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"content": "\u003cp>It’s difficult for me to think of the Portand, Oregon band The Nice Boys without another band coming to mind. Listening to their self-titled debut album one can pick up on their potent influences, which include classic early 1970’s British glam rock bands like Mud, Marc Bolan, Slade, The Bay City Rollers and Gary Glitter. Those bands and the armies of fans they commanded celebrated with rousing straightforward melodies set to a four on the floor backbeat. Soaring vocals referenced doo wop’s sweet high-register harmonies, tackling classic rock’n’roll themes and fusing them to far-flung psychedelic poetry. Glam gave way (and almost certainly made possible) punk, pub rock and power pop in the second half of the ’70s; potent musical styles that each figure largely in The Nice Boys’ sound.\u003c/p>\n\u003cp>Their collective record collection, I imagine, includes healthy doses of rock’s heavyweight champions — The Stones, Beatles, Yardbirds, The Clash — mixed in with great one-hit wonders and obscure underground singles. Despite wearing their own favorites on their sleeves and in a few nicked riffs, The Nice Boys pack a punch that is all their own. The greatest rock music is not necessarily innovative. Instead, rock is regenerated by the raw emotional truth furnished by the musicians playing it (sort of analogous to a vampire needing human blood to survive). To understand what I mean, listen to anything by The Ramones — rock’n’roll so simple it’s genius.\u003c/p>\n\u003cp>The one band that comes to mind when I think about The Nice Boys is not any of the great groups just mentioned, but another, incredible, short-lived band also from Portland — The Exploding Hearts.\u003c/p>\n\u003cp>Formed in 2001 by Adam Cox, Jeremy Gage, Matt Fitzgerald and Terry Six, friends since high school, The Exploding Hearts were the culmination of years of companionship and various amateur musical projects. Inspired by obscure punk, kitschy new wave and the unsung power pop of heroes like The Raspberries, they instantly won over their hometown and formed fast alliances with like-minded bands throughout the Northwest.\u003c/p>\n\u003cp>In 2002, they released a vinyl single named after one of their earlier incarnations “(Making) Teenage Faces.” In 2003 the band signed to local indie label Dirtnap Records, home to pals The Briefs and The Epoxies, with which they released their debut album, “Guitar Romantic.” From the opener, “Modern Kicks” with its commanding distorto lead guitar melody to the teenage lovelorn lament, “My heart is gonna pay the price” of the Clash-inspired ballad “Rumors In Town,” the album is short, sharp and unforgettable. It’s also over in less than half an hour, after rumbling through the sweet angst of “Still Crazy.” “Guitar Romantic” was an unexpected underground smash, even attracting the attention of major labels and finding champions with the finicky indie music site Pitchfork, as well as garnering praise from other likely and unlikely places. The band were playing more regularly along the west coast and had even been flown to New England to perform at the request of \u003ci>The Harvard Lampoon\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then in the early morning hours of July 20, 2003, just north of Eugene, Oregon, while driving home from a pair of successful San Francisco shows, The Exploding Hearts’ van veered out of control and rolled over on Interstate 5 taking the lives of Adam, Jeremy and Matthew. Incredibly, Terry and band manager Rachelle Ramos survived with only minor injuries. The Exploding Hearts’ promising future and the lives of three talented young men were brutally cut short.\u003c/p>\n\u003cp>In early 2004, Terry Six formed The Nice Boys with friends and local Portland music scene veterans. Wearing their influences once again on their sleeves, but like their predecessors managing to match or in some cases better them, The Nice Boys set out, not to carry on where The Exploding Hearts left off, but to tell their own new story. Listening to their self-titled album released this August on Bay Area label Birdman Records, I feel they have succeeded. The Nice Boys celebrate the brilliant, brief story of The Exploding Hearts not by paying tribute or lingering over the tragedy but by contributing to the rejuvenation of rock’n’roll with everything they can muster.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One final note: this month Dirtnap Records released all of The Exploding Hearts’ outtakes, singles and other rarities in a collection entitled “Shattered,” which includes video footage of one of their last performances at The Bottom Of The Hill in San Francisco from July 2003.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s difficult for me to think of the Portand, Oregon band The Nice Boys without another band coming to mind. Listening to their self-titled debut album one can pick up on their potent influences, which include classic early 1970’s British glam rock bands like Mud, Marc Bolan, Slade, The Bay City Rollers and Gary Glitter. Those bands and the armies of fans they commanded celebrated with rousing straightforward melodies set to a four on the floor backbeat. Soaring vocals referenced doo wop’s sweet high-register harmonies, tackling classic rock’n’roll themes and fusing them to far-flung psychedelic poetry. Glam gave way (and almost certainly made possible) punk, pub rock and power pop in the second half of the ’70s; potent musical styles that each figure largely in The Nice Boys’ sound.\u003c/p>\n\u003cp>Their collective record collection, I imagine, includes healthy doses of rock’s heavyweight champions — The Stones, Beatles, Yardbirds, The Clash — mixed in with great one-hit wonders and obscure underground singles. Despite wearing their own favorites on their sleeves and in a few nicked riffs, The Nice Boys pack a punch that is all their own. The greatest rock music is not necessarily innovative. Instead, rock is regenerated by the raw emotional truth furnished by the musicians playing it (sort of analogous to a vampire needing human blood to survive). To understand what I mean, listen to anything by The Ramones — rock’n’roll so simple it’s genius.\u003c/p>\n\u003cp>The one band that comes to mind when I think about The Nice Boys is not any of the great groups just mentioned, but another, incredible, short-lived band also from Portland — The Exploding Hearts.\u003c/p>\n\u003cp>Formed in 2001 by Adam Cox, Jeremy Gage, Matt Fitzgerald and Terry Six, friends since high school, The Exploding Hearts were the culmination of years of companionship and various amateur musical projects. Inspired by obscure punk, kitschy new wave and the unsung power pop of heroes like The Raspberries, they instantly won over their hometown and formed fast alliances with like-minded bands throughout the Northwest.\u003c/p>\n\u003cp>In 2002, they released a vinyl single named after one of their earlier incarnations “(Making) Teenage Faces.” In 2003 the band signed to local indie label Dirtnap Records, home to pals The Briefs and The Epoxies, with which they released their debut album, “Guitar Romantic.” From the opener, “Modern Kicks” with its commanding distorto lead guitar melody to the teenage lovelorn lament, “My heart is gonna pay the price” of the Clash-inspired ballad “Rumors In Town,” the album is short, sharp and unforgettable. It’s also over in less than half an hour, after rumbling through the sweet angst of “Still Crazy.” “Guitar Romantic” was an unexpected underground smash, even attracting the attention of major labels and finding champions with the finicky indie music site Pitchfork, as well as garnering praise from other likely and unlikely places. The band were playing more regularly along the west coast and had even been flown to New England to perform at the request of \u003ci>The Harvard Lampoon\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then in the early morning hours of July 20, 2003, just north of Eugene, Oregon, while driving home from a pair of successful San Francisco shows, The Exploding Hearts’ van veered out of control and rolled over on Interstate 5 taking the lives of Adam, Jeremy and Matthew. Incredibly, Terry and band manager Rachelle Ramos survived with only minor injuries. The Exploding Hearts’ promising future and the lives of three talented young men were brutally cut short.\u003c/p>\n\u003cp>In early 2004, Terry Six formed The Nice Boys with friends and local Portland music scene veterans. Wearing their influences once again on their sleeves, but like their predecessors managing to match or in some cases better them, The Nice Boys set out, not to carry on where The Exploding Hearts left off, but to tell their own new story. Listening to their self-titled album released this August on Bay Area label Birdman Records, I feel they have succeeded. The Nice Boys celebrate the brilliant, brief story of The Exploding Hearts not by paying tribute or lingering over the tragedy but by contributing to the rejuvenation of rock’n’roll with everything they can muster.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One final note: this month Dirtnap Records released all of The Exploding Hearts’ outtakes, singles and other rarities in a collection entitled “Shattered,” which includes video footage of one of their last performances at The Bottom Of The Hill in San Francisco from July 2003.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "My Ongoing Affair with Fonal Records",
"headTitle": "My Ongoing Affair with Fonal Records | KQED",
