The national awareness of Athens, Georgia as a vibrant art and music scene in the 80’s was largely accomplished due to a plucky, quirky and loose 1986 documentary film by director Tony Gayton titled “Athens, GA: Inside/Out” and its associated soundtrack on I.R.S. Records, which at the time was R.E.M.’s label.
In many ways, the film happened at the right time: R.E.M.’s Document, their last and biggest album on I.R.S. Records would come out in Fall of 1987 and blow up with “The One I Love.” Fans like me who were hungry for everything related to R.E.M. ran out to pick up the VHS tape of the film and the soundtrack to hear and see the two R.E.M. tracks performed in the Seney-Stovall Chapel: acoustic versions of “Swan Swan H” from Lifes Rich Pageant and a cover of an Everly Brothers classic re-titled “(All I Have To Do Is) Dream.”
A side note: the legend of R.E.M. includes the fact that they lived in an abandoned church and their first concert was in this same church. Until today, I assumed that the performance in the film was in that church, but they really lived in St. Mary’s Episcopal Church, which was demolished in 1990 by developers. The steeple still stands today as a landmark to R.E.M.
As someone growing up in a very small midwestern town in the 1980’s, I had very limited access to underground non-Top 40 music. I didn’t even have MTV! So, the soundtrack and filmed performances in “Athens, Ga : Inside/Out” were eye-opening experiences! In many ways this soundtrack defined the music I would follow for many years. As a compilation, the songs and bands are all over the map: soon-to-be radio darlings R.E.M., twitchy frenetic post punk of Pylon (who recently got their much-deserved recognition in a boxset I covered here.), the instrumental workings of Love Tractor (the use of “Fun To Be Happy” as the opening music was brilliant and set the tone for the film), moody guitar rock of “Dreams So Real” (whose major label debut Rough Night in Jericho disappointingly made them sound like The BoDeans and not like the moody and beautiful “Golden”), The B-52’s were included in the film, but not the soundtrack, the hardcore punk of Bar-B-Q Killers, the hyper retro two-piece rockabilly of The Flat Duo Jets (who are obvious influences on The White Stripes). The thoughts of these bands playing bars and stages in Athens was breathtaking, and my friends and I all wanted to make a trip there. (It’s still on my bucket list of places to visit)
Out of all of those bands on the soundtrack, the ones that really stood out for me (and are favorites to this day) were Pylon, Love Tractor and Squalls. Squalls had two songs on the soundtrack, their big hit (such as it was) “Na Nanana” and “Elephant Radio.” Both of these songs were on their debut self-released EP from 1984, and by 1986, when this film came out, they were regarded as one of the bands who deserved to make it to the national spotlight. The Squalls mix of epic harmonies and melodies combined with smart and sometimes progressive rhythms to me makes them a shoo in for a band that could follow in the footsteps of bands like Talking Heads and Adrian Belew.
The Squalls were signed to R.E.M. manager Jefferson Holt‘s label Dog Gone Records, and released two albums there before the band hung it up in 1989.
On August 19th, the band is releasing a compilation of live recordings made over five dates made at the legendary Athens, GA bar The 40-Watt Club between 1983 and 1985 (predating the performances in the film). These performances were recorded by 40-Watt soundman T. Patton Biddle. Titled Live from the 40 Watt, the songs span the EP and the two albums and are a great representation of the band’s body of work. Here is the tracklist, with my notes of performance date and what album the songs come from. I’ve also provided links to the tracks that have been released for streaming.
Bride Of Frankenstein (8/2/1985) from No Time and “Crickets” 7″
The striking thing about this compilation is how much unreleased music is included! I exchanged messages with Bob Hay, the principle songwriter in Squalls whether this release was indicative of the live sets from this pre-Dog Gone era of the band, or whether he was attempting to get these unreleased songs released formally. He said:
It’s kind of both. On “LIVE” I wanted to include every song that was released on vinyl before 1986. (8 songs – the EP and the single.) and also rescue from the sands of time a bunch of songs that were staples of our live shows in those days and a few that we played only a few times but are too good to be forgotten. We were primarily a live dance band and played live for almost three years before we set foot in a studio.
Facebook chat 7/10/22
The idea of a band packing bars playing all original songs seems foreign, if not kind of quaint these days. Bob sent me a scan of the show calendar for The 40-Watt Club from February, 1986: the month that they filmed the performances for Athens, GA: Inside/Out. I commented about the incredible lineup of bands that were playing that month– (not to mention all of the bands who were in the film)– Alex Chilton played a Thursday night show, The Georgia Satellites and the Del Fuegos (who would share a tour with Tom Petty the next year), Giant Sand, and Jason and the Scorchers played a three night stand. Bob replied, “I tell you, it was something during that time.”
In addition to capturing a wildly creative time for Squalls, Live from the 40-Watt also is a reminder that Athens was (and still is) a very special place where bands were drawn to be more free creatively and where audiences were excited to hear new music. The recordings show a band wide-eyed and excited to bring their art to the world.
Live From The 40-Watt will be released on August, 19th, 2020 and will be available on beautiful 2 LP blue vinyl, CD or digital. Click here to order from Strolling Bones records site, or you can order it from Bandcamp.
Friday night (12/1) Pieta Brown is returning to CSPS in Cedar Rapids. It’s her last live show of the year and she’s bringing Bo Ramsey and Marty Christensen as “Sawdust Collective.” Pieta’s shows at CSPS are a rare magical combination of artist, audience and venue and are some of the best shows I’ve seen of hers.
