For those of you Evan Dando fans who did not heed my advice last time around to sign up for the webboard at www.evandando.co.uk, NOW is the ideal time to do it.
I just caught wind of the fact that for all 24 hours of February 1 the site will be having a “downloads happy hour” with all previous video and audio files from the download section made available.
Bacchanalia. At no charge.
Zip on over.
I recently finished the roller-coaster ride that is James Frey’s (mostly) autobiographical novel A Million Little Pieces. Surely many of you have seen the controversy over this book which has left Oprah “very disappointed” in author James Frey. She feels taken advantage of by the fact that he seems to have fictionalized several incidents in the book. It is unfortunate that Frey lied (his book would have been just as good with strictly the truth), and I am not condoning lying (am I?), but let’s hear Heather’s take on it.
This is an astoundingly riveting book which I picked up in an airport bookstore in spite of the Oprah’s Book Club sticker on the front. Raw and affecting, Frey’s memoir reveals the “self-inflicted apocalypse” that is hard-core drug addiction. It offers unflinching insight into the loathing and despair that comes with it, and the very long, very hard road back from it.
The book opens with Frey waking up on an airplane at age 23 after ten-plus years of intense, regular, hard drug use. “I wake to the drone of an airplane engine and the feeling of something dripping down my chin. I lift my hand to feel my face. My front four teeth are gone, I have a hole in my cheek, my nose is broken and my eyes are swollen nearly shut.” Frey has no idea where he is or how he got there. When he lands in Chicago, he is met by his parents who take him to a rehab facility. It’s either that or he will end up dying from the copious drug use which has almost exhausted his system; mind-staggering amounts of alcohol (“every day, when I wake up, as much as I can”), cocaine (“every day, as much as I can, lately crack, but in every form that exists”), pills, acid, mushrooms, meth, PCP, glue. When he takes these things, it temporarily quiets what he calls “The Fury,” the murderous, screaming fury inside of him.
As Frey works through all the crap in his life and tries to salvage his relationships, who he is, and come to terms with what he has done, his writing reverberates and aches with pain and honest intensity, but I appreciate that he doesn’t slide into maudlin prose. It is terse. It is to the point. He is dealing with The Question posed to him on the rehab self-assessment quiz:
“My sins are unpardonable. True or false?
I stare at the question.
My sins are unpardonable.
I stare at the question.
My sins are unpardonable.
I leave it blank.”
I thought that the merits of this book outweigh the fact that there are fictionalized incidents. To me, it’s like that whole period in his life was so out of control, so destructive, blurred, surreal, so….falling apart, that the point remains even if the details were not exactly as they occured. The essence of the book, for me, remains the same in light of the current revelations. It’s not as if I went and sobbed in a hot shower, curled in a ball, when I heard that not *every* incident in the book happened exactly like he said. It is a still a recommended read on my shelf.
Feb 2 Update: James Frey writes an addendum to his book in which he apologizes and acknowledges. He says, “This memoir is a combination of facts about my life and certain embellishments. It is a subjective truth, altered by the mind of a recovering drug addict and alcoholic. Ultimately, it’s a story, and one that I could not have written without living the life I have lived.” To read the rest, see the Random House website. The statement does take responsibility, but it does leave me wondering what, exactly, is “subjective truth”? That’s kind of a hedging-your-bet statement, no?
Thanks to Connor and Nathaniel, I now know that a raconteur is “one who excels in telling stories and anecdotes,” and it is also the joint musical effort bringing together Mr. Jack White and Mr. Brendan Benson (along with Jack Lawrence and Patrick Keeler) for a little bit o’ musica. The Raconteurs’ 7″ single was released today (well, technically yesterday) in the UK/Europe, and hits stateside on March 7.
Side A: “Steady, As She Goes” – The Raconteurs
Side B: “Store Bought Bones” – The Raconteurs
And I agree with iGIF that The Raconteurs’ website is one of the most glorious things I have seen lately, since my first computer was in like 1983, a TI-99 for Christmas with a screen just as lo-tech as their site.
And since we are vaguely, loosely, talking about the White Stripes, let me also throw this cover out there. It sucks (maybe because I just like the original so much) but I suppose it is all in good fun, and interesting, so it gets blogged.
“Seven Nation Army” – Damien Rice & Vyvienne Long
One of the freshest sounding releases I bought last summer was De Nova from The Redwalls, whom I mentioned a few days ago in my post about OK Go. Some of you expressed an interest in learning more about them, so here you go (look how easy that was).
When I first heard “It’s Love You’re On” by The Redwalls last February, I thought they were some ’60s band I’d never heard before – pleasing vocal harmonies, catchy hooks, a great crunchy sound. This Chicago quartet (vocalist/guitarist Logan Baren, vocalist/bassist Justin Baren, vocalist/guitarist Andrew Langer, and drummer Ben Greeno) ranges in dewy-fresh age from 20 to 22 years old, but sound much more mature to me, musically.
I was blown away seeing them live. Four young guys, shaggy dark hair, tight pants, pointed boots – like straight-up British Invasion brought back to life (oh wait, did it ever die?). They looked so young; I remember telling my friend Heidi that I felt like we were at a high school talent show (albeit one of very high caliber, minus the teenage band names like Janitors Against Apartheid and Liquid Courage). These kids have stage presence and swagger galore (although, really, who at 22 opening for all these great bands *wouldn’t* swagger just a tad?).
The Redwalls are opening for Oasis on five shows this March. If you live in Milwaukee, Indianapolis, Cincinnati, Nashville, or Houston, for the love of all that’s holy go check them out! They’ll be huge.
I just got emailed a rare Redwalls track from the vault, off the Japanese import version of De Nova. Enjoy!
Memories – The Redwalls
BONUS: For another little sample of their sound, here is one of my favorite tracks off De Nova. I highly recommend their album:
It’s Alright – The Redwalls
It’s Monday, new music for the week.
“We happy?”
“Yeah, we happy.”
Ol’ 55 
Sarah McLachlan
There’s been some Tom Waits love goin’ around in the blogosphere lately (even Jesus loves him, but I guess Jesus loves everybody), which reminded me of one of my favorite covers ever, a Waits song from Sarah McLachlan’s Freedom Sessions. This track was recorded this very late one night/early one morning, after Sarah & her band had been imbibing large quantities of red wine. Not everyone knew the song, so those that did were mouthing chord changes to the others. She sounds better drunk than I do sober. (But oddly enough, not as good as I *think* I sound drunk. Ironic.)
Tiger Man (live)
Eels
On their 2003 tour, Eels often opened their show with this Elvis cover, a classic swaggering song of sexual bravado. I can picture Elvis The Pelvis making all the teenage girls scream with this one. With E, not so much, but with his unique sound he can pull it off. Rockin’ good fun from the Ancienne Belgique show. Thanks to Giacomo from www.eelsitalia.com!
These Things
Hope Sandoval and the Warm Inventions
You may remember Hope Sandoval as the dreamy-velvet voice of Mazzy Star. While Mazzy Star lies dormant, Hope has gone on to release some newer material with her band The Warm Inventions. This track is from her 2002 EP Suzanne. When I listen to this, I picture a voice coming out of a black, black room – like you are sitting somewhere in the dark and suddenly you hear this lolling voice, like a slowly swirling river, out of nowhere. It’s just her and a slow bluesy guitar for most of the song. Very evocative.
The Shins
Flake Music
As Chris puts it, “Way before The Shins were going around changing Natalie Portman’s life in overrated movies, they were Flake Music.” Matthew posted this track by Flake Music (from their 1997 CD When You Land Here, It’s Time To Return) and I have been enjoying its poppy vibe for the last month. Shimmery goodness, as one would expect from they-who-would-become-Shins. And yes, so you’re not confused (or, even worse, accuse me of a typo!) the song is in fact also called The Shins. Whoa.
Why Don’t You Do It For Me?
22-20s
Big thumping drums and a retro-rockabilly/blues feel to this group distinguishes the 22-20s from the rest of the next-big-thing bands over in Britain today. The 22-20s took their name from a track by Delta bluesman James, and it’s clear from listening to them that these chaps have studied their musical roots. Liam Gallagher (Oasis) has been rumored to have said about music these days, “Everything’s sh*t. Except for the 22-20s.” So there you have it. That may or may not be an incentive for you, but (Liam or no) this is some good stuff in the Heather Browne book. From their self-titled 2005 debut album.
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I love Jeff Buckley so much that sometimes if I listen to him at night, in the dark, his music almost makes me physically ache. That’s how I felt when I heard this live track. Am I melodramatic? Of course.
But for real, LISTEN to him singing Nina Simone (Nina Simone!) and see. If it does not touch you, then perhaps you have a cold block of ice in your chest in place of a beating and sentient heart.
If You Knew Рfrom Live at Sin-̩
Also, here is Buckley covering Velvet Underground and Bob Dylan. Interesting live radio studio banter as well. Sometimes I forget that he was a real person, if that makes sense.
All Tomorrow’s Parties (live) – Jeff Buckley
Mama, You’ve Been On My Mind (live) – Jeff Buckley
(there is a great studio version of this as well on the Grace Legacy Edition CD)
And in the news, there is a Jeff Buckley documentary (Amazing Grace) which I am somehow just now hearing of. It apparently screened at the Cinequest Film Festival back in San Jose in March when I was totally still living there. How did I miss that?
Hey there, Marah. Where’ve you been all my life? This is a really, really great folk-punk/roots/garage-rock band making some quality tunes, a largely undiscovered gem in the lexicon of rock music today.
Formed in 1993 by brothers Dave (singer-songwriter-banjoist-guitarist) and Serge (harmonica-guitarist-vocalist) Bielanko, this Philly-based band has been compared with early Replacements and a younger and urgent Springsteen, and depending on the song I definitely hear both influences. They’ve jammed with Springsteen in concert and in the studio, and have shared the bill with the likes of Ryan Adams, Ted Leo, and Jesse Malin live.
Marah writes solid, multi-layered songs and their most recent album If You Didn’t Laugh You’d Cry harnesses an immediate and melodic beauty. Since many songs on this album were recorded in no more than three takes in a Brooklyn kitchen, there is a raw and unpolished edge to them.
They are playing tonight in San Francisco at the cozy Cafe du Nord, for all you cats from my homeland. Then they are on the road pretty much through March, including SXSW, so you might want to check them out live. Their shows are rumored to be “sweaty, feel-good rock’n'roll with an urgency that makes you feel alive.”
And one interesting thing I noticed from their website was that the March 25th date in Oxford, MS will feature Nick Hornby (the author). I am not sure in what capacity Hornby will be appearing with Marah, but he wrote a really lovely op-ed piece in the New York Times mentioning Marah and is a confessed fan. Hornby, always poetic in his love for good music, says the following about Marah:
“Indeed, in the shows you can often hear their love for the rock canon uninflected – they play covers of the Replacements’ “Can’t Hardly Wait,” or the Jam’s “In the City,” and they usually end with a riffed-up version of the O’Jays’ “Love Train.” They play an original called “TheCatfisherman” with a great big Bo Diddley beat, and they quote the Beatles’ “Tomorrow Never Knows” and the Who’s “Magic Bus.” And they do this not because they’re a bar band and people expect cover versions, but because they are unafraid of showing where their music comes from, and unafraid of the comparisons that will ensue. . .”
From If You Didn’t Laugh You’d Cry (2005):
From Let’s Cut the Crap & Hook up Later on Tonight (1998):
great album title. come on
Bonus Live Tracks from 8/12/00 show in Tempe, AZ:
I think what I like the best about listening to Marah is that each song is really different from the next. But it’s all good – and it might just restore your faith in the pure and heartfelt honesty of rock’n'roll.
I’m glad I ran into them.
This is really not a musician birthday blog, but the ever-changing celebrants offer a good reason to rotate who I feature. Yesterday was Lucinda Williams‘ birthday and I meant to post this but then I got lazy, what with all the uploading, the picture-finding. Whew. So today, here is a festive salute to the “agony aunt” of today’s alt-country/americana blues sound.
I am not super-familiar yet with her work, I think I downloaded this track off someone’s celebrity playlist on iTunes. Can’t recall. But she is really great, and this track showcases her unique voice and rough gravelly sound. It is a pitch-perfect, rollicking wrencher about having a bit of trouble recognizing the end of a relationship, off her perfectly-descriptively titled 1998 album Car Wheels On A Gravel Road. As one reviewer says of the album, “the entire Deep South is reduced to a sleepy small town filled with ex-lovers, dive bars, and endless gravel roads.”
