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"content": "\u003cp>\u003cb>Chrome Dreams II\u003c/b>, the third studio CD from Neil Young in as many years, takes its name from an album that was recorded more than 30 years ago but was never officially released. A bootleg of \u003cb>Chrome Dreams\u003c/b> surfaced in the 1990s — I listen to my beloved downloaded copy about two or three times a month. Other than their shared title and author, the two works have little in common. \u003cb>Chrome Dreams\u003c/b> is a richly textured, rough-around-the-edges collage of 18 tracks, including a love song to Pocahontas, an ode to homegrown pot, and I’m betting the only song ever written that features the lyrics “even Richard Nixon has got soul.” \u003cb>Chrome Dreams II\u003c/b> is an uneven follow up: Would that it were as unpolished, irreverent, and ineffable as its mysterious predecessor.\u003c/p>\n\u003cp>Young, who turns 62 in November and performs this weekend at the 21st Annual \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">Bridge School Benefit\u003c/a> concert at the Shoreline Amphitheatre in Mountain View this weekend, has had a remarkable 21st century. There was his role after 9/11 as one of our nation’s designated minstrel elders — he performed John Lennon’s humanist plea, “Imagine,” during a live telecast immediately after the catastrophe and again at the 2001 incarnation of Bridge a scant six weeks later (where I was sitting, there was hardly a dry eye in the house). Then came the gorgeous, minimalist, rock-musical \u003cb>Greendale\u003c/b> in 2003, followed by a year and a half of touring, often with a full company of actors in tow. But it was a brain aneurysm in 2005, which interrupted the recording of his acclaimed \u003cb>Prairie Wind\u003c/b>, that appears to have had the most impact on Young’s current body of work. That near-death experience prompted songs like “When God Made Me” from \u003cb>Prairie Wind\u003c/b> and perhaps even contributed to the 2006 CD \u003cb>Living With War\u003c/b>, which gets much of its urgency from having been recorded in just two weeks (to insure that its time-is-running-out message is clearly heard by listeners, it features a patriotic little ditty called “Let’s Impeach The President”).\u003c/p>\n\u003cp>With only a few exceptions, \u003cb>Chrome Dreams II\u003c/b> doesn’t get under one’s skin as satisfyingly or frequently as Young’s previous recent efforts. The album opens with sweet-sounding harmonica squeaking out a nursery-rhyme melody called “Beautiful Bluebird.” No deep metaphors here, it’s a song about a beautiful bluebird, “dippin’ and bobbin’ in the sun.” Uh, okay. This sentimental number is followed by the folksy “Boxcar,” which paints a portrait of the artist as an old man almost completely devoid of free will, which doesn’t sound so bad to hear Young sing it, but still…\u003c/p>\n\u003cp>The CD’s best track is an 18-minute dirge called “Ordinary People,” which grinds its way, horn section and all, through a series of distinctively American set pieces and archetypes — the Vegas bar with the big fight on the big screen; evil arms dealers and well-intentioned vigilantes; robotic consumers and the equally numb auto workers who crank out cars that people no longer want; \u003cb>High Noon\u003c/b> cowboys and \u003cb>American Graffiti\u003c/b> drag racers. This is the Neil Young that most fans are probably most comfortable with, the care-worn bard singing about the crushed hopes and dreams of common Joes and Janes, the “patch of ground people” as he calls them. Which is why the songs of personal enlightenment and spiritual peace that come next, while entirely understandable considering what Young’s been through, are so disappointing. “Ordinary People” would be a tough act for any song to follow, but “Shining Light” seems especially soft and squishy, with its gentle rocking chord progressions and beseeching prayer for life’s simple blessings to please continue, Amen.\u003c/p>\n\u003cp>“The Believer” and the CD’s closing track, “The Way,” mine the same vein even more overtly. Faith, reverence, and old-time religion have always been aspects of Young’s repertoire, but earlier hymns such as “Mother Earth” have been pleas for the planet while “When God Made Me” was a clever acknowledgment of the spiritual stirrings in Young’s heart, even as he mocked the self-absorbed, self-righteous redemption offered by the religious right. In contrast, some of this new stuff is so sincere, it almost tests one’s faith in Neil Young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chrome Dreams II\u003c/b> is out now. The 21st Annual Bridge School Benefit, which is likely to be the only chance this year for Bay Area audiences to hear Neil Young perform songs from the CD, is this weekend, Saturday Oct 27 at 5pm and Sunday October 28 at 2pm. For \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit bridgeschool.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Chrome Dreams II\u003c/b>, the third studio CD from Neil Young in as many years, takes its name from an album that was recorded more than 30 years ago but was never officially released. A bootleg of \u003cb>Chrome Dreams\u003c/b> surfaced in the 1990s — I listen to my beloved downloaded copy about two or three times a month. Other than their shared title and author, the two works have little in common. \u003cb>Chrome Dreams\u003c/b> is a richly textured, rough-around-the-edges collage of 18 tracks, including a love song to Pocahontas, an ode to homegrown pot, and I’m betting the only song ever written that features the lyrics “even Richard Nixon has got soul.” \u003cb>Chrome Dreams II\u003c/b> is an uneven follow up: Would that it were as unpolished, irreverent, and ineffable as its mysterious predecessor.\u003c/p>\n\u003cp>Young, who turns 62 in November and performs this weekend at the 21st Annual \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">Bridge School Benefit\u003c/a> concert at the Shoreline Amphitheatre in Mountain View this weekend, has had a remarkable 21st century. There was his role after 9/11 as one of our nation’s designated minstrel elders — he performed John Lennon’s humanist plea, “Imagine,” during a live telecast immediately after the catastrophe and again at the 2001 incarnation of Bridge a scant six weeks later (where I was sitting, there was hardly a dry eye in the house). Then came the gorgeous, minimalist, rock-musical \u003cb>Greendale\u003c/b> in 2003, followed by a year and a half of touring, often with a full company of actors in tow. But it was a brain aneurysm in 2005, which interrupted the recording of his acclaimed \u003cb>Prairie Wind\u003c/b>, that appears to have had the most impact on Young’s current body of work. That near-death experience prompted songs like “When God Made Me” from \u003cb>Prairie Wind\u003c/b> and perhaps even contributed to the 2006 CD \u003cb>Living With War\u003c/b>, which gets much of its urgency from having been recorded in just two weeks (to insure that its time-is-running-out message is clearly heard by listeners, it features a patriotic little ditty called “Let’s Impeach The President”).\u003c/p>\n\u003cp>With only a few exceptions, \u003cb>Chrome Dreams II\u003c/b> doesn’t get under one’s skin as satisfyingly or frequently as Young’s previous recent efforts. The album opens with sweet-sounding harmonica squeaking out a nursery-rhyme melody called “Beautiful Bluebird.” No deep metaphors here, it’s a song about a beautiful bluebird, “dippin’ and bobbin’ in the sun.” Uh, okay. This sentimental number is followed by the folksy “Boxcar,” which paints a portrait of the artist as an old man almost completely devoid of free will, which doesn’t sound so bad to hear Young sing it, but still…\u003c/p>\n\u003cp>The CD’s best track is an 18-minute dirge called “Ordinary People,” which grinds its way, horn section and all, through a series of distinctively American set pieces and archetypes — the Vegas bar with the big fight on the big screen; evil arms dealers and well-intentioned vigilantes; robotic consumers and the equally numb auto workers who crank out cars that people no longer want; \u003cb>High Noon\u003c/b> cowboys and \u003cb>American Graffiti\u003c/b> drag racers. This is the Neil Young that most fans are probably most comfortable with, the care-worn bard singing about the crushed hopes and dreams of common Joes and Janes, the “patch of ground people” as he calls them. Which is why the songs of personal enlightenment and spiritual peace that come next, while entirely understandable considering what Young’s been through, are so disappointing. “Ordinary People” would be a tough act for any song to follow, but “Shining Light” seems especially soft and squishy, with its gentle rocking chord progressions and beseeching prayer for life’s simple blessings to please continue, Amen.\u003c/p>\n\u003cp>“The Believer” and the CD’s closing track, “The Way,” mine the same vein even more overtly. Faith, reverence, and old-time religion have always been aspects of Young’s repertoire, but earlier hymns such as “Mother Earth” have been pleas for the planet while “When God Made Me” was a clever acknowledgment of the spiritual stirrings in Young’s heart, even as he mocked the self-absorbed, self-righteous redemption offered by the religious right. In contrast, some of this new stuff is so sincere, it almost tests one’s faith in Neil Young.\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>\u003cb>Chrome Dreams II\u003c/b> is out now. The 21st Annual Bridge School Benefit, which is likely to be the only chance this year for Bay Area audiences to hear Neil Young perform songs from the CD, is this weekend, Saturday Oct 27 at 5pm and Sunday October 28 at 2pm. For \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit bridgeschool.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c/p>\u003cp>\u003ca href=\"http://tokyopoliceclub.com/\" target=\"_NEW\">Tokyo Police Club\u003c/a>, who play San Francisco on October 25, 2007 are not only awesome live, they are also wonderfully breathless on stage, like a bunch of hopelessly gawky teenagers. Songs burst out like short rushes of adrenaline, as if to cover up the band’s shy-eyed embarrassment.\u003c/p>\u003cp>Such awkwardness seems to be a hugely undervalued quality these days. Most new acts, even those at the supposedly indie end of the music machine, seem to emerge pumped with confidence, already groomed by video stylists and brand consultants to become spotless, chart-conquering gods.\u003c/p>\u003cp>But I just don’t buy it. I certainly don’t consider myself to be anything other than a geek, after all. So, watching Toronto’s Tokyo Police Club at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_NEW\">The Independent\u003c/a> back in July, I realized that it wasn’t just their spikey, clever power pop that I loved (although, obviously, I did); I had also fallen for their scratchy-edged dorkiness. \u003c/p>\u003cp>They’re like the band I always wanted \u003ca href=\"http://www.thestrokes.com/\" target=\"_NEW\">The Strokes\u003c/a> to be. Sure, I loved The Strokes’ early singles, but I never really consummated my relationship with them. Why? Because they were just too slick and knowing, all rich parents, Swiss finishing schools, cool cliques, and uber-hip New York fashion labels. Ugh. Give me a bunch of awkward losers with wan skin and bottle-bottom glasses any day: ie, Tokyo Police Club.\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And I don’t mean that they have adopted a hipster-style token nerdiness like so many other indie bands. They have a genuine, impossible-to-hide discomfort with being in the spotlight and, in the shape of Graham Wright (keyboards/screaming), a spit in your face, sinew-straining misfit of the finest kind. \u003c/p>\u003cp>Because, while the others try to hide their social discomforts behind their fringes, Wright wears his on his sleeve. He writhes, hunched, with his nose just an inch from his keyboard (which he may or may not have built himself from a kit), before periodically lunging forward to bellow into his microphone with a rasping yell that would make throat doctors weep. He even wears thick-rimmed glasses, which has been the proud badge of musical losers made good from \u003ca href=\"http://www.grahamcoxon.co.uk/\" target=\"_NEW\">Graham Coxon\u003c/a> all the way back to \u003ca href=\"http://www.buddyholly.com/\" target=\"_NEW\">Buddy Holly\u003c/a>.\u003c/p>\u003cp>Needless to say, they sound spectacular. Masters of the short-sharp-shock school of rock, their songs mostly sprint along for just two minutes each, and never, ever stray past the three-minute mark. Their only album release to date, \u003cb>A Lesson In Crime\u003c/b>, is clipped to the point of abruptness, measuring just 17 minutes long by seven songs wide.\u003c/p>\u003cp>Tokyo Police Club speak to the geek in me, and in all of us. When Wright holds up his camera to take a picture of the crowd at the start and end of every gig they play, I suddenly feel prouder of my drawer filled with old gig ticket stubs, and less ashamed about dancing along to his band’s songs like an over-excited dog with three legs. Which can only be a good thing.\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tokyo Police Club play \u003ca href=\"http://www.popscene-sf.com/\" target=\"_NEW\">Popscene\u003c/a> at 330 Ritch Street on October 25, 2007. Doors open at 9pm, and there are no advance sales. Their EP “Smith” is due out November 6 on Paper Bag Records, and a new album is expected to follow early in 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And I don’t mean that they have adopted a hipster-style token nerdiness like so many other indie bands. They have a genuine, impossible-to-hide discomfort with being in the spotlight and, in the shape of Graham Wright (keyboards/screaming), a spit in your face, sinew-straining misfit of the finest kind. \u003c/p>\u003cp>Because, while the others try to hide their social discomforts behind their fringes, Wright wears his on his sleeve. He writhes, hunched, with his nose just an inch from his keyboard (which he may or may not have built himself from a kit), before periodically lunging forward to bellow into his microphone with a rasping yell that would make throat doctors weep. He even wears thick-rimmed glasses, which has been the proud badge of musical losers made good from \u003ca href=\"http://www.grahamcoxon.co.uk/\" target=\"_NEW\">Graham Coxon\u003c/a> all the way back to \u003ca href=\"http://www.buddyholly.com/\" target=\"_NEW\">Buddy Holly\u003c/a>.