It just came together really seamlessly and it just happened. I started reaching out to some people — kind of wishful thinking people I would want to record with. You know I was really touched and honestly really inspired and kind of encouraged by getting the energy and the super-willingness right back at a time when I was struggling to figure out how to even afford to move forward and make another album. So, it was cool timing. And, it was really neat to do it here and I had never really recorded like that either. Which is to say that all of my other recordings have been recorded in a few days in a row with a live band, with everybody playing together. Maybe rehearse the songs one at a time or maybe have a day of rehearsal and then go in and cut the songs. Very experimental and not a lot of room for getting it exactly right so to speak. [laughs] One thing that was cool was just singing by myself with my guitar — I just have never really recorded that way except for a track here or there.
Love it or hate it, social media is the vehicle for finding out about “new stuff.” Sometimes we find out about really great stuff– like this week when David McClymont formerly of Scottish post-punk pop band Orange Juice shared out a video of an obscure Mexico City band Idle Hands practicing a song from an upcoming debut EP with the comment, “No, this isn’t a Glasgow bedroom circa 1980, it’s a Mexico City bedroom now.”
The song, titled “Carolina St.” is a glorious bright and chiming guitar instrumental reminiscent of, well, Orange Juice. This song has gained thousands of views in a couple of days– over 6,000 at the time I’m writing this! So, who are these guys? I reached out to them to see what’s going on.
From their bio: “Idle Hands is a south of Mexico City-based musical project formed by Fernando Torres and Diego Figueroa with the objective of creating sincere, smart and dreamy pop music.”
They also have a mission statement:
“We started to write music in the fall of 2015, responding to the need of obtaining an emotional and artistic expression away from the established scenes in our country. We take inspiration from the experiences, people, music and situations we love and hate. We try to tie together the good with the bad aspects of life while being aware of who we are and where we are heading, with the aim of avoiding stagnation, apathy, resentment and desensitization. These things are making Mexico a dangerous place for the people who live here and a terrible environment for art to bloom.
With our work we’d like to bring back ideas from the music we find profound and constructive, to inspire and share with our contemporaries.
Idle Hands music is written, played, recorded, produced and mixed by us.”
It’s Time to Play B-Sides: Hi! Thanks for taking the time to talk to me today. “Carolina St.” is a great track– I can’t wait to hear more! Will you be singing on some of the tracks, or will this be an instrumental effort?
Idle Hands: Yes, almost all of our songs have lyrics 🙂
Will “Carolina St.” have lyrics or will stay an instrumental?
Yes, it’ll have singing. It’s a love song, haha.
I read in your comments that you are looking for distribution for your EP. Will you release it digitally first or wait until someone signs you?
We will make a digital release first, but we are looking for a label to release a nice physical release.
Are you close to finished recording it?
Yes, sort of… we are quite perfectionists haha. We are finishing the recording process. The art and mixing are still on planning.
It’s amazing to see all of the shares on that video. When I saw it yesterday there was only a few hundred!
Yes, we are very impressed and grateful with everyone. We didn’t think that a rehearsal video would be so warmly received 😮
David McClymont from Orange Juice wrote a fantastic quote about us…
Actually, that is how I found out about you. One of my friends on FB shared the video with McClymont’s quote.
It’s incredible to see how the Young Sound of Scotland is alive and kicking. And the best thing: crossing seas and breaking walls!
Will the EP lyrics be in Spanish or English?
No, the lyrics are in English. It’s quite a political thing… haha. We feel quite rebellious against the musical scene of Latin America.
I’m not too familiar with the Latin music scene other than some of the bigger exports.
We don’t feel identified with much of the local stuff. Almost always the people who succeed in music in Mexico are from wealthy families and they don’t have struggles to get a record deal, gear or education.
I see. Speaking of gear, I’m impressed with the sound of that Starcaster [a budget Fender guitar line below the Squier brand]– sounds better than I thought it might.
We are condemned to play with the cheapest we can get haha. But we have the habit of improving our instruments.
I was wondering about that. Must be different pickups in there?
No way! Pickups are expensive as our guitars in México.
The secret is in the strings.
We use D’Addario Flatwounds to achieve a cleaner and smoother tone
Interesting. You use flatwounds on the Jag, too?
Yes, we have all of our guitars and basses with flatwounds
Wow. I have to say I’m pretty surprised! I would never have guessed that. The clean tone coming from those single coils sounds really nice in that video.
Yes, Squier guitars are the most trusty axes we had throughout the years.
Any effects pedals?
No, we used to had a few, but we had to sell them. And now with the “peso” devaluation we are struggling harder to get gear.
But we made our minds up. We’re trying to make the most of the cheapest things.
Well, maybe this video going viral will help sell a lot of your EP!
Haha thanks, idleness made us… We would rather make a crowdfunding for a vinyl release than selling digital music.
Well, as a vinyl junkie I would love to see that!!
Thanks a lot!
When first I saw your video I thought it sounded like Manchester scene– The Smiths, Echo and the Bunnymen, etc. Though, the Orange Juice and Aztec Camera sound people are mentioning isn’t far from that.
Yes could be. Haha, we have a lot of influence of UK and Scottish bands. From the 60’s to the 80’s.
We also love soul, disco and Afrobeat.
