19 posts tagged “dave”
Lynhurst has the notable distinction of being the closest band to ever live by me.
When the Big Chief, Vu, showed me their CD, my first
reaction was, “I know these guys.” And
after seeing their picture on the inlay of the CD jacket, my second reaction
was, “Wow, they have really grown.”
Let me explain. I have always felt the role of proud, unrelated relative to this brothers-sister trio for over the years I’ve had the opportunity to watch them play at all the south Minneapolis hotspots like Minnehaha Falls, Betsy’s Back Porch and Famous Dave’s.
No matter how young they look, these musicians are already seasoned professionals. Matt and Jake were regularly performing gigs before reaching their teens and Mari, the youngest, wasn’t too long to follow. What amazed me watching them play at such a young age is how comfortable and confident they looked on stage. Their debut album is no different.
The press promotion states that Field Day is the combination of The Carpenters meeting The Cardigans. Some reviews I have read have labeled it as Radio Disney. I would have to say with Mari’s nuanced voice and Matt and Jake’s robust sound, they have created something in between. It's fun, well played rock ‘n roll. “Kiss Me Now” is definitely the radio friendly hit, but I found myself liking all the songs on the CD. In fact, I was surprised how long I kept the CD in the player of my car as I drove through the streets of Uptown, around Lake Harriet, past Java Jacks on my way home.
-Dave
“… as I edit these pages I am aware that I have an urge to see my sometime random wandering as having a plot.”
Reading David Byrne’s latest release, I have to ask, “What hasn’t this man done?” Currently, the co-founder of The Talking Heads is working with Fat Boy Slim, creating a musical collaboration on the life of Imelda Marcos. He recently completed a commission to design artistic bicycle racks for New York City. He also took some time to publish his fifth book, Bicycle Diaries, a passing view on two wheels.
Byrne first took to the bicycle not as an eco-statement or as health kick but as a way to get around his neighborhood in Lower Manhattan. He quickly enjoyed the freedom and decided to bring a folding bike on his many journeys. And through his travels, Byrne muses on why his favorite mode transportation isn’t as popular in other parts of world, like Istanbul where biking might imply being poor to Buenas Aires where no one bikes because no one has ever biked before. He also comments how the bicycle lanes are fully integrated in Berlin’s transportation grid and cycling in Manila is anything goes.
The best part of this book is Byrne’s thoughts and opinions as bicycles through the major cosmopolitan centers of the world, reflecting on land reparation in Palestine, Tibet and South Dakota and comparing Third World Markets to American malls in how uniformly similar they are from suburb to suburb, country to country, “… a kind of self-reflecting architecture.”
Byrne also provides unusual facts that don’t make it into the usual travelogue. Like did you know the founder of Kodak, George Eastman, committed suicide, leaving a matter-of-fact note, stating, “My work is done. Why wait?’ Byrne also writes about a museum in Berlin dedicated to the now-defunct East German secret police, showcasing the absurd (a birdhouse/camera) to the telling (the modest office furnishings of the head of the Stasi).
Like a bike ride, this is a breezy read. Neither bed rocked in a firm notion nor adhering to a solid belief, Byrne’s Bicycle Diaries are like the artist, himself, open, refreshing and in motion.
Dave
“This is really me getting
back to my natural self.”
There are three things I like about Linda Eder: (a) She’s from Minnesota, (b) Her dad is a pastry chef and (c) Her first paying job was singing at a Holiday Inn lounge.
Growing up in Brainerd, Minnesota, which is as far as you can be from both New York and Los Angeles, Eder did not let the geographic distance stop her showing the world her extraordinary voice. Right out of high school she worked the cocktail and supper club circuit until landing a big break in 1987 on Star Search (the original American Idol), winning the competition an incredible twelve weeks in a row. This amazing feat caught the attention of composer Frank Wilder who fashioned and fine-tuned a role for her on Broadway as Lucy Harris in Jekyll and Hyde. From there she developed into a versatile musician who regularly performs in Vegas on Broadway and even teams up with Symphonies all over the United States. She also travels with Michael Feinstein in recreating duo shows of the past like Steve and Edie, Frank and Judy and a little Sonny and Cher. She is a musician on many fronts and has released nine albums along her journey.