\u003c/p>\u003cp>Needless to say, they sound spectacular. Masters of the short-sharp-shock school of rock, their songs mostly sprint along for just two minutes each, and never, ever stray past the three-minute mark. Their only album release to date, \u003cb>A Lesson In Crime\u003c/b>, is clipped to the point of abruptness, measuring just 17 minutes long by seven songs wide.\u003c/p>\u003cp>Tokyo Police Club speak to the geek in me, and in all of us. When Wright holds up his camera to take a picture of the crowd at the start and end of every gig they play, I suddenly feel prouder of my drawer filled with old gig ticket stubs, and less ashamed about dancing along to his band’s songs like an over-excited dog with three legs. Which can only be a good thing.\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tokyo Police Club play \u003ca href=\"http://www.popscene-sf.com/\" target=\"_NEW\">Popscene\u003c/a> at 330 Ritch Street on October 25, 2007. Doors open at 9pm, and there are no advance sales. Their EP “Smith” is due out November 6 on Paper Bag Records, and a new album is expected to follow early in 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A friend of mine once told me his theory that everyone’s favorite album is one released in the same year they start college. It’s a flawed proposition, not least because we don’t necessarily hear albums for the first time in the same year they are released (nor does everyone go to college, obviously), but the guiding principle behind it is surprisingly accurate.\u003c/p>\n\u003cp>For example, most of my all-time favorite bands are ones I was listening to when I was around 18 years old: \u003ca href=\"www.4ad.com/pixies/\" target=\"offsite\" rel=\"noopener\">Pixies\u003c/a>, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine\u003c/a>, \u003ca href=\"www.jesusandmarychain.org\" target=\"offsite\" rel=\"noopener\">The Jesus and Mary Chain\u003c/a>, \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a>. So it’s probably no coincidence that now they are all hitting the nostalgia market at around the same time too.\u003c/p>\n\u003cp>While the emotional scars caused by seeing one of the Velvet Underground’s unfortunate European dates in 1993 have largely healed for me, I still have mixed feelings about reunion tours. One constant is that my levels of enthusiasm seem to depend largely on whether or not I saw the band in question the first time round.\u003c/p>\n\u003cp>For example, I was thrilled to finally get the chance to see the Pixies in 2004, as I had missed my one previous chance way back in 1991 (although in the end I didn’t miss much in Glasgow that night as part of the stage collapsed just a few minutes into the gig: you can \u003ca href=\"http://www.productmagazine.co.uk/index.php/film/P1/\" target=\"offsite\" rel=\"noopener\">read more here\u003c/a>).\u003c/p>\n\u003cp>In contrast, I’m much less enthusiastic about seeing The Jesus and Mary Chain when they play San Francisco next month (they appear at the \u003ca href=\"http://www.livenation.com/event/getEvent/eventId/296430\" target=\"offsite\" rel=\"noopener\">Fillmore\u003c/a> on October 26 and 27, 2007), or about the rumors that \u003ca href=\"http://www.nme.com/news/my-bloody-valentine/30792\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine might reform\u003c/a> for next year’s \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a>. I saw both bands play on the same bill of the Lollapallooza-inspired “Rollercoaster” tour in 1992, and it was almost certainly the greatest concert I’ve ever been to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>JAMC had almost finished their opening song before I even realized which one they were playing through the dense torrent of feedback (it was “Sidewalking,” for the record). And I can’t think of anything as brutal, beautiful or astonishing as hearing My Bloody Valentine play “You Made Me Realise” live, complete with its earth-shaking “apocalypse” interlude (Mike McGonigal devotes a whole chapter to this experience in \u003ca href=\"http://www.amazon.com/My-Bloody-Valentines-Loveless-33/dp/0826415482\" target=\"offsite\" rel=\"noopener\">his book\u003c/a> on the band’s defining album \u003cb>Loveless\u003c/b>).\u003c/p>\n\u003cp>Also appearing were fellow feedback fans Dinosaur Jr. whose albums \u003cb>Bug\u003c/b> and \u003cb>Fossils\u003c/b> backed JAMC’s \u003cb>Barbed Wire Kisses\u003c/b> on a 90-minute cassette that changed my life (and of course they’ve also recently reformed their classic line-up and played San Francisco’s \u003ca href=\"http://www.mezzaninesf.com/\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> on September 9), plus some perky young indie pop upstarts called \u003ca href=\"http://www.blur.co.uk/\" target=\"offsite\" rel=\"noopener\">Blur\u003c/a>, whose music career I confidently predicted would soon disappear without a trace. Oops.\u003c/p>\n\u003cp>To what extent my memory of that night has been colored by 15 years of sepia-tinted reminiscing is kind of beside the point. What’s important is that there is little chance now either the Mary Chain or MBV could live up to what I remember.\u003c/p>\n\u003cp>One sentimental exercise I am a fan of is bands playing one of their old albums in its entirety, as yet another act I was heavily into as a teenager, \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>, did in Berkeley this year to promote the “deluxe” reissue of \u003cb>Daydream Nation\u003c/b>. The organizers of that gig curate a series of similar concerts every year, mostly in London but also here in the States, called \u003ca href=\"http://www.dontlookbackconcerts.com/\" target=\"offsite\" rel=\"noopener\">Don’t Look Back\u003c/a>. The results are unashamedly nostalgic but also a little new; few bands ever play a whole album live and in order, after all.\u003c/p>\n\u003cp>It’s also fun to speculate on which albums you would or wouldn’t want to be included, which brings me to the subject that inspired this whole post: the fact that just a few days after I left my old home in the U.K. earlier this year, it was announced that this year’s \u003cb>Don’t Look Back\u003c/b> program includes the \u003ca href=\"http://www.cowboyjunkies.com/\" target=\"offsite\" rel=\"noopener\">Cowboy Junkies\u003c/a> playing their 1987 album \u003ca href=\"http://www.dontlookbackconcerts.com/uk/london/cowboy/\" target=\"offsite\" rel=\"noopener\">The Trinity Session\u003c/a> at London’s Royal Albert Hall on October 10, 2007. \u003c/p>\n\u003cp>This is the one album I have listened to more than any other in my life, and it has become the musical equivalent of comfort food or a favorite sweater for me: soft, warm and inviting. And it’s the one album I’d love to see performed live more than any other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ah well, maybe they’ll get together to do it again in another 20 years’ time.\u003c/p>\n\n",
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"excerpt": "A friend of mine once told me his theory that everyone's favorite album is one released in the same year they start college. It's a flawed proposition, not least because we don't necessarily hear albums for the first time in the same year they are released (nor does everyone go to college, obviously), but the guiding principle behind it is surprisingly accurate.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A friend of mine once told me his theory that everyone’s favorite album is one released in the same year they start college. It’s a flawed proposition, not least because we don’t necessarily hear albums for the first time in the same year they are released (nor does everyone go to college, obviously), but the guiding principle behind it is surprisingly accurate.\u003c/p>\n\u003cp>For example, most of my all-time favorite bands are ones I was listening to when I was around 18 years old: \u003ca href=\"www.4ad.com/pixies/\" target=\"offsite\" rel=\"noopener\">Pixies\u003c/a>, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine\u003c/a>, \u003ca href=\"www.jesusandmarychain.org\" target=\"offsite\" rel=\"noopener\">The Jesus and Mary Chain\u003c/a>, \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a>. So it’s probably no coincidence that now they are all hitting the nostalgia market at around the same time too.\u003c/p>\n\u003cp>While the emotional scars caused by seeing one of the Velvet Underground’s unfortunate European dates in 1993 have largely healed for me, I still have mixed feelings about reunion tours. One constant is that my levels of enthusiasm seem to depend largely on whether or not I saw the band in question the first time round.\u003c/p>\n\u003cp>For example, I was thrilled to finally get the chance to see the Pixies in 2004, as I had missed my one previous chance way back in 1991 (although in the end I didn’t miss much in Glasgow that night as part of the stage collapsed just a few minutes into the gig: you can \u003ca href=\"http://www.productmagazine.co.uk/index.php/film/P1/\" target=\"offsite\" rel=\"noopener\">read more here\u003c/a>).\u003c/p>\n\u003cp>In contrast, I’m much less enthusiastic about seeing The Jesus and Mary Chain when they play San Francisco next month (they appear at the \u003ca href=\"http://www.livenation.com/event/getEvent/eventId/296430\" target=\"offsite\" rel=\"noopener\">Fillmore\u003c/a> on October 26 and 27, 2007), or about the rumors that \u003ca href=\"http://www.nme.com/news/my-bloody-valentine/30792\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine might reform\u003c/a> for next year’s \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a>. I saw both bands play on the same bill of the Lollapallooza-inspired “Rollercoaster” tour in 1992, and it was almost certainly the greatest concert I’ve ever been to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>JAMC had almost finished their opening song before I even realized which one they were playing through the dense torrent of feedback (it was “Sidewalking,” for the record). And I can’t think of anything as brutal, beautiful or astonishing as hearing My Bloody Valentine play “You Made Me Realise” live, complete with its earth-shaking “apocalypse” interlude (Mike McGonigal devotes a whole chapter to this experience in \u003ca href=\"http://www.amazon.com/My-Bloody-Valentines-Loveless-33/dp/0826415482\" target=\"offsite\" rel=\"noopener\">his book\u003c/a> on the band’s defining album \u003cb>Loveless\u003c/b>).\u003c/p>\n\u003cp>Also appearing were fellow feedback fans Dinosaur Jr. whose albums \u003cb>Bug\u003c/b> and \u003cb>Fossils\u003c/b> backed JAMC’s \u003cb>Barbed Wire Kisses\u003c/b> on a 90-minute cassette that changed my life (and of course they’ve also recently reformed their classic line-up and played San Francisco’s \u003ca href=\"http://www.mezzaninesf.com/\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> on September 9), plus some perky young indie pop upstarts called \u003ca href=\"http://www.blur.co.uk/\" target=\"offsite\" rel=\"noopener\">Blur\u003c/a>, whose music career I confidently predicted would soon disappear without a trace. Oops.\u003c/p>\n\u003cp>To what extent my memory of that night has been colored by 15 years of sepia-tinted reminiscing is kind of beside the point. What’s important is that there is little chance now either the Mary Chain or MBV could live up to what I remember.\u003c/p>\n\u003cp>One sentimental exercise I am a fan of is bands playing one of their old albums in its entirety, as yet another act I was heavily into as a teenager, \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>, did in Berkeley this year to promote the “deluxe” reissue of \u003cb>Daydream Nation\u003c/b>. The organizers of that gig curate a series of similar concerts every year, mostly in London but also here in the States, called \u003ca href=\"http://www.dontlookbackconcerts.com/\" target=\"offsite\" rel=\"noopener\">Don’t Look Back\u003c/a>. The results are unashamedly nostalgic but also a little new; few bands ever play a whole album live and in order, after all.\u003c/p>\n\u003cp>It’s also fun to speculate on which albums you would or wouldn’t want to be included, which brings me to the subject that inspired this whole post: the fact that just a few days after I left my old home in the U.K. earlier this year, it was announced that this year’s \u003cb>Don’t Look Back\u003c/b> program includes the \u003ca href=\"http://www.cowboyjunkies.com/\" target=\"offsite\" rel=\"noopener\">Cowboy Junkies\u003c/a> playing their 1987 album \u003ca href=\"http://www.dontlookbackconcerts.com/uk/london/cowboy/\" target=\"offsite\" rel=\"noopener\">The Trinity Session\u003c/a> at London’s Royal Albert Hall on October 10, 2007. \u003c/p>\n\u003cp>This is the one album I have listened to more than any other in my life, and it has become the musical equivalent of comfort food or a favorite sweater for me: soft, warm and inviting. And it’s the one album I’d love to see performed live more than any other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ah well, maybe they’ll get together to do it again in another 20 years’ time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>First of all, it is hard to overstate how emotionally freaked-out girls get about Devendra Banhart. An hour before I went to his September 7, 2007 concert at the Palace of Fine Arts, I got a call from a hippie girl I had just met at the Green Tortoise youth hostel. M was just beside herself with nervous laughter, gushing at the prospect that she might get to meet a man she said she would do anything to see in person, marry, sleep with, etc. She wanted to know if she could come with me. I was about to leave anyway so I said sure…why not?