That should make for some interesting future releases!
Yes, actually we have a lot of unreleased demos of experiments with other genres… You’ll listen to them eventually haha.
Thanks for taking the time to talk to me today– it’s been a lot of fun!
Thanks to you Michael, it’s been a pleasure. Love from México – Fernando & Diego
2016 was the 10th birthday of It’s Time to Play B-Sides, as unreal as that seems. This blog started as an offshoot of the regular conversations about music I was having at work with my friends and co-workers. At the time there wasn’t the proliferation of music sites that there are today, and informed or researched information about music was tough to find. With encouragement from my friends, I started this as a way to capture some of the tangents we’d get into at work. It also ended up being a return of sorts to doing a music website after shuttering the somewhat popular website I was running about DJ Shadow. The name of the blog came from the signoff post I made to the DJ Shadow boards and was also a line from “Burning For You” by Blue Oyster Cult which always represented the desire to dig a little deeper into music– to flip the record over and listen to the songs on the B-Side.
The focus of It’s Time to Play B-Sides has morphed a bit over the years, some of it due to the amount of time I have to dedicate to writing on it, some of it is because I have focused a lot of my music writing since 2009 as a contributor to Little Village Magazine. This also explains why this list includes a lot of Iowa artists since that’s what we review. That said, there are some really amazing bands in Iowa and even after I review the albums, they stay in regular rotation for me and earn spots on my list.
As many will note, 2016 was a really strange year for music– sadly, mostly notable for the striking number of losses: Glenn Frey, David Bowie, Sharon Jones, Greg Lake, Leonard Cohen, Leon Russell, Merle Haggard, Maurice White, and Paul Kantner. The one that really hit me hard was the loss of Prince. Prince represented for me the first artist that I discovered on my own. Most of my formative music taste came from my father and that music is still a big part of the foundation of what I think is good in music. Prince came onto the larger music scene for me with Purple Rain, and from there I followed his career, and bands he worked with closely. I don’t think that we’ll see another artist quite as influential or as boundless in talent and genius again. I hope I’m wrong, but I feel like part of his ability to branch out was due to the fact that he hit it big during a time when the music industry was creating huge stars and he could afford to make some albums that were more daring and experimental.
The list below is in no particular order, but represent the albums that I listened to the most in 2016.
Bon Iver – 22, A Million – Justin Vernon got back on the horse. It really seemed like he wasn’t going to do another record as Bon Iver– he was burnt out of the attention and visibility he got from his Grammy-winning second album. He debuted a couple of the songs at the inaugural Eaux Claires Festival in 2015 with a glorious live show. It took the prodding of his friend Ryan Olson (Gayngs, Polica, etc.) to make him finish (or even keep working on) it. The resulting album seems related to the last album, but the textures and production are unexpected and frankly jolting in comparison, which was exactly his intention, I think. Lots of samples, and heavily affected recording techniques. I expect that this album will influence a lot of artists going forward. At the root of the album is still the perspective of Vernon. His losses and heartbreaks, the stories
Kalispell – Printer’s Son – Kalispell is the name of Shane Leonard’s solo music when he’s not working with other bands like Field Report and JE Sunde. Printer’s Son is a beautiful record, period. From my review on playbsides: “Printer’s Son is one of those rare records that is so completely imagined and executed that when you first listen to it, it seems to drop unexpectedly out of the ether. It’s a record that defies any convenient genre classification. Elements of ambience and folk and jazz come together to help deliver a grippingly emotional and personal album.”
Lissie – My Wild West – Rock Island-native Elisabeth “Lissie” Maurus becomes homesick and moves back to Iowa and self-releases an album based on the experience. Full of hooks, driving and anthemic, it’s a great start to a career back home. Here’s my review from Little Village.
King of the Tramps – Cumplir con el Diablo – A later addition to the list. King of Tramps from Auburn, IA packs a lot of classic guitar-driven rock remniscent of Black Crowes into their latest effort (which comes in a super-cool transparent vinyl version). Here’s my review from Little Village Magazine.
Durand Jones and the Indications – Durand Jones and the Indications – New release on the fantastic Soul and R&B label out of Ohio, Colemine Records. In 2016, Colemine Records started a kind of subscription series where they email you upcoming releases to allow you to opt-in to the special first-pressing variations. This is a much better approach to this idea than the forced-in versions that are the trend today. They let you listen to the releases and you can decide to be part of the drop or not. One of the releases was the debut release of Durand Jones and the Indications on transparent blue vinyl. Fantastic classic R&B in the tradition of Stax/Volt and Otis Redding. Check out the video for “Make A Change.”
Hiss Golden Messenger – Heart Like A Levee – MC Taylor’s second full-length on Merge started as a project to create musical accompaniment to an exhibition of photographs taken by William Gedney in 1972 of an Eastern Kentucky coal-mining camp. Initially the songs were going to be based on the photographs, but eventually took their own direction. The album is distinctively HGM with Taylor expressing the developing perspective of a man coming to terms with balancing a family life and a music career. I’ve been a fan from before the first release as HGM and eagerly await the next releases.
Steve Gunn – Eyes On The Lines – I found out about Steve Gunn through his connection to Hiss Golden Messenger– a one-off collaboration called Golden Gunn. His 2016 release is his debut on Matador Records. To me, his music is influenced by the great UK guitarists like Richard Thompson and Michael Chapman (whose upcoming release 50, he produced and played on).
