yet awkward indie pop that translates brilliantly in their live show. Currently on tour to support their recent release Writer’s Block, Peter Bjorn and John stopped in at \u003ca href=\"http://www.bimbos365club.com/\" target=\"offsite\" rel=\"noopener\">Bimbo’s 365 Club\u003c/a> in North Beach with happy beat-thing makers \u003ca href=\"http://www.fujiya-miyagi.co.uk/\" target=\"offsite\" rel=\"noopener\">Fujiya & Miyagi\u003c/a> lending able support.\u003c/p>\n\u003cp>I love Bimbo’s. Its swanky surroundings always make me feel like I’m at a particularly special show, and the rest of the crowd seems to share that sentiment. Despite the fact that it was a drab Wednesday evening, there was an excellent showing by the time opener Fujiya & Miyagi took the stage. My pre-show exposure to them had been limited to a couple of singles off their new album \u003cb>Transparent Things\u003c/b> but I suspect there were audience members who had turned out specifically to see them. Bringing a rich and slightly more improvised sound to their live show, Fujiya & Miyagi boasts chill beats and breathy, rhythmic vocals with deliciously rolled Rs. For their forty-minute-plus set, they brought it — it being the infinite groove — a quality very few bands possess. And they brought it in spades. By the end of their set, the house was packed and primed for \u003cb>Peter Bjorn and John\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Peter Bjorn and John\u003c/b> live turned out to be a whole different beast from what I was expecting. While the sensitive indie pop angle played up in their studio work (especially on their most recent release \u003cb>Writer’s Block\u003c/b>) was certainly part of their live sound, it was complemented by a level of rocking out I was simply not expecting. I also hadn’t anticipated that there would be the sounds of female screaming reminiscent of early Beatles shows punctuating the set. Throughout the evening, the gorgeous two-person vocal harmonies that distinguish their sound were showcased in somewhat reworked versions of their songs. One minor disappointment was hearing “Young Folks” without Victoria Bergsman’s vocals. On the other hand, this song and several others did feature guest percussion from the best bongo playing band manager in Stockholm (I have this on good authority). By the end of the evening, the trio’s argyle sweaters and dress shirts were soaked in sweat, and the demanding crowd was satiated.\u003c/p>\n\u003cp>Both of these acts feel like they’re at the top of their game right now and make a particularly good showing in their live performances. I expect both to be regular fixtures on the festival scene in the next few years, so if either does make a reappearance in the Bay Area soon, I encourage you to check them out. In the meantime, content yourself with 2006 releases \u003cb>Writer’s Block\u003c/b> and \u003cb>Transparent Things\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While death metal and indie rock have both gained a strong following among its people, Sweden is primarily on the music map for its pop stars. From mega-super pop stars on crack \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fifoxqw5ld0e\" target=\"offsite\" rel=\"noopener\">ABBA\u003c/a> to Top Gun-soundtrack-spawn \u003ca href=\"http://www.roxette.se/\" target=\"offsite\" rel=\"noopener\">Roxette\u003c/a> to alternative-bubble-gum-popsters \u003ca href=\"http://www.cardigans.com/\" target=\"offsite\" rel=\"noopener\">The Cardigans\u003c/a>, Sweden has produced massively and internationally successful pop acts. Now, \u003ca href=\"http://www.peterbjornandjohn.com/\" target=\"offsite\" rel=\"noopener\">Peter Bjorn and John\u003c/a> carry on the tradition with stylish yet awkward indie pop that translates brilliantly in their live show. Currently on tour to support their recent release Writer’s Block, Peter Bjorn and John stopped in at \u003ca href=\"http://www.bimbos365club.com/\" target=\"offsite\" rel=\"noopener\">Bimbo’s 365 Club\u003c/a> in North Beach with happy beat-thing makers \u003ca href=\"http://www.fujiya-miyagi.co.uk/\" target=\"offsite\" rel=\"noopener\">Fujiya & Miyagi\u003c/a> lending able support.\u003c/p>\n\u003cp>I love Bimbo’s. Its swanky surroundings always make me feel like I’m at a particularly special show, and the rest of the crowd seems to share that sentiment. Despite the fact that it was a drab Wednesday evening, there was an excellent showing by the time opener Fujiya & Miyagi took the stage. My pre-show exposure to them had been limited to a couple of singles off their new album \u003cb>Transparent Things\u003c/b> but I suspect there were audience members who had turned out specifically to see them. Bringing a rich and slightly more improvised sound to their live show, Fujiya & Miyagi boasts chill beats and breathy, rhythmic vocals with deliciously rolled Rs. For their forty-minute-plus set, they brought it — it being the infinite groove — a quality very few bands possess. And they brought it in spades. By the end of their set, the house was packed and primed for \u003cb>Peter Bjorn and John\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Peter Bjorn and John\u003c/b> live turned out to be a whole different beast from what I was expecting. While the sensitive indie pop angle played up in their studio work (especially on their most recent release \u003cb>Writer’s Block\u003c/b>) was certainly part of their live sound, it was complemented by a level of rocking out I was simply not expecting. I also hadn’t anticipated that there would be the sounds of female screaming reminiscent of early Beatles shows punctuating the set. Throughout the evening, the gorgeous two-person vocal harmonies that distinguish their sound were showcased in somewhat reworked versions of their songs. One minor disappointment was hearing “Young Folks” without Victoria Bergsman’s vocals. On the other hand, this song and several others did feature guest percussion from the best bongo playing band manager in Stockholm (I have this on good authority). By the end of the evening, the trio’s argyle sweaters and dress shirts were soaked in sweat, and the demanding crowd was satiated.\u003c/p>\n\u003cp>Both of these acts feel like they’re at the top of their game right now and make a particularly good showing in their live performances. I expect both to be regular fixtures on the festival scene in the next few years, so if either does make a reappearance in the Bay Area soon, I encourage you to check them out. In the meantime, content yourself with 2006 releases \u003cb>Writer’s Block\u003c/b> and \u003cb>Transparent Things\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Breaking up the week with a live show can enliven the mind and the spirits, and there’s plenty of great li’l venues like Cafe du Nord and El Rio that offer the opportunity to hear some of the excellent bands that populate the local scene. For a measly $8, I got to hear \u003cb>Cult of Sue Todd\u003c/b>, \u003cb>The Red Thread\u003c/b>, and \u003cb>Pidgeon\u003c/b>, three bands with distinctly different sounds but great energy. \u003c/p>\n\u003cp>Despite its status as an active venue with a venerable history of serving acclaimed acts, Cafe du Nord has never been at the top of my list of places to see live shows. The interior looks lovely — a good-sized space with a surprisingly small stage and extremely intimate feel. The bar is well stocked and the bartenders are always chummy. But the sound. I’ve always had a problem with the sound. Before this concert, I’d never heard a show there that wasn’t completely muddy. I always figured it was the acoustics, but I was proved wrong. \u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cultofsuetodd\" target=\"offsite\" rel=\"noopener\">Cult of Sue Todd\u003c/a> opened with a blistering set of unpredictable tempo changes and the pseudo-pathetic punk stylings of singer and guitarist Steven Perry. I’ve been lucky enough to know the folks in Cult of Sue Todd for a while, and have seen the band go from a shambling four-piece with banjo player and a no-show bassist to an incredibly tight three-piece of guitar, bass and drums. Having seen them play a number of times over the past couple of years, I marvel at how they manage to put on a different kind of show each time in terms of mood, but are incredibly consistent in their playing. Thursday was no exception as they ran through their set of fast-paced punk folk songs and smattering of excellent witty banter with a polish not often found in this genre. Look for Cult of Sue Todd’s new EP \u003cb>Not…\u003c/b> out soon, and \u003ca href=\"http://www.myspace.com/notcultofsuetodd\" target=\"offsite\" rel=\"noopener\">hear some of the new tracks\u003c/a>.