\u003c/p>\n\u003cp>Her hair was freshly blow-dried, her nails painted, she wore cut off jeans with tights, and a strange necklace hung around her neck. Most importantly she had brought along her magic rock. Her magic rock, she told me (which she got in Kansas), divined that one day she would meet Devendra and that he would fall in love with her. She believed that an element of fate would bring them together and that it was a mystical thing.\u003c/p>\n\u003cp>Yet she didn’t even recognize Devendra as he approached me on the sidewalk in front of the Palace of Fine Arts. I had to get her to focus on the guy coming our way so she didn’t miss him. He and I chatted for a moment and as I went to shake his hand he reached out and gave me a big hug instead. I knew him from the Mission District and from art shows here (FYI: he’s a famous artist too). The band was about to do the sound check so I knew it wasn’t really a good time to talk. But he smiled, glanced over at M then went back inside with a group of people.\u003c/p>\n\u003cp>It took a few minutes for M to process what had just happened to her. After all, Devendra Banhart had just looked at her; they were face to face! She kept repeating “I can’t believe I just met him, I can’t believe I just met him. Oh my god, oh my god.” Her first rational thought was that she wanted to go get a bottle of whiskey somewhere to calm down. Since we arrived early, we took swigs of JD and coke on the way back to the Palace.\u003c/p>\n\u003cp>By the front doors emotions were running high. A guy standing next to us had surprised his girlfriend by taking her to the show in a cab. But he did so without telling her. She of course was upset because she had no time to get ready or to change what she was wearing. She was on the verge of tears. How could he do that to her? Just surprise her like that? She was livid, so she walked away from him and drank half a bottle of wine with some other girls outside. Meanwhile he paced nervously wondering out loud what he had done wrong. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside the Palace the opening act began. It was Noah Georgeson, a music producer and Banhart guitarist, playing songs from his recently released solo album \u003cb>Find Shelter\u003c/b>. He sat on a chair and played his guitar to a packed house. Georgeson holds a Masters Degree in music composition from Mills College, and first gained notice with his producing of Johanna Newsom and Banhart’s earlier albums. Like Banhart, his songs are folksy and world-weary. He created a very calming atmosphere with his set.\u003c/p>\n\u003cp>After a brief intermission six musicians slowly walked on stage. It’s always a guess as to what the band will be called. Previously they have named themselves the Hairy Fairy band, Fried Hummingbird, First Woman Millionaire, Las Putas Locas, Stoner Boner, Bathhouse Of The Winds — but now, as of September 1st, they’re known as Devendra Banhart and the Spiritual Bonerz. Along with a new name and a new album, the music itself introduces another chapter in the band’s development. Influences of country, blues, ’70s classic rock, Son Cubano, Samba and even doo-wop were present in many of the songs. The sound of the new album, \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> (SRDTM), is an evolutionary step from the previous one, \u003cb>Cripple Crow\u003c/b>.\u003c/p>\n\u003cp>Where \u003cb>Cripple Crow\u003c/b> had more catchy tunes and solo guitar work, \u003cb>SRDTM\u003c/b> has high production values and shows off the musicianship of the band. It also demonstrates their knack for understanding various genres of music and blending them seamlessly. This is the sort of album you’d enjoy while sipping a cognac in a dimly lit, smoke-filled bar after having broken up with your girlfriend.\u003c/p>\n\u003cp>When asked about the influences in the new album, Banhart replied to me via email: “The ’70s thing, although it MIGHT be VERY accurate, I tend to not feel any alliance or attempt to approximate an era that, though I wasn’t there, I do have hundreds of records to get a vibe from.”\u003c/p>\n\u003cp>Midway through the set, when Devendra announced they were going to play a new song called “Bad Girl,” I kid you not — there was a collective and audible gasp from half of the women in room. It was as if he had written a song for them, like he knew them somehow, and understood.\u003c/p>\n\u003cp>With a slide guitar motif and meloncholic vocals, the song is a dreamy, slow groove. It’s a ballad that wonders, “Why did you leave me? Well I don’t really know…” It reminded me of Beck’s neo-country sounding “The Golden Age,” with it’s looking back to what-might-have-been sentiment and guitar phrasings. It’s hard to explain the energy of the crowd, but many people called out to the group during the song pledging their love to guys in the band.\u003c/p>\n\u003cp>“Carmencita,” another track from the new album, is a song that got people dancing right away. Crowded in the front rows people swayed back and forth. All six band members played together to form a BIG sound, just the opposite of the solo guitar work that Banhart first became known for. The strong reverb on the vocals (to psychedelic effect), a thick sumptuous bass line and copious amounts of bongo drums rocked the house.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>People in the front rows got so excited they started jumping up on the stage. Soon the crowd was so big you couldn’t see the band and everyone was dancing. Yet despite all the fun, about half the songs they played were from \u003cb>Cripple Crow\u003c/b> and \u003cb>Rejoicing in the Hands\u003c/b>. We only got to hear a handful of new songs. \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> is available September 25, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all, it is hard to overstate how emotionally freaked-out girls get about Devendra Banhart. An hour before I went to his September 7, 2007 concert at the Palace of Fine Arts, I got a call from a hippie girl I had just met at the Green Tortoise youth hostel. M was just beside herself with nervous laughter, gushing at the prospect that she might get to meet a man she said she would do anything to see in person, marry, sleep with, etc. She wanted to know if she could come with me. I was about to leave anyway so I said sure…why not?\u003c/p>\n\u003cp>Her hair was freshly blow-dried, her nails painted, she wore cut off jeans with tights, and a strange necklace hung around her neck. Most importantly she had brought along her magic rock. Her magic rock, she told me (which she got in Kansas), divined that one day she would meet Devendra and that he would fall in love with her. She believed that an element of fate would bring them together and that it was a mystical thing.\u003c/p>\n\u003cp>Yet she didn’t even recognize Devendra as he approached me on the sidewalk in front of the Palace of Fine Arts. I had to get her to focus on the guy coming our way so she didn’t miss him. He and I chatted for a moment and as I went to shake his hand he reached out and gave me a big hug instead. I knew him from the Mission District and from art shows here (FYI: he’s a famous artist too). The band was about to do the sound check so I knew it wasn’t really a good time to talk. But he smiled, glanced over at M then went back inside with a group of people.\u003c/p>\n\u003cp>It took a few minutes for M to process what had just happened to her. After all, Devendra Banhart had just looked at her; they were face to face! She kept repeating “I can’t believe I just met him, I can’t believe I just met him. Oh my god, oh my god.” Her first rational thought was that she wanted to go get a bottle of whiskey somewhere to calm down. Since we arrived early, we took swigs of JD and coke on the way back to the Palace.\u003c/p>\n\u003cp>By the front doors emotions were running high. A guy standing next to us had surprised his girlfriend by taking her to the show in a cab. But he did so without telling her. She of course was upset because she had no time to get ready or to change what she was wearing. She was on the verge of tears. How could he do that to her? Just surprise her like that? She was livid, so she walked away from him and drank half a bottle of wine with some other girls outside. Meanwhile he paced nervously wondering out loud what he had done wrong. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inside the Palace the opening act began. It was Noah Georgeson, a music producer and Banhart guitarist, playing songs from his recently released solo album \u003cb>Find Shelter\u003c/b>. He sat on a chair and played his guitar to a packed house. Georgeson holds a Masters Degree in music composition from Mills College, and first gained notice with his producing of Johanna Newsom and Banhart’s earlier albums. Like Banhart, his songs are folksy and world-weary. He created a very calming atmosphere with his set.\u003c/p>\n\u003cp>After a brief intermission six musicians slowly walked on stage. It’s always a guess as to what the band will be called. Previously they have named themselves the Hairy Fairy band, Fried Hummingbird, First Woman Millionaire, Las Putas Locas, Stoner Boner, Bathhouse Of The Winds — but now, as of September 1st, they’re known as Devendra Banhart and the Spiritual Bonerz. Along with a new name and a new album, the music itself introduces another chapter in the band’s development. Influences of country, blues, ’70s classic rock, Son Cubano, Samba and even doo-wop were present in many of the songs. The sound of the new album, \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> (SRDTM), is an evolutionary step from the previous one, \u003cb>Cripple Crow\u003c/b>.\u003c/p>\n\u003cp>Where \u003cb>Cripple Crow\u003c/b> had more catchy tunes and solo guitar work, \u003cb>SRDTM\u003c/b> has high production values and shows off the musicianship of the band. It also demonstrates their knack for understanding various genres of music and blending them seamlessly. This is the sort of album you’d enjoy while sipping a cognac in a dimly lit, smoke-filled bar after having broken up with your girlfriend.\u003c/p>\n\u003cp>When asked about the influences in the new album, Banhart replied to me via email: “The ’70s thing, although it MIGHT be VERY accurate, I tend to not feel any alliance or attempt to approximate an era that, though I wasn’t there, I do have hundreds of records to get a vibe from.”\u003c/p>\n\u003cp>Midway through the set, when Devendra announced they were going to play a new song called “Bad Girl,” I kid you not — there was a collective and audible gasp from half of the women in room. It was as if he had written a song for them, like he knew them somehow, and understood.\u003c/p>\n\u003cp>With a slide guitar motif and meloncholic vocals, the song is a dreamy, slow groove. It’s a ballad that wonders, “Why did you leave me? Well I don’t really know…” It reminded me of Beck’s neo-country sounding “The Golden Age,” with it’s looking back to what-might-have-been sentiment and guitar phrasings. It’s hard to explain the energy of the crowd, but many people called out to the group during the song pledging their love to guys in the band.\u003c/p>\n\u003cp>“Carmencita,” another track from the new album, is a song that got people dancing right away. Crowded in the front rows people swayed back and forth. All six band members played together to form a BIG sound, just the opposite of the solo guitar work that Banhart first became known for. The strong reverb on the vocals (to psychedelic effect), a thick sumptuous bass line and copious amounts of bongo drums rocked the house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People in the front rows got so excited they started jumping up on the stage. Soon the crowd was so big you couldn’t see the band and everyone was dancing. Yet despite all the fun, about half the songs they played were from \u003cb>Cripple Crow\u003c/b> and \u003cb>Rejoicing in the Hands\u003c/b>. We only got to hear a handful of new songs. \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> is available September 25, 2007.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many people define themselves by what kind of music they listen to. So in a very real sense attending an enormous outdoor concert such as the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> can get them in touch with who they really are.\u003c/p>\n\u003cp>By the time I arrived on the island, a massive show with thirteen bands was already under way. My rough guess was that there were between two and three thousand people at the festival. \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=14964\" target=\"offsite\" rel=\"noopener\">Ghostland Observatory\u003c/a> was playing a song called “Sad, Sad City,” which sounded like early 80’s post punk with modulated drum beats and laser beam sound effects. The keyboardist, Thomas Ross Turner was wearing a cape (which I liked because capes are cool) while the singer, Aaron Behrens, ran around on stage like he’d just had his twelfth cup of coffee for the day.\u003c/p>\n\u003cp>Pretty much without exception everyone was there to dance. Even the too-cool-for-school kids in the VIP section were getting up out of their chairs to catch the groove. After being hassled by a white rapper that resembled \u003cb>Vanilla Ice\u003c/b>, (he insisted I give him a high-five in exchange for a copy of his free “underground” demo CD), I decided to just walk around.