William Tyler – Modern Country – Nashville guitar wizard William Tyler, who works with a lot folks including Hiss Golden Messenger and Lambchop, released another album of his particular atmospheric guitar acrobatics. For me, his albums add a wide cinematic soundtrack to whatever I’m doing.
Scott Hirsch – Blue Rider Songs – Scott Hirsch is the silent partner in Hiss Golden Messenger, but for his debut solo album (which has been a long time coming, frankly) he delivers a breezy laid-back album that sounds like JJ Cale’s best work.
Bo Ramsey – Wildwood Calling – Bo Ramsey returns with his first album since 2008’s Fragile. This album, recorded in his kitchen is instrumentals showcasing his distinctive country blues style he is reknowned for. Read my review in Little Village Magazine.
The Pines – Above the Prairie – It’s safe to say that any time The Pines release a new album, it will be on my favorite albums for that year. Their signature atmospheric take on folk and blues has developed slowly over the releases to the point where it is nearly its own genre. I can’t think of any other bands that sound quite like The Pines. Read Matt Steele’s review in Little Village Magazine.
Chrash – Things My Friends Say – Chris Bernat of 90’s alt rock band Tripmaster Monkey released their first album of angular pop rock on Quad Cities indie label Cartouche. From my review in Little Village Magazine: “Things My Friends Say is an album that distinguishes itself in the landscape of new releases by the determinedly outsider approach to songs which, in the end, are damn catchy.”
Freakwater – Scheherazade – This reboot of Freakwater was a long time in the works, but turned out one of the best albums in their catalog. Scheherazade is a more rich and expansive version of their sound thanks to the band, which includes Jim Elkington of seemingly every band related to Chicago. Read my interview with Janet and Catherine in Little Village Magazine (Part 1, Part 2).
Halfloves – (self titled) – The Iowa band The Olympics reboot with the guiding hand of Brendan Darner to create a dark pop record of singular vision and execution. Read my review in Little Village Magazine.
SIRES – Soul For Sale – Another rebrand/reboot of an Iowa band– this time the former Dylan Sires and Neighbors become SIRES and also work with Brendan Darner to create a moody masterpiece (I think I see a trend here). Fantastic record, though– from my review in Little Village Magazine, ” They’ve crafted an album packed with smart, bright classic hooks as well as dark, lusty bombastic rhythms: an impressive juxtaposition in contrast.”
Max Jury – Max Jury – After a run of amazing singles and an EP, Des Moines native Max Jury releases his debut album, and the anticipation built by the singles was justified. Max Jury is a jaw-droppingly solid album. From my review in Little Village Magazine, “a balanced delivery of Spector-esque wall-of-sound and an updated take on early ’70s R&B and soul.” It’s too bad that it’s going to take Jury moving to the UK and blowing up over there before his native country takes notice.
TWINS – Square America – More Sires, please. This seeming dynasty of anyone with the last name Sires cranking out amazing pop rock continues with Cedar Falls band TWINS, whose second album on Maximum Ames takes their guitar rock guns and point them at 70’s big hitters like Cheap Trick and KISS. These guys continue to slug it out on bar stages, but could easily fill an arena with their big sound if given the chance. Read my review in Little Village Magazine.
Devin Frank – The Vanishing Blues – Devin Frank of Poison Control Center releases an album influenced by 60’s psych. “With The Vanishing Blues, Frank has made a refreshing stylistic statement by using a sonic palate derived from psychedelic rock’s dawning era — using bits of Syd Barrett, Donovan and the Zombies. This makes the album a delightfully unique and compelling standout in the landscape of releases this year.” – from my review in Little Village Magazine.
The Multiple Cat – Intricate Maps – This was an album I feel like I waited a long time for. I first heard these songs when Pat Stolley brought the band to Mission Creek Festival in 2015 opening for The Sea and Cake at The Mill. Really fantastic album that is tough to summarize. Lots of vintage tones in the guitar sounds, but not really a retro record, “It’s tempting to suggest that Stolley’s use of these elements makes Intricate Maps somehow retro. However, this stitched fabric of sound is more than the sum of its parts. It is a polished work that both honors the tradition of alternative rock and puts a current spin on it with Stolley’s signature production work.” from my review in Little Village Magazine.
Christopher The Conquered – I’m Giving Up On Rock & Roll – Dramatically bold anthemic rock that can barely be contained in a record. Christopher the Conquered is a one-man tour-de-force of pop, funny poignent and self-aware. Here’s my review for Little Village Magazine.
On October 30th, we were blessed with the 20th Anniversary remastered reissue of Jay Ferrar‘s debut post-Uncle Tupelo album Trace. Widely regarded as one of the great early Americana releases, it was due for some reissue love and attention. For one thing, it got a much-needed 180g vinyl release, which saved me personally– I narrowly avoided spending $75 on a new-old-stock copy from Ferrar’s site (Discogs.com has had copies going for over twice that amount!). Secondly, the CD and download versions were expanded to include bonus demos and a 2nd disc of their February 12, 1996 performance at The Bottom Line in New York City.