"content": "\u003cp>I take music way too personally, I know this. Before I learned that a person could have never heard of Hawkwind and still have a valid point of view, I based friendships entirely on musical taste. I’m much better now, but sometimes a vestigial habit crops up — like approaching a new record by an artist I like with skepticism out of a deeply rooted fear of disappointment (I trace this back to the scarring moment in eleventh grade when REM officially started sucking).\u003c/p>\n\u003cp>However, nothing touches off these music-related fears and excitement quite like the prospect of an exciting record label. Falling in love with a record label is even riskier than falling in love with a band — it’s an affair with a whole sound, with a group of people, with Something That’s Going On. It’s inevitably a losing gamble, because more likely than not, a good record label will end up breaking your heart — usually by going bankrupt.\u003c/p>\n\u003cp>Because my relationship with music is so emotionally fragile, it’s the record labels that fly low and burn steadily that hold my attention. These are hard to find, but they’re there. And to them, I am forever loyal.\u003c/p>\n\u003cp>The latest record label I’ve gotten heavy with is Fonal Records in Finland. Started in 1995 by Sami Sänpäkkilä [also a musican and filmmaker], Fonal has issued a consistent string of interesting, beautiful and mindblowing releases by Finnish artists and has been a portal for glimpsing the varied and luminous underground rock scene in Finland. Fonal reminds me of one of those awesome foreign trips where your host is warm and enthusiastic and takes you to all his favorite places, introduces you to his friends and you not only have a head-spinning time, but you end up with a lifelong network of cool people in your life. We’ve never met, but me and Sami Sänpäkkilä? We’re in deep.\u003c/p>\n\u003cp>Fonal isn’t anchored to any one scene or sound — the bands come from cities all over the country, some of the bands sing in English, others in Finnish and several don’t sing at all — but somehow the label presents a unified front.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s an experimental vein to Fonal’s roster, which surfaces in the hypnotic, scratchy loops and beats of Es [which is Sänpäkkilä solo work] and the artfully damaged noise of bands like Kemialliset Ystavat and Chamellows — the former bringing to mind “collective” clatter bands like Sunburned Hand of the Man and the latter sounding like a far away, feminine Ariel Pink at times. Finland’s own dreamy neo-folk scene is healthily represented on Fonal, with bands like Kiila, Islaja and the especially ethereal Paavoharju. Perhaps the best introduction to the label, however, is through the straight up Belle and Sebastian-type pop of TV-Resistori or the bombastic, joyful electronic exultations of Shogun Kunitoki. In fact, yes, start with Shogun Kunitoki’s “Tasankokaiku.” It’s easily my favorite Fonal release… or just plain “release” release… of all time. Krautrock-y, assured and bright — that album turns gray BART rides into colorful adventures.\u003c/p>\n\u003cp>As though the music weren’t enough, Fonal’s packaging is exquisite. Most of the releases come in a signature tri-fold digipack with a crisp paper band to hold it shut. The design is usually pretty ingenius with eyecatching art and thanks to a general uniformity, it’s easy to spot the Fonal shelf in a record nerd’s collection.\u003c/p>\n\u003cp>The most difficult aspect of Fonal love is that their CDs can be a little hard to find since they’re not widely distributed. You can buy them locally through Aquarius Records [full disclosure: I work there… tho, maybe that’s WHY I work there…]. Additionally, Sänpäkkilä tends to favor somewhat small print runs. There was a month or two there, right after the much coveted Shogun Kunitoki album came out last April, where it was unavailable anywhere because it had to go through a second pressing. Luckily, Fonal’s website is generous with the sound and video clips to tide over jonesing fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Labels that put so much care into every aspect of the music are a rare breed, but rarer still are labels that put all that effort into their releases — and each release is an amazing eye-opener. It makes the risk of falling in love so worth it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I take music way too personally, I know this. Before I learned that a person could have never heard of Hawkwind and still have a valid point of view, I based friendships entirely on musical taste. I’m much better now, but sometimes a vestigial habit crops up — like approaching a new record by an artist I like with skepticism out of a deeply rooted fear of disappointment (I trace this back to the scarring moment in eleventh grade when REM officially started sucking).\u003c/p>\n\u003cp>However, nothing touches off these music-related fears and excitement quite like the prospect of an exciting record label. Falling in love with a record label is even riskier than falling in love with a band — it’s an affair with a whole sound, with a group of people, with Something That’s Going On. It’s inevitably a losing gamble, because more likely than not, a good record label will end up breaking your heart — usually by going bankrupt.\u003c/p>\n\u003cp>Because my relationship with music is so emotionally fragile, it’s the record labels that fly low and burn steadily that hold my attention. These are hard to find, but they’re there. And to them, I am forever loyal.\u003c/p>\n\u003cp>The latest record label I’ve gotten heavy with is Fonal Records in Finland. Started in 1995 by Sami Sänpäkkilä [also a musican and filmmaker], Fonal has issued a consistent string of interesting, beautiful and mindblowing releases by Finnish artists and has been a portal for glimpsing the varied and luminous underground rock scene in Finland. Fonal reminds me of one of those awesome foreign trips where your host is warm and enthusiastic and takes you to all his favorite places, introduces you to his friends and you not only have a head-spinning time, but you end up with a lifelong network of cool people in your life. We’ve never met, but me and Sami Sänpäkkilä? We’re in deep.\u003c/p>\n\u003cp>Fonal isn’t anchored to any one scene or sound — the bands come from cities all over the country, some of the bands sing in English, others in Finnish and several don’t sing at all — but somehow the label presents a unified front.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s an experimental vein to Fonal’s roster, which surfaces in the hypnotic, scratchy loops and beats of Es [which is Sänpäkkilä solo work] and the artfully damaged noise of bands like Kemialliset Ystavat and Chamellows — the former bringing to mind “collective” clatter bands like Sunburned Hand of the Man and the latter sounding like a far away, feminine Ariel Pink at times. Finland’s own dreamy neo-folk scene is healthily represented on Fonal, with bands like Kiila, Islaja and the especially ethereal Paavoharju. Perhaps the best introduction to the label, however, is through the straight up Belle and Sebastian-type pop of TV-Resistori or the bombastic, joyful electronic exultations of Shogun Kunitoki. In fact, yes, start with Shogun Kunitoki’s “Tasankokaiku.” It’s easily my favorite Fonal release… or just plain “release” release… of all time. Krautrock-y, assured and bright — that album turns gray BART rides into colorful adventures.\u003c/p>\n\u003cp>As though the music weren’t enough, Fonal’s packaging is exquisite. Most of the releases come in a signature tri-fold digipack with a crisp paper band to hold it shut. The design is usually pretty ingenius with eyecatching art and thanks to a general uniformity, it’s easy to spot the Fonal shelf in a record nerd’s collection.\u003c/p>\n\u003cp>The most difficult aspect of Fonal love is that their CDs can be a little hard to find since they’re not widely distributed. You can buy them locally through Aquarius Records [full disclosure: I work there… tho, maybe that’s WHY I work there…]. Additionally, Sänpäkkilä tends to favor somewhat small print runs. There was a month or two there, right after the much coveted Shogun Kunitoki album came out last April, where it was unavailable anywhere because it had to go through a second pressing. Luckily, Fonal’s website is generous with the sound and video clips to tide over jonesing fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Labels that put so much care into every aspect of the music are a rare breed, but rarer still are labels that put all that effort into their releases — and each release is an amazing eye-opener. It makes the risk of falling in love so worth it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rogue's Gallery: Pirate Ballads, Sea Songs and Chanteys",
"headTitle": "Rogue’s Gallery: Pirate Ballads, Sea Songs and Chanteys | KQED",
"content": "\u003cp>It turns out that the \u003cb>Pirates of the Caribbean\u003c/b> franchise (Part III is coming to a theater near you just in time for Christmas) is not just a vessel for the marketing of merchandise and amusement parks; no, these guys actually dig pirates! Well, Disney’s actual Department of Commercial Domination probably has a different idea, but the fact is that director Gore Verbinski and star Johnny Depp are way into pirate culture, so much so that they thought it would be super-cool to put an album together of old pirate songs. These are the dreams that only teenagers and filthy-rich entertainers dare waste precious time on. I mean, seriously: an album of pirate songs? The rest of us are busy trying to figure out if Geico really would provide cheaper car insurance, but not these guys.\u003c/p>\n\u003cp>\u003cb>Gore Verbinski:\u003c/b> It’s so cool to hang out here in the Caribbean, just making a movie, eating free food, trolling eBay for pirate stuff.\u003c/p>\n\u003cp>\u003cb>Johnny Depp:\u003c/b> True dat. You know, Gore, I just can’t get that old sea chantey out of my head — you know, “what do we do with a drunken sailor…”\u003c/p>\n\u003cp>\u003cb>Gore:\u003c/b> That’s a great one. I wish we had a whole album of those — what did you call them?\u003c/p>\n\u003cp>\u003cb>Johnny:\u003c/b> Chanteys. Sea chanteys. And — hey — why don’t we just make our own album?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Gore:\u003c/b> You mean, sing them ourselves? Aren’t we busy enough making this movie?\u003c/p>\n\u003cp>[they look at each other, each hanging in a hammock overlooking a crystalline lagoon, with a tropical drink in hand and laugh]\u003c/p>\n\u003cp>\u003cb>Johnny:\u003c/b> We’ll hire someone to put it together. We’ll just be the “Executive” Producers.\u003c/p>\n\u003cp>\u003cb>Gore:\u003c/b> Ooh, I love being Executive Producer — you don’t have to actually do anything, but you get a lot of credit! But who could we hire…\u003c/p>\n\u003cp>Who you gonna call? Hal Willner! Hal is the world’s go-to guy when it comes to producing off-the-wall concept albums starring all the coolest musicians you can think of. Did you even know this job existed? They didn’t list it in the Career Choices manual at my high school. With a Rolodex that runs from Rahsaan Roland Kirk to Marianne Faithfull (and way beyond), Willner just calls a bunch of great artists and says (for example), “Hey, I’m putting together an album of cover versions of old Disney songs… want to do one?” and somehow both Sun Ra and James Taylor say, “sure!” That’s right: Sun Ra and James Taylor both appear on Willner’s fantastic album, \u003cb>Stay Awake\u003c/b>. Ra reinterpreted the “Pink Elephant” song from \u003cb>Fantasia\u003c/b>, and Taylor did a characteristically tender version of “Second Star to the Right” from \u003cb>Peter Pan\u003c/b>. There’s a terrific cover of “Heigh-Ho!” originally performed by the Seven Dwarfs but redone here by Tom Waits. After listening to his gravelly voice belt out the marching tune, one begins to see its influence in Waits’s later, louder songs, such as “Filipino Box Spring Hog” from \u003cb>Mule Variations\u003c/b> (1999). Or is that a Kurt Weill influence? Hmm… perhaps Weill was himself influenced by “Heigh-Ho!” — they came out around at the same time…\u003c/p>\n\u003cp>These are the thoughts that occur to you as you listen to any of Willner’s productions. Of course he helmed his own Kurt Weill cover album, \u003cb>Lost in the Stars: The Music of Kurt Weill\u003c/b>, featuring Waits, Faithfull, Lou Reed, and even Sting. Which brings us to (you could really play a great version of 6 Degrees of Separation in the Music Industry by linking everyone to Hal Willner) \u003cb>Rogue’s Gallery: Pirate Ballads, Sea Songs and Chanteys\u003c/b>, just released this fall. Sting gets down and dirtier than anytime in recent memory on the rousing “Blood Red Roses,” while Bryan Ferry — Bryan Ferry! — sounds like he might actually have rumpled his suit while performing “Lowlands Low” with the trilling, almost comically so, Antony — of Antony and the Johnsons (sorry Antony fans, but he does kind of sound Monty Python-esque, doesn’t he?).\u003c/p>\n\u003cp>The big surprise of \u003cb>Rogue’s Gallery\u003c/b> is that the whole thing doesn’t just sound like one long Pogues album — and they’re not on here anyway. Most of the songs are actually quite slow, sad, and mournful tunes, like Richard Thompson’s version of “Mingulay Boat Song,” a lovely ode to a vanished Scottish island culture, or Lucinda Williams’s “Bonnie Portmore,” which reminded me of the John Prine classic, “Angel of Montgomery” in its tragic sensibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s just another fabulous Hal Willner album. They’re always worth a listen. Hal was one of Jeff Buckley’s early champions, he somehow managed to create a posthumous Terry Southern — Terry “\u003cb>Doctor Strangelove\u003c/b>” Southern! — album, and he has Bono on speed dial. Now wouldn’t you like that job?\u003c/p>\n\n",