\u003c/p>\n\u003cp>I wandered through the crowd and marveled at the $7 beers, the $6 cheese pizza slices, the $3.00 cups of coffee and resolved to just keep chewing on the very delicious piece of gum a friend of mine had given me. Besides which, there were little, mysterious booths everywhere so I decided to check them out while the next act, \u003cb>M.I.A.\u003c/b> was setting up.\u003c/p>\n\u003cp>So many hipsters were out in the heat, moving in all directions — and the festival was so huge, I really didn’t know where to go. Then I saw a commotion near an ATM machine and several people seemed really excited by something.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like frenetic honey bees buzzing around their hive, young women were crowded around several little jewelry tables. I could see lots of handmade earrings, necklaces and various trinkets made of horn, bone, coral, mother of pearl, and other seashells. Girls were trying on rings and necklaces and the guys who were behind the tables at what I think was called \u003cb>Coconut Jewelry\u003c/b>, were quite busy answering a flurry of questions.\u003c/p>\n\u003cp>A few booths down was a tent called \u003ca href=\"http://www.madusalon.com/\" target=\"offsite\" rel=\"noopener\">Medusalon\u003c/a>. Inexplicably, about a dozen people were getting their hair cut. To me it seemed odd that they were taking time out of the concert (where tickets cost $58 for a day pass) to do their hair. Yet there was also a line of people waiting their turn. Other booths included local publisher \u003ca href=\"http://www.mcsweeneys.net/\" target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a>, 826 Valencia, Students for a Free Tibet, Pretty Fun Jewelry, \u003ca href=\"http://www.paxtongate.com/\" target=\"offsite\" rel=\"noopener\">Paxton Gate\u003c/a>, Recyclopolis, NOPAL (silk-screened t-shirts), numerous food purveyors and one large booth with a sign that said simply “Merchandise.”\u003c/p>\n\u003cp>London based \u003cb>M.I.A.\u003c/b> got on stage and was basically a woman with her D.J. backup. And like many of the bands at the festival, they would have sounded a lot better in a club. It may not matter but part of \u003cb>M.I.A.\u003c/b>‘s hype is that the singer’s father was co-founder of a Sri Lankan Tamil militant group. The so called ‘Tamil Tigers’ by the way, grimly pioneered the use of suicide bombers long before Hamas, Hezbollah or any other middle eastern groups. With this grim edge she is able to claim a sort of Avant Garde credibility among certain audiences. After all, she is the daughter of a true rebel leader.\u003c/p>\n\u003cp>Yet the music just wasn’t standing out — instead, the simple back beats and choppy, sampled French horns on one song reminded me of a poor attempt at being funky, which is bad news. As the artist Tom Sachs once said, “It don’t mean a thing if it ain’t got that swing.” Which goes for music as well as any artistic endeavor. A good example of the sort of song \u003ca href=\"http://www.myspace.com/mia\" target=\"offsite\" rel=\"noopener\">M.I.A.\u003c/a> was attempting would be “Brass Monkey” by the Beastie Boys (which really was dissonant and yes, funky). At one point during her set she beckoned the crowd to wave their hands in the air, calling for “all the ladies to come up and dance on stage.” She then climbed up the scaffolding near the speakers and sang to the choppy beats. It was quite possible it was just a bad day for her and her D.J. Yet despite my lack of enthusiasm for the music, a number of couples started making out in the crowd around me. I couldn’t tell if it was the music or some other substance, which hung in the air. But like I said, people were there to dance.\u003c/p>\n\u003cp>Across the field another band, \u003ca href=\"http://www.westindiangirl.com/\" target=\"offsite\" rel=\"noopener\">West Indian Girl\u003c/a>, was starting up. This was an indie rock group from L.A. with a kind of melodic/psychedelic guitar that hovered over the other instruments, pulling them all into some sort of wonderful vortex. Their vocal harmonies and classic rock nostalgia sound was an oasis in the festival’s first day, which showcased electronica. Where M.I.A. was trying too hard, West Indian Girl seemed to be just enjoying themselves. Great singing, two keyboardists, and a solid rhythm section aided the heavily effected guitar. Fronted by Francis Ten and Robert James the band played a great set.\u003c/p>\n\u003cp>Next up were \u003ca href=\"http://www.djshadow.com/\" target=\"offsite\" rel=\"noopener\">DJ Shadow\u003c/a> and \u003ca href=\"http://www.cutchemist.com/\" target=\"offsite\" rel=\"noopener\">Cut Chemist\u003c/a>. Their concept revolved around the fact that they were only going to play 45rpm records, which sounded good but probably limited their creativity. They began by laying down some generic house beats and then just made them louder. At one point “Eye of the Tiger” was put on over some beats and it was just kind of silly. Their mixes seemed more like an academic exercise and so while it was artistically interesting, it went on a little bit too long. One highlight of the hour-long set was when a large projection behind them showed an animated jukebox that used laser beams to blow up ipods.\u003c/p>\n\u003cp>I was especially interested in the group that came on next — \u003ca href=\"http://www.gotanproject.com/\" target=\"offsite\" rel=\"noopener\">The Gotan Project\u003c/a>. They stood out partly because they are based in Paris, and partly because they blend complex electronica with traditional Tango music. Gotan is an anagram of Tango. It’s a kind of music that favors a passionate embrace between the dancers as they move. For that reason the Tango is considered one of the most romantic kinds of dancing one can do.\u003c/p>\n\u003cp>The musicians came out in their nice white suits while the DJ and drum machines were set up behind them. Their songs were great to dance to but also just as great if you wanted to kick back and hear great artists do their thing. They were easily the best band I heard at the show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it got dark \u003ca href=\"http://www.thieverycorporation.com/\" target=\"offsite\" rel=\"noopener\">Thievery Corporation\u003c/a> played to a crowd that had grown to at least five thousand people. They played an eclectic group of songs and had everyone dancing even though it was getting cold. As they played their hit “The Richest man in Babylon” people started leaving the festival. The reggae was great exit music. It had been a long day.\u003c/p>\n\n",
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"excerpt": "Many people define themselves by what kind of music they listen to. So in a very real sense attending an enormous outdoor concert such as the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> can get them in touch with who they really are.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many people define themselves by what kind of music they listen to. So in a very real sense attending an enormous outdoor concert such as the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> can get them in touch with who they really are.\u003c/p>\n\u003cp>By the time I arrived on the island, a massive show with thirteen bands was already under way. My rough guess was that there were between two and three thousand people at the festival. \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=14964\" target=\"offsite\" rel=\"noopener\">Ghostland Observatory\u003c/a> was playing a song called “Sad, Sad City,” which sounded like early 80’s post punk with modulated drum beats and laser beam sound effects. The keyboardist, Thomas Ross Turner was wearing a cape (which I liked because capes are cool) while the singer, Aaron Behrens, ran around on stage like he’d just had his twelfth cup of coffee for the day.\u003c/p>\n\u003cp>Pretty much without exception everyone was there to dance. Even the too-cool-for-school kids in the VIP section were getting up out of their chairs to catch the groove. After being hassled by a white rapper that resembled \u003cb>Vanilla Ice\u003c/b>, (he insisted I give him a high-five in exchange for a copy of his free “underground” demo CD), I decided to just walk around.\u003c/p>\n\u003cp>I wandered through the crowd and marveled at the $7 beers, the $6 cheese pizza slices, the $3.00 cups of coffee and resolved to just keep chewing on the very delicious piece of gum a friend of mine had given me. Besides which, there were little, mysterious booths everywhere so I decided to check them out while the next act, \u003cb>M.I.A.\u003c/b> was setting up.\u003c/p>\n\u003cp>So many hipsters were out in the heat, moving in all directions — and the festival was so huge, I really didn’t know where to go. Then I saw a commotion near an ATM machine and several people seemed really excited by something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like frenetic honey bees buzzing around their hive, young women were crowded around several little jewelry tables. I could see lots of handmade earrings, necklaces and various trinkets made of horn, bone, coral, mother of pearl, and other seashells. Girls were trying on rings and necklaces and the guys who were behind the tables at what I think was called \u003cb>Coconut Jewelry\u003c/b>, were quite busy answering a flurry of questions.\u003c/p>\n\u003cp>A few booths down was a tent called \u003ca href=\"http://www.madusalon.com/\" target=\"offsite\" rel=\"noopener\">Medusalon\u003c/a>. Inexplicably, about a dozen people were getting their hair cut. To me it seemed odd that they were taking time out of the concert (where tickets cost $58 for a day pass) to do their hair. Yet there was also a line of people waiting their turn. Other booths included local publisher \u003ca href=\"http://www.mcsweeneys.net/\" target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a>, 826 Valencia, Students for a Free Tibet, Pretty Fun Jewelry, \u003ca href=\"http://www.paxtongate.com/\" target=\"offsite\" rel=\"noopener\">Paxton Gate\u003c/a>, Recyclopolis, NOPAL (silk-screened t-shirts), numerous food purveyors and one large booth with a sign that said simply “Merchandise.”\u003c/p>\n\u003cp>London based \u003cb>M.I.A.\u003c/b> got on stage and was basically a woman with her D.J. backup. And like many of the bands at the festival, they would have sounded a lot better in a club. It may not matter but part of \u003cb>M.I.A.\u003c/b>‘s hype is that the singer’s father was co-founder of a Sri Lankan Tamil militant group. The so called ‘Tamil Tigers’ by the way, grimly pioneered the use of suicide bombers long before Hamas, Hezbollah or any other middle eastern groups. With this grim edge she is able to claim a sort of Avant Garde credibility among certain audiences. After all, she is the daughter of a true rebel leader.\u003c/p>\n\u003cp>Yet the music just wasn’t standing out — instead, the simple back beats and choppy, sampled French horns on one song reminded me of a poor attempt at being funky, which is bad news. As the artist Tom Sachs once said, “It don’t mean a thing if it ain’t got that swing.” Which goes for music as well as any artistic endeavor. A good example of the sort of song \u003ca href=\"http://www.myspace.com/mia\" target=\"offsite\" rel=\"noopener\">M.I.A.\u003c/a> was attempting would be “Brass Monkey” by the Beastie Boys (which really was dissonant and yes, funky). At one point during her set she beckoned the crowd to wave their hands in the air, calling for “all the ladies to come up and dance on stage.” She then climbed up the scaffolding near the speakers and sang to the choppy beats. It was quite possible it was just a bad day for her and her D.J. Yet despite my lack of enthusiasm for the music, a number of couples started making out in the crowd around me. I couldn’t tell if it was the music or some other substance, which hung in the air. But like I said, people were there to dance.\u003c/p>\n\u003cp>Across the field another band, \u003ca href=\"http://www.westindiangirl.com/\" target=\"offsite\" rel=\"noopener\">West Indian Girl\u003c/a>, was starting up. This was an indie rock group from L.A. with a kind of melodic/psychedelic guitar that hovered over the other instruments, pulling them all into some sort of wonderful vortex. Their vocal harmonies and classic rock nostalgia sound was an oasis in the festival’s first day, which showcased electronica. Where M.I.A. was trying too hard, West Indian Girl seemed to be just enjoying themselves. Great singing, two keyboardists, and a solid rhythm section aided the heavily effected guitar. Fronted by Francis Ten and Robert James the band played a great set.\u003c/p>\n\u003cp>Next up were \u003ca href=\"http://www.djshadow.com/\" target=\"offsite\" rel=\"noopener\">DJ Shadow\u003c/a> and \u003ca href=\"http://www.cutchemist.com/\" target=\"offsite\" rel=\"noopener\">Cut Chemist\u003c/a>. Their concept revolved around the fact that they were only going to play 45rpm records, which sounded good but probably limited their creativity. They began by laying down some generic house beats and then just made them louder. At one point “Eye of the Tiger” was put on over some beats and it was just kind of silly. Their mixes seemed more like an academic exercise and so while it was artistically interesting, it went on a little bit too long. One highlight of the hour-long set was when a large projection behind them showed an animated jukebox that used laser beams to blow up ipods.\u003c/p>\n\u003cp>I was especially interested in the group that came on next — \u003ca href=\"http://www.gotanproject.com/\" target=\"offsite\" rel=\"noopener\">The Gotan Project\u003c/a>. They stood out partly because they are based in Paris, and partly because they blend complex electronica with traditional Tango music. Gotan is an anagram of Tango. It’s a kind of music that favors a passionate embrace between the dancers as they move. For that reason the Tango is considered one of the most romantic kinds of dancing one can do.\u003c/p>\n\u003cp>The musicians came out in their nice white suits while the DJ and drum machines were set up behind them. Their songs were great to dance to but also just as great if you wanted to kick back and hear great artists do their thing. They were easily the best band I heard at the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it got dark \u003ca href=\"http://www.thieverycorporation.com/\" target=\"offsite\" rel=\"noopener\">Thievery Corporation\u003c/a> played to a crowd that had grown to at least five thousand people. They played an eclectic group of songs and had everyone dancing even though it was getting cold. As they played their hit “The Richest man in Babylon” people started leaving the festival. The reggae was great exit music. It had been a long day.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Treasure Island Music Festival -- Day Two",