Ferrar said in a recent interview about the show, “In terms of the Bottom Line show, yeah, it’s a live show, and there will be some hiccups here and there, but part of what I can hear is that it sounds like my singing voice is almost scorched from smoking cigarettes. You know, there was a very small dressing room at the back of that club, and it was probably the size of a closet. At that time, all five guys in the band were smokers, so that record could’ve just been called, Five Dudes Smoking in a Closet. [Laughs] I can still sing it seems like, but I can barely talk… It was recorded with that mobile recording truck on analog tapes, so you’re not going to get a better sound than that. I wish I had more information on that truck; I couldn’t really track it down. There was a similar show, if not this one, that was recorded with the Rolling Stones’ mobile recording truck. Doing a little research, their truck was in New York in 1996 when this show was recorded, but I just can’t say for sure it was the one.”
Here is the tracklist. We don’t know how the songs will be split up by LP side yet. It includes most of the songs from Trace (not the Ron Wood cover “Mystifies Me”) as well as some Uncle Tupelo songs and a Del Reeves cover.
Live from the Bottom Line/February 12, 1996
01 – Route
02 – Loose
03 – String
04 – Catching On
05 – Live Free
06 – Anodyne – Uncle Tupelo 07 – Windfall
08 – Slate – Uncle Tupelo 09 – Out Of the Picture
10 – Tear Stained Eye
11 – True to Life – Uncle Tupelo 12 – Cemetery Savior – from Straightaways 13 – Ten Second News
14 – Drown
15 – Looking for a Way Out – Uncle Tupelo 16 – Chickamauga – Uncle Tupelo 17 – Too Early
18 – Looking at the World Through a Windshield – Del Reeves cover
Here is a YouTube playlist I created of all of the songs that are conveniently there:
Nellie McKay is in a lot of ways an artist from a different time. Compared to what is generally regarded as “pop music” currently, popular music from the 50’s/60’s and even the 70’s seemed to cut a much wider swath through genres. Jazz, Rock, Country, Folk and American Songbook. In that same spirit Nellie McKay has not been content staying in one genre– even per album in most cases.
For McKay’s sixth album titled My Weekly Reader, she opted to dive into the rich catalog of 60’s pop and rock and create an album of covers that demonstrates her incredible musical chops and catalog knowledge as well as presents the songs with her unique and smart sense of subtle irony and humor. While I really appreciate her original music more, the opportunity to see her dive into covers (as she did on her album of Doris Day covers Normal as Blueberry Pie) also reveals her influences.
And I haven’t even mentioned her stints on Broadway and film!
McKay is bringing her solo show back to Cedar Rapids on Tuesday, April 28th. She was here in September of 2012 (which is where the picture above was taken). Her shows are a lot of fun– she’s a great artist, musician and wonderful singer. Her adopted stage personae at first seems a little scatterbrained, but she uses that disarming “aw-shucks” delivery to make some sharp and thoughtful commentary about everything from veganism to feminism to current politics. When she performed last time, she improvised a cute song about Iowa.
She was interviewed recently on NBC 4 in New York City about her new album:
She is a performer who continues to impress me and we are fortunate that she chooses the big stage at CSPS to bring her show. Don’t sleep on this!
Well, it’s been a pretty great week for acts at CSPS! The Duncan Sheik show on Thursday night was pretty damn amazing, and I found a couple of acts I want to keep an eye on– that new Alpha Rev album coming out next year will be one that I’m looking forward to.
Tonight the big stage at CSPS will be graced by Dick Prall who used to live in Iowa, but now crafts his Brit Pop-influenced Midwestern Rock from the Windy City. He’s put out a solid run of pop rock masterpieces since his first release Somewhere About Here in 1998.
This year he is kicking off a new project that is a little different than his standard album releases. He is working with Pat Sansone of Wilco and The Autumn Defense to release a series of digital singles which will culminate in a full release with bonus material next year. In an e-mail exchange with Prall he said, “We’re trying a different methodology this time around to hopefully keep folks interested and engaged on a monthly basis – that’s the theory, anyway. All the songs are being done with Pat Sansone, who digs the idea, so I’m in good company.”
If the first single “Wanted Blue” is any indication, it will be one for the “Best of” list for 2013! Prall also said that they are considering vinyl for this release! Listen for yourself and download:
Dick is bringing a band with him tonight that he describes as “drums, bass, violin, & hollow-bodied guitar put together in a sort of laid-back Buddy Holly & the Crickets meets Elvis Costello backed by Spoon sort of way.” Sounds like my kind of lineup!
I wasn’t expecting a new release from Hiss Golden Messenger so soon after the release of the brilliant Poor Moon. Though I guess it has already almost been a year since it’s limited vinyl release on Paradise of Bachelors, but in that year Poor Moon received a reissue of sorts in April as a CD on Thompkins Square giving it the distinction of being one of the few contemporary releases on the label.
For the pre-order campaign for Poor Moon, MC Taylor tried a kind of Indiegogo/Kickstarter approach by providing tiered bonuses, which included a digital download of a live recording, and a 6-track EP called Lord I Love The Rain that was made up of solo acoustic tracks from Bad Debt, and a “conceptual soundtrack” called He Wore Rings on Every Finger. It was a welcomed, if a bit uneven collection of songs serving as bonus content.
This week it was announced that Lord I Love The Rain would get an expanded and improved treatment to serve as a bridge to the “proper” follow up to Poor Moon titled Haw to come out March 2013 on Paradise of Bachelors. This release will be produced by the German label Jellyfant in a limited run of 600 with only 240 making their way to our shores. The LP is mixed by Scott Hirsch of HGM and mastered by Anthony Puglisi who has done an amazing job with a few of the last vinyl releases in the HGM catalog. The cover will be Folkways-style paste-on jackets designed by Brendan Greaves, with liner notes by folklorist, curator and guitarist Nathan Salsburg. Brendan also designed the LP jacket for Poor Moon.