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"excerpt": "It turns out that the \u003cb>Pirates of the Caribbean\u003c/b> franchise (Part III is coming to a theater near you just in time for Christmas) is not just a vessel for the marketing of merchandise and amusement parks; no, these guys actually dig pirates! Well, Disney's actual Department of Commercial Domination probably has a different idea, but the fact is that director Gore Verbinski and star Johnny Depp are way into pirate culture, so much so that they thought it would be super-cool to put an album together of old pirate songs. These are the dreams that only teenagers and filthy-rich entertainers dare waste precious time on. I mean, seriously: an album of pirate songs? The rest of us are busy trying to figure out if Geico really would provide cheaper car insurance, but not these guys.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It turns out that the \u003cb>Pirates of the Caribbean\u003c/b> franchise (Part III is coming to a theater near you just in time for Christmas) is not just a vessel for the marketing of merchandise and amusement parks; no, these guys actually dig pirates! Well, Disney’s actual Department of Commercial Domination probably has a different idea, but the fact is that director Gore Verbinski and star Johnny Depp are way into pirate culture, so much so that they thought it would be super-cool to put an album together of old pirate songs. These are the dreams that only teenagers and filthy-rich entertainers dare waste precious time on. I mean, seriously: an album of pirate songs? The rest of us are busy trying to figure out if Geico really would provide cheaper car insurance, but not these guys.\u003c/p>\n\u003cp>\u003cb>Gore Verbinski:\u003c/b> It’s so cool to hang out here in the Caribbean, just making a movie, eating free food, trolling eBay for pirate stuff.\u003c/p>\n\u003cp>\u003cb>Johnny Depp:\u003c/b> True dat. You know, Gore, I just can’t get that old sea chantey out of my head — you know, “what do we do with a drunken sailor…”\u003c/p>\n\u003cp>\u003cb>Gore:\u003c/b> That’s a great one. I wish we had a whole album of those — what did you call them?\u003c/p>\n\u003cp>\u003cb>Johnny:\u003c/b> Chanteys. Sea chanteys. And — hey — why don’t we just make our own album?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Gore:\u003c/b> You mean, sing them ourselves? Aren’t we busy enough making this movie?\u003c/p>\n\u003cp>[they look at each other, each hanging in a hammock overlooking a crystalline lagoon, with a tropical drink in hand and laugh]\u003c/p>\n\u003cp>\u003cb>Johnny:\u003c/b> We’ll hire someone to put it together. We’ll just be the “Executive” Producers.\u003c/p>\n\u003cp>\u003cb>Gore:\u003c/b> Ooh, I love being Executive Producer — you don’t have to actually do anything, but you get a lot of credit! But who could we hire…\u003c/p>\n\u003cp>Who you gonna call? Hal Willner! Hal is the world’s go-to guy when it comes to producing off-the-wall concept albums starring all the coolest musicians you can think of. Did you even know this job existed? They didn’t list it in the Career Choices manual at my high school. With a Rolodex that runs from Rahsaan Roland Kirk to Marianne Faithfull (and way beyond), Willner just calls a bunch of great artists and says (for example), “Hey, I’m putting together an album of cover versions of old Disney songs… want to do one?” and somehow both Sun Ra and James Taylor say, “sure!” That’s right: Sun Ra and James Taylor both appear on Willner’s fantastic album, \u003cb>Stay Awake\u003c/b>. Ra reinterpreted the “Pink Elephant” song from \u003cb>Fantasia\u003c/b>, and Taylor did a characteristically tender version of “Second Star to the Right” from \u003cb>Peter Pan\u003c/b>. There’s a terrific cover of “Heigh-Ho!” originally performed by the Seven Dwarfs but redone here by Tom Waits. After listening to his gravelly voice belt out the marching tune, one begins to see its influence in Waits’s later, louder songs, such as “Filipino Box Spring Hog” from \u003cb>Mule Variations\u003c/b> (1999). Or is that a Kurt Weill influence? Hmm… perhaps Weill was himself influenced by “Heigh-Ho!” — they came out around at the same time…\u003c/p>\n\u003cp>These are the thoughts that occur to you as you listen to any of Willner’s productions. Of course he helmed his own Kurt Weill cover album, \u003cb>Lost in the Stars: The Music of Kurt Weill\u003c/b>, featuring Waits, Faithfull, Lou Reed, and even Sting. Which brings us to (you could really play a great version of 6 Degrees of Separation in the Music Industry by linking everyone to Hal Willner) \u003cb>Rogue’s Gallery: Pirate Ballads, Sea Songs and Chanteys\u003c/b>, just released this fall. Sting gets down and dirtier than anytime in recent memory on the rousing “Blood Red Roses,” while Bryan Ferry — Bryan Ferry! — sounds like he might actually have rumpled his suit while performing “Lowlands Low” with the trilling, almost comically so, Antony — of Antony and the Johnsons (sorry Antony fans, but he does kind of sound Monty Python-esque, doesn’t he?).\u003c/p>\n\u003cp>The big surprise of \u003cb>Rogue’s Gallery\u003c/b> is that the whole thing doesn’t just sound like one long Pogues album — and they’re not on here anyway. Most of the songs are actually quite slow, sad, and mournful tunes, like Richard Thompson’s version of “Mingulay Boat Song,” a lovely ode to a vanished Scottish island culture, or Lucinda Williams’s “Bonnie Portmore,” which reminded me of the John Prine classic, “Angel of Montgomery” in its tragic sensibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s just another fabulous Hal Willner album. They’re always worth a listen. Hal was one of Jeff Buckley’s early champions, he somehow managed to create a posthumous Terry Southern — Terry “\u003cb>Doctor Strangelove\u003c/b>” Southern! — album, and he has Bono on speed dial. Now wouldn’t you like that job?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So I spend a lot of time in front of a computer screen. Maybe you do too? A good portion of that time is spent checking out bands online and recently I am finding that more new bands aren’t bothering to create a website, instead opting to use profile-driven Myspace or sites like \u003ca href=\"http://www.purevolume.com/\" target=\"offsite\" rel=\"noopener\">Purevolume\u003c/a> to create instant band pages with out of the box solutions for showcasing music, photographs and video easily and the ability to plug into vast networks of existing users — their friends, their friends’ friends and so on and so forth.\u003c/p>\n\u003cp>Sounds great, right? Built-in eyeballs on your page, easily accessed new people to market your band to, plus cool features like the ability to see how many people listened to your song. And indeed it all is great for a new band, with no budget to spend on a snazzy tricked-out site of their own, to have an instant presence on the web. But it’s also kind of cheap — metaphorically akin to slapping your band’s sticker on the wall of a club as opposed to performing on its stage.\u003c/p>\n\u003cp>There’s a lot that can be learned from a band’s site. One can gauge the members’ commitment to their craft and their collective sensibilities. When was the last time the upcoming show page was updated — does it include any upcoming shows or just vague info on some party they played in a friend’s warehouse last summer? That reveals how serious a band is about performing. Does their website feature snazzy design or is it animated? Then it’s likely that someone in the band is either a graphic or web designer by day (honestly, not so uncommon). Do they offer full song downloads or only streams; or, better (meaning worse) yet, only 30-second snippet streams? That betrays the band’s concerned about fans getting their music for free and not buying it legitimately. It also may reveal how many “All You Need To Know About The Music Business”-type books they’ve read. Is the website the band’s name plus a “dot net, “dot org” or “dot com”? If not, it may mean that they’re not the first band to use the name or it bears a strong resemblance to a common product or service. Typing in “Thekiller.net” and “Thekillers.org” took me to an extermination business’ website. It was only when I tried “thekillersmusic.com” that I was taken to the site of the band, The Killers.\u003c/p>\n\u003cp>One of my favorite band sites is for San Francisco’s self-described “HammJamm” band, Still Flyin’. I don’t know that HammJamm has taken off as a new musical genre but to my ears, Still Flyin’ are an original and irreverent reggae-flavored indie mini-orchestra with a few dozen real and honorary members. Songs like “Broken Rake Burn” and “M’stery Tent” are unselfconscious and playful with island rhythms and melodies performed with indie rock and pop sensibilities.\u003c/p>\n\u003cp>Their website URL is \u003ca href=\"http://www.nevergonnatouchit.tk/\" target=\"offsite\" rel=\"noopener\">www.nevergonnatouchit.tk\u003c/a>. The “dot tk” is attributable to the island of Tokelau’s offer of free domain registration with that suffix. Accordingly, Still Flyin’ thanks Tokelau for their domain name gift. The site is only one page with non-existent design. It has a plug for the band’s new full length \u003cb>Time Wrinkle\u003c/b> out now on Antenna Farm Records plus some priceless ramblings, a couple of odd images and links to the band’s Myspace profile for music samples, photos and upcoming show information. Still Flyin’s site is hilariously minimal and somehow without music or photos and because of its Spartan composition captures the spirit of the band in the way that their own customized Myspace profile can’t.