"headTitle": "Treasure Island Music Festival — Day Two | KQED",
"content": "\u003cp>The large, white VIP tent next to the Bridge Stage shaded those who paid a premium to get into the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> this weekend, but who couldn’t have felt like a very important person on the ride over from the AT&T Park parking lot in the spacious, luxurious Bauer limo buses. I’m not sure how much this cost the festival organizers, but what a brilliant way to get fans in a good mood for the music.\u003c/p>\n\u003cp>My photographer and I sat at a table at the front of the bus and enjoyed lunch purchased just minutes before from the Happy Donuts by the ballpark. The plush seats and fancy music system on the limo bus was rivaled only by the views of the city as we drove along the shore of Yerba Buena and then through the old military base at Treasure Island.\u003c/p>\n\u003cp>Once at the gates of the festival itself, people stepping off the shuttles found no lines — at least earlier in the afternoon — and were handed a guide that featured an easy-to-decipher schedule and a useful map of the facilities.\u003c/p>\n\u003cp>From all indications, the festival was very well planned and went off very nicely. A few sound problems aside, Sunday afternoon and evening were graced by the sun, a nice breeze, some incredible views of Alcatraz and the City, and some great sets from Trainwreck Riders, Sea Wolf, \u003ca href=\"http://www.kqed.org/arts/people/profile.jsp?id=10301\">M. Ward\u003c/a> and Built to Spill.\u003c/p>\n\u003cp>Local folk-rock duo Two Gallants pleased the afternoon crowd with material largely drawn from their second album, \u003cb>What the Toll Tells\u003c/b>, including “Las Cruces Jail,” “Long Summer Day” and “Steady Rollin’.” Though the drums sounded bass-heavy and muffled and the show didn’t have the intensity it has in a smaller, indoor venue, it was still quite satisfying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>M Ward’s raspy folk went down very well in the festival setting as he brought along a full band, complete with two drummers. He played soulful and stirring versions of “To Go Home,” “Magic Trick,” “Poison Cup” and “Chinese Translation,” all from his latest album \u003cb>Post-War\u003c/b>, as well as some material from previous albums like “Four Hours in Washington.”\u003c/p>\n\u003cp>Los Angeles’ Sea Wolf turned in the surprise set of the day, taking the stage with a cellist and what sounded like an accordion and cranking out an intriguing set that skipped confidently from gypsy to folk to indie pop.\u003c/p>\n\u003cp>Overall, the festival was surprisingly free of hitches, given that it is in its first year. I have created a festival report card, really only to honor the upstart festival, because I was so encouraged by some of the organizational flourishes that \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> and \u003ca href=\"http://www.anotherplanetent.com/\" target=\"offsite\" rel=\"noopener\">Another Planet\u003c/a> pulled off. So here it is:\u003c/p>\n\u003cp>\u003cb>Location: A-\u003c/b>. Heading back over to the Bay Bridge, festivalgoers asked themselves, “Why am I not always out on Treasure Island?” The views of the Bay Bridge, the Eastern span construction and the city are nothing short of spectacular. Some of this was obscured by the tents, fences and stages that, well, made the festival possible, but the setting was inspiring nonetheless.\u003c/p>\n\u003cp>\u003cb>Music: B\u003c/b>. The lineup for the two-day festival was impressive for the caliber of acts and sheer number of quality bands, but could have used a jolt of energy from some up-and-comers and bands that perhaps haven’t played the Bay Area dozens of times. On Sunday, some acts turned in surprising and memorable sets, particularly Sea Wolf and Trainwreck Riders on the smaller stage and Built to Spill and M. Ward on the larger one. Others struggled with sound problems, sickness and a lack of energy, but overall fans had little about which to complain.\u003c/p>\n\u003cp>\u003cb>Transportation: A+\u003c/b>. This was maybe the most memorable aspect of the festival. The previous week was full of whispers about the parking situation and the shuttles, as well as concerns that there would be gridlock and lines. Who could have imagined how easy, comfortable and breathtaking the ride to the festival would be? We even got to listen to some classic Offspring on the limo bus sound system! And if that wasn’t enough, you could boat over and take a dinghy in to the marina. Now that’s rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cb>Organization: B\u003c/b>. Bands went on like clockwork. You could set your watch by the schedule. The alternating stages limited the number of bands, and may have prevented some of those up-and-comers from making the lineup, but it gave everyone a chance to see every band and there was none of that stage-to-stage interference you might get at Coachella or when there are shows at both Café du Nord and the Swedish-American Hall. That said, the VIP tent and grandstand didn’t seem to have much to offer. The only exit, at least at mid-afternoon, was through a break in the fence by the entrance. I’m not sure what the larger patrons had to do to squeeze through there.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Timing: B+\u003c/b>. What? It’s a sunny and beautiful weekend in early September, one of the nicest weather months in the Bay Area, and there’s no big music festival? There is now. Sure \u003ca href=\"http://www.strictlybluegrass.com/\" target=\"offsite\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is only weeks away, but this did seem like a welcome and much-needed festival for both the time of year and its proximity to the city. No driving or BARTing to Shoreline Ampitheatre for your indie rock or hip-hop.\u003c/p>\n\u003cp>\u003cb>Food: C\u003c/b>. Did I fall asleep in the limo bus for nine months and end up at the Marin County Fair? There was a wide selection of food booths, but it was the usual fairgrounds overpriced fare like kebabs, knishes and gyros. I thought I smelled funnel cake too at one point. Oh, and the Heinekens (or Heineken Lights) were a pricey $7. But the ice cream truck that greeted departing music fans at the end of the night was a big hit.\u003c/p>\n\u003cp>\u003cb>Facilities: B+\u003c/b>. There were plenty of errr… portable toilets situated in a few different locations around the festival. A good amount of seating in front of the stages, though it did get crowded toward the end of the day. Heck, there were even some small trees to the left of the main stage for shade and branch seating.\u003c/p>\n\u003cp>\u003cb>Diversions: C-\u003c/b>. The Ferris Wheel seemed a great way to enjoy the view and look down on the festival crowd. But you had to choose between that and a beer unless you had deep pockets. Seriously, $5 for a carnival-sized rollercoaster? Some festivalgoers browsed through the shopping area, which featured several local clothing stores, pirate shops and… I don’t know how you describe Paxton Gate. A few even made it over to the tents promoting recycling and environmental causes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Overall: B\u003c/b>. A great showing for the first-time festival. We hear a second is in the works for next year. Bring back the limo busses!\u003c/p>\n\n",
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"excerpt": "The large, white VIP tent next to the Bridge Stage shaded those who paid a premium to get into the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> this weekend, but who couldn't have felt like a very important person on the ride over from the AT&T Park parking lot in the spacious, luxurious Bauer limo buses. I'm not sure how much this cost the festival organizers, but what a brilliant way to get fans in a good mood for the music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The large, white VIP tent next to the Bridge Stage shaded those who paid a premium to get into the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> this weekend, but who couldn’t have felt like a very important person on the ride over from the AT&T Park parking lot in the spacious, luxurious Bauer limo buses. I’m not sure how much this cost the festival organizers, but what a brilliant way to get fans in a good mood for the music.\u003c/p>\n\u003cp>My photographer and I sat at a table at the front of the bus and enjoyed lunch purchased just minutes before from the Happy Donuts by the ballpark. The plush seats and fancy music system on the limo bus was rivaled only by the views of the city as we drove along the shore of Yerba Buena and then through the old military base at Treasure Island.\u003c/p>\n\u003cp>Once at the gates of the festival itself, people stepping off the shuttles found no lines — at least earlier in the afternoon — and were handed a guide that featured an easy-to-decipher schedule and a useful map of the facilities.\u003c/p>\n\u003cp>From all indications, the festival was very well planned and went off very nicely. A few sound problems aside, Sunday afternoon and evening were graced by the sun, a nice breeze, some incredible views of Alcatraz and the City, and some great sets from Trainwreck Riders, Sea Wolf, \u003ca href=\"http://www.kqed.org/arts/people/profile.jsp?id=10301\">M. Ward\u003c/a> and Built to Spill.\u003c/p>\n\u003cp>Local folk-rock duo Two Gallants pleased the afternoon crowd with material largely drawn from their second album, \u003cb>What the Toll Tells\u003c/b>, including “Las Cruces Jail,” “Long Summer Day” and “Steady Rollin’.” Though the drums sounded bass-heavy and muffled and the show didn’t have the intensity it has in a smaller, indoor venue, it was still quite satisfying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>M Ward’s raspy folk went down very well in the festival setting as he brought along a full band, complete with two drummers. He played soulful and stirring versions of “To Go Home,” “Magic Trick,” “Poison Cup” and “Chinese Translation,” all from his latest album \u003cb>Post-War\u003c/b>, as well as some material from previous albums like “Four Hours in Washington.”\u003c/p>\n\u003cp>Los Angeles’ Sea Wolf turned in the surprise set of the day, taking the stage with a cellist and what sounded like an accordion and cranking out an intriguing set that skipped confidently from gypsy to folk to indie pop.\u003c/p>\n\u003cp>Overall, the festival was surprisingly free of hitches, given that it is in its first year. I have created a festival report card, really only to honor the upstart festival, because I was so encouraged by some of the organizational flourishes that \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> and \u003ca href=\"http://www.anotherplanetent.com/\" target=\"offsite\" rel=\"noopener\">Another Planet\u003c/a> pulled off. So here it is:\u003c/p>\n\u003cp>\u003cb>Location: A-\u003c/b>. Heading back over to the Bay Bridge, festivalgoers asked themselves, “Why am I not always out on Treasure Island?” The views of the Bay Bridge, the Eastern span construction and the city are nothing short of spectacular. Some of this was obscured by the tents, fences and stages that, well, made the festival possible, but the setting was inspiring nonetheless.\u003c/p>\n\u003cp>\u003cb>Music: B\u003c/b>. The lineup for the two-day festival was impressive for the caliber of acts and sheer number of quality bands, but could have used a jolt of energy from some up-and-comers and bands that perhaps haven’t played the Bay Area dozens of times. On Sunday, some acts turned in surprising and memorable sets, particularly Sea Wolf and Trainwreck Riders on the smaller stage and Built to Spill and M. Ward on the larger one. Others struggled with sound problems, sickness and a lack of energy, but overall fans had little about which to complain.\u003c/p>\n\u003cp>\u003cb>Transportation: A+\u003c/b>. This was maybe the most memorable aspect of the festival. The previous week was full of whispers about the parking situation and the shuttles, as well as concerns that there would be gridlock and lines. Who could have imagined how easy, comfortable and breathtaking the ride to the festival would be? We even got to listen to some classic Offspring on the limo bus sound system! And if that wasn’t enough, you could boat over and take a dinghy in to the marina. Now that’s rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cb>Organization: B\u003c/b>. Bands went on like clockwork. You could set your watch by the schedule. The alternating stages limited the number of bands, and may have prevented some of those up-and-comers from making the lineup, but it gave everyone a chance to see every band and there was none of that stage-to-stage interference you might get at Coachella or when there are shows at both Café du Nord and the Swedish-American Hall. That said, the VIP tent and grandstand didn’t seem to have much to offer. The only exit, at least at mid-afternoon, was through a break in the fence by the entrance. I’m not sure what the larger patrons had to do to squeeze through there.