In addition to remixing the songs from the EP for this release, it also gains some additional tracks, loses a track and gets re-sequenced into an album where one side is made up of the Bad Debt lo-fi recordings, and the second side is made up of full-band songs in a kind of Rust Never Sleepsfashion. The new songs are a couple of covers– “The Revenant” from Michael Hurley, and “Tell Everyone” by Ronnie Lane, plus an instrumental “War” on the full band side, and “Karen’s Blues,” “He Wrote The Book,” “Roll River Roll” on the solo acoustic side. On the changes made for this release Taylor said, “We weren’t satisfied with the original version [of the EP], especially “Bright Phoebus” which was just flat and dumb. So it’s really nice to get another crack at it. I think the whole collection hangs together nicely. It’s nice to have the physical divide of sides A and B to separate the lo-fi from the higher fidelity [songs.]” Having listened to the collection a few times, I completely agree. The collection goes from being a kind of odds-and-sods to a release that works as a whole.
He Wrote the Book
Roll River Roll
Fox and His Friends
Born on a Crescent Moon
The Revenant (Michael Hurley)
You Never Know
Tell Everyone (Ronnie Lane)
To get in on this rare release, you can pre-order from Taylor and Hirsch’s label Heaven and Earth Magic for $20 plus shipping, which is a pretty good deal. Plus, you get a copy of the split 7″ with Elephant Micah for freebies! You also get three songs you can download right away, and will get a link to download the rest of the release when it comes out on October 28th.
It’s no secret that I’m a big fan of Bay Area Pop Funk Chanteuse Karyn Paige. Today, I’m happy to announce that she’s dropping a new single to tide us over until she finishes her full length album.
Consistent with her first release, The KP EP (I reviewed here), her latest single “You Know I’ll Always Love You” pays tribute to the Pop R&B heyday of the 80’s with swelling and buzzy synthesizers. Ms. Paige transforms from the sexy fuming diva sitting on the bed in “Stay Away Tonight” to a sunny girl in love that reminds me of Paula Abdul’s great singles.
The smartly spare arrangements, and loping percussion draws us very close to Karyn’s lovely soprano with an adopted affected stuffiness that recalls 1920’s and 30’s jazz singers. Factor in the slightly-kitschy talk box harmony vocal effects and you have one perfect pop song.
I asked Karyn why she chose to release this single ahead of the full length album she’s working on.
“The motivation for releasing the song ahead of the full LP was simple: Fans who have seen us play it live are constantly asking when we are going to put it out. People are really drawn to it, from music heads to moms. I wanted to give my fans something new to enjoy until the LP comes out. It was written by my co-producer and keyboard player Matt Berkeley, and I’ve always been honored to sing it.”
Neal Casal is a musician who you discover when you start digging into his career, has a Six Degrees of Kevin Bacon-esque connection to other musicians. The fact is that Casal’s personal mantra is to live a life of creativity, and he achieves this in spades through his own extensive solo career with 11 albums dating back to 1994, sideman work in countless recording sessions and stints in other bands including high-profile runs in Ryan Adams‘ Cardinals and currently Chris Robinson’s Brotherhood (which has an album coming out this year) as well as a blossoming photography career. Casal’s latest solo record Sweeten the Distance will be released on Royal Potato Family on April 10th. Neal was a generous interviewee, and I came away from the conversation very inspired about my own music collecting, performing and photography.
When I called Neal, he was in busy painting a bedroom. He had to turn down the music he was playing to hear me. After introducing myself, I opened by asking him about his ties to the resurgence of the “Laurel Canyon” scene that started around some jam sessions at Jonathan Wilson‘s house.
Yeah, I have a few of those connections for sure… Wilson is a friend of mine, yeah, we’ve played music a bunch, been around his studio and seen a lot. We’re all part of the same music scene really.
I played on Mark Olson’s solo record Many Colored Kite, I was asked to play bass on the Gary Louris solo record Vagabonds by Chris Robinson who produced it, but I couldn’t because I was in the Cardinals at the time and we were getting ready to go on a long tour for Easy Tiger. But, I also play some bass on the new Jayhawks record.
A great record– I’m so happy they are back together.
Yeah, I was a long-time Jayhawks fan– back in the early-90’s I used to see them play all the time. I loved them, they were a big band for me. So, I was really lucky to get to know those guys and to play with them a bit.
Let’s talk a little bit about your record collection, I assume you’re into vinyl?
I’m definitely into vinyl. I have a whole living room full of vinyl and I buy stuff all the time. I played in L.A. last night, actually, and there is a great record shop called Origami Vinyl and I bought the Michael ChapmanRainmaker reissue, which was his first album for the Harvest label in ‘69– amazing sort of skewed English folk with some Rock elements in it.
I listen to vinyl all day long, I buy vinyl all the time– I don’t even know where it begins and ends, you know?
Was vinyl a resurgence for you, or were you into it all along?