\u003c/p>\n\u003cp>They were followed by \u003ca href=\"http://www.theredthread.com\" target=\"offsite\" rel=\"noopener\">The Red Thread\u003c/a>, a more mellow rock outfit with a rich sound and well-coordinated set including some new material. The Red Thread combines an alt-country sensibility with indie rock melodies and while they do take it down a notch, still bring a good amount of energy to their live performance. While I saw the keyboardist playing onstage, I didn’t hear him at all — but couldn’t tell if this was because the keyboard is there to enhance the richness of the music, or because it was just too low in the mix. While I enjoyed the set, I have to admit, I found the bass player’s ball cap extremely distracting — it’s just not what I expect to see on stage. Questionable fashion choices aside, The Red Thread put on a solid show, and will be playing out again soon — May 12th at \u003ca href=\"http://www.elriosf.com\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>. \u003c/p>\n\u003cp>\u003ca href=\"http://www.%20pidgeonsf.com\" target=\"offsite\" rel=\"noopener\">Pidgeon\u003c/a> closed out the night, which was not the order I would have chosen. With their screamy vocals and determination to rock harder than anyone ever has, I felt like they might have done better earlier in the evening. By the time they came on, I in my old age was ready for a glass of milk and bedtime, not earnest philosophical views expressed through screaming and thrashing. Young, raucous, and messy — I wouldn’t be surprised if Pidgeon emerged from the 924 Gilman school, which can be a refreshing change to hear in San Francisco, but didn’t pair well with the other bands, who have a more subtle sound. Pidgeon played Bottom of the Hill last month, which I’m guessing is the perfect place to see them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco has often been deplored for ignoring its local offerings until they go to LA or NY and gain some success there. But there’s loads of local shows going on all the time, and with a low low price tag and excellent venues, there’s no reason to stay away. So go already! Check out Cult of Sue Todd June 23rd at the Hotel Utah, and The Red Thread May 12th at El Rio.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking up the week with a live show can enliven the mind and the spirits, and there’s plenty of great li’l venues like Cafe du Nord and El Rio that offer the opportunity to hear some of the excellent bands that populate the local scene. For a measly $8, I got to hear \u003cb>Cult of Sue Todd\u003c/b>, \u003cb>The Red Thread\u003c/b>, and \u003cb>Pidgeon\u003c/b>, three bands with distinctly different sounds but great energy. \u003c/p>\n\u003cp>Despite its status as an active venue with a venerable history of serving acclaimed acts, Cafe du Nord has never been at the top of my list of places to see live shows. The interior looks lovely — a good-sized space with a surprisingly small stage and extremely intimate feel. The bar is well stocked and the bartenders are always chummy. But the sound. I’ve always had a problem with the sound. Before this concert, I’d never heard a show there that wasn’t completely muddy. I always figured it was the acoustics, but I was proved wrong. \u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cultofsuetodd\" target=\"offsite\" rel=\"noopener\">Cult of Sue Todd\u003c/a> opened with a blistering set of unpredictable tempo changes and the pseudo-pathetic punk stylings of singer and guitarist Steven Perry. I’ve been lucky enough to know the folks in Cult of Sue Todd for a while, and have seen the band go from a shambling four-piece with banjo player and a no-show bassist to an incredibly tight three-piece of guitar, bass and drums. Having seen them play a number of times over the past couple of years, I marvel at how they manage to put on a different kind of show each time in terms of mood, but are incredibly consistent in their playing. Thursday was no exception as they ran through their set of fast-paced punk folk songs and smattering of excellent witty banter with a polish not often found in this genre. Look for Cult of Sue Todd’s new EP \u003cb>Not…\u003c/b> out soon, and \u003ca href=\"http://www.myspace.com/notcultofsuetodd\" target=\"offsite\" rel=\"noopener\">hear some of the new tracks\u003c/a>.\u003c/p>\n\u003cp>They were followed by \u003ca href=\"http://www.theredthread.com\" target=\"offsite\" rel=\"noopener\">The Red Thread\u003c/a>, a more mellow rock outfit with a rich sound and well-coordinated set including some new material. The Red Thread combines an alt-country sensibility with indie rock melodies and while they do take it down a notch, still bring a good amount of energy to their live performance. While I saw the keyboardist playing onstage, I didn’t hear him at all — but couldn’t tell if this was because the keyboard is there to enhance the richness of the music, or because it was just too low in the mix. While I enjoyed the set, I have to admit, I found the bass player’s ball cap extremely distracting — it’s just not what I expect to see on stage. Questionable fashion choices aside, The Red Thread put on a solid show, and will be playing out again soon — May 12th at \u003ca href=\"http://www.elriosf.com\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>. \u003c/p>\n\u003cp>\u003ca href=\"http://www.%20pidgeonsf.com\" target=\"offsite\" rel=\"noopener\">Pidgeon\u003c/a> closed out the night, which was not the order I would have chosen. With their screamy vocals and determination to rock harder than anyone ever has, I felt like they might have done better earlier in the evening. By the time they came on, I in my old age was ready for a glass of milk and bedtime, not earnest philosophical views expressed through screaming and thrashing. Young, raucous, and messy — I wouldn’t be surprised if Pidgeon emerged from the 924 Gilman school, which can be a refreshing change to hear in San Francisco, but didn’t pair well with the other bands, who have a more subtle sound. Pidgeon played Bottom of the Hill last month, which I’m guessing is the perfect place to see them.\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>San Francisco has often been deplored for ignoring its local offerings until they go to LA or NY and gain some success there. But there’s loads of local shows going on all the time, and with a low low price tag and excellent venues, there’s no reason to stay away. So go already! Check out Cult of Sue Todd June 23rd at the Hotel Utah, and The Red Thread May 12th at El Rio.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By now I’m sure Tori Amos is sick of being compared to, or lumped in with, Kate Bush. “We sound nothing alike!” she would protest, and it’s true. But they do have this in common: guys despise their music. Perhaps “despise” is the wrong word: guys can’t abide by their music, it’s a nails-on-the-chalkboard thing.\u003c/p>\n\u003cp>This seems to be true even among sensitive, feminist guys who concede that hating Tori Amos and Kate Bush is a black mark on their progressive reps, but nevertheless… they just can’t bear the sound of those gal’s high-pitched voices and tinkling pianos.