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Timing: B+\u003c/b>. What? It’s a sunny and beautiful weekend in early September, one of the nicest weather months in the Bay Area, and there’s no big music festival? There is now. Sure \u003ca href=\"http://www.strictlybluegrass.com/\" target=\"offsite\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is only weeks away, but this did seem like a welcome and much-needed festival for both the time of year and its proximity to the city. No driving or BARTing to Shoreline Ampitheatre for your indie rock or hip-hop.\u003c/p>\n\u003cp>\u003cb>Food: C\u003c/b>. Did I fall asleep in the limo bus for nine months and end up at the Marin County Fair? There was a wide selection of food booths, but it was the usual fairgrounds overpriced fare like kebabs, knishes and gyros. I thought I smelled funnel cake too at one point. Oh, and the Heinekens (or Heineken Lights) were a pricey $7. But the ice cream truck that greeted departing music fans at the end of the night was a big hit.\u003c/p>\n\u003cp>\u003cb>Facilities: B+\u003c/b>. There were plenty of errr… portable toilets situated in a few different locations around the festival. A good amount of seating in front of the stages, though it did get crowded toward the end of the day. Heck, there were even some small trees to the left of the main stage for shade and branch seating.\u003c/p>\n\u003cp>\u003cb>Diversions: C-\u003c/b>. The Ferris Wheel seemed a great way to enjoy the view and look down on the festival crowd. But you had to choose between that and a beer unless you had deep pockets. Seriously, $5 for a carnival-sized rollercoaster? Some festivalgoers browsed through the shopping area, which featured several local clothing stores, pirate shops and… I don’t know how you describe Paxton Gate. A few even made it over to the tents promoting recycling and environmental causes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Overall: B\u003c/b>. A great showing for the first-time festival. We hear a second is in the works for next year. Bring back the limo busses!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you first hear the music of \u003ca href=\"http://www.batforlashes.co.uk/\" target=\"offsite\" rel=\"noopener\">Bat For Lashes\u003c/a>, you may think you’ve heard it before … somewhere. There’s something uncanny about many of the songs, with their soaring vocals and pensive melodies — they sound familiar, perhaps from childhood, perhaps from even earlier. Going far beyond simple nostalgia, Bat For Lashes’ debut album \u003cb>Fur and Gold\u003c/b> plunges us into a dreamscape filled with elements of our own subconscious. \u003c/p>\n\u003cp>“Horse and I” opens \u003cb>Fur and Gold\u003c/b> in fine form, with an urgent harpsichord line anchoring martial drums and staccato strings — the perfect accompaniment to a vision of Joan of Arc. Throughout the album, many of the lyrics reflect an obsession with the stuff of myth and legend, with songs about arcane objects like a trophy of fur and gold, wizards and court jesters. And the music matches, with echoey production and medieval touches like harpsichord, harp and timpani adding to the atmosphere greatly. But the flourishes of the archaic are added delicately and never overwhelm the simple and straightforward songwriting. Similarly, the lyrics may tempt you to envision a fantastical landscape of talking beasts and magical forests, but it remains a dimly lit backdrop for the very modern emotions at center stage. The visual treatment similarly mixes old and new, whimsy and darkness as in the video for \u003ca href=\"http://www.youtube.com/watch?v=n1wnOUH2jk8\" target=\"offsite\" rel=\"noopener\">“What’s a Girl to Do”\u003c/a> with its BMX biking anthropomorphized woodland creatures.\u003c/p>\n\u003cp>Bat For Lashes is the solo project of Natasha Khan, an art schooled Brighton resident who is remarkably consistent in her love for sequined headbands and facepaint, on and off the stage. With an all-girl backing band, songs about girls (\u003ca href=\"http://www.youtube.com/watch?v=NtRCzmvvdDU\" target=\"offsite\" rel=\"noopener\">“Prescilla,”\u003c/a> “Sarah”) and loads of feminine imagery, Khan has invited comparisons to other strong female artists, like Bjork, Kate Bush, Cat Power. I would add Mary Timony and Broadcast to that list. The comparisons are warranted, but luckily, the music is in no way derivative, and Khan has also mentioned her time in San Francisco and exposure to the Beats as formative. Perhaps most prominent among her influences are British literary fantasists like J.R.R. Tolkien, C. S. Lewis, Frances Hodgson Burnett, even Enid Blyton’s fantasy stories like \u003cb>The Enchanted Wood\u003c/b>.\u003c/p>\n\u003cp>Bat For Lashes has been scoring acclaim of the dizzying kind most artists can only dream of (Bjork and Thom Yorke have professed fandom, as has Devendra Banhardt). And \u003cb>Fur and Gold\u003c/b> was up for the Mercury Prize this week, putting Khan in excellent company with fellow nominees Amy Winehouse, the Klaxons, who \u003ca href=\"http://news.bbc.co.uk/2/hi/entertainment/6977433.stm\" target=\"offsite\" rel=\"noopener\">won the prize on Tuesday\u003c/a>, and another of my favorites, Maps, who have put out a gorgeously shoegazey delight of an album in \u003ca href=\"http://www.amazon.com/We-Can-Create-Maps/dp/B000PKG7MU\" target=\"offsite\" rel=\"noopener\">We Can Create\u003c/a>. Recorded as part of the run up to the prize giving, you can hear \u003ca href=\"http://www.youtube.com/watch?v=VgYWUeZWgKU\" target=\"offsite\" rel=\"noopener\">a lovely update\u003c/a> of “Higher Than The Sun” from Primal Scream’s Mercury Prize winning album \u003cb>Screamadelica\u003c/b> that features Bat For Lashes along with Maps and another nominee.\u003c/p>\n\u003cp>But even better, Bat For Lashes will be in town next month, playing at Slim’s on October 11th. Don’t miss your chance to hear Bat For Lashes in person. \u003ca href=\"http://www.slimstickets.com/evinfo.php?eventid=18480&sid=\" target=\"offsite\" rel=\"noopener\">Ticket information\u003c/a> (at slimstickets.com).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Listening to \u003cb>Marry Me\u003c/b>, the excellent debut album by \u003ca href=\"http://www.ilovestvincent.com/\" target=\"offsite\" rel=\"noopener\">St. Vincent\u003c/a>, a thought suddenly struck me: it must be very tiring to be \u003ca href=\"http://www.bjork.com\" target=\"offsite\" rel=\"noopener\">Björk\u003c/a>.\u003c/p>\n\u003cp>This isn’t to say that St. Vincent, the recording name of American singer, songwriter and multi-instrumentalist Annie Clark, sounds anything like Björk. In fact, she doesn’t at all. Not one bit. Yet, and this is the crucial point, almost everything I read about her somehow shoehorns in a mention of the elfin Icelander (you can \u003ca href=\"http://www.google.com/search?hl=en&q=%22st+vincent%22+bjork&btnG=Google+Search\" target=\"offsite\" rel=\"noopener\">Google their names together\u003c/a> to see for yourself).\u003c/p>\n\u003cp>Why? Because St. Vincent has committed the twin crimes of making music that deviates from standard-issue mid-range pop, and being female. And, as anyone who has taken Music Math 101 will know, “weird” plus “woman” almost always equals “Björk.” (This is after extensive research revealed the previous answer of “Kate Bush” to be outdated, which is ironic as, in this case at least, the earlier comparison is probably closer to the mark.) \u003c/p>\n\u003cp>This formula holds true for just about every female singer/songwriter hanging around on the fun side of the fence right now. I have been enjoying a rich seam of music by women recently, from the mild, relatively mainstream kookiness of Feist, through the progressively more out-there recent recordings of Regina Spektor, all the way to the genuinely awesome French loopiness of Camille Dalmais. They all share two things: an admirable streak of fearless individualism and a tendency to be mentioned in the same sentence as a certain recording artiste from Reykjavik.\u003c/p>\n\u003cp>The “B” word has become a lazy shorthand for describing any female musician who dares to deviate from the norm, which is a shame. In reality, the only thing the singular musicians mentioned have in common — Björk included — is a creativity that conversely makes them sound different from anyone else and each other. Their music defies easy comparisons, which is probably why they all get lumped together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, I’m aware that this blog is committing exactly the same sin. However, I’m willing to take one for the team in the fight for the greater good. Starting by encouraging you to go out and buy St. Vincent’s album \u003cb>Marry Me\u003c/b>, to discover its unique charms for yourself.\u003c/p>\n\u003cp>This relatively short, 11-track album, contains more bewitching and delightful twists and turns than most musicians manage in their whole career. I lost track of the amount of things it reminded me of: the drama of Portishead or James Bond theme music, the theatrical flourishes of Rufus Wainright or Antony and the Johnsons, the beguiling artiness of Talk Talk or Charlotte Gainsbourg, even the contrasting vocal stylings of both Ella Fitzergald and Billie Holiday (remarkably in the space of one song, album closer “What Me Worry?”). I could go on, except you will probably hear a completely different list than mine. Suffice it to say that every influence I heard, whether real or imagined, I also liked.\u003c/p>\n\u003cp>Put it all together and you get St. Vincent, who is that rare thing: a genuinely new voice in a world that sounds increasingly homogenic. And, no, I don’t mean the Björk album…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Marry Me\u003c/b> is out now on Beggars Banquet. St. Vincent will be appearing with The National at The Grand Ballroom on September 29, 2007. \u003ca href=\"http://www.apeconcerts.com/concertInfo.cfm\">Visit Another Planet\u003c/a> for ticket information.\u003c/p>\n\n",
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"excerpt": "Listening to \u003cb>Marry Me\u003c/b>, the excellent debut album by \u003ca href=\"http://www.ilovestvincent.com/\" target=\"offsite\" rel=\"noopener\">St. Vincent\u003c/a>, a thought suddenly struck me: it must be very tiring to be \u003ca href=\"http://www.bjork.com\" target=\"offsite\" rel=\"noopener\">Björk\u003c/a>.\u003cp>This isn't to say that St. Vincent, the recording name of American singer, songwriter and multi-instrumentalist Annie Clark, sounds anything like Björk. In fact, she doesn't at all. Not one bit. Yet, and this is the crucial point, almost everything I read about her somehow shoehorns in a mention of the elfin Icelander (you can \u003ca href=\"http://www.google.com/search?hl=en&q=%22st+vincent%22+bjork&btnG=Google+Search\" target=\"offsite\" rel=\"noopener\">Google their names together\u003c/a> to see for yourself).\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Listening to \u003cb>Marry Me\u003c/b>, the excellent debut album by \u003ca href=\"http://www.ilovestvincent.com/\" target=\"offsite\" rel=\"noopener\">St. Vincent\u003c/a>, a thought suddenly struck me: it must be very tiring to be \u003ca href=\"http://www.bjork.com\" target=\"offsite\" rel=\"noopener\">Björk\u003c/a>.\u003c/p>\n\u003cp>This isn’t to say that St. Vincent, the recording name of American singer, songwriter and multi-instrumentalist Annie Clark, sounds anything like Björk. In fact, she doesn’t at all. Not one bit. Yet, and this is the crucial point, almost everything I read about her somehow shoehorns in a mention of the elfin Icelander (you can \u003ca href=\"http://www.google.com/search?hl=en&q=%22st+vincent%22+bjork&btnG=Google+Search\" target=\"offsite\" rel=\"noopener\">Google their names together\u003c/a> to see for yourself).\u003c/p>\n\u003cp>Why? Because St. Vincent has committed the twin crimes of making music that deviates from standard-issue mid-range pop, and being female. And, as anyone who has taken Music Math 101 will know, “weird” plus “woman” almost always equals “Björk.” (This is after extensive research revealed the previous answer of “Kate Bush” to be outdated, which is ironic as, in this case at least, the earlier comparison is probably closer to the mark.) \u003c/p>\n\u003cp>This formula holds true for just about every female singer/songwriter hanging around on the fun side of the fence right now. I have been enjoying a rich seam of music by women recently, from the mild, relatively mainstream kookiness of Feist, through the progressively more out-there recent recordings of Regina Spektor, all the way to the genuinely awesome French loopiness of Camille Dalmais. They all share two things: an admirable streak of fearless individualism and a tendency to be mentioned in the same sentence as a certain recording artiste from Reykjavik.\u003c/p>\n\u003cp>The “B” word has become a lazy shorthand for describing any female musician who dares to deviate from the norm, which is a shame. In reality, the only thing the singular musicians mentioned have in common — Björk included — is a creativity that conversely makes them sound different from anyone else and each other. Their music defies easy comparisons, which is probably why they all get lumped together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, I’m aware that this blog is committing exactly the same sin. However, I’m willing to take one for the team in the fight for the greater good. Starting by encouraging you to go out and buy St. Vincent’s album \u003cb>Marry Me\u003c/b>, to discover its unique charms for yourself.\u003c/p>\n\u003cp>This relatively short, 11-track album, contains more bewitching and delightful twists and turns than most musicians manage in their whole career. I lost track of the amount of things it reminded me of: the drama of Portishead or James Bond theme music, the theatrical flourishes of Rufus Wainright or Antony and the Johnsons, the beguiling artiness of Talk Talk or Charlotte Gainsbourg, even the contrasting vocal stylings of both Ella Fitzergald and Billie Holiday (remarkably in the space of one song, album closer “What Me Worry?”). I could go on, except you will probably hear a completely different list than mine. Suffice it to say that every influence I heard, whether real or imagined, I also liked.