I started collecting vinyl well over 20 years ago and it just never stopped– it never died for me. I never let go of my collection or anything like that. It’s cool that vinyl is at an all-time high with all of the reissues and attention to detail– it’s amazing. And, now that I’m in the Chris Robinson Brotherhood the vinyl obsession goes even further. Chris is an avid music listener and he and I get along so well musically and in every town we play– we are in the record shops. So, last year touring around the country we were spending our paychecks on stacks of vinyl. It was great!
Did you end up shipping the records back or did you bring them on the bus?
Oh, they were on the bus! There was no where to even sleep in my bunk! It was just so full of records.
So, yeah, I’m listening to records all the time– in fact, I was listening to Captain Beefheart on the turntable and painting a room as you called.
Which Captain Beefheart record was it?
I was listening to a record called The Spotlight Kid. It isn’t exactly my favorite, but that was what I was listening to just now.
In your collecting do you tend to focus on any particular genre, or are you a completist in anything?
I’m not really a completist, although at the moment I’m trying to find every single Robbie Basho record there is. Robbie Basho was an acoustic guitar player in the John Fahey tradition or style who made records in the 60’s, 70’s and 80’s. I’m currently obsessed with him and would like to get all of his records, actually.
I’m only just recently getting into John Fahey. I feel like I’m kind of late to the party.
John Faheywas amazing– he had his own record label called Takoma Records and Robbie Basho was on Takoma for a while. He wasn’t like Fahey, but he was kind of in that vein. Completing my Robbie Basho collection is hard, though because some of them are really rare– they’re quite expensive now.
Some of the Fahey records are getting reissued, so maybe some of Basho’s stuff might get reissued, too.
Yeah, exactly. For a while I wanted to complete my Incredible String Band collection, which I finally did, which is cool. But, it isn’t really about being a completist as it is about finding cool stuff and discovering what new music you can, you know?
When CD’s came out in the 80’s I jumped on that bandwagon– so most of my collection until the last decade or so was made up of that– I have thousands of CD’s…
Oh, we we’re all on that one, you know– me too, believe me. My CD collection is now– I got rid of almost all of the cases, and I just put them all in books. So I still have most of my CD collection and I have stacks of CD books as well, so…
Yeah, I’ve always had a turntable and my vinyl, but during the CD years I’d only pick up vinyl when there was something I wanted that was only available on vinyl– like maybe a remix or something and it has only been in the last decade or so that I started getting back into vinyl, and really in the last three years I’ve tripled my collection of vinyl. Thankfully, the majority of people still don’t seem to think that vinyl is a going concern, so you can still find good deals on some pieces. It seems like I’m spending a lot of time replacing albums from the 90’s that I originally bought on CD.
Yeah, CD’s as a format you can just see is just not very timeless, you know what I mean? CD’s are not wearing well as we move down the years. That’s a problem– the artwork doesn’t last, it looks like shit, they look horrible in your house– they don’t display well. They sound weird, too– they skip and they get all fucked up. They’re still around, of course, but they are just not a timeless medium. It’s amazing to see that with vinyl, they got it right the first time.
I recorded my last two records digitally, and that’s fine. I think that recording digitally isn’t particularly a problem if you do it right. I work with really great people who know what they’re doing with all of that stuff. But, I still like to work on tape as well. Recording digitally is a fact of life that I totally accept, and digitally recorded records can be mastered to vinyl beautifully.
Sweeten the Distance will be on vinyl, and the last Hazy Malaze record Connections is available on vinyl, too, right?
Yeah, actually all three Hazy Malaze records are available on vinyl. The first Hazy Malaze record was recorded on tape and mastered to vinyl– so that is a record that is completely analog which was really cool.
Speaking of Hazy Malaze, the two other members Dan Fadel and Jeff Hill are the rhythm section of the new record. They have played on my last three solo records records in addition to the three Hazy Malaze records which we all co-write together. Those two guys are are such a huge part of my musical life. they’re a team and we’ve done so much musical work together.
Also, two of my albums from the 90’s are coming out on vinyl as well.
The reissues that Fargo did?
Yeah, and they did a really great job with those. But, I’m most excited with Sweeten the Distance. Thom Monahan, the guy who produced it was a big key to the sound. He is such a great producer and he works with so many people: Vetiver, Fruit Bats, and he did the Chris Robinson Brotherhood record we just finished, and he also co-produced that Gary Louris record Vagabonds with Chris Robinson. And, Thom also worked with Jonathan Wilson on his album Gentle Spirit. So, you can see how all of these roads cross with this circle of friends we have going on here.
Yeah, I first heard about Jonathan Wilson about the time I started getting into Dawes and heard about the get togethers he was having at his place in Laurel Canyon.
Yeah that was fun. That is where I met Jonathan and those guys– a really good scene. Jonathan was also really good friends with Jonathan Rice who is in Jenny and Johnny— have you heard their record?
Actually, no. I’m more familiar with Rice’s solo stuff.
Jonathan Rice has done two solo records, but his girlfriend is Jenny Lewis who was in Rilo Kiley and they are in Jenny and Johnny together. I used to play with Jonathan Rice many years ago– so this scene just kind of came together from people who knew each other. And, there is another guy name Farmer Dave Scher who is in Beachwood Sparks.
And, you toured with Beachwood Sparks, right?
Yeah, and they just make a new record with Thom Monahan that I play on as well. Crossing streams, you know.