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I invite you to do some band site analysis yourself and see what can be surmised from a visit to a band’s home on the web. Myspace is great as an index card catalog of performing artists but despite all the easy features, that’s about it. And if more of us visit bands’ sites, more new bands will make sure to make and maintain them.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So I spend a lot of time in front of a computer screen. Maybe you do too? A good portion of that time is spent checking out bands online and recently I am finding that more new bands aren’t bothering to create a website, instead opting to use profile-driven Myspace or sites like \u003ca href=\"http://www.purevolume.com/\" target=\"offsite\" rel=\"noopener\">Purevolume\u003c/a> to create instant band pages with out of the box solutions for showcasing music, photographs and video easily and the ability to plug into vast networks of existing users — their friends, their friends’ friends and so on and so forth.\u003c/p>\n\u003cp>Sounds great, right? Built-in eyeballs on your page, easily accessed new people to market your band to, plus cool features like the ability to see how many people listened to your song. And indeed it all is great for a new band, with no budget to spend on a snazzy tricked-out site of their own, to have an instant presence on the web. But it’s also kind of cheap — metaphorically akin to slapping your band’s sticker on the wall of a club as opposed to performing on its stage.\u003c/p>\n\u003cp>There’s a lot that can be learned from a band’s site. One can gauge the members’ commitment to their craft and their collective sensibilities. When was the last time the upcoming show page was updated — does it include any upcoming shows or just vague info on some party they played in a friend’s warehouse last summer? That reveals how serious a band is about performing. Does their website feature snazzy design or is it animated? Then it’s likely that someone in the band is either a graphic or web designer by day (honestly, not so uncommon). Do they offer full song downloads or only streams; or, better (meaning worse) yet, only 30-second snippet streams? That betrays the band’s concerned about fans getting their music for free and not buying it legitimately. It also may reveal how many “All You Need To Know About The Music Business”-type books they’ve read. Is the website the band’s name plus a “dot net, “dot org” or “dot com”? If not, it may mean that they’re not the first band to use the name or it bears a strong resemblance to a common product or service. Typing in “Thekiller.net” and “Thekillers.org” took me to an extermination business’ website. It was only when I tried “thekillersmusic.com” that I was taken to the site of the band, The Killers.\u003c/p>\n\u003cp>One of my favorite band sites is for San Francisco’s self-described “HammJamm” band, Still Flyin’. I don’t know that HammJamm has taken off as a new musical genre but to my ears, Still Flyin’ are an original and irreverent reggae-flavored indie mini-orchestra with a few dozen real and honorary members. Songs like “Broken Rake Burn” and “M’stery Tent” are unselfconscious and playful with island rhythms and melodies performed with indie rock and pop sensibilities.\u003c/p>\n\u003cp>Their website URL is \u003ca href=\"http://www.nevergonnatouchit.tk/\" target=\"offsite\" rel=\"noopener\">www.nevergonnatouchit.tk\u003c/a>. The “dot tk” is attributable to the island of Tokelau’s offer of free domain registration with that suffix. Accordingly, Still Flyin’ thanks Tokelau for their domain name gift. The site is only one page with non-existent design. It has a plug for the band’s new full length \u003cb>Time Wrinkle\u003c/b> out now on Antenna Farm Records plus some priceless ramblings, a couple of odd images and links to the band’s Myspace profile for music samples, photos and upcoming show information. Still Flyin’s site is hilariously minimal and somehow without music or photos and because of its Spartan composition captures the spirit of the band in the way that their own customized Myspace profile can’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the after party for a comedy show this summer co-presented by The Onion and Noise Pop at The Independent on Divisadero, one of the comedians asked me, “What, um, is Noise Pop?” It seemed like an easy question to answer but I found myself stumbling with my answer. Part of that may be my own desire to come up with a brilliantly clever quip in response to this clever-quipping comedian. And part of it is because Noise Pop isn’t something that can be simply summed up. Noise Pop is an annual music festival, that part’s easy. But starting this year it is also a new business dedicated to a number of other things including a continuing series of special events here in the city, original podcast programs, a sprawling new website with lots of features, internet radio programs, and merchandise.\u003c/p>\n\u003cp>But somehow, even after rattling off our different initiatives, I am not sure if I’ve explained what Noise Pop is. And interestingly I think there are more and more new businesses that are similarly… inexplicable. Take Little Radio, based in LA. Basically, Little Radio is an internet radio station. But their website is also an indie music blogzine — highlighting news and posts from dozens of music blogs from all over — and a podcast network with links to various music podcasts. Beyond that, Little Radio’s headquarters is a warehouse in the fashion district of downtown Los Angeles with a stage and good sound system that plays host to unannounced shows by indie heavyweights including Sonic Youth, Peaches, and She Wants Revenge among others. In the parking lot next door they held a series of barbeque shows every Sunday this summer called the Little Radio Summer Camp. These events were free, had two to three bands performing and attracted sizeable crowds to listen to live music, frolic in inflatable pools and slip’n’slides, drink cheap beer and eat homemade barbeque.\u003c/p>\n\u003cp>All those things sound like a lot of fun — cool music events, secret hipster shows, informative website. Here’s the thing, Little Radio are also organizing a four month bio-diesel bus tour of the US with stops in various cities at music festivals and shows where they’ll be spreading an environmentally conscious message and webcasting live. They’re also renting out office space next to their warehouse / venue and do CD and DVD manufacturing.\u003c/p>\n\u003cp>The business elements are in there somewhere, mixed in and marinating with the fun events; but taken together they don’t add up to a simple sentence of explanation. I think that Little Radio is an example of a new kind of experiential business concept — a company that has a specific experience and character at it’s core as opposed to a product or service. Further, success is not based on manufacturing the highest quality of whatever is being sold. Success is instead measured by how effectively the character of the company is reflected and amplified.\u003c/p>\n\u003cp>You might suspect that this is an elaborate excuse for me being tongue-tied when asked about Noise Pop; something along the lines of “It’s not my fault if words fall short of capturing what we do in concise terms because it’s just too cutting edge a business model to explain.” And that’s not totally wrong but what’s also true is that there are new music and entertainment business models being road-tested in tiny clubs, warehouses, bedrooms and even bio-diesel buses that someday soon may not require any explanation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the after party for a comedy show this summer co-presented by The Onion and Noise Pop at The Independent on Divisadero, one of the comedians asked me, “What, um, is Noise Pop?” It seemed like an easy question to answer but I found myself stumbling with my answer. Part of that may be my own desire to come up with a brilliantly clever quip in response to this clever-quipping comedian. And part of it is because Noise Pop isn’t something that can be simply summed up. Noise Pop is an annual music festival, that part’s easy. But starting this year it is also a new business dedicated to a number of other things including a continuing series of special events here in the city, original podcast programs, a sprawling new website with lots of features, internet radio programs, and merchandise.\u003c/p>\n\u003cp>But somehow, even after rattling off our different initiatives, I am not sure if I’ve explained what Noise Pop is. And interestingly I think there are more and more new businesses that are similarly… inexplicable. Take Little Radio, based in LA. Basically, Little Radio is an internet radio station. But their website is also an indie music blogzine — highlighting news and posts from dozens of music blogs from all over — and a podcast network with links to various music podcasts. Beyond that, Little Radio’s headquarters is a warehouse in the fashion district of downtown Los Angeles with a stage and good sound system that plays host to unannounced shows by indie heavyweights including Sonic Youth, Peaches, and She Wants Revenge among others. In the parking lot next door they held a series of barbeque shows every Sunday this summer called the Little Radio Summer Camp. These events were free, had two to three bands performing and attracted sizeable crowds to listen to live music, frolic in inflatable pools and slip’n’slides, drink cheap beer and eat homemade barbeque.\u003c/p>\n\u003cp>All those things sound like a lot of fun — cool music events, secret hipster shows, informative website. Here’s the thing, Little Radio are also organizing a four month bio-diesel bus tour of the US with stops in various cities at music festivals and shows where they’ll be spreading an environmentally conscious message and webcasting live. They’re also renting out office space next to their warehouse / venue and do CD and DVD manufacturing.\u003c/p>\n\u003cp>The business elements are in there somewhere, mixed in and marinating with the fun events; but taken together they don’t add up to a simple sentence of explanation. I think that Little Radio is an example of a new kind of experiential business concept — a company that has a specific experience and character at it’s core as opposed to a product or service. Further, success is not based on manufacturing the highest quality of whatever is being sold. Success is instead measured by how effectively the character of the company is reflected and amplified.