\u003c/p>\n\u003cp>Put it all together and you get St. Vincent, who is that rare thing: a genuinely new voice in a world that sounds increasingly homogenic. And, no, I don’t mean the Björk album…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Marry Me\u003c/b> is out now on Beggars Banquet. St. Vincent will be appearing with The National at The Grand Ballroom on September 29, 2007. \u003ca href=\"http://www.apeconcerts.com/concertInfo.cfm\">Visit Another Planet\u003c/a> for ticket information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Monday afternoon’s gala (September 3, 2007) for the Bridgeway Music Foundation held at Sausalito’s \u003ca href=\"http://www.plantstudios.com/\" target=\"offsite\" rel=\"noopener\">Plant Studios\u003c/a>, offered an exceedingly rare opportunity to prowl the modest-looking wooden building complex at 220 Bridgeway where dozens of platinum and gold records have been recorded.\u003c/p>\n\u003cp>The Foundation’s mission is to use the facilities at The Plant to reinvigorate the San Francisco music scene. Though the bayside studio has not often opened its intricately carved doors to the public during its 35-year history, once inside, it felt like The Plant’s three recording rooms have been a neighborhood hang from day one. Guests strolled in and out of the control room of Studio B, where Huey Lewis’ \u003cb>Sports\u003c/b>, Journey’s \u003cb>Raised on Radio\u003c/b> and Prince’s \u003cb>Graffiti Bridge\u003c/b> were recorded. Others plunked down beside a particularly rapt John Prine on the Garden Studio’s couch to watch a documentary about the making of Fleetwood Mac’s \u003cb>Rumours\u003c/b>, which was also laid down in Studio B. And as is customary at most parties, the biggest throngs gathered around the open bar and gourmet finger-food spread, featuring shrimp, crab cakes, cheeses, dips and veggie salads prepared by Bay Café’s Joey Altman.\u003c/p>\n\u003cp>The atmosphere in The Plant was as welcoming as can be. The warm, decorative wood walls — one even adorned with a depiction of a piano player and his music crafted from a mirror and colorful plush fabric — gave way to oddly shaped wooden hallways and the occasional kitchen or lounge. The Plant is surprisingly spacious, but has a cozy feel, surely part of the reason why so many great artists felt at home here. I was told at one point that I was standing in Sly Stone’s bedroom, a spacey-looking room off the Garden Studio, also known as Studio C.\u003c/p>\n\u003cp>A happy throng of people also seemed to feel right at home sitting in the sun on the garden patio outside Studio C, sipping drinks and catching up. Many of them looked as if they may well have attended the opening of the studio almost 35 years earlier.\u003c/p>\n\u003cp>The event was definitely on rock ‘n’ roll time. No one seemed to know when or where anything was happening, and just about everything went off about an hour behind schedule, but no one seemed to notice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The one part of event that did go off on schedule was the opening photography exhibit and signing in Studio A, where Heart, The Dave Matthews Band, Metallica and Mariah Carey made albums. On Monday, the walls were graced with former \u003ci>Rolling Stone\u003c/i> shutterbug Robert Altman’s iconic rock photography covering subjects like Tina Turner, Keith Richards and Iggy Pop. Altman was on hand, signing books and shooting the breeze with fans and friends.\u003c/p>\n\u003cp>Later in the evening, the schedule abruptly resumed with seven or eight minutes of very entertaining footage from an upcoming documentary on Plant owner Michael Indelicato and his vintage guitar business. After that, a listening for a few of the songs that appear in the documentary, covers performed by Journey’s Neil Schon, Clarence Clemons, Sammy Hagar, Bob Weir, Jerry Harrison and Ratdog guitarist Mark Karan — the latter two there to talk about their contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But perhaps the most enlightening part of the evening was a trip to the bathroom, notable for its tall wooden door with an extremely high knob, which also features an image of Frank Zappa that has been written on by many of the famous and less-than-famous names who have come through this commode on their way to creating an album. That alone was worth the price of admission.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Monday afternoon’s gala (September 3, 2007) for the Bridgeway Music Foundation held at Sausalito’s \u003ca href=\"http://www.plantstudios.com/\" target=\"offsite\" rel=\"noopener\">Plant Studios\u003c/a>, offered an exceedingly rare opportunity to prowl the modest-looking wooden building complex at 220 Bridgeway where dozens of platinum and gold records have been recorded.\u003c/p>\n\u003cp>The Foundation’s mission is to use the facilities at The Plant to reinvigorate the San Francisco music scene. Though the bayside studio has not often opened its intricately carved doors to the public during its 35-year history, once inside, it felt like The Plant’s three recording rooms have been a neighborhood hang from day one. Guests strolled in and out of the control room of Studio B, where Huey Lewis’ \u003cb>Sports\u003c/b>, Journey’s \u003cb>Raised on Radio\u003c/b> and Prince’s \u003cb>Graffiti Bridge\u003c/b> were recorded. Others plunked down beside a particularly rapt John Prine on the Garden Studio’s couch to watch a documentary about the making of Fleetwood Mac’s \u003cb>Rumours\u003c/b>, which was also laid down in Studio B. And as is customary at most parties, the biggest throngs gathered around the open bar and gourmet finger-food spread, featuring shrimp, crab cakes, cheeses, dips and veggie salads prepared by Bay Café’s Joey Altman.\u003c/p>\n\u003cp>The atmosphere in The Plant was as welcoming as can be. The warm, decorative wood walls — one even adorned with a depiction of a piano player and his music crafted from a mirror and colorful plush fabric — gave way to oddly shaped wooden hallways and the occasional kitchen or lounge. The Plant is surprisingly spacious, but has a cozy feel, surely part of the reason why so many great artists felt at home here. I was told at one point that I was standing in Sly Stone’s bedroom, a spacey-looking room off the Garden Studio, also known as Studio C.\u003c/p>\n\u003cp>A happy throng of people also seemed to feel right at home sitting in the sun on the garden patio outside Studio C, sipping drinks and catching up. Many of them looked as if they may well have attended the opening of the studio almost 35 years earlier.\u003c/p>\n\u003cp>The event was definitely on rock ‘n’ roll time. No one seemed to know when or where anything was happening, and just about everything went off about an hour behind schedule, but no one seemed to notice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The one part of event that did go off on schedule was the opening photography exhibit and signing in Studio A, where Heart, The Dave Matthews Band, Metallica and Mariah Carey made albums. On Monday, the walls were graced with former \u003ci>Rolling Stone\u003c/i> shutterbug Robert Altman’s iconic rock photography covering subjects like Tina Turner, Keith Richards and Iggy Pop. Altman was on hand, signing books and shooting the breeze with fans and friends.\u003c/p>\n\u003cp>Later in the evening, the schedule abruptly resumed with seven or eight minutes of very entertaining footage from an upcoming documentary on Plant owner Michael Indelicato and his vintage guitar business. After that, a listening for a few of the songs that appear in the documentary, covers performed by Journey’s Neil Schon, Clarence Clemons, Sammy Hagar, Bob Weir, Jerry Harrison and Ratdog guitarist Mark Karan — the latter two there to talk about their contributions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But perhaps the most enlightening part of the evening was a trip to the bathroom, notable for its tall wooden door with an extremely high knob, which also features an image of Frank Zappa that has been written on by many of the famous and less-than-famous names who have come through this commode on their way to creating an album. That alone was worth the price of admission.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Monsters of Accordion at 21 Grand",
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"content": "\u003cp>There’s no lack of love for the accordion. From lilting French ditties to rowdy German polka, sober klezmer cryalongs to obstreperous mariachi blowouts — Italian jingles, Dutch clog stomps, cajun zydeco, Scottish ceilidhs, from the circus to the chapel, the accordion has always had a home among the much of the world’s folk music and tradition, seeming to define — musically, at least — the peculiar features unique to each culture. Part-piano, part-synthesizer, part-arachnid, the accordion may be one of the most versatile musicmakers around. In its relatively short history of just under two centuries, it has managed to define an impressive amount of styles and inspired a huge range of awkward dance moves.\u003c/p>\n\u003cp>And yet, ever since modern man first wielded the guitar, the accordion has had to take second stage as drinking culture’s brawny, boisterous instrument of choice. In recent years especially, perhaps ever since Weird Al Yankovich began strutting his squeezebox skills, or perhaps when ’80s ubernerd icon, Urkel, first strapped one on on TV’s \u003cb>Family Matters\u003c/b>, our pop culture notion of the accordionist has been all braces, bad hair, and multicolored suspenders. Not the stuff of a self-respecting rock idol.\u003c/p>\n\u003cp>For decades, it’s been as if the accordion itself had slunk away into the shadows. There it learned some new chops, sulked over its self-imposed exile, got a few tattoos on the side, and — now that Yankovich’s career has gained a cult following and new credibility — the squeezebox is back.\u003c/p>\n\u003cp>Just off of Broadway, in the small nook of downtown Oakland that is becoming home to an ever-larger collection of art galleries, cafes, bars, and strange, half-constructed condo units, \u003ca href=\"http://www.21grand.org/\" target=\"offsite\" rel=\"noopener\">21 Grand\u003c/a> is a gallery-cum-performance space that favors the experimental and subversively populist. It also shares a space with \u003ca href=\"http://www.smythesaccordioncenter.com/\" target=\"offsite\" rel=\"noopener\">Smythe’s Accordion Center\u003c/a>, appropriately enough, the area’s longstanding accordion dealer and repair shop. Kimric Smythe, the shop’s owner — we’re later told — is actually responsible for suggesting the \u003cb>Monsters of Accordion\u003c/b> tour in the first place.\u003c/p>\n\u003cp>The space is completely packed for tonight’s show. In fact, every show on the tour — each of which features four solo accordionists and special guest — has sold out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the most part, the crowd has left their clogs and lederhosen at home. (There are plenty of suspenders, however, as well as mohawks and Siouxsie Sioux-style vintagewear.) \u003ca href=\"http://www.geoffberner.com/\" target=\"offsite\" rel=\"noopener\">Geoff Berner\u003c/a> starts things off. Dressed in a what looks like a mortician’s tailored black and white tux with a cueball head and wry smile, teetering a little as he stands, Berner lurches into his first song. “Volcano God,” a sullen song to the tune of the traditional Jewish hymn, “Oseh Shalom:”\u003c/p>\n\u003cp>“Volcano God, Volcano God,\u003cbr>\nWhich one of my treasures will you take from me today?\u003cbr>\nVolcano God, Volcano God,\u003cbr>\nPraise you with my screams as I watch them fall away.”\u003c/p>\n\u003cp>Well. That’s one way to start a party. In the silence that followed, Berner told us that he is devoted to developing new Jewish Canadian drinking songs. “It’s a popular genre,” he drawled, setting the stage for the rest of the set. Cut deep with sardonic humor and irreverent wit, and punctuated with Berner’s own brand of darkly humorous, drunken banter, each song plays on Jewish theological concepts and classic klezmer/cantorial arrangements, from “Whiskey Rabbi” to “Lucky Goddamn Jew.” My favorite — and probably that of most of the audience — was the call and response version of “Weep, Bride, Weep,” a wedding song of sorts, to the horrors of marriage and men. By the end, the audience was laughing so hard that Berner need only waft his fingers and the whole room responded at each refrain, “Weeeeep, Bride, Weeeeep…”\u003c/p>\n\u003cp>However long the intermission was, it was not long enough to prevent \u003ca href=\"http://www.duckmandu.com/\" target=\"offsite\" rel=\"noopener\">Duckmandu\u003c/a>‘s hockey-game warm-up rendition of Devo’s “Girl U Want” to come crashing into the end of Berner’s solemn set. To go from comic, funereal Yiddish ballads to accordion recreations of ’80s pop hits was a little jarring. In purple jacket, blue pants, and constantly switching between a series of Donald Duck-billed caps (which obscured a pink and blue faux-hawk), Duckmandu moved between rich accordionized versions of Tex Ritter’s “(I Got Spurs That) Jingle Jangle Jingle,” AC/DC’s “Highway to Hell,” and Boston’s “More Than a Feeling” with nary a trace of irony. But his coup d’grace had to be a nearly spot-on rendition of California punk band The Dead Kennedys’ “Moon Over Marin.” It takes a calloused throat to mimic singer Jello Biafra’s nasal falsetto, and nimble fingers to follow the chords of the song’s guitar solo. In fact, I later learned, Duckmandu has an entire album dedicated to Dead Kennedy’s covers, titled \u003cb>Fresh Duck for Rotting Accordionists\u003c/b>.