When the Big Chief, Vu, handed me her tenth release, “The Other Side of Me,” he remarked that Eder is in the vein of Barbara Streisand. I was pretty confused when I listened to the first song, “Pieces.” It sounds more Main Street than Broadway. Then I read the above quote and it made sense. If you ever been to Brainerd it’s more Country than Rock ‘n Roll and that feel never left Eder: “I’m basically a blue-collar farm girl at heart. This (album) is the kind of music that moved me as a kid.”
“Pieces” is a catchy tune. I’ve caught myself humming it the other day. It’s more polished than gritty. Eder maybe Country at deep down but her Broadway voice sails even while singing of a broken heart.
The
album releases today and showcases October 22nd at the Blender
Theater in Manhattan. Wear your Cowboy hat.
Dave
“You know, I want you to make a record with me,
And I’m going to write a number specially for you.”
Duke
Ellington
We’ve all been there. We’ve run into an old friend we haven’t seen in a while. We remember. We catch up. And before we part, we promise to get together soon.
When Duke Ellington ran into
Colman Hawkins and said the above quote, I don’t think either of them thought
it would take twenty years to put an album together. It did but they never forget the date.
With both of their careers firmly established, Ellington as a big band leader and Hawkins as the first great tenor saxophonist, they took a brief moment from their busy schedules to sit down at Rudy Van Gelder’s studio on August 18, 1962.
Yes, they only had one day and it was an afternoon session. There would be no need for practice. Ellington brought his regulars and Hawkins would only need to a couple songs under his belt to get to speed.
True to his word Ellington wrote a song for Hawkins called “Self Portrait of the Bean”, which is Hawkins' nickname. But my favorite song on the album is “Limbo Jazz”, a spry calypso number conceived midway through the session, like Ellington threw on an apron and put together a little number with his bassist and drummer, adding a few horns here and there and asking his guest to add the finishing touches.
Hawkins returned the favor by improvising a wonderful ending solo, his expressive sound as natural as breathing and as beautiful as a warm ocean breeze.
When you listen, take note of the
drummer, Sam Woodyard, singing along, completely unaware that not only was
their improv being recorded it would also end up as the first song on the
album.
- Dave
)09/25/08 Vinyl Fever (Acoustic In-Store) Tampa, Florida
09/26/08 In-Store Acoustic @ CD Connection Jacksonville, Florida
09/27/08 Uncle Sam’s (Acoustic In-Store) Lauderhill, Florida
09/27/08 Park Ave CDs (Acoustic In-Store) Orlando, Florida
09/29/08 Jimmy Kimmel Live Los Angeles, California
10/02/08 Warehouse Live Houston, Texas
10/03/08 White Rabbit San Antonio, Texas
10/04/08 The Door Dallas, Texas
10/05/08 Diamond Ballroom Oklahoma City, Oklahoma
10/07/08 Ogden Theatre Denver, Colorado
10/08/08 The Great Salt Air Magna, Utah
10/09/08 The Knitting Factory Boise, Idaho
10/10/08 Knitting Factory Spokane, Washington
10/11/08 El Corazon Seattle, Washington
10/12/08 Wonder Ballroom Portland, Oregon
10/14/08 Regency Center @ The Grand San Francisco, California
10/15/08 Avalon Los Angeles, California
10/16/08 Soma San Diego, California
10/17/08 The Glass House Pomona, California
10/18/08 Marquee Theatre Tempe, Arizona