There must be something in the water up there– it’s almost a corollary to the 70’s Laurel Canyon scene– Jackson Browne working with the Eagles, the Eagles working with Linda Ronstadt, Linda Ronstadt working with Neil Young and James Taylor…
Yeah, it’s people around– all in the same place doing stuff– people with songs– and it’s a good idea to get together. I don’t think anyone really thought about it, but when you look back on it, you’re like, “wow, we really did a lot of stuff together.” No one set out saying, “we’re going to make a new Laurel Canyon scene.” That would have been incredibly pretentious. It just started to happen.
When you get ready to work on your solo stuff, do you find yourself maybe water-shedding with your records?
Well, actually, I try to get away from my records, actually. So that it’s not so much like I’m trying to cop another thing, you know? For me, the record collection is useful as a subliminal influence. In my off-time I’m listening to records constantly, and I’m just absorbing stuff. But, when it comes time to really write or really record– that’s when I put the records away. Try not to make any direct references. I used to do it when I was younger– bring a record to the studio when you’re making a record and you tell the producer, “I want the record to sound like this.” That’s just stupid, it never really works. To try to cop something directly is not a good idea– you just need to do your own thing– you have to look for your own voice. My 60’s and 70’s influences come across strongly in my music, I admit– but I don’t sit around with Thom Monahan playing Jackson Browne records trying to replicate them. The fabric of who I am as a musician comes from my record collection, but it is absorbed in a much different way– a much more subtle or internal way. That said, when I worked on the Chris Robinson Brotherhood album, we did have a turntable in the recording studio– in the live room– and everyone brought in records, but that was just so we could listen to records on break and have fun.
How long had you been working on the songs on Sweeten the Distance? I know that you had an album out in 2009…
I started working on songs right after Roots and Wings, which was my last album. Just over the last two or three years. I’m just always working on music.
Looking at your career, I’m impressed at how capably you jump between your own music and helping other people with theirs.
I love doing a bit of both– it keeps things fresh. I love working with other people and I bring a little that back to my own music. Sometimes working on my own stuff can get to be a little isolating, so I love to be a guitar player for other people or bring in some harmony vocals. I just want to be playing music all the time. I like it to be an open thing. It doesn’t have to be just my music– it can be someone else’s as long as it is really good! I have so many friends that it just makes sense to go play with them. There are no rules that I should just do my stuff– I just want to do– I just want to do stuff and I want to be involved.
You do seem pretty adaptable– when I compare the music of the Cardinals, for example, to your music I don’t think that they are necessarily very similar.
Well what the Cardinals did and what I do fall under the broad umbrella of American music. Playing with Ryan was an amazing experience. He is so unbelievably talented, and such an absolute great songwriter that I was influenced by him. Again, though, not so directly, but more like raising the bar in terms of quality of songwriting and song quality in general and the desire to be great. But, I didn’t come out of that experience sounding more like Ryan. Before I had joined him, I had already been making my own records and had my own style. Part of the reason he wanted me to join his band was because I had my own style.
I read a comment that you made about how your photographs are in essence the songs that you couldn’t or haven’t written yet. It’s an idea that really intrigues me as an amateur photographer and musician myself– the idea that two different art forms could be tied together.
It’s all part of one creative flow for me. Taking photographs is like what we talked about– it’s like playing with other people. Instead of just making my own songs, I play guitar with other people, and in addition to playing guitar with other people, I take photographs of those people. It’s the way to make life creative– a creative flow 24/7– all the time. You can’t play music constantly– so when I take a break from that, I pick up a camera. It’s interesting that my photographs end up looking like my music sounds. The same aesthetic that I have in one thing, I bring to another– and that’s very interesting to see. Like I might use space photographically the same way I do musically. You bring your personality into whatever you do, so things can kind of look and sound the same way. It’s not the medium– it’s YOU. In some of my music there is a kind of quiet aspect to things and I find myself doing that with a camera as well. I’m reaching for the same thing photographically as I am musically. I think that maybe my photographs are more diverse than my music, but there is a certain melancholy or introspection and that is a part of my personality that I’m working out and I do that with photographs as well. What is my psyche pushing me towards? That is one my my main revelations in my pursuit of photography.
My pursuit of photography started out as a way for me to document what I was doing– I was on tour constantly and I was losing track of time– I was never ever home– nor did I want to be at home at that time. But, being on tour can be really tedious. Not boring– but you don’t have control over your day. So, I started taking photographs to pass the time, but also so I could remember where I’d been. When you are on tour that much, I noticed that it was difficult to keep everything straight. So, I started taking photographs to make being on the road more tolerable. Also, to bring more creativity to being on tour– otherwise you end up in hotel rooms and coffee shops all day, and I can’t handle that. Then, it became a passion when I realized that I had a knack for it. That is what photography has done for me– It has make my life so much bigger than just music. (chuckles) I’m just trying to have a rich experience here!
What is on your vinyl wish list?
Let me look at my phone… I always have a running list of stuff. There’s so much…
Steve Hillage – Fish Rising : Chris Robinson played me that record…
The Collins Sisters – Anthems in Eden
“The Wicker Man” Soundtrack
Dr. Strangely Strange Records
Any Roy Harper records I can find
Robert Nighthawk – Bricks in my Pillow
John Martyn – The Tumbler
Robin Williamson (from ISB) – Myrrh – Really rare, I don’t think I’ll ever see it.
Neal, I really want to thank you for your time, this was a great conversation! I should let you get back to painting your room!
Actually, this is perfect timing– I was painting while we were talking and I’m now done!