\u003c/p>\n\u003cp>Part of me totally understands. Even though I am a fan of both Amos and Bush, I sort of can’t stand them, either. What? Well, it’s like this: the intensity and sincerity of these artists is off-putting to me. I think it’s mostly their vocal phrasing. Amos is the biggest offender here, as her singing voice is so obviously crafted and those affectations are as annoying as Madonna’s fake English accent. Amos and Bush have something in common here with Janis Joplin, I think. Her singing style was so incredibly raw and emotional, many men found it a turnoff. But no one can deny Joplin’s power, and the same goes for Amos and Bush.\u003c/p>\n\u003cp>I deeply love and admire these women and their work. No, I can’t identify with the most hardcore Tori fans, you know, the women who make “Tori Dolls” (not to be confused with the eponymous “Doll Posse” of her new album), lovingly hand-crafting these weird dolls and ascribing mystical power to them… nor those who celebrate the “female divine” or whatever in Amos and Bush’s work — not that I’m against the “female divine,” (whatever that is, exactly) but what can I say? That’s just not what I’m looking for in a pop music superstar.\u003c/p>\n\u003cp>What I do love about Tori Amos (and I’ll just stick to Amos for the rest of this review) is her creativity and her willingness to be annoying, confessional, intense, affected, and all the rest of it — the male rock critic world be damned. It’s really clear that Amos listens to only one critic: herself, and that’s truly something to be admired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Amos is sort of like Prince: she’s too prolific for her own good. What amazes me is that she still signs up with major labels at all. Why would she? She’s got everything a musician needs to succeed massively on a global scale: hardcore fans; a great live show; and a well-developed internet distribution setup. Maybe Epic is paying her a LOT of money, but I doubt it. I’m pretty sure record labels don’t do that anymore, unless you’re Linkin Park.\u003c/p>\n\u003cp>Still, good for Epic for having the taste to bring Amos into the fold. Her new album, \u003cb>American Doll Posse\u003c/b> is getting great reviews — even from men. It’s a concept album of sorts: Amos has divided the album into five personalities, with various songs “sung” by different Amos avatars. They even have their own blogs. All of this might seem totally bizarre if attempted by another performer, but to me, it seems like just another variation on her ongoing theme of women being complex, multifaceted beings. “I contain multitudes,” as Whitman put it. That’s a good summary of her career right there.\u003c/p>\n\u003cp>Personally, I find \u003cb>American Doll Posse\u003c/b> to be a terrific album in the classic Amos vein — not really a departure, but notable in its consistency. In this way it’s similar to her last great album, 2002’s \u003cb>Scarlet’s Walk\u003c/b>. The songs are varied in their mood and style — as befits a multiple personality — but her vocals and piano-grounded foundation keep it all within the Tori Universe. “Big Wheel” is a classic upbeat Amos tune, with its jaunty rhythm and soulful vocals, and so is “Teenage Hustling.” She may have made her biggest mark with the slow-paced weepies like “Me and a Gun,” but those who’ve listened to her albums know that Amos loves to rock. In “Big Wheel” she refers to herself as an MILF (look it up). Did I mention she can do a mean Led Zeppelin (and Nirvana) cover, too? (See her EP, \u003cb>Crucify\u003c/b> for proof.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, does \u003cb>American Doll Posse\u003c/b> rock? A qualified yes. I mean, if Rufus Wainwright can be said to rock (and he does, occasionally), then surely Amos rocks way harder. But rocking is not why her fans — even somewhat conflicted ones, like myself — love her. No, we love her for her almost garish talent and her obvious flaws. We love her for being human — on a grand, annoying, beautiful, and — yes — divine scale.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now I’m sure Tori Amos is sick of being compared to, or lumped in with, Kate Bush. “We sound nothing alike!” she would protest, and it’s true. But they do have this in common: guys despise their music. Perhaps “despise” is the wrong word: guys can’t abide by their music, it’s a nails-on-the-chalkboard thing.\u003c/p>\n\u003cp>This seems to be true even among sensitive, feminist guys who concede that hating Tori Amos and Kate Bush is a black mark on their progressive reps, but nevertheless… they just can’t bear the sound of those gal’s high-pitched voices and tinkling pianos.\u003c/p>\n\u003cp>Part of me totally understands. Even though I am a fan of both Amos and Bush, I sort of can’t stand them, either. What? Well, it’s like this: the intensity and sincerity of these artists is off-putting to me. I think it’s mostly their vocal phrasing. Amos is the biggest offender here, as her singing voice is so obviously crafted and those affectations are as annoying as Madonna’s fake English accent. Amos and Bush have something in common here with Janis Joplin, I think. Her singing style was so incredibly raw and emotional, many men found it a turnoff. But no one can deny Joplin’s power, and the same goes for Amos and Bush.\u003c/p>\n\u003cp>I deeply love and admire these women and their work. No, I can’t identify with the most hardcore Tori fans, you know, the women who make “Tori Dolls” (not to be confused with the eponymous “Doll Posse” of her new album), lovingly hand-crafting these weird dolls and ascribing mystical power to them… nor those who celebrate the “female divine” or whatever in Amos and Bush’s work — not that I’m against the “female divine,” (whatever that is, exactly) but what can I say? That’s just not what I’m looking for in a pop music superstar.\u003c/p>\n\u003cp>What I do love about Tori Amos (and I’ll just stick to Amos for the rest of this review) is her creativity and her willingness to be annoying, confessional, intense, affected, and all the rest of it — the male rock critic world be damned. It’s really clear that Amos listens to only one critic: herself, and that’s truly something to be admired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Amos is sort of like Prince: she’s too prolific for her own good. What amazes me is that she still signs up with major labels at all. Why would she? She’s got everything a musician needs to succeed massively on a global scale: hardcore fans; a great live show; and a well-developed internet distribution setup. Maybe Epic is paying her a LOT of money, but I doubt it. I’m pretty sure record labels don’t do that anymore, unless you’re Linkin Park.\u003c/p>\n\u003cp>Still, good for Epic for having the taste to bring Amos into the fold. Her new album, \u003cb>American Doll Posse\u003c/b> is getting great reviews — even from men. It’s a concept album of sorts: Amos has divided the album into five personalities, with various songs “sung” by different Amos avatars. They even have their own blogs. All of this might seem totally bizarre if attempted by another performer, but to me, it seems like just another variation on her ongoing theme of women being complex, multifaceted beings. “I contain multitudes,” as Whitman put it. That’s a good summary of her career right there.\u003c/p>\n\u003cp>Personally, I find \u003cb>American Doll Posse\u003c/b> to be a terrific album in the classic Amos vein — not really a departure, but notable in its consistency. In this way it’s similar to her last great album, 2002’s \u003cb>Scarlet’s Walk\u003c/b>. The songs are varied in their mood and style — as befits a multiple personality — but her vocals and piano-grounded foundation keep it all within the Tori Universe. “Big Wheel” is a classic upbeat Amos tune, with its jaunty rhythm and soulful vocals, and so is “Teenage Hustling.” She may have made her biggest mark with the slow-paced weepies like “Me and a Gun,” but those who’ve listened to her albums know that Amos loves to rock. In “Big Wheel” she refers to herself as an MILF (look it up). Did I mention she can do a mean Led Zeppelin (and Nirvana) cover, too? (See her EP, \u003cb>Crucify\u003c/b> for proof.