10/20/08 The Beaumont Club Kansas City, Missouri
10/21/08 House of Blues Chicago, Illinois
10/22/08 Bogart’s Cincinnati, Ohio
10/23/08 House of Blues Cleveland, Ohio
10/24/08 Clutch Cargo’s Pontiac, Michigan
10/25/08 Club Infinity Williamsville, New York
10/27/08 Phoenix Concert Theatre Toronto, Ontario
10/28/08 Mr Smalls Millvale, Pennsylvania
10/29/08 Webster Hall New York, New York
10/31/08 Palladium Worcester, Massachusetts
11/01/08 Trocadero Philadelphia, Pennsylvania
11/02/08 9:30 Club Washington DC, Washington DC
11/03/08 The Norva Norfolk, Virginia
11/05/08 Amos’ Southend Charlotte, North Carolina
11/06/08 The Masquerade Atlanta, Georgia
11/07/08 House of Blues Orlando, Florida
11/11/08 Spring and Airbrake Belfast, Northern Ireland*
11/12/08 The Academy Dublin, Dublin*
11/13/08 University Student Union Cardiff, Wales*
11/14/08 Anson Rooms Bristol, Southwest*
11/15/08 Loughborough University Loughborough, Midlands*
11/16/08 Academy Oxford, London and South East*
11/18/08 The Engine Shed Lincoln, Midlands*
11/19/08 UEA Norwich, East*
11/21/08 The Forum London, London and South East*
11/22/08 The Barfly Birmingham, Midlands
11/23/08 Club Academy Manchester, Northwest
11/24/08 The Duchess York, Northeast
11/25/08 King Tut’s Glasgow, Scotland
*with Elliot Minor
09/23/08 Hawthorne Theatre Portland, Oregon*
09/25/08 Knitting Factory - Boise Boise, Idaho*
09/29/08 Casbah San Diego, California*
09/30/08 Downtown Brew San Luis Obispo, California*
10/07/08 Revolution Music Room Little Rock, Arkansas**
10/08/08 George’s Majestic Lounge Fayetteville, Arkansas**
10/09/08 New Daisy Theater Memphis, Tennessee**
10/10/08 Exit Inn Nashville, Tennessee**
10/11/08 Bogarts Cincinnati, Ohio**
10/12/08 Headliners Music Hall Louisville, Kentucky**
10/14/08 Diesel Pittsburgh, Pennsylvania**
10/17/08 Majestic Theatre Detroit, Michigan**
10/18/08 Rave Milwaukee, Wisconsin**
10/19/08 Metro Chicago, Illinois**
10/21/08 Station 4 St. Paul, Minnesota**
10/22/08 Sokol Auditorium Omaha, Nebraska**
10/23/08 The Beaumont Club Kansas City, Missouri**
10/24/08 Diamond Ballroom Oklahoma City, Oklahoma**
*with Filter
** with Toadies
Music excerpted throughout the show are from Anberlin, Radiohead, People in Planes, Marc Broussard, and Duke Ellington/Coleman Hawkins.
PART ONE
I had a blast talking to Stephen Christian of Anberlin:
- Going through the origin of their name from a Radiohead song, "Everything in its Right Place"
- Being on the cover of AP Magazine
- Tooth and Nail vs Universal Republic (indie vs major label)
- the new album, New Surrender: its cover art and favorite song
- Anberlin's upcoming Fall tour and appearance on Jimmy Kimmel
PART TWO
Singer Gaz Jones from People in Planes was kind enough to talk to us about:
- Being on tour with Stereophonics, Welsh bands
- About their old name, Robot In The Sky sounding too familiar to "Robots in Disguise"
- New York-based Wind-Up Records label
- America vs UK culture
- The origin of the why "M'Aidez" is also in the title of their latest single, "Mayday"
PART THREE
Jazz columnist Dave talks about the recent album he picked up: Duke Ellington Meets Coleman Hawkins. 'Nuff said!
Credits: Special thanks to Jessi at Sneak Attack, Gina-Marie at Press Here, Matt at the Syndicate, and of course Stephen Christian, Gaz Jones, and Dave.
Bands and readers, if you would like to appear in a future episode of W♥M Radio, please drop me a line and we can schedule it.