\u003c/p>\n\u003cp>You might suspect that this is an elaborate excuse for me being tongue-tied when asked about Noise Pop; something along the lines of “It’s not my fault if words fall short of capturing what we do in concise terms because it’s just too cutting edge a business model to explain.” And that’s not totally wrong but what’s also true is that there are new music and entertainment business models being road-tested in tiny clubs, warehouses, bedrooms and even bio-diesel buses that someday soon may not require any explanation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a trend that never happened… yet. The whole singer-who-isn’t-really-a-singer trend is the non-trend I’m talking about. Still with me? Here’s a quick taste:\u003cbr> “Tall and tan and young and lovely\u003cbr>The girl from Ipanema goes walking\u003cbr>And when she’s walking each one she passes goes, ‘aah…’\u003c/p>\n\u003cp>“Aah,” indeed. Aah-strud Gilberto probably started it right there in 1963, with her soft, sexy vocals (you can’t really call it singing, and let’s agree to avoid the term “spoken word”) on “The Girl From Ipanema.” Was it her tone, her timing, or her awesome Brazilian accent that made it so phenomenal? Americans have never been known for their love of foreign-accented English, but Astrud was different. Her voice was full of promise, as if she were translating the original Portuguese lyrics on the spot, and perhaps keeping some of the good stuff to herself. Plus, “Astrud Gilberto?” Best. Name. Ever.\u003c/p>\n\u003cp>After Astrud, la deluge. Or not, as it turned out. There have been a few notable bandwagon-jumpers to this whole English-in-translation vocal style but not as many as one might expect, given the global success of “The Girl from Ipanema.” The most successful were both products of the sick mind of Serge Gainsbourg (a description he would no doubt have approved; R.I.P. Serge), namely “Bonnie and Clyde” (1968), featuring Brigitte Bardot, and “Je T’Aime…Moi Non Plus” (1969), with the lovely Jane Birkin on the mic. If you’ve never heard Bardot sing but you know what she looked like in 1968, you’ve pretty much got the idea. And while it might not seem much on paper, “Bonnie and Clyde” is a fantastic song. With Birkin, you get the same concept in reverse: a native English speaker (she’s British) singing in French, plus a lot of heavy breathing, which is expressed in the universal language of love.\u003c/p>\n\u003cp>So they have the non-native tongue thing in common, but there’s also something else binding Gilberto, Bardot, and Birkin together: it’s the ease with which they do their thang. Their singing sounds like one big, long sigh — and what could be more relaxing than that? Actually, it’s hard. Try to sing in a whisper and you will find that your sense of pitch, if you have one, flounders in the compromised airspace. Then try to whisper-sing in a foreign language. See? It’s not as easy as it sounds.\u003c/p>\n\u003cp>So I guess that’s why we have these long gaps in between the appearances of sexy, breathy, talky foreign songstresses. There was a notable addition to the field in 2004, when Japanese jazz pianist and singer Michiko Ogawa released \u003cb>It’s All About Love\u003c/b> and on it her version of Billie Holiday’s “I Cover the Waterfront.” I know it sounds unlikely, but trust me! Unfortunately, you’ll have to, because it’s pretty hard to find the album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Luckily for this generation’s hipsters, a new gal has appeared on the scene in the last few years, Keren Ann of France (to be specific, she apparently “divides her time” between Paris and New York. How much time does she have, anyway?) Keren Ann started to get attention in the U.S. with her last two releases, \u003cb>Nolita\u003c/b> (2003) and \u003cb>Not Going Anywhere\u003c/b> (2004). It was in these albums that she earned her place in the Gilberto-Bardot-Birkin pantheon, with songs like “Spanish Songbird” and “Roses and Hips.” Her voice is soft and mellow, but she never drifts too far into the “Happy Birthday Mr. President” zone of things (we haven’t even discussed Marilyn Monroe’s contributions to the genre).\u003c/p>\n\u003cp>Now Keren Ann has a new album, a collaboration with an Icelandic lad named Bardi Johannsson. If it weren’t for Bjork, I suppose the world would summarily dismiss an Icelandic popster, but we live in a post-Bjork world, don’t we? So it won’t seem strange when I tell you that Keren Ann and Bardi Johansson, performing as Lady and Bird, do a cover of “Suicide is Painless,” which you will remember as the theme song to \u003cb>M*A*S*H\u003c/b>. Oh, 2006. That’s the world we live in. Well, “Suicide is Painless” is not the best track on the album — in fact it’s frighteningly redolent of 1970, with all that implies. \u003cb>Lady and Bird\u003c/b> moves away from the pure Keren Ann loveliness in that it’s more obviously produced; there’s just more sound on this album. That’s not necessarily a bad thing, although I think I could have done without the Keren-and-Bardi-on-helium final track, “La Ballade of [sic] Lady and Bird.” Ah, well. Even Monsieur Gainsbourg had his off days. He had a lot of them, as a matter of fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So if you think that a straight shot of Keren Ann might be too much prettiness in one package, give Lady and Bird a try. It may satisfy your need for funny little digital sounds to interrupt the pure joy of analog sound.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Luckily for this generation’s hipsters, a new gal has appeared on the scene in the last few years, Keren Ann of France (to be specific, she apparently “divides her time” between Paris and New York. How much time does she have, anyway?) Keren Ann started to get attention in the U.S. with her last two releases, \u003cb>Nolita\u003c/b> (2003) and \u003cb>Not Going Anywhere\u003c/b> (2004). It was in these albums that she earned her place in the Gilberto-Bardot-Birkin pantheon, with songs like “Spanish Songbird” and “Roses and Hips.” Her voice is soft and mellow, but she never drifts too far into the “Happy Birthday Mr. President” zone of things (we haven’t even discussed Marilyn Monroe’s contributions to the genre).\u003c/p>\n\u003cp>Now Keren Ann has a new album, a collaboration with an Icelandic lad named Bardi Johannsson. If it weren’t for Bjork, I suppose the world would summarily dismiss an Icelandic popster, but we live in a post-Bjork world, don’t we? So it won’t seem strange when I tell you that Keren Ann and Bardi Johansson, performing as Lady and Bird, do a cover of “Suicide is Painless,” which you will remember as the theme song to \u003cb>M*A*S*H\u003c/b>. Oh, 2006. That’s the world we live in. Well, “Suicide is Painless” is not the best track on the album — in fact it’s frighteningly redolent of 1970, with all that implies. \u003cb>Lady and Bird\u003c/b> moves away from the pure Keren Ann loveliness in that it’s more obviously produced; there’s just more sound on this album. That’s not necessarily a bad thing, although I think I could have done without the Keren-and-Bardi-on-helium final track, “La Ballade of [sic] Lady and Bird.” Ah, well. Even Monsieur Gainsbourg had his off days. He had a lot of them, as a matter of fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So if you think that a straight shot of Keren Ann might be too much prettiness in one package, give Lady and Bird a try. It may satisfy your need for funny little digital sounds to interrupt the pure joy of analog sound.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If \u003cb>Brazilian Girls\u003c/b>‘ first album was like a drunken, dreamy party, their second album sounds like that same party got drunker, meaner and moved to Germany. More of the songs grind instead of swaying, featuring pumped-up drum and bass and low, fuzzy synthesizers.\u003c/p>\n\u003cp>But Brazilian Girls, a band with one girl and no Brazilians, still has its sense of humor on \u003cb>Talk to La Bomb\u003c/b>, evidenced by a techno-like track that sounds like it could be the second coming of ’80s one-hit wonders Nena: “Sexy Asshole.” Most of the lyrics on this one are in German, but then the title says it all, does it not? On another track, “Tourist Trap,” lead singer Sabina Sciubba sings over a bongo beat, “Losing at the casino/Drinking wine and tequila/Lalalalala/Throwing up.”\u003c/p>\n\u003cp>Then there’s “Last Call,” a breathy, catchy number that features Ric Ocasek as a producer. It’s an up-tempo paean to a go-go dancer — nothing you’d ever associate with the former Cars frontman, except for the fact that it’s probably the most radio-friendly track on the album. Someone described \u003cb>Talk to La Bomb\u003c/b> to me as “rock-ier” than the band’s first album — but despite Ocasek’s involvement, the rock feel does not seem particularly apparent. It feels more like an album that’s designed to be played as background music in a club, as created by people who are making fun of everyone IN said club.\u003c/p>\n\u003cp>“Background Music” sounds like an indictment, which might not be quite fair. Sabina Sciubba’s voice is always alluring to hear. She sounds like an international agent who happened to stumble on a microphone. Her range is limited, but her seductive charisma is not: On the slinky “Nicotine,” she adds an Indian-style flourish to her voice; on other tracks, such as “Never Met a German,” she makes the tongue in her cheek quite discernible.\u003c/p>\n\u003cp>There’s a flip side to this kind of wide-ranging irony, which is that the album can get a little tiresome in spots, such as the title track, “Talk to the Bomb.” In general, the band’s second album is less inviting than the first — though the scuzzier, less melodic sound does offer a showcase for drummer Aaron Johnston, whose beats are tight and impressive. Brazilian Girls are always a little strange and opaque, without seeming to get too deep — it’s tempting to listen in on Sciubba’s patter of multiple languages to decode all the lyrics, but the lack of real emotion behind the delivery makes it easier to just put it on in the car, soak up the atmosphere, and appreciate the irony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Last week, I participated in \u003ca href=\"http://www.bandwidthconference.com/\" target=\"offsite\" rel=\"noopener\">The Bandwidth Conference\u003c/a>, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled \u003cb>Out Of Control\u003c/b> — a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.\u003c/p>\n\u003cp>With blogs, sites such as Myspace, Flickr, Buzznet, camera-phones and video phones, forums and online chat, bands at every level of success are negotiating their images with fans. Some bands are trying to create word of mouth interest using these technological tools while others struggle to police what they feel might be threatening or damaging to their band.\u003c/p>\n\u003cp>Going beyond image, the likelihood of fans distributing music online before it’s released — or even non-commercial live performances or outtakes — means that bands have less of a say in what interested parties can listen to unless they’re willing to obsessively scan the internet searching for unauthorized music. Legal issues aside, is the ability to access music that an artist didn’t intend to be released a good or bad thing?