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, does \u003cb>American Doll Posse\u003c/b> rock? A qualified yes. I mean, if Rufus Wainwright can be said to rock (and he does, occasionally), then surely Amos rocks way harder. But rocking is not why her fans — even somewhat conflicted ones, like myself — love her. No, we love her for her almost garish talent and her obvious flaws. We love her for being human — on a grand, annoying, beautiful, and — yes — divine scale.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Elvis Costello devotees were packed in almost as tight as the vintage vinyl in the old oak shelves at Village Music. On this sunny May afternoon in downtown Mill Valley, Elvis’ favorite record store was getting ready to close its doors for good after more than 50 years, and the 52-year-old punk and pop icon felt compelled to give the shop and its iconic owner, John Goddard, a proper sending off.\u003c/p>\n\u003cp>Elvis played for 45 minutes, running through eight songs spanning his 30-odd year career from albums like \u003cb>Armed Forces\u003c/b> (1979), \u003cb>King of America\u003c/b> (1986) and \u003cb>When I Was Cruel\u003c/b> (2002), finishing with an original composition dedicated to Goddard and the end of an era at Village Music.\u003c/p>\n\u003cp>(chorus)So long, it’s been good to know ya/\u003cbr>So long, it’s been good to know ya/\u003cbr>Dusty old dust has got in the groove/\u003cbr>We’ve got to get ready to move.\u003c/p>\n\u003cp>Wearing his trademark sunglasses on the small stage set up in a remote corner of the store, among the piles of vinyl, Doug Sahm t-shirts, vintage posters and signed photos, Elvis told tales of discovering — and coming to appreciate — Village Music while on his first American tour.\u003c/p>\n\u003cp>The story goes that Elvis and the Attractions were playing in San Francisco, but couldn’t afford the lofty Union Square hotel rates, so they booked rooms in the old Howard Johnson’s in Mill Valley. While walking in town, Elvis came across Village Music and was entranced by the incredible collection of vintage vinyl that John Goddard had made available to the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He would later discover Chet Baker’s version of “The Thrill is Gone” at Village, and it would take years for him to realize that the song actually had words. “By then I’d already written “Almost Blue”, which stole all the changes from it,” Costello said.\u003c/p>\n\u003cp>He also remembered fondly Goddard’s vast knowledge of music, his strong opinions on what one should buy and his legendary Christmas cards that went out to his many friends and customers, more than a few of whom were very prominent musicians.\u003c/p>\n\u003cp>Elvis concluded his set by saying, “I’d like to say thanks to John…he’s been running a business with a lot of soul.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s high praise coming from someone who knows an awful lot about soul…and every other type of popular music for that matter.\u003c/p>\n\n",
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"content": "\u003cp>If you have ever been a young clubber (and by “young,” I mean under 23), then you have had an Old Guy moment. It happens when you are reveling in your youthful splendor and suddenly realize there is some Old Guy dancing alongside you. He may not even notice you, but his presence is nonetheless alarming. You’re suddenly confronted with the thought that one day you’re going to be the Old Guy or Gal and that isn’t going to be fun. And isn’t clubbing all about fun? And denying reality? And nothing is more real than age. Time may be an illusion, but the Old Guy makes it look pretty freakin’ solid. Acknowledging the Old Guy means acknowledging your privileged, limited-time existence in clubworld. And beyond clubworld, as we know, is the realworld. Yuck.\u003c/p>\n\u003cp>My young clubbing days were in the early 90s, during the Stone Roses/Happy Mondays/Deee-Lite era when Ecstasy had just recently arrived in quantity on these shores and all things English seemed super cool. Everything about those days is gone for me now, except the Stone Roses and the ongoing Anglophilia. In those raving days, there were quite a few Old Guys around; English guys who had been doing Ecstasy for many years, apparently, and were surfing the rave wave around the world. They were probably only in their late 30s, but the drug use and my own youthful prejudice conspired to make them seem ancient.\u003c/p>\n\u003cp>True to form, now that I am equally ancient I no longer go to clubs. I still like dancing, but I do not want to be the Old Gal on any dance floor. As an Anglophile, however, I’ve come to learn that the Old Guy phenomenon does not exist in England. There, people of all ages and coolness factors go to clubs. They all listen to pop music shamelessly, too. Okay, maybe not the Royal Family, but almost everyone else. This is a good thing, I think. The people who invented Highbrow culture have also found a way to love the Lowbrow. It helps explain the career of Tracey Thorn. \u003c/p>\n\u003cp>If you know La Thorn then you already love her. If not, welcome to the smooth, velvety, beautiful sound of one of the world’s great pop singers. Tracey Thorn is one half of the band Everything But the Girl, the other half being her husband, Ben Watt. He’s a talented producer and musician and DJ and all that, but EBTG would be nowhere without Thorn. She is the “everything” in EBTG.\u003c/p>\n\u003cp>EBTG released its first record in 1984 but most Americans didn’t know they existed until a decade later, when the song “Missing” finally cracked the U.S. airwaves (does the lyric, “Like the deserts miss the rain” ring a bell?). Despite Watt’s studio brilliance and Thorn’s unparalleled voice, the reason EBTG never made it big here is simple: they make dance music. And to this day, dance music remains an “underground” genre in the U.S.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>American success notwithstanding (what did Watt and Thorn care; they were already heroes in their own country), EBTG took an existing formula and made it their own. The formula, adapted straight from Disco, was the following: \u003c/p>\n\u003cp>4 to the Floor Beat + Hi-Tech Production + A Soulful, Deeply Human Female Voice = Fantastic Dance Music\u003c/p>\n\u003cp>The brilliance of Thorn’s singing is in her effortlessnes. She almost sounds as if she’s just talking to you, rather than belting anything out. Of course, her impeccable phrasing and range are wonderful, as is her ability to convey intense emotion in a single syllable. Many other bands sought her out as a guest vocalist: Massive Attack (“Protection”) and The Style Council (“Paris Match”) are two that you must hear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Thorn proves on her new album, \u003cb>Out of the Woods\u003c/b>, is that the Old Gal phenomenon is a non-issue on the other side of the Atlantic. I am happy to say that she is older than I, and she is still making kickass dance music that the kids love. She and Watt, who are married and have three children, take dance music seriously – as many of their English compatriots do. If their MySpace pages are to be believed, Watt and Thorn consider a weekend in Ibiza a fun family vacation. Her new album is very EBTG in its pulsing beats, state-of-the-art production, and Thorn’s classic singing. I predict that it will not chart in the U.S., but nevertheless be a big hit in American clubs and on iTunes. Thorn has an American fan base, but not enough of us are admitting that we still wish we were out on the dance floor. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you have ever been a young clubber (and by “young,” I mean under 23), then you have had an Old Guy moment. It happens when you are reveling in your youthful splendor and suddenly realize there is some Old Guy dancing alongside you. He may not even notice you, but his presence is nonetheless alarming. You’re suddenly confronted with the thought that one day you’re going to be the Old Guy or Gal and that isn’t going to be fun. And isn’t clubbing all about fun? And denying reality? And nothing is more real than age. Time may be an illusion, but the Old Guy makes it look pretty freakin’ solid. Acknowledging the Old Guy means acknowledging your privileged, limited-time existence in clubworld. And beyond clubworld, as we know, is the realworld. Yuck.\u003c/p>\n\u003cp>My young clubbing days were in the early 90s, during the Stone Roses/Happy Mondays/Deee-Lite era when Ecstasy had just recently arrived in quantity on these shores and all things English seemed super cool. Everything about those days is gone for me now, except the Stone Roses and the ongoing Anglophilia. In those raving days, there were quite a few Old Guys around; English guys who had been doing Ecstasy for many years, apparently, and were surfing the rave wave around the world. They were probably only in their late 30s, but the drug use and my own youthful prejudice conspired to make them seem ancient.\u003c/p>\n\u003cp>True to form, now that I am equally ancient I no longer go to clubs. I still like dancing, but I do not want to be the Old Gal on any dance floor. As an Anglophile, however, I’ve come to learn that the Old Guy phenomenon does not exist in England. There, people of all ages and coolness factors go to clubs. They all listen to pop music shamelessly, too. Okay, maybe not the Royal Family, but almost everyone else. This is a good thing, I think. The people who invented Highbrow culture have also found a way to love the Lowbrow. It helps explain the career of Tracey Thorn. \u003c/p>\n\u003cp>If you know La Thorn then you already love her. If not, welcome to the smooth, velvety, beautiful sound of one of the world’s great pop singers. Tracey Thorn is one half of the band Everything But the Girl, the other half being her husband, Ben Watt. He’s a talented producer and musician and DJ and all that, but EBTG would be nowhere without Thorn. She is the “everything” in EBTG.\u003c/p>\n\u003cp>EBTG released its first record in 1984 but most Americans didn’t know they existed until a decade later, when the song “Missing” finally cracked the U.S. airwaves (does the lyric, “Like the deserts miss the rain” ring a bell?). Despite Watt’s studio brilliance and Thorn’s unparalleled voice, the reason EBTG never made it big here is simple: they make dance music. And to this day, dance music remains an “underground” genre in the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>American success notwithstanding (what did Watt and Thorn care; they were already heroes in their own country), EBTG took an existing formula and made it their own. The formula, adapted straight from Disco, was the following: \u003c/p>\n\u003cp>4 to the Floor Beat + Hi-Tech Production + A Soulful, Deeply Human Female Voice = Fantastic Dance Music\u003c/p>\n\u003cp>The brilliance of Thorn’s singing is in her effortlessnes. She almost sounds as if she’s just talking to you, rather than belting anything out. Of course, her impeccable phrasing and range are wonderful, as is her ability to convey intense emotion in a single syllable. Many other bands sought her out as a guest vocalist: Massive Attack (“Protection”) and The Style Council (“Paris Match”) are two that you must hear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Thorn proves on her new album, \u003cb>Out of the Woods\u003c/b>, is that the Old Gal phenomenon is a non-issue on the other side of the Atlantic. I am happy to say that she is older than I, and she is still making kickass dance music that the kids love. She and Watt, who are married and have three children, take dance music seriously – as many of their English compatriots do. If their MySpace pages are to be believed, Watt and Thorn consider a weekend in Ibiza a fun family vacation. Her new album is very EBTG in its pulsing beats, state-of-the-art production, and Thorn’s classic singing. I predict that it will not chart in the U.S., but nevertheless be a big hit in American clubs and on iTunes. Thorn has an American fan base, but not enough of us are admitting that we still wish we were out on the dance floor. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Avett Brothers make popular music in the purest sense. No, I’m not talking about the triangulating, focus-grouped, commercial pablum peddled by your average major label. This is a welcoming, inclusive kind of sound, born of the folk and country traditions of the Avetts’ home state of North Carolina, replete with picked-out banjo, stand-up bass and three-part harmonies, and then infused with the brash, unbridled energy of punk and rock.\u003c/p>\n\u003cp>Their acclaimed fourth studio album, \u003ci>Four Thieves Gone\u003c/i>, released in February 2006, is a triumphant example of what modern roots music should be – unguarded and genuine personal stories delivered with a sense of humor, a fierce individualism and a sense of perspective rare in the genre. Something Johnny Cash might have really liked.\u003c/p>\n\u003cp>Despite the limitations of being a trio — the band is comprised of brothers Scott and Seth Avett on banjo and guitar, and Bob Crawford on bass — they manage to cover a variety of sonic ground on the album. They jump from heart-stirring, lonesome ballads with a mournful bowed bass and rousing harmonies (“The Lowering Tide”) to cheery folk ditties (“The Fall”) to explosive, piano-pounding and throat-racking rockers (“Colorshow”) with aplomb.\u003c/p>\n\u003cp>Within the same song, they might stir you with refreshing day-to-day vulnerability, such as in “Talk on Indolence” when Scott Avett sings ‘I’m a little nervous ‘bout what you’ll think when you see me in my swimming trunks’ and then seconds later put your biggest and most troubling fears into words (‘I’ve grown too aware of my mortality to let go and forget ‘bout dying’). And the vocals likewise meander from the faltering, half-yell of Isaac Brock to the plaintive and self-assured twang of Scott Miller and the V-Roys. But remarkably, despite all of the sonic and psychic variation, the album emerges cogent and flows remarkably smoothly.\u003c/p>\n\u003cp>Since recording \u003ci>Four Thieves Gone\u003c/i>, the band has been busy touring and working on new songs, some of which appeared on a recent EP called \u003ci>The Gleam\u003c/i>, with another more wistful and less boisterous batch set for release on a new LP, \u003ci>Emotionalism\u003c/i>, due on May 15 on Ramseur Records. It will be their third release in 15 months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They don’t schedule live shows as a way of promoting these albums, they record albums to enable their live show, which is where they thrive. Far from being the type of country or bluegrass act that stands convivially on stage loyally cranking out the album, the Avetts have a facility for connecting with the audience and drawing them into their colorful world. Soon enough, even the most cynical record-store clerk will be stomping and yelling along with them. You can join the fun at \u003ca href=\"http://www.musichallsf.com\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> on Thursday night or down at that \u003ca href=\"http://www.coachella.com\" target=\"offsite\" rel=\"noopener\">festival\u003c/a> in the desert this weekend.\u003c/p>\n\u003cp>\u003cb>The Avett Brothers and Kemo Sabe\u003c/b>\u003c/p>\n\u003cp>\u003cb>Great American Music Hall\u003c/b>\u003c/p>\n\u003cp>\u003cb>Tonight, April 26th at 9 pm\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For fans of: The Gourds, The V-Roys, Johnny Cash, Uncle Tupelo, Jonathan Richman, John Prine, Doc Watson, The Del McCoury Band, O’Death, Wilco, The Jayhawks\u003c/p>\n\n",
