tag:blogger.com,1999:blog-66297313845623871292024-02-07T02:12:38.324-06:00Forest RoxxForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.comBlogger730125tag:blogger.com,1999:blog-6629731384562387129.post-41184417388440027982019-01-09T08:13:00.000-06:002019-01-09T08:13:10.327-06:00The Stone Roses - The Stone Roses<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzCQHcV017VvX76IM131XRhPanx0kYpt4IrZ9wNInWmLwQmR2IjpzjtwcEK4wYaaC6SJudbV3_c3qguoZNPi-FRH-m1QFUCjsR2B-OEoRkhIrNeiCMj2ZYpHZbKcU8H62rFwNrN3-_s4Wx/s1600/stone_roses.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5498296494005185634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzCQHcV017VvX76IM131XRhPanx0kYpt4IrZ9wNInWmLwQmR2IjpzjtwcEK4wYaaC6SJudbV3_c3qguoZNPi-FRH-m1QFUCjsR2B-OEoRkhIrNeiCMj2ZYpHZbKcU8H62rFwNrN3-_s4Wx/s400/stone_roses.jpg" style="cursor: hand; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>My little brother died in 1990. It was sudden and unexpected and fucked me up. I had to clear his apartment and had an old friend of his fly in to help with the process. During the week the two of us worked our way through my brother's shit, sorting that which should be kept from that which was destined for the dumpster, we played a lot of music. That friend had brought this disc with him and it ended up on repeat play as I finished off beer after beer (the friend was on the wagon leaving lots for me.)<br />
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This record has been praised over the years: "one of the greatest debuts ever," "a masterpiece combining pop and dance," blah, blah blah. Fuck all that. From the sound drenched beginning of the first track, <em>I Wanna Be Adored</em>, that evolves into a dark and disturbing cocksure pronouncement (it's <em>not</em> a plea,) this thing had me hooked. I raged, wept, and got distinctly fetal to this record. It seemed to fit my needs superbly.<br />
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I don't listen to it much anymore (maybe I should), but when I do it's a goddamned rib-spreader: exposing my heart, lungs, and assorted viscera to the elements of that wretched time.<br />
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nuff said.<br />
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amg:<br />
<span style="font-size: 85%;">Since the Stone Roses were the nominal leaders of Britain's "Madchester" scene — an indie rock phenomenon that fused guitar pop with drug-fueled rave and dance culture — it's rather ironic that their eponymous debut only hints at dance music. What made the Stone Roses important was how they welcomed dance and pop together, treating them as if they were the same beast. Equally important was the Roses' cool, detached arrogance, which was personified by Ian Brown's nonchalant vocals. Brown's effortless malevolence is brought to life with songs that equal both his sentiments and his voice — "I Wanna Be Adored," with its creeping bassline and waves of cool guitar hooks, doesn't demand adoration, it just expects it. Similarly, Brown can claim "I Am the Resurrection" and lie back, as if there were no room for debate. But the key to The Stone Roses is John Squire's layers of simple, exceedingly catchy hooks and how the rhythm section of Reni and Mani always imply dance rhythms without overtly going into the disco. On "She Bangs the Drums" and "Elephant Stone," the hooks wind into the rhythm inseparably — the '60s hooks and the rolling beats manage to convey the colorful, neo-psychedelic world of acid house. Squire's riffs are bright and catchy, recalling the British Invasion while suggesting the future with their phased, echoey effects. The Stone Roses was a two-fold revolution — it brought dance music to an audience that was previously obsessed with droning guitars, while it revived the concept of classic pop songwriting, and the repercussions of its achievement could be heard throughout the '90s, even if the Stone Roses could never achieve this level of achievement again. </span><br />
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<a href="http://www.mediafire.com/?mpg2xvfwi4yuf7i"><span style="color: #006600;">Hear</span> </a>arlopophttp://www.blogger.com/profile/00092823159317982207noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-17606883733582780592015-04-04T11:11:00.005-05:002015-04-04T11:11:55.466-05:00Paul McCartney And Wings - Band On The Run<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3CnGFZlkNVCZIl493GzNKK0M5phuApZpRn0uyF54rD-MemHm8kpLFA0ffGb-crV81KB-T2yj8cBOZLa7yNGPQHvwz-37UIo4A-9Au7UjsmwpClox_Lmvqt1KXloTwShzcZhCLbYAupj0/s1600/band.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3CnGFZlkNVCZIl493GzNKK0M5phuApZpRn0uyF54rD-MemHm8kpLFA0ffGb-crV81KB-T2yj8cBOZLa7yNGPQHvwz-37UIo4A-9Au7UjsmwpClox_Lmvqt1KXloTwShzcZhCLbYAupj0/s400/band.jpg" id="BLOGGER_PHOTO_ID_5482306775637198514" style="cursor: hand; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>It's 1974. High in the Colorado Rockies I sit in a cabin with a bunch of hormonally challenged 13 year olds - a motley crew who all look like rejected casting finalists from <em><a href="http://www.glendonswarthout.com/films/blessthebeastsfilm.htm"><span style="color: #006600;">Bless the Beasts and the Children</span></a></em>. They have nicknames that include the likes of "Doc", "Silent", "Lupus", "Dopey", and our martyr, "Red", whose innocence will be shattered (and by extension, ours as well) five days into that fortnight - sacrificed on the altar of adult indifference and ass covering. <br />
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This is my first and only experience at summer camp. In between the archery, horseback riding, swimming, hiking, mountain climbing, and greased watermelon contests my cohorts and I - the "Bobcats" - spend our free time hanging with the girls who bunk in the "Silver Foxes" cabin (co-ed camps were the settings for more first kisses than anywhere else on Earth.) The entire experience is soundtracked by scratchy AM radios, and the hits that fuel the summer explode from this record. From <em>Jet</em> and <em>Helen Wheels</em> and the title track, to <em>Let Me Roll It</em>, and <em>Nineteen Hundred And Eighty Five</em> (the last two seeping out late at night from the counselors' FM sets), this music sets the stage for the obnoxious ditherings of this, our early adolescence - that tipping point from childhood to hell. <br />