\u003c/p>\n\u003cp>The success of the Itunes Music Store, Rhapsody, Emusic and all of the digital music services proves the point that it’s possible and feasible to distribute music online legitimately, i.e. where bands and labels make money. But do we have a right to listen to a band’s alternative takes, studio mistakes, or a live show from Pensacola, Florida in 2001?\u003c/p>\n\u003cp>Bootlegs came into being in the late 1960s largely as a result of Bob Dylan’s decision to abandon an album’s worth of new music, much of which had been circulated on vinyl acetates to DJs in the US and England by his label, Columbia Records. Those promotional albums became the basis of numerous illegal fan pressings when Dylan’s next album included none of the tracks that fans had been introduced to on the radio. There was an unmet demand for this music that was not addressed by Dylan or his label. Initially, bootlegs were risky labors of love, easily exploitable by unscrupulous profiteers looking to make quick money from big name artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bootleg business flourished throughout the ’70s and ’80s, spawning an aesthetic style that was adopted by the early punk movement with bands designing their albums and singles to look like bootlegs (a whole topic unto itself). Interestingly, the arrival of digital music, peer-to-peer networks, and increasingly tougher international copyright infringement laws has all but destroyed the bootleg business. In its place has sprung up the web-savvy music trader who, out of pure appreciation for a band, distributes obscure, unreleased or live music to other fans. Not motivated by money, these are the same people who buy that band’s albums, t-shirts, and show tickets.\u003c/p>\n\u003cp>Maybe it can all be boiled down to the same tug of war between artist and fan that’s been going on as long as the notion of popular music has been with us. An artist struggles to create and carefully maintain an idea of who they are; and fans are so personally moved they seek to obliterate all obstacles between themselves and the person responsible for the art they love. The difference is the internet and the increasing access it affords us all.\u003c/p>\n\u003cp>One of the panelists, Wayne Greene, managing partner of \u003ca href=\"http://www.everloving.com/\" target=\"offsite\" rel=\"noopener\">Everloving Records\u003c/a> a label responsible for releasing Michael Andrews’ haunting cover of “Mad World” from the \u003cb>Donnie Darko\u003c/b> soundtrack and Jack Johnson’s first album, advises his artists to conduct all business as if there’s absolute transparency — fans will sooner or later hear, see and basically know everything there is to be discovered.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As music has an increasingly intimate relationship with technology, it’s important to find ways to balance the benefits and drawbacks of technological plenitude. Technology won’t establish the rules of conduct, it’s only a means to play by them… or not. So who gets to set the rules, the artist or the fan? Our panel illuminated many issues and ideas but fell short of a solution. As an intermittent obsessive music fan and occasional music industry professional, I am hoping that a solution will arise where both sides win.\u003c/p>\n\n",
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"excerpt": "Last week, I participated in \u003ca href=\"http://www.bandwidthconference.com/\" target=\"offsite\" rel=\"noopener\">The Bandwidth Conference\u003c/a>, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled \u003cb>Out Of Control\u003c/b> -- a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, I participated in \u003ca href=\"http://www.bandwidthconference.com/\" target=\"offsite\" rel=\"noopener\">The Bandwidth Conference\u003c/a>, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled \u003cb>Out Of Control\u003c/b> — a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.\u003c/p>\n\u003cp>With blogs, sites such as Myspace, Flickr, Buzznet, camera-phones and video phones, forums and online chat, bands at every level of success are negotiating their images with fans. Some bands are trying to create word of mouth interest using these technological tools while others struggle to police what they feel might be threatening or damaging to their band.\u003c/p>\n\u003cp>Going beyond image, the likelihood of fans distributing music online before it’s released — or even non-commercial live performances or outtakes — means that bands have less of a say in what interested parties can listen to unless they’re willing to obsessively scan the internet searching for unauthorized music. Legal issues aside, is the ability to access music that an artist didn’t intend to be released a good or bad thing?\u003c/p>\n\u003cp>The success of the Itunes Music Store, Rhapsody, Emusic and all of the digital music services proves the point that it’s possible and feasible to distribute music online legitimately, i.e. where bands and labels make money. But do we have a right to listen to a band’s alternative takes, studio mistakes, or a live show from Pensacola, Florida in 2001?\u003c/p>\n\u003cp>Bootlegs came into being in the late 1960s largely as a result of Bob Dylan’s decision to abandon an album’s worth of new music, much of which had been circulated on vinyl acetates to DJs in the US and England by his label, Columbia Records. Those promotional albums became the basis of numerous illegal fan pressings when Dylan’s next album included none of the tracks that fans had been introduced to on the radio. There was an unmet demand for this music that was not addressed by Dylan or his label. Initially, bootlegs were risky labors of love, easily exploitable by unscrupulous profiteers looking to make quick money from big name artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bootleg business flourished throughout the ’70s and ’80s, spawning an aesthetic style that was adopted by the early punk movement with bands designing their albums and singles to look like bootlegs (a whole topic unto itself). Interestingly, the arrival of digital music, peer-to-peer networks, and increasingly tougher international copyright infringement laws has all but destroyed the bootleg business. In its place has sprung up the web-savvy music trader who, out of pure appreciation for a band, distributes obscure, unreleased or live music to other fans. Not motivated by money, these are the same people who buy that band’s albums, t-shirts, and show tickets.\u003c/p>\n\u003cp>Maybe it can all be boiled down to the same tug of war between artist and fan that’s been going on as long as the notion of popular music has been with us. An artist struggles to create and carefully maintain an idea of who they are; and fans are so personally moved they seek to obliterate all obstacles between themselves and the person responsible for the art they love. The difference is the internet and the increasing access it affords us all.\u003c/p>\n\u003cp>One of the panelists, Wayne Greene, managing partner of \u003ca href=\"http://www.everloving.com/\" target=\"offsite\" rel=\"noopener\">Everloving Records\u003c/a> a label responsible for releasing Michael Andrews’ haunting cover of “Mad World” from the \u003cb>Donnie Darko\u003c/b> soundtrack and Jack Johnson’s first album, advises his artists to conduct all business as if there’s absolute transparency — fans will sooner or later hear, see and basically know everything there is to be discovered.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As music has an increasingly intimate relationship with technology, it’s important to find ways to balance the benefits and drawbacks of technological plenitude. Technology won’t establish the rules of conduct, it’s only a means to play by them… or not. So who gets to set the rules, the artist or the fan? Our panel illuminated many issues and ideas but fell short of a solution. As an intermittent obsessive music fan and occasional music industry professional, I am hoping that a solution will arise where both sides win.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year my birthday came and went without much fanfare. Having to spend it in the suburbs of Los Angeles, it included Go-Karts, Bumper Boats, and a dinner at Outback Steakhouse which concluded with the fantastic Thunder from Down Under dessert. While dribbling through the chocolate sauce, brownie, ice cream, and whatever other gooey substance was involved, my hubby gave me something I’ve been wanting ever since it was released — the \u003cb>Children of Nuggets\u003c/b> box set.\u003c/p>\n\u003cp>For those of you not familiar with \u003cb>Nuggets\u003c/b>, the original was a double-LP set compiled and produced by Lenny Kaye and released in 1976, gathering the best of American garage psychedelia from 1965-1968. I wore out that set, listened to it constantly, and since acquiring it back in the early 80s, realized that my taste for 60s garage psychedelia knew no bounds. I still can’t get enough of it. At the same time I acquired that set, I was also listening to a slew of modern bands that were incorporating the vibe and feel of 60s music into their own sound, and there were little scenes of these bands all over the country, most notably the Paisley Underground bands in California and the New York/New Jersey garage scene.\u003c/p>\n\u003cp>The first \u003cb>Nuggets\u003c/b> set was eventually expanded into a 4-CD box set with a fancy booklet, which made my heart leap with joy. If this wasn’t enough, it was followed a few years later by \u003cb>Nuggets II\u003c/b>, which gathered the best of British psychedelia! Oh providence –- it was too good to be true. The British box was, and is, unbelievably great, each crazy song more tasty and colorful than the next. So when \u003cb>Children of Nuggets\u003c/b> (full title: \u003cb>Children of Nuggets: Original Artyfacts From the Second Psychedelic Era 1976-1996\u003c/b>) was released, covering the “Second Psychedelic Era” — I just had to have it. The problem was, I figured I already owned most of the records and bands that were on it, so I dragged my feet getting it. Well, I was wrong. There is so much great stuff on there that I didn’t have, and it’s like a weird time trip back to a future vision of the past. Trippy.\u003c/p>\n\u003cp>To a complete music nerd like me, the \u003cb>Children of Nuggets\u003c/b> has a scope much wider and more forgiving than I would have chosen myself. In addition to bands that were overtly 60s in sound (Rain Parade, Fleshtones, Bangles, Cramps, Three O’Clock), the producers also added a wide range of power pop, Manchester beat, and even a little Seattle grunge to the mix. According to them, any perfect underground pop song with a classic feel was fair game. I don’t know if I agree in principle, but the collection is so mind-blowingly good that I can set aside my Comic Book Guy-like attention to detail and just enjoy the ride.