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"content": "\u003cp>The April ’07 New Music podcast includes a song from Bright Eyes’ latest album \u003cb>Cassadaga\u003c/b>, a Dntel track featuring Jenny Lewis from the upcoming album \u003cb>Dumb Luck\u003c/b>, and Canadian singer-songwriter Feist from her new album \u003cb>The Reminder\u003c/b>. Also featured are brand new tracks from Ruby Isle, Tall Firs, Palomar, Voxtrot, You Say Party! We Say Die!, Greg Ashley and a new remix from John Vanderslice’s 2005 album The Pixel Revolt.\u003c/p>\n\u003cp>\u003ca href=\"http://www.noisepop.com/2007/podcast.php\" target=\"offsite\" rel=\"noopener\">Visit Noise Pop\u003c/a> for more details on this month’s podcast.\u003cbr>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewIMix?id=252193460\" target=\"offsite\" rel=\"noopener\">Purchase these songs\u003c/a> on iTunes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>By now you have probably heard about Amy Winehouse, the British soul singer whose CD \u003cb>Back to Black\u003c/b> had its Stateside debut last month.\u003c/p>\n\u003cp>Understandably, the track on \u003cb>Back to Black\u003c/b> that gets the most attention is “Rehab,” which is ear-catching right out of the gate: “They tried to make me go to rehab, but I said no, no no…” Winehouse, who has had her share of publicly drunken episodes, wrote this song before they tried to make Britney Spears go to rehab. The song would have gotten noticed anyway, but how’s that for timing?\u003c/p>\n\u003cp>My real introduction to Amy Winehouse was via this \u003ca href=\"http://www.youtube.com/watch?v=nzuD3dCKCFc\" target=\"new\" rel=\"noopener\">tour video\u003c/a> by Roots drummer Questlove, which features an all-Winehouse soundtrack and a teensy cameo by the singer. The video closes with a full-blast, fade-to-black airing of the track “Tears Dry on Their Own.” While “Rehab” is fun to listen to, it’s “Tears Dry on Their Own” that made me say, “Wait… who is this, again?”\u003c/p>\n\u003cp>“Tears Dry on Their Own” is a treasure for those of us who have, on occasion, done some wallowing in heartache with musical accompaniment. Many R&B singers have carried on the “I Will Survive” tradition, from Mariah Carey (“Someday,” a favorite of my mom’s) to Mary J. Blige (“Not Gon’ Cry”) to Beyonce (“Me, Myself and I”).\u003c/p>\n\u003cp>Winehouse’s contribution to the musical-healing subgenre is striking because it captures emotional devastation, defiance and regret without pitching into melodrama or silliness. The chorus is lovely: “He walks away/The sun goes down/He takes the day, but I’m grown/And it’s OK/In this blue shade/My tears dry on their own.” Wash that face and get your stoicism on, ladies!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For many listeners, the appeal of \u003cb>Back to Black\u003c/b> will be the production — which sounds like it comes straight out of a ’60s girl group — and Winehouse’s brassy-broad vocals. But Winehouse’s songwriting is complex enough to keep her from being just a derivative of something better. She adopts the posture of a modern-day Rizzo, a cool bad girl who walks the line between liberation and self-destruction: sex, pot, alcohol, profanity, wrong turns.\u003c/p>\n\u003cp>Winehouse’s first album, 2003’s \u003cb>Frank\u003c/b>, sounded both less anachronistic and less distinctive. Somehow the ’60s sound on \u003cb>Back to Black\u003c/b> lends her songs, and her persona, more of an impact — but here’s hoping it doesn’t become a crutch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Annoyingly and inexplicably, the American release of \u003cb>Back to Black\u003c/b> does not feature the amusing and sticky “Addicted.” The song, about the sanctity of one’s weed stash, is another example of Winehouse’s playfulness and the album’s tight production. Legalize it!\u003c/p>\n\n",
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"excerpt": "By now you have probably heard about Amy Winehouse, the British soul singer whose CD \u003cb>Back to Black\u003c/b> had its Stateside debut last month.\u003cp>Understandably, the track on \u003cb>Back to Black\u003c/b> that gets the most attention is \"Rehab,\" which is ear-catching right out of the gate: \"They tried to make me go to rehab, but I said no, no no...\" Winehouse, who has had her share of publicly drunken episodes, wrote this song before they tried to make Britney Spears go to rehab. The song would have gotten noticed anyway, but how's that for timing?\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For many listeners, the appeal of \u003cb>Back to Black\u003c/b> will be the production — which sounds like it comes straight out of a ’60s girl group — and Winehouse’s brassy-broad vocals. But Winehouse’s songwriting is complex enough to keep her from being just a derivative of something better. She adopts the posture of a modern-day Rizzo, a cool bad girl who walks the line between liberation and self-destruction: sex, pot, alcohol, profanity, wrong turns.\u003c/p>\n\u003cp>Winehouse’s first album, 2003’s \u003cb>Frank\u003c/b>, sounded both less anachronistic and less distinctive. Somehow the ’60s sound on \u003cb>Back to Black\u003c/b> lends her songs, and her persona, more of an impact — but here’s hoping it doesn’t become a crutch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Annoyingly and inexplicably, the American release of \u003cb>Back to Black\u003c/b> does not feature the amusing and sticky “Addicted.” The song, about the sanctity of one’s weed stash, is another example of Winehouse’s playfulness and the album’s tight production. Legalize it!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cover songs: they’re not just for bar bands anymore. (Question: Do bar bands still exist?) The new wave of covers probably started with Cat Power’s \u003cb>The Covers Record\u003c/b>, in which the slack-jawed yet grippingly talented Chan Marshall turned The Rolling Stones’ classic and overplayed “(I Can’t Get No) Satisfaction” into something creepy and mysterious, simply by slowing it down to 2 RPM and, oh by the way, cutting the chorus. I mean, if you’re gonna make it your own, you might as well go for it, right? Who knew there were any lyrics other than “I can’t get no! Satisfaction!” etc. Well, Chan Marshall did — and it works.\u003c/p>\n\u003cp>I suppose if one accepts that we live in a postmodern world in which we cannot avoid referencing the art, style, and lives of others even if we wanted to, then we might as well just throw in the towel and stop pretending to be original. The best way to sound original is to play other people’s songs in your own special way. It sounds silly, but it’s true. If Exhibit A was Cat Power, then B is Alanis Morrisette and C is The Last Town Chorus, aka Megan Hickey.\u003c/p>\n\u003cp>\u003cb>Alanis Morrisette: “My Humps”\u003c/b>\u003cbr>Here’s one approach: remake a totally crap song. It not only makes you look funny and ironic, but you might even improve it! Such is the case with Alanis Morrisette’s cover of the Black Eyed Peas’ execrable “My Humps.” If you are — luckily — unfamiliar with the original, it’s probably enough to know that the title refers to singer Fergie’s buttcheeks. Yay! Not only that, but she rhymes it with “lady lumps,” which is BEP-speak for “Fergie’s boobs.” Double yay! If there’s any question about how bad this song is (it’s “horrifically bad… transcendentally bad… objectively bad,” according to \u003ci>Slate\u003c/i>‘s Hua Hsu), “My Humps” won the 2007 Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The Grammys: predictably terrible. Previous winners in this category include Maroon 5, Hootie and the Blowfish, and Peabo Bryson for “Aladdin’s Theme.” It’s that bad.