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09/04/08 The Bless with The Herron brothers. Midlands
09/25/08 The Bless "Crunchie" night Derby 10/14/08 We’re headlining with Frank Hamilton Midlands 10/14/08 Graceless Bird on Indie store 10/31/08 The Bridge mini album release. |
Listen to the Podcast |
In a recent trend of birds on the cover is The Telephones' The Bridge mini-album. The album is in the middle of a final mix for CD pressing, but we were sent some demos (they sound good the way it is, to be honest), which we've used throughout this interview.
Joining us are: singer Andy Richardson, guitarist Jay Marriott, and bassist Gary "Gaz" Sitlinton, along with W♥M jazz contributor Dave.
As showrunner, I wanted to let you know that there are two distinct segment of this episode: a topic-centric/controlled portion (the standard interview) and a casual portion (which is just a few people sitting around talking about music). I do recommend hanging in there for the second part to hear some 90s flashback.
It was a lot of fun to do these band interviews, so maybe if we can co-ordinate it... Unfortunately, it seems I am only free on Sunday to do these setup. Hopefully, when Derek gets set up, he would be taking over as showrunner/MC for non-Sundays podcasts.
Speaking of which, if we can get our act together, next week, Derek and I will be doing a special "bookcast" edition of W♥M Radio. I'm very excited to be discussing books, so stay tune. Subscribe to our weekly podcast over at weheartmusic.mypodcast.com, where they offer a selection of xml, google and itunes variety. Let me know if you're having issues subscribing.
Links:
myspace.com/thetelephonesuk
"Carla Lynne Hall is like your cool aunt that gives you
the real deal about the music business."
Darrell McNeill,
Executive Director, Black Rock Coalition
It says on her website (carlalynnhall.com) that she is a D.I.Y. Diva or better known as a Do It Yourselfer. I like the way the cover art on her latest album, Super Nova, coveys this attitude, pointing to you, pointing to me, telling us both to stop and listen for she knows what she is doing.
D.Y.I. lends me to believe that Hall is prepared to do most of the heavy lifting. After all she’s worked for E.M.I. She even has a website called rockstarlifelessons.com in which she offers workshops on how to navigate the music industry. So making an album should be no trouble.
I read a couple of reviews comparing Hall to Norah Jones, Sade and India.Aire. I personally don’t think she does, but only as a compliment. I think any D.I.Y. shouldn’t fly too close to coattails. Besides, I like Hall’s warm, expansive delivery. I don’t necessarily want to use the term maternal or sisterly, but there is a female kinship in her voice that sounds inviting.
When it comes to the songs, Hall takes us through a number of genres: pop, soul, blues & even country. Some songs are hybrids. There’s even an interesting juxtaposition between the sixth tract, “Left Side Blues”, a saucy blues song about a woman up to no good, and the following tract “My First Child,” an earnest love ballad whole heartily in a country vein. It makes you wonder what happened to Hall in between the two tracts.
My favorite tract is “Pulling Me back,” a cool, fatalistic
love song. I really like the interplay
between Hall and Pam Fleming on trumpet, the overlapping voices and trumpet
responses building, layering; making a sensuous sound.
“Let those other fellows play sixty-thousand notes.
You just play with three with tone.
That makes the difference.”
Russell
“Pops” Smith
with advice to a young Benny Webster
What I like about jazz is how multi-dimensional it can be. From Dixieland, Big Band to a small trio playing in a hotel lounge, jazz can stir a swell of emotions from wooing a lover to putting a spring in your step. It can even make you want to kick back after a long day and relax.
When I listen to this Columbia Jazz Masterpiece, “Ben & Sweets” it sounds like two guys taking the time to reflect and for good reason. By the time Ben Webster and Harry “Sweets” Edison met up in New York in 1962 they had a lot to talk about. Webster had already made his mark on lead saxophone in the Duke Ellington Orchestra and Edison already spent twelve years as the trumpet soloist with Count Basie. In the 30’s and 40’s there were no bigger big bands or preeminent soloist.