\u003c/p>\n\u003cp>The box kicks off with the Dukes of Stratosphear’s “Vanishing Girl.” The Dukes were the alter-ego of XTC, who released two deliciously retro albums under that moniker. The song is joyous, full-bodied, and sets the stage for 100 tracks of sheer post-vintage bliss. Rounding second is one of the greatest singles ever made, “Help You Ann,” by the Lyres. I would say it’s worth it to own this set just for that one song, especially since my own 45 of it melted in the sun in the back room of my first SF apartment on 18th Street. No one has ever timed a song to their delay pedal better than this little slice of garage crunch. Next up: “The Real World” by the Bangles, a goosebump-inducing janglethon, back when they were still just a groovy girl band from LA, before they got all Princed-up. And that’s just the first three tracks!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The box includes songs from the Dream Syndicate, Posies, Soft Boys. Flamin’ Groovies, Smithereens, Plimsouls, and two absolutely killer tracks from the Hoodoo Gurus. Remember them? I didn’t until I heard those songs again. As the producers say in their voluminous book that accompanies the set, a slot on \u003cb>Nuggets\u003c/b> is the garage band equivalent of an Oscar. If that’s the case, this is the most kick-ass Academy Awards in history.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year my birthday came and went without much fanfare. Having to spend it in the suburbs of Los Angeles, it included Go-Karts, Bumper Boats, and a dinner at Outback Steakhouse which concluded with the fantastic Thunder from Down Under dessert. While dribbling through the chocolate sauce, brownie, ice cream, and whatever other gooey substance was involved, my hubby gave me something I’ve been wanting ever since it was released — the \u003cb>Children of Nuggets\u003c/b> box set.\u003c/p>\n\u003cp>For those of you not familiar with \u003cb>Nuggets\u003c/b>, the original was a double-LP set compiled and produced by Lenny Kaye and released in 1976, gathering the best of American garage psychedelia from 1965-1968. I wore out that set, listened to it constantly, and since acquiring it back in the early 80s, realized that my taste for 60s garage psychedelia knew no bounds. I still can’t get enough of it. At the same time I acquired that set, I was also listening to a slew of modern bands that were incorporating the vibe and feel of 60s music into their own sound, and there were little scenes of these bands all over the country, most notably the Paisley Underground bands in California and the New York/New Jersey garage scene.\u003c/p>\n\u003cp>The first \u003cb>Nuggets\u003c/b> set was eventually expanded into a 4-CD box set with a fancy booklet, which made my heart leap with joy. If this wasn’t enough, it was followed a few years later by \u003cb>Nuggets II\u003c/b>, which gathered the best of British psychedelia! Oh providence –- it was too good to be true. The British box was, and is, unbelievably great, each crazy song more tasty and colorful than the next. So when \u003cb>Children of Nuggets\u003c/b> (full title: \u003cb>Children of Nuggets: Original Artyfacts From the Second Psychedelic Era 1976-1996\u003c/b>) was released, covering the “Second Psychedelic Era” — I just had to have it. The problem was, I figured I already owned most of the records and bands that were on it, so I dragged my feet getting it. Well, I was wrong. There is so much great stuff on there that I didn’t have, and it’s like a weird time trip back to a future vision of the past. Trippy.\u003c/p>\n\u003cp>To a complete music nerd like me, the \u003cb>Children of Nuggets\u003c/b> has a scope much wider and more forgiving than I would have chosen myself. In addition to bands that were overtly 60s in sound (Rain Parade, Fleshtones, Bangles, Cramps, Three O’Clock), the producers also added a wide range of power pop, Manchester beat, and even a little Seattle grunge to the mix. According to them, any perfect underground pop song with a classic feel was fair game. I don’t know if I agree in principle, but the collection is so mind-blowingly good that I can set aside my Comic Book Guy-like attention to detail and just enjoy the ride.\u003c/p>\n\u003cp>The box kicks off with the Dukes of Stratosphear’s “Vanishing Girl.” The Dukes were the alter-ego of XTC, who released two deliciously retro albums under that moniker. The song is joyous, full-bodied, and sets the stage for 100 tracks of sheer post-vintage bliss. Rounding second is one of the greatest singles ever made, “Help You Ann,” by the Lyres. I would say it’s worth it to own this set just for that one song, especially since my own 45 of it melted in the sun in the back room of my first SF apartment on 18th Street. No one has ever timed a song to their delay pedal better than this little slice of garage crunch. Next up: “The Real World” by the Bangles, a goosebump-inducing janglethon, back when they were still just a groovy girl band from LA, before they got all Princed-up. And that’s just the first three tracks!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Into You Like - Uh - Train?",
"headTitle": "Into You Like – Uh – Train? | KQED",
"content": "\u003cp>We all have our own San Franciscos. I first moved to the city in the mid-1970s and attended elementary school in Precita Park, where my first grade teacher, the gorgeous Ms. Soo Ying, had a pierced nose, several butterfly tattoos, and a boyfriend named Babatunde who taught us to count to 100 in Swahili. My mom worked at Emporium Capwell and hung out with a group of writers and underground comic artists whose apartments were filled with smoke, conversation, and strange music. All of this left a permanent impression on me of a city that was a funky home to bohemian weirdos of all stripes.\u003c/p>\n\u003cp>So even when I moved back to SF at the height of the dot-com phenomenon and tried to rent an apartment in the Mission while dot.commies pushed past me, offering the landlord double the asking price (remember those days?), I still clung to my first impression of the city as a haven for interesting oddballs. I suppose others who moved here to get rich in the late nineties just saw the place as a pricey exurb of San Jose with older housing stock. I feel sorry for them.\u003c/p>\n\u003cp> Which brings us to the Train show at the Greek next week. The rock band known as Train formed in San Francisco in 1994. This, and the fact that their song, “Free,” was featured on the San Francisco-based TV series \u003cb>Party of Five\u003c/b>, apparently legitimizes them as a “San Francisco band.” Remember how realistic \u003cb>Party of Five\u003c/b> was, with its passel of cute Salinger kids living in a gorgeous Victorian mansion and paying for it all with the proceeds from their neighborhood restaurant? Please. In this food-frenzied town, an ersatz bistro like Salinger’s would be gone faster than you can say “tell me the difference between a raw food restaurant and the bulk nut aisle at Rainbow Grocery.” And that’s about how well Train represents San Francisco — my San Francisco, at least.\u003c/p>\n\u003cp> Train does that kind of big-production, I-really-mean-it middlebrow rock that pads the playlists of WB shows everywhere. Let me say that I believe there is a place for big-production, I-really-mean-it music — if it’s done right (see: “Rocket Man,” “Total Eclipse of the Heart,” “We Will Rock You,” etc.). But when it’s done wrong…\u003c/p>\n\u003cp>If you’re going to sing your heart out, you probably want to avoid lyrics that are just plain silly. And Train is great at ridiculous, dumbass lyrics that are so inane, they pull you right out of the experience of listening to the song and make you think: “what the hell?” I’ll always remember the day when, approaching the Bay Bridge Toll Plaza at full speed, I heard the following phrase bellowing from lead singer Patrick Monahan’s lungs: \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Can you imagine no love, pride, deep-fried chicken\u003cbr>Your best friend always sticking up for you even when you know you’re wrong\u003cbr>Can you imagine no first dance, freeze dried romance five-hour phoneconversation\u003cbr>The best soy latte that you ever had . . . and me.\u003c/p>\n\u003cp>I nearly crashed into the toll booth. I might accept the combination of “love,” “pride,” and “deep fried chicken” in one sentence if it were written by Hunter S. Thompson, but sung, apparently without irony, at full volume with an entire string section sawing away in the background? Just like raw food, it makes my tummy feel yucky.\u003c/p>\n\u003cp> And then the rest of the verse, with its “freeze dried romance”… well, it all pales in comparison to that final zinger: “the best soy latte that you ever had … and me.” Let me be the first to say that the phrase “soy latte” should never under any circumstances appear in a song lyric, unless that lyric is written and sung by Weird Al Yankovic. How Train makes me long for the music of Weird Al Yankovic. Anyway, the song, “Drops of Jupiter,” includes several other lyrical disasters, including “She checks out Mozart while she does Tae-Bo.” No witty quip can do justice to that.\u003c/p>\n\u003cp> There are some basic ground rules that all songwriters should (and usually do) follow. I think we all learned a lesson from Wang Chung about never putting one’s own band name in one’s own song (remember “Everybody Wang Chung Tonight?” A less meaningful command has never been uttered.) That’s Rule Number 1.\u003c/p>\n\u003cp> Number 2 is never succumbing to the temptation of shouting out the year your song was recorded, unless you are Prince and you are recording “1999.” But that’s the only exception. Even great bands have made this mistake; remember The Pharcyde’s groovy song, “Runnin’?” It’s so smooth, so chill, until you hear “But now in ’95, I must survive…” and then you think: no, it’s 2006. Damn, this song is old. Which means I’m old. Damn! I’m pretty sure that’s not the response The Pharcyde was hoping for. And Public Enemy’s “Fight the Power” begins with a date-check: “1989 the number, another summer…” Only a band of PE’s brilliance could start with a mistake like that and make you forget it by the end of the song. But Train, you’re no Public Enemy.\u003c/p>\n\u003cp> <p Which brings us to Rule Number 3, a rule tangentially related to Number 2. Yes, good writing includes specific details. But when looking for details to include, avoid references that are so trendy, so blatantly stamped with a sell-by date, that this time next year no one will know what you're talking about and/or they will simply find it lame. Examples? Oh, how about SOY LATTES and TAE-BO, for instance???\u003c/p>\n\u003cp> The tragic element here is that Train’s songs are often catchy and even charming, with unusual song structures and good arrangements. And yes, Patrick Monahan can sing. But sing what? That’s the problem.