\u003c/p>\n\u003cp>So what does Morrisette do? She remakes the video more or less faithfully, dressed in revealing, silly clothes and fake diamonds — just like Fergie. She surrounds herself with male accomplices who are alternately fawning and threatening — just like the ridiculously-monikered male members of the Black Eyed Peas (I will not stoop to name them here). And, in a real Cat Power moment, she slows the tempo of “My Humps” down to a crawl, replacing the original and lame synthesized orchestra that sounds like it was ripped straight off Falco’s “Rock Me Amadeus” with an acoustic piano and Morrisette’s signature snarling vocals. It’s riveting. One effect of the unplugging of “My Humps” is the stark focus on the song’s appalling lyrics. To wit:\u003c/p>\n\u003cp>What you gon’ do with all that junk?\u003cbr>All that junk inside that trunk?\u003cbr>I’ma get, get, get, get, you drunk,\u003cbr>Get you love drunk off my hump.\u003cbr>What you gon’ do with all that ass?\u003cbr>All that ass inside them jeans?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a question for the ages. I mean, what ARE you going to do with all that ass inside them jeans? I’m still trying to find a good answer myself. The funny thing about Morrisette’s cover is that, if you closed your eyes, you might mistake it for a Tori Amos song. Seriously, only Amos could combine somber piano playing with lyrics about disturbing sexual issues (see: “Leather,” from \u003cb>Little Earthquakes\u003c/b>, among others). I say this as a Tori Amos fan. And, with “My Humps,” I think I can finally call myself an Alanis Morrisette fan, too.\u003c/p>\n\u003cp>\u003cb>The Last Town Chorus, aka Megan Hickey: “Modern Love” \u003c/b>\u003cbr>It’s not fair to call David Bowie’s 1983 tune “Modern Love” a crap song — it’s only crap by Bowie’s incredibly high standards. Maybe it’s not crap at all. At any rate, it’s no “Life on Mars.” But what is? The point here is that the lap-steel playing, Brooklyn-based Megan Hickey, who performs under the name The Last Town Chorus, chose this, shall we say, lesser Bowie song to cover, and what a good choice it was. Seu Jorge proved it’s possible to do justice to the great Bowie songbook, but probably only if you sing the lyrics in Portuguese.\u003c/p>\n\u003cp>Hickey’s version, from the new album, \u003cb>Wire Waltz\u003c/b> (Hacktone) transforms Bowie’s totally ’80s pop into a wistful ode. Bowie’s only song to include the fratty lyric, “makes me party,” becomes a sad song that could have been written by, say, Suzanne Vega. No one’s ever mistaken her for Ziggy Stardust. The main factor here, though, is the lap-steel guitar. I will go out on a limb and declare that the lap-steel, proficiently played, will improve ANY song. Hickey’s playing is beautiful here, and so is “Modern Love.” Walks beside me… walks on by… gets me to the church on time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Resources:\u003c/b>\u003cbr>Alanis Morrisette’s “\u003ca href=\"http://www.youtube.com/watch?v=W91sqAs-_-g\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com — note the posting date: April 1, 2007 – this must be an April Fool’s prank, right?).\u003cbr>Black Eyed Peas’s “\u003ca href=\"http://www.youtube.com/watch?v=Vj9swNR5-lY\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com) — this video is so awful, so low-budget and silly, it should have been a prank. But somehow they punk’d America.\u003cbr> The Last Town Chorus’s “\u003ca href=\"http://www.myspace.com/thelasttownchorus\" target=\"offsite\" rel=\"noopener\">Modern Love\u003c/a>” (on myspace.com).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cover songs: they’re not just for bar bands anymore. (Question: Do bar bands still exist?) The new wave of covers probably started with Cat Power’s \u003cb>The Covers Record\u003c/b>, in which the slack-jawed yet grippingly talented Chan Marshall turned The Rolling Stones’ classic and overplayed “(I Can’t Get No) Satisfaction” into something creepy and mysterious, simply by slowing it down to 2 RPM and, oh by the way, cutting the chorus. I mean, if you’re gonna make it your own, you might as well go for it, right? Who knew there were any lyrics other than “I can’t get no! Satisfaction!” etc. Well, Chan Marshall did — and it works.\u003c/p>\n\u003cp>I suppose if one accepts that we live in a postmodern world in which we cannot avoid referencing the art, style, and lives of others even if we wanted to, then we might as well just throw in the towel and stop pretending to be original. The best way to sound original is to play other people’s songs in your own special way. It sounds silly, but it’s true. If Exhibit A was Cat Power, then B is Alanis Morrisette and C is The Last Town Chorus, aka Megan Hickey.\u003c/p>\n\u003cp>\u003cb>Alanis Morrisette: “My Humps”\u003c/b>\u003cbr>Here’s one approach: remake a totally crap song. It not only makes you look funny and ironic, but you might even improve it! Such is the case with Alanis Morrisette’s cover of the Black Eyed Peas’ execrable “My Humps.” If you are — luckily — unfamiliar with the original, it’s probably enough to know that the title refers to singer Fergie’s buttcheeks. Yay! Not only that, but she rhymes it with “lady lumps,” which is BEP-speak for “Fergie’s boobs.” Double yay! If there’s any question about how bad this song is (it’s “horrifically bad… transcendentally bad… objectively bad,” according to \u003ci>Slate\u003c/i>‘s Hua Hsu), “My Humps” won the 2007 Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The Grammys: predictably terrible. Previous winners in this category include Maroon 5, Hootie and the Blowfish, and Peabo Bryson for “Aladdin’s Theme.” It’s that bad.\u003c/p>\n\u003cp>So what does Morrisette do? She remakes the video more or less faithfully, dressed in revealing, silly clothes and fake diamonds — just like Fergie. She surrounds herself with male accomplices who are alternately fawning and threatening — just like the ridiculously-monikered male members of the Black Eyed Peas (I will not stoop to name them here). And, in a real Cat Power moment, she slows the tempo of “My Humps” down to a crawl, replacing the original and lame synthesized orchestra that sounds like it was ripped straight off Falco’s “Rock Me Amadeus” with an acoustic piano and Morrisette’s signature snarling vocals. It’s riveting. One effect of the unplugging of “My Humps” is the stark focus on the song’s appalling lyrics. To wit:\u003c/p>\n\u003cp>What you gon’ do with all that junk?\u003cbr>All that junk inside that trunk?\u003cbr>I’ma get, get, get, get, you drunk,\u003cbr>Get you love drunk off my hump.\u003cbr>What you gon’ do with all that ass?\u003cbr>All that ass inside them jeans?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a question for the ages. I mean, what ARE you going to do with all that ass inside them jeans? I’m still trying to find a good answer myself. The funny thing about Morrisette’s cover is that, if you closed your eyes, you might mistake it for a Tori Amos song. Seriously, only Amos could combine somber piano playing with lyrics about disturbing sexual issues (see: “Leather,” from \u003cb>Little Earthquakes\u003c/b>, among others). I say this as a Tori Amos fan. And, with “My Humps,” I think I can finally call myself an Alanis Morrisette fan, too.\u003c/p>\n\u003cp>\u003cb>The Last Town Chorus, aka Megan Hickey: “Modern Love” \u003c/b>\u003cbr>It’s not fair to call David Bowie’s 1983 tune “Modern Love” a crap song — it’s only crap by Bowie’s incredibly high standards. Maybe it’s not crap at all. At any rate, it’s no “Life on Mars.” But what is? The point here is that the lap-steel playing, Brooklyn-based Megan Hickey, who performs under the name The Last Town Chorus, chose this, shall we say, lesser Bowie song to cover, and what a good choice it was. Seu Jorge proved it’s possible to do justice to the great Bowie songbook, but probably only if you sing the lyrics in Portuguese.\u003c/p>\n\u003cp>Hickey’s version, from the new album, \u003cb>Wire Waltz\u003c/b> (Hacktone) transforms Bowie’s totally ’80s pop into a wistful ode. Bowie’s only song to include the fratty lyric, “makes me party,” becomes a sad song that could have been written by, say, Suzanne Vega. No one’s ever mistaken her for Ziggy Stardust. The main factor here, though, is the lap-steel guitar. I will go out on a limb and declare that the lap-steel, proficiently played, will improve ANY song. Hickey’s playing is beautiful here, and so is “Modern Love.” Walks beside me… walks on by… gets me to the church on time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Resources:\u003c/b>\u003cbr>Alanis Morrisette’s “\u003ca href=\"http://www.youtube.com/watch?v=W91sqAs-_-g\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com — note the posting date: April 1, 2007 – this must be an April Fool’s prank, right?).\u003cbr>Black Eyed Peas’s “\u003ca href=\"http://www.youtube.com/watch?v=Vj9swNR5-lY\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com) — this video is so awful, so low-budget and silly, it should have been a prank. But somehow they punk’d America.\u003cbr> The Last Town Chorus’s “\u003ca href=\"http://www.myspace.com/thelasttownchorus\" target=\"offsite\" rel=\"noopener\">Modern Love\u003c/a>” (on myspace.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robin Thicke: The Evolution of Robin Thicke",