But the late 40’s and 50’s were not kind to Big Band Swing. What’s surprising, though, is how constant these two remained when the paradigm shifted from Be-Bop to Hard-Bop to West Coast Cool. The decades did not matter. To Webster and Edison, their music was timeless and they kept busy playing by arranging and leading or backing vocalists. By the time they laid down these tracks, both men were established enough to no longer feel a need to impress. Instead, all they wanted to do was play beautiful music.
Unlike most albums where I like to cherry pick, I love every track. Each man gets a chance at his own extended solo with a Gershwin tune. (Webster with “How Long is this Going on?” and Edison with “Embraceable You.”) And when I listen to my favorite, “Kitty”, I can’t help picture Webster and Edison on a front porch in the cool of the evening, laughing, joshing and most of all reminiscing. “Do you remember the time…?”
Dave
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A sunny Friday night, quite a modest crowd at the Factory Theatre in downtown Marrickville (not far from my house, so I was happy). I had not actually been in there before and I must say that it's a pretty awesome place to see a band. Tacky (but not sticky) carpet and a great sound.... and the best bit... the beer wasn't astronomically priced!
First band up (and I admit we only caught the last 3 songs of) was Brisbane band, Yves Klein Blue. I was actually quite blown away by these guys. I'm not sure what I was expecting, but just by looking at them I surely didn't expect what I got. The singer had a sound that if i was to close my eyes, at some points sounded slightly Pete Doherty-esque, but that's probably highly insulting to most normal people, so I won't say that.
As I said, I only heard the last 3 songs, but in those songs was a wealth of musical diversity. I don't think I could label these guys into any sort of genre. All I know is that as well as being very dance-able, they were also fitting to sit back and relax.
Also, I have to say it. If my nanna were there she'd have a heart attack and try to put headbands on certain band members with hair in their faces (as she did to me when I was about 8 years old trying to grow out a tragic 80's fringe).
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Similar to Yves Klein Blue, VHS or Beta had a diverse range of song types and sounds. Some were poppy, some were dancey, some were sort of more ambient. Partially electronic, but with most of the music being played live by the guys themselves.
I'm sure you're probably more up to speed with the world, but if not, have a peek at what these guys are about at the following places:
VHS or Beta - Official Website
VHS or Beta - MySpace Page
and not forgetting:
Yves Klein Blue - Official Website
Yves Klein Blue - MySpace Page
When I listened to Bo Diddley, I didn’t know what
he was saying, whether it was “My baby, she was
a bird’ or ‘My baby, she was murdered.”
It didn’t make any difference. It moved me.
Paul Simon
Bo Diddley passed away last week, and anybody who tapped a toe or shook a tail feather, should take a moment to thank him. For it was a beat, his beat that helped set Rock n’ Roll as the music to get you up and moving. From Buddy Holly to Bow Wow Wow, Diddley’s beat influenced a wave of musicians to where I can even hear echoes on this album.
The first time I saw Mike Doughty he was playing as the front man for Soul Coughing. It was one of those musical festivals that lasted all day with dozens of bands, and in between Garbage and the Goo Goo Dolls, Doughty and his crew amped their equipment and blew the audience away. It wasn’t so much as loud as it was the fat bass which literally passed right through me. And as song after song began to shift around major organs in my body, I knew this man was heavily invested in a solid beat.
Doughty’s latest solo release, “Golden Delicious” can best be described as infectious. With the help of Semisonic’s front man, Dan Wilson, as producer, Doughty makes a deliberate attempt to shed his baroque, sometimes impenetrable past to create a more friendly sound. Some may call it a sell out, but I think any album that contains a song called “More Bacon than the Pan Can Handle” deserves a listen.
Overall, this is an upbeat album even if some of the material may not be. I like the way Doughty let’s the sun shine in by way of interspersing the melody from the musical “Hair” on his anti-war anthem “Fort Hood”. Clearly, he wants to create an album that keeps us dancing as in my favorite, “Put it Down”, which reminds me of one of his more popular hits with Soul Coughing, “Super Bon Bon.” But no longer is there a Kaleidoscope of sounds crashing from every direction. Instead, there’s a beat, and that beat wants me to put down this pen, get up and get moving.
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