\u003c/p>\n\u003cp>\u003ca href=\"http://cornmo.com/\" target=\"offsite\" rel=\"noopener\">Corn Mo\u003c/a>‘s bio describes him as “bearing a striking resemblance to Meat Loaf,” which seemed a little off, given that he is more strikingly close to Sammy Hagar at the end of his heroic period. Still, mounting the stage in a full white and black tux, capped with a mane of shaggy brown hair, and strapped with a white-flecked sqeezebox, he did have a meaty stage presence. And if “like a bat of hell,” can be an understatement, well, it was. Mo opened up each song with a long, winding, breathless, hilarious story from his childhood (“the time Jason Kline got peed on by the other Jason…”). The ballad that followed and chronicled each story was belted out with flair that could’ve embarrassed the amateur rock stylings of Tenacious D. A foot-operated cymbal was pounded for extra emphasis where the narrative demanded it, and Mo was unafraid of striking a Liberace pose or swirling his hair in circles when the tempo reached climax. He ended with the crowd-pleasing, heavy metal headslammer, “Hava Nagila Monster,” which tied things together nicely.\u003c/p>\n\u003cp>In the intermission, we were invited to watch Kimric Smythe — owner of the accordion shop next door — repair an ailing accordion. Somehow, it didn’t seem to fit the rollicking nature of the rest of the night, and some of the audience began to stretch and head to the back for another drink. We probably should’ve known. As Smythe set up the patient and headed backstage for his toolbox, the accordion exploded in a loud burst, sending strips of squeezebox and what looked like little feathers out into the stunned audience.\u003c/p>\n\u003cp>Turns out, along with being an expert repairman and the progenitor of the \u003cb>Monsters of Accordion\u003c/b> tour, Smythe is also a member of the San Francisco pyrotechnic art ensemble \u003ca href=\"http://www.srl.org/\" target=\"offsite\" rel=\"noopener\">Survival Research Labs\u003c/a>, and one of the original firestarters at Burning Man. The accordion was blown up, he assured us, with an airbag, “for our protection.”\u003c/p>\n\u003cp>The flurries set the stage for \u003ca href=\"http://www.jasonwebley.com/\" target=\"offsite\" rel=\"noopener\">Jason Webley\u003c/a>, tonight’s top bill, and the main organizer of the tour. From the beginning, he made it clear that his set was going to be an audience-assisted affair. Sneering and stomping a heavy rhythm to his songs, with a gruff, lumberjack’s voice and a sailor’s swagger, Webley belted them out, stopping mid-song to teach his audience the upcoming lyrics. For the finale, he invited the night’s performers to come up onstage and encouraged his audience to abandon their seats and head to the front. Nearly everyone did. He launched into an exercise in “instant drunkeness,” encouraging everyone to hold their index finger aloft and spin in circles while watching it, until the sober were stumbling into their neighbors. The already drunk went straight to the floor. And, as neighbors helped neighbors back to their bearings, the four accordion monsters launched into the night’s last endearing singalong:\u003c/p>\n\u003cp>If the glass is full drink up, drink up!\u003cbr>\nThis may be the last time we see this cup.\u003cbr>\nIf God wanted us sober\u003cbr>\nHe’d knock the glass over\u003cbr>\nSo while it is full we drink up.\u003cbr>\n(drink up!)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The \u003ca href=\"http://www.elevenrecords.com/monsters/\" target=\"offsite\" rel=\"noopener\">Monsters of Accordion 2007\u003c/a> tour is over.\u003c/p>\n\n",
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"excerpt": "There's no lack of love for the accordion. From lilting French ditties to rowdy German polka, sober klezmer cryalongs to obstreperous mariachi blowouts -- Italian jingles, Dutch clog stomps, cajun zydeco, Scottish ceilidhs, from the circus to the chapel, the accordion has always had a home among the much of the world's folk music and tradition, seeming to define -- musically, at least -- the peculiar features unique to each culture. Part-piano, part-synthesizer, part-arachnid, the accordion may be one of the most versatile musicmakers around. In its relatively short history of just under two centuries, it has managed to define an impressive amount of styles and inspired a huge range of awkward dance moves.",
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"title": "The Monsters of Accordion at 21 Grand | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no lack of love for the accordion. From lilting French ditties to rowdy German polka, sober klezmer cryalongs to obstreperous mariachi blowouts — Italian jingles, Dutch clog stomps, cajun zydeco, Scottish ceilidhs, from the circus to the chapel, the accordion has always had a home among the much of the world’s folk music and tradition, seeming to define — musically, at least — the peculiar features unique to each culture. Part-piano, part-synthesizer, part-arachnid, the accordion may be one of the most versatile musicmakers around. In its relatively short history of just under two centuries, it has managed to define an impressive amount of styles and inspired a huge range of awkward dance moves.\u003c/p>\n\u003cp>And yet, ever since modern man first wielded the guitar, the accordion has had to take second stage as drinking culture’s brawny, boisterous instrument of choice. In recent years especially, perhaps ever since Weird Al Yankovich began strutting his squeezebox skills, or perhaps when ’80s ubernerd icon, Urkel, first strapped one on on TV’s \u003cb>Family Matters\u003c/b>, our pop culture notion of the accordionist has been all braces, bad hair, and multicolored suspenders. Not the stuff of a self-respecting rock idol.\u003c/p>\n\u003cp>For decades, it’s been as if the accordion itself had slunk away into the shadows. There it learned some new chops, sulked over its self-imposed exile, got a few tattoos on the side, and — now that Yankovich’s career has gained a cult following and new credibility — the squeezebox is back.\u003c/p>\n\u003cp>Just off of Broadway, in the small nook of downtown Oakland that is becoming home to an ever-larger collection of art galleries, cafes, bars, and strange, half-constructed condo units, \u003ca href=\"http://www.21grand.org/\" target=\"offsite\" rel=\"noopener\">21 Grand\u003c/a> is a gallery-cum-performance space that favors the experimental and subversively populist. It also shares a space with \u003ca href=\"http://www.smythesaccordioncenter.com/\" target=\"offsite\" rel=\"noopener\">Smythe’s Accordion Center\u003c/a>, appropriately enough, the area’s longstanding accordion dealer and repair shop. Kimric Smythe, the shop’s owner — we’re later told — is actually responsible for suggesting the \u003cb>Monsters of Accordion\u003c/b> tour in the first place.\u003c/p>\n\u003cp>The space is completely packed for tonight’s show. In fact, every show on the tour — each of which features four solo accordionists and special guest — has sold out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the most part, the crowd has left their clogs and lederhosen at home. (There are plenty of suspenders, however, as well as mohawks and Siouxsie Sioux-style vintagewear.) \u003ca href=\"http://www.geoffberner.com/\" target=\"offsite\" rel=\"noopener\">Geoff Berner\u003c/a> starts things off. Dressed in a what looks like a mortician’s tailored black and white tux with a cueball head and wry smile, teetering a little as he stands, Berner lurches into his first song. “Volcano God,” a sullen song to the tune of the traditional Jewish hymn, “Oseh Shalom:”\u003c/p>\n\u003cp>“Volcano God, Volcano God,\u003cbr>\nWhich one of my treasures will you take from me today?\u003cbr>\nVolcano God, Volcano God,\u003cbr>\nPraise you with my screams as I watch them fall away.”\u003c/p>\n\u003cp>Well. That’s one way to start a party. In the silence that followed, Berner told us that he is devoted to developing new Jewish Canadian drinking songs. “It’s a popular genre,” he drawled, setting the stage for the rest of the set. Cut deep with sardonic humor and irreverent wit, and punctuated with Berner’s own brand of darkly humorous, drunken banter, each song plays on Jewish theological concepts and classic klezmer/cantorial arrangements, from “Whiskey Rabbi” to “Lucky Goddamn Jew.” My favorite — and probably that of most of the audience — was the call and response version of “Weep, Bride, Weep,” a wedding song of sorts, to the horrors of marriage and men. By the end, the audience was laughing so hard that Berner need only waft his fingers and the whole room responded at each refrain, “Weeeeep, Bride, Weeeeep…”\u003c/p>\n\u003cp>However long the intermission was, it was not long enough to prevent \u003ca href=\"http://www.duckmandu.com/\" target=\"offsite\" rel=\"noopener\">Duckmandu\u003c/a>‘s hockey-game warm-up rendition of Devo’s “Girl U Want” to come crashing into the end of Berner’s solemn set. To go from comic, funereal Yiddish ballads to accordion recreations of ’80s pop hits was a little jarring. In purple jacket, blue pants, and constantly switching between a series of Donald Duck-billed caps (which obscured a pink and blue faux-hawk), Duckmandu moved between rich accordionized versions of Tex Ritter’s “(I Got Spurs That) Jingle Jangle Jingle,” AC/DC’s “Highway to Hell,” and Boston’s “More Than a Feeling” with nary a trace of irony. But his coup d’grace had to be a nearly spot-on rendition of California punk band The Dead Kennedys’ “Moon Over Marin.” It takes a calloused throat to mimic singer Jello Biafra’s nasal falsetto, and nimble fingers to follow the chords of the song’s guitar solo. In fact, I later learned, Duckmandu has an entire album dedicated to Dead Kennedy’s covers, titled \u003cb>Fresh Duck for Rotting Accordionists\u003c/b>.\u003c/p>\n\u003cp>\u003ca href=\"http://cornmo.com/\" target=\"offsite\" rel=\"noopener\">Corn Mo\u003c/a>‘s bio describes him as “bearing a striking resemblance to Meat Loaf,” which seemed a little off, given that he is more strikingly close to Sammy Hagar at the end of his heroic period. Still, mounting the stage in a full white and black tux, capped with a mane of shaggy brown hair, and strapped with a white-flecked sqeezebox, he did have a meaty stage presence. And if “like a bat of hell,” can be an understatement, well, it was. Mo opened up each song with a long, winding, breathless, hilarious story from his childhood (“the time Jason Kline got peed on by the other Jason…”). The ballad that followed and chronicled each story was belted out with flair that could’ve embarrassed the amateur rock stylings of Tenacious D. A foot-operated cymbal was pounded for extra emphasis where the narrative demanded it, and Mo was unafraid of striking a Liberace pose or swirling his hair in circles when the tempo reached climax. He ended with the crowd-pleasing, heavy metal headslammer, “Hava Nagila Monster,” which tied things together nicely.\u003c/p>\n\u003cp>In the intermission, we were invited to watch Kimric Smythe — owner of the accordion shop next door — repair an ailing accordion. Somehow, it didn’t seem to fit the rollicking nature of the rest of the night, and some of the audience began to stretch and head to the back for another drink. We probably should’ve known. As Smythe set up the patient and headed backstage for his toolbox, the accordion exploded in a loud burst, sending strips of squeezebox and what looked like little feathers out into the stunned audience.\u003c/p>\n\u003cp>Turns out, along with being an expert repairman and the progenitor of the \u003cb>Monsters of Accordion\u003c/b> tour, Smythe is also a member of the San Francisco pyrotechnic art ensemble \u003ca href=\"http://www.srl.org/\" target=\"offsite\" rel=\"noopener\">Survival Research Labs\u003c/a>, and one of the original firestarters at Burning Man. The accordion was blown up, he assured us, with an airbag, “for our protection.”\u003c/p>\n\u003cp>The flurries set the stage for \u003ca href=\"http://www.jasonwebley.com/\" target=\"offsite\" rel=\"noopener\">Jason Webley\u003c/a>, tonight’s top bill, and the main organizer of the tour. From the beginning, he made it clear that his set was going to be an audience-assisted affair. Sneering and stomping a heavy rhythm to his songs, with a gruff, lumberjack’s voice and a sailor’s swagger, Webley belted them out, stopping mid-song to teach his audience the upcoming lyrics. For the finale, he invited the night’s performers to come up onstage and encouraged his audience to abandon their seats and head to the front. Nearly everyone did. He launched into an exercise in “instant drunkeness,” encouraging everyone to hold their index finger aloft and spin in circles while watching it, until the sober were stumbling into their neighbors. The already drunk went straight to the floor. And, as neighbors helped neighbors back to their bearings, the four accordion monsters launched into the night’s last endearing singalong:\u003c/p>\n\u003cp>If the glass is full drink up, drink up!\u003cbr>\nThis may be the last time we see this cup.\u003cbr>\nIf God wanted us sober\u003cbr>\nHe’d knock the glass over\u003cbr>\nSo while it is full we drink up.\u003cbr>\n(drink up!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.elevenrecords.com/monsters/\" target=\"offsite\" rel=\"noopener\">Monsters of Accordion 2007\u003c/a> tour is over.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"id": "fresh-air",
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"hidden-brain": {
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"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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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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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