"headTitle": "Robin Thicke: The Evolution of Robin Thicke | KQED",
"content": "\u003cp>Britain is stealing a lot of the white-soul thunder these days, with acts such as Amy Winehouse, Joss Stone and James Hunter offering albums produced with gravelly, powerful vocals and heavy tinges of Motown. But Stateside, one pale, unlikely guy is racking up in record sales what he may have lacked in soul cred or buzz.\u003c/p>\n\u003cp>\u003ca href=\"http://www.robinthicke.com/\" target=\"offsite\" rel=\"noopener\">Robin Thicke\u003c/a> is the son of Alan Thicke, best known as the dad on TV’s \u003cb>Growing Pains\u003c/b>. But Robin looks less like his father and more like a pretty Edward Norton, or an actor on one of the \u003ca href=\"http://www.mynetworktv.com/desire.html\" target=\"offsite\" rel=\"noopener\">Desire\u003c/a> shows from MyNetworkTV. In other words, he looks about as soulful as polka. (Why is there always \u003ca href=\"http://www.nbc.com/Saturday_Night_Live/digital_shorts.shtml\" target=\"offsite\" rel=\"noopener\">carefully sculpted facial hair\u003c/a> involved when white guys go R&B? Has someone decided that clean-shaven says “wannabe cracker?”)\u003c/p>\n\u003cp>Thicke’s \u003cb>The Evolution of Robin Thicke\u003c/b> has quietly ascended the charts: at last check, it was no. 6 on \u003ci>Billboard\u003c/i>‘s Top R&B/Hip-Hop list, and it’s been hovering in the top 10 for weeks, surely riding on the airplay of “Lost Without U,” his Spanish-guitar-tinged single. Note the substitution of the letter for the word. A la Prince, the songs on Thicke’s album are all 2 and U instead of “to” and “you.”\u003c/p>\n\u003cp>You might also catch tinges of Prince in Thicke’s delicately wrought vocals, but to me his falsetto owes more to Michael Jackson than to the Purple One. However, unlike these two artists — or Justin Timberlake, for that matter — Thicke doesn’t spend too much time trying to balance his sweet falsetto with any bad-ass posturing. Even songs that sound like they might be dark, such as “Cocaine,” somehow fail utterly to carry a trace of doom.\u003c/p>\n\u003cp>Despite the fact that \u003cb>The Evolution of Robin Thicke\u003c/b> is, in many ways, filled with puppy-dog-eyed “I love you girl” cliches, I am rooting for Thicke. I’m rooting for him because he’s not cool. He’s wearing his influences on his sleeve, and he’s wearing them well. He gets bluesy, he gets blue, and he’s serving up straight R&B ballads, no chaser. His effort is clear, and so is his talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The sincerity and soul in Thicke’s style make it all the more lamentable that some of his songs verge on lyrical ridiculousness. “Complicated,” for example, starts out with a strong piano and catchy verse, only to deliver this chorus: “There’s no way, there’s no way, there’s no way/I can get back that girl/Cause I’m too complicated/And she’s not complicated/But I’m too complicated.” Not complicated enough, babes. But it’s OK. I’m looking forward to hearing the next stage of Thicke’s evolution.\u003c/p>\n\n",
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"excerpt": "Britain is stealing a lot of the white-soul thunder these days, with acts such as Amy Winehouse, Joss Stone and James Hunter offering albums produced with gravelly, powerful vocals and heavy tinges of Motown. But Stateside, one pale, unlikely guy is racking up in record sales what he may have lacked in soul cred or buzz.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britain is stealing a lot of the white-soul thunder these days, with acts such as Amy Winehouse, Joss Stone and James Hunter offering albums produced with gravelly, powerful vocals and heavy tinges of Motown. But Stateside, one pale, unlikely guy is racking up in record sales what he may have lacked in soul cred or buzz.\u003c/p>\n\u003cp>\u003ca href=\"http://www.robinthicke.com/\" target=\"offsite\" rel=\"noopener\">Robin Thicke\u003c/a> is the son of Alan Thicke, best known as the dad on TV’s \u003cb>Growing Pains\u003c/b>. But Robin looks less like his father and more like a pretty Edward Norton, or an actor on one of the \u003ca href=\"http://www.mynetworktv.com/desire.html\" target=\"offsite\" rel=\"noopener\">Desire\u003c/a> shows from MyNetworkTV. In other words, he looks about as soulful as polka. (Why is there always \u003ca href=\"http://www.nbc.com/Saturday_Night_Live/digital_shorts.shtml\" target=\"offsite\" rel=\"noopener\">carefully sculpted facial hair\u003c/a> involved when white guys go R&B? Has someone decided that clean-shaven says “wannabe cracker?”)\u003c/p>\n\u003cp>Thicke’s \u003cb>The Evolution of Robin Thicke\u003c/b> has quietly ascended the charts: at last check, it was no. 6 on \u003ci>Billboard\u003c/i>‘s Top R&B/Hip-Hop list, and it’s been hovering in the top 10 for weeks, surely riding on the airplay of “Lost Without U,” his Spanish-guitar-tinged single. Note the substitution of the letter for the word. A la Prince, the songs on Thicke’s album are all 2 and U instead of “to” and “you.”\u003c/p>\n\u003cp>You might also catch tinges of Prince in Thicke’s delicately wrought vocals, but to me his falsetto owes more to Michael Jackson than to the Purple One. However, unlike these two artists — or Justin Timberlake, for that matter — Thicke doesn’t spend too much time trying to balance his sweet falsetto with any bad-ass posturing. Even songs that sound like they might be dark, such as “Cocaine,” somehow fail utterly to carry a trace of doom.\u003c/p>\n\u003cp>Despite the fact that \u003cb>The Evolution of Robin Thicke\u003c/b> is, in many ways, filled with puppy-dog-eyed “I love you girl” cliches, I am rooting for Thicke. I’m rooting for him because he’s not cool. He’s wearing his influences on his sleeve, and he’s wearing them well. He gets bluesy, he gets blue, and he’s serving up straight R&B ballads, no chaser. His effort is clear, and so is his talent.\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>The sincerity and soul in Thicke’s style make it all the more lamentable that some of his songs verge on lyrical ridiculousness. “Complicated,” for example, starts out with a strong piano and catchy verse, only to deliver this chorus: “There’s no way, there’s no way, there’s no way/I can get back that girl/Cause I’m too complicated/And she’s not complicated/But I’m too complicated.” Not complicated enough, babes. But it’s OK. I’m looking forward to hearing the next stage of Thicke’s evolution.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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"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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"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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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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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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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