\u003c/p>\n\u003cp>These days, Train is a multi-platinum band, which means it has reached the mainstream and is floating comfortably there. Nothing wrong with the mainstream, but is this the kind of band that best represents San Francisco? Well, I just checked craigslist, and the cheapest apartment in the Mission today is $1600 for a 1BR with almost enough space for you and your iPod. So who knows? Maybe Train really is an exemplary SF band: overpriced and clinging desperately to a bohemian image that no longer applies. Oh, Ms. Soo Ying, where are you when we need you?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> Train is playing at the Greek Theater in Berkeley on Saturday, August 26. Tickets are $38.50 — or about ten soy lattes, including tax.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all have our own San Franciscos. I first moved to the city in the mid-1970s and attended elementary school in Precita Park, where my first grade teacher, the gorgeous Ms. Soo Ying, had a pierced nose, several butterfly tattoos, and a boyfriend named Babatunde who taught us to count to 100 in Swahili. My mom worked at Emporium Capwell and hung out with a group of writers and underground comic artists whose apartments were filled with smoke, conversation, and strange music. All of this left a permanent impression on me of a city that was a funky home to bohemian weirdos of all stripes.\u003c/p>\n\u003cp>So even when I moved back to SF at the height of the dot-com phenomenon and tried to rent an apartment in the Mission while dot.commies pushed past me, offering the landlord double the asking price (remember those days?), I still clung to my first impression of the city as a haven for interesting oddballs. I suppose others who moved here to get rich in the late nineties just saw the place as a pricey exurb of San Jose with older housing stock. I feel sorry for them.\u003c/p>\n\u003cp> Which brings us to the Train show at the Greek next week. The rock band known as Train formed in San Francisco in 1994. This, and the fact that their song, “Free,” was featured on the San Francisco-based TV series \u003cb>Party of Five\u003c/b>, apparently legitimizes them as a “San Francisco band.” Remember how realistic \u003cb>Party of Five\u003c/b> was, with its passel of cute Salinger kids living in a gorgeous Victorian mansion and paying for it all with the proceeds from their neighborhood restaurant? Please. In this food-frenzied town, an ersatz bistro like Salinger’s would be gone faster than you can say “tell me the difference between a raw food restaurant and the bulk nut aisle at Rainbow Grocery.” And that’s about how well Train represents San Francisco — my San Francisco, at least.\u003c/p>\n\u003cp> Train does that kind of big-production, I-really-mean-it middlebrow rock that pads the playlists of WB shows everywhere. Let me say that I believe there is a place for big-production, I-really-mean-it music — if it’s done right (see: “Rocket Man,” “Total Eclipse of the Heart,” “We Will Rock You,” etc.). But when it’s done wrong…\u003c/p>\n\u003cp>If you’re going to sing your heart out, you probably want to avoid lyrics that are just plain silly. And Train is great at ridiculous, dumbass lyrics that are so inane, they pull you right out of the experience of listening to the song and make you think: “what the hell?” I’ll always remember the day when, approaching the Bay Bridge Toll Plaza at full speed, I heard the following phrase bellowing from lead singer Patrick Monahan’s lungs: \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Can you imagine no love, pride, deep-fried chicken\u003cbr>Your best friend always sticking up for you even when you know you’re wrong\u003cbr>Can you imagine no first dance, freeze dried romance five-hour phoneconversation\u003cbr>The best soy latte that you ever had . . . and me.\u003c/p>\n\u003cp>I nearly crashed into the toll booth. I might accept the combination of “love,” “pride,” and “deep fried chicken” in one sentence if it were written by Hunter S. Thompson, but sung, apparently without irony, at full volume with an entire string section sawing away in the background? Just like raw food, it makes my tummy feel yucky.\u003c/p>\n\u003cp> And then the rest of the verse, with its “freeze dried romance”… well, it all pales in comparison to that final zinger: “the best soy latte that you ever had … and me.” Let me be the first to say that the phrase “soy latte” should never under any circumstances appear in a song lyric, unless that lyric is written and sung by Weird Al Yankovic. How Train makes me long for the music of Weird Al Yankovic. Anyway, the song, “Drops of Jupiter,” includes several other lyrical disasters, including “She checks out Mozart while she does Tae-Bo.” No witty quip can do justice to that.\u003c/p>\n\u003cp> There are some basic ground rules that all songwriters should (and usually do) follow. I think we all learned a lesson from Wang Chung about never putting one’s own band name in one’s own song (remember “Everybody Wang Chung Tonight?” A less meaningful command has never been uttered.) That’s Rule Number 1.\u003c/p>\n\u003cp> Number 2 is never succumbing to the temptation of shouting out the year your song was recorded, unless you are Prince and you are recording “1999.” But that’s the only exception. Even great bands have made this mistake; remember The Pharcyde’s groovy song, “Runnin’?” It’s so smooth, so chill, until you hear “But now in ’95, I must survive…” and then you think: no, it’s 2006. Damn, this song is old. Which means I’m old. Damn! I’m pretty sure that’s not the response The Pharcyde was hoping for. And Public Enemy’s “Fight the Power” begins with a date-check: “1989 the number, another summer…” Only a band of PE’s brilliance could start with a mistake like that and make you forget it by the end of the song. But Train, you’re no Public Enemy.\u003c/p>\n\u003cp> <p Which brings us to Rule Number 3, a rule tangentially related to Number 2. Yes, good writing includes specific details. But when looking for details to include, avoid references that are so trendy, so blatantly stamped with a sell-by date, that this time next year no one will know what you're talking about and/or they will simply find it lame. Examples? Oh, how about SOY LATTES and TAE-BO, for instance???\u003c/p>\n\u003cp> The tragic element here is that Train’s songs are often catchy and even charming, with unusual song structures and good arrangements. And yes, Patrick Monahan can sing. But sing what? That’s the problem.\u003c/p>\n\u003cp>These days, Train is a multi-platinum band, which means it has reached the mainstream and is floating comfortably there. Nothing wrong with the mainstream, but is this the kind of band that best represents San Francisco? Well, I just checked craigslist, and the cheapest apartment in the Mission today is $1600 for a 1BR with almost enough space for you and your iPod. So who knows? Maybe Train really is an exemplary SF band: overpriced and clinging desperately to a bohemian image that no longer applies. Oh, Ms. Soo Ying, where are you when we need you?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Astronautalis is often referred to as a rapper, but the description is a little misleading. The first two tracks on his second album, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b>, don’t help clarify things, either: Though rhyming is involved, the feel is more lo-fi alternative rock than Tupac. With a reedy voice, Astronautalis speak-sings about life changes and attraction… and on the third song, “Seaweed Sheets,” he picks up an old-school-sounding beat (among the instruments listed in the liner notes are “P. Diddy drums”) and his rap roots become more apparent.\u003c/p>\n\u003cp>So, let’s be clear: this isn’t hip-hop rap — it’s more like spoken-word café rap, as performed by a guy who looks more likely to be at a skate park or fraternity hazing than rocking a mic. There’s no throwing up of the hands or booty or Courvoisier, but there is plenty of beer and “bitten-lipped smiles.” Astronautalis’ work is pretty relentlessly stream-of-conscious — so much so that he lets himself get audibly winded, as if to say, “Yeah guys, it’s pretty tiring getting all these thoughts out.”\u003c/p>\n\u003cp>His rapid-fire and low-key delivery can occasionally make it hard to discern what those thoughts are, exactly, but much of it involves dreams and bed sheets and landscapes. In a neat design twist, the CD cover forms a pocket for loose “Polaroids” that illustrate each song, complete with lyrics on the back. That way you can read lyrics such as “We’ve all woken from the same glorious dream, it’s full of hope, it ain’t just wrinkled sheets and another empty bed.”\u003c/p>\n\u003cp>There’s something aurally distinctive on just about every track of this CD, which was produced by Astronautalis collaborator Radical Face. On “My Dinner with Andy,” it’s the opening beat, which sounds like it was derived from a step show, combined with lazy acoustic guitar. On “Seaweed Sheets,” it’s the way the repeated chorus starts threading in and out different lead vocals toward the end of the song. It has elements of everything from old spirituals to electronica. It is haunting, interesting and decidedly not danceable.\u003c/p>\n\u003cp>I had decided that “Skeleton” was one of my favorites on this album before realizing that its full title is “Skeleton (Everybody’s Favorite).” I guess there’s something to be said for the wisdom of crowds, because the track is indisputably tight, ominous and effective. While there’s nothing wrong with blending genres, “Skeleton” is the track that tries the least hard and accomplishes the most.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Overall, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b> may be too opaque and self-conscious for many listeners to really embrace and connect with. But its innovation and lack of shyness about blending genres should be an example to the hip-hop world, which seems to be flooded with stale conventions at this point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I am trying to be the Van Morrison of this rap shit,” Astronautalis says on his MySpace page. Hmm… would he settle for Bill Callahan from Smog?\u003c/p>\n\n",
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"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"meta": {
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"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/",
"meta": {
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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"
}
},
"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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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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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"source": "wnyc"
},
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