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I can't hear anything from this album now without being dragged back to that place - those moments. The songs carry with them the whiff of pine, the numbness of chilly mornings, and the sting of raw sunburns, but most importantly, they carry the distinct images of those cabin-mates, not one of whom I have seen in three and a half decades, but who are nonetheless as clear to me as if we lunched yesterday.<br />
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The record is easily slagged. Although a masterpiece of style, its substance is light as a feather. But who gives a shit? It's what it does that matters. This is exactly why we listen to music: because years later it can, as keenly as the scent of a first love's cherry lip gloss or the feel of Lake Granby's cool mud between the toes, ignite memories of who we were, what we did, and how much we lost.<br />
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DMCA takedown removed linkarlopophttp://www.blogger.com/profile/00092823159317982207noreply@blogger.com2tag:blogger.com,1999:blog-6629731384562387129.post-58707727189314591922015-03-25T15:23:00.002-05:002015-09-11T14:14:14.522-05:00Interview with Eric Haugesag of PlayhouseThis brief interview was first posted May 7, 2008 on a now-defunct blog. At that time I contacted Peter Jesperson of Twin/Tone Records. He put me in touch with Eric Haugesag, who had been a member of the band Playhouse. Their one EP on TwinTone, "<a href="http://www.mediafire.com/download.php?z2ydj0jmxkm">Gazebo Princess</a>," was released in 1987. I am reposting that interview here now, because I still really like this record, and it's still not on iTunes. You can download a file ripped from vinyl at the link above.<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL1L2GhzeZQuiIVnFeSwDG0oNO9TJdS2e9sKKVSFRkQmF7NJcanleWIoYpEBoJDFUNNUcdDt-7OSae0vH1dXN3zxMY-YUhih71H69AqbzdNUguiM7YSR2N527HqkaoDOdRn33zUGtZEdUR/s320/Gazebo.jpg" /><br />
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<em style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">Subject: Playhouse.Well I have been called a<br /><br />Then Stefan became a rich successful lawyer and moved to England. Much of the energy came from trying to play harder than each other. I started another Minneapolis band called Small Engine City where I felt more prolific and less worried about achievement but there was a sadness watching fellow musicians of the time slowly dissolve in liquor. We would rehearse and write one day and the next day was like square one. So, now I live in Brooklyn and play for my 3 year old who prefers Dan Zanes, oh well.</em><br />
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<em style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">Eric.</em><br />
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<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>FR:</strong> Hi Eric, Thanks so much for contacting me. First, I have to ask -- did your original email get truncated in some fashion, lose a paragraph in transit, or did you fully intend to have a dangling subject header and open in mid-story? Either way it's fine, just wondering exactly what you have been called and by who, and what happened to the band before "then Stefan became a rich successful lawyer..."<br /><br /><strong>EH:</strong> <em>oleesmokes...No. I just don't write as much as some people. 'Your Flesh' Fanzeen did call me a "right dick" once, but that was on behalf of Chris </em>[Nygaard, Playhouse bassist]<em>.</em><br /><br /><strong>FR:</strong> I bemoan the non-availability of Gazebo Princess. Will it ever see the light of day again? Digitally?<br /><br /><strong>EH:</strong> <em>Keep in touch with <a href="http://www.paulstark.us/" style="color: purple; text-decoration: none;">Paul Stark</a></em> [Twin/Tone cofounder]. </span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>He saw the future of imusic long before most knew what the internet was. I think he has a few more years worth of copyright on the gazbo prinkus. I wrote to him not long ago and he said he was having the record remastered to be at itunes soon. This is good news because the vinyl pressings we got weren't very good compared to the master</em></span><br />
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<strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> The Twin/Tone band page instructs me to "just wait" for more Playhouse. What happened?<br /><br /><strong>EH:</strong><em> The Twin Tone bio was crap written by a giggly young woman that did not know what we played. I thought at the time "Who is going to read this anyway" Twenty years later...aw shit.</em></span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Hah! The Net springs eternal! So, how did you get Dave Pirner of Soul Asylum to record the album?<br /><br /><strong>EH:</strong> </span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>Dave went to high school with us and we were neighbors in Minneapolis.</em><br /><strong><br /></strong></span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>FR:</strong> Where did you record the album?<br /><br /><strong>EH:</strong><em> </em></span><a href="http://www.wwcoinc.com/srs/" style="background-color: white; color: purple; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px; text-decoration: none;"><em><span style="color: black;">Salmagundi</span></em></a><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>, in Northfield, MN.</em><br /><br /><strong>TB:</strong> Do you have any anecdotes that you recall related to the recording?<br /><br /><strong>EH:</strong> </span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>During one of our sessions there, Dave and I went to a bar for some take out. The lid for my french fries had a message for Dave- "Pull my trigger, Dave. It's what I live for." I was not going to touch those fries.</em></span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><i><br /></i></span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Err, by which you mean that you had no intention of going down the path of major label embarrassment, rural airport gigs, and Wynona Ryder? No, wait. I take that back. Question withdrawn. God Bless Dave Pirner. Agreed, creepy fan fries can be very unhealthy. Apropos of nothing, I have to say that "My Eyes" is one of my current faves off the record. Were there any outtakes or songs left off Gazebo