There is some *delicious* slide guitar (I think you have to say gee-tar with this one) throughout in the vein of Ben Harper, and a leg-slappin’, toe-tappin’ beat. Stand up and listen to this and if you can be still throughout, then I think your rhythm-appreciator-thingie is broken.
“Can’t Let Go” – Lucinda Williams
Here is some random interesting musical ephemera for your Thursday evening.
Chad, bless his heart, has composed another fabulous and exhaustive post about Elliott Smith and The Beatles with lots of great tunes. Head over to Everybody Cares, Everybody Understands post haste.
I thought this was a funny article in the Guardian (UK) about eight musicians swapping iPods and having to guess whose iPod they had. Interesting concept. What would my iPod say about me? Swapping iPods is lovely fun.
If you are considering getting more into Ray LaMontagne (and really, you should be and you know you want to), click yourself right on over to I Guess I’m Floating to see how much Nathaniel and I love Ray LaMontagne and download some really good album tracks from Trouble.
Aquarium Drunkard has the video of Ryan Adams on Austin City Limits for download if you missed it – you know, like if you were out doing something on Saturday night and your VCR is broken. Ya know. His excellent set included Games, Cold Roses, Hard Way To Fall, Call Me On Your Way Back Home, Now That You’re Gone, Let It Ride, and A Kiss Before I Go.
Do you like banjo? (wow, there’s a great conversation starter at a crowded party). If you do, Beat The Indie Drum has a nice mix of songs featuring said instrument entitled “Pling Twang Pling.” I appreciate the way it always sounds so bright and golden, like a shiny penny.
And finally, members of Weezer have been tapped to play Velvet Underground in upcoming Edie Sedgwick biopic Factory Girl. They’ve also re-recorded a new version of the Underground song “Heroin.” Pitchfork is not too keen on the idea. I say give ‘em a break, ye hipster cynics!
Side track, but I think Velvet Underground was a fabulous choice for a band name. It’s got it all; mystery (ooh, they are underground), sex appeal (velvet? come on. hot), and just this coolness factor (the two together sound like the name of a really classy, but DANGEROUS, strip club. Not that I would know, but I’ve seen it on TV).
What a quirky evening of joy it is to spend a few hours with Cake. Seeing them live is always a treat, what with the crowd providing the background vocals, the dry acerbic wit of singer John McCrea (a true showman), the prominent percussion and thumping bass grooves.
Plus, I got to see the Fillmore Denver, which tries to be as cool as Fillmore San Francisco, but of course cannot. But don’t hold it against Fillmore Denver which is just a baby venue which will grow in stature and favor with the people. One excellent thing that Fillmore Denver has in common with Fillmore San Fran is the plentitude of concert photographs from the performers who have graced their halls over the years. I realized as I stood there just how happy it makes me to look at those photos. For years growing up every time I went to the Fillmore SF I would always look at the photos. I always look at the pictures first before reading the caption to see how many I know. When I feel that flash of recognition from their faces, rather than from reading their names, the songs and the music all comes to me in a rush and I remember great shows I’ve been at with these folks. I always feel surrounded by friends when I see photos of all that superb musical history in action.
And it may be late and I may have been drinking, but if I was the boss of concerts, let me tell you a little thing or two about how it would be. I would only invite very small people. Short folks who would never obstruct my view. If you tall folks insisted on coming we would have a special section for you. Tonight it was ridiculous. I said on many occasions, “Self, could more tall people stand in front of you?” It was like, hey, you’re 6’3″? 6’4″? Could you stand in front of Heather? That would be super.
Name: Heather Browne
Location: Colorado, originally by way of California
Giving context to the torrent since 2005.
"I love the relationship that anyone has with music: because there's something in us that is beyond the reach of words, something that eludes and defies our best attempts to spit it out. It's the best part of us, probably, the richest and strangest part..."
—Nick Hornby, Songbook
"Music has always been a matter of energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel."
—Hunter S. Thompson
Mp3s are for sampling purposes, kinda like when they give you the cheese cube at Costco, knowing that you'll often go home with having bought the whole 7 lb. spiced Brie log. They are left up for a limited time. If you LIKE the music, go and support these artists, buy their schwag, go to their concerts, purchase their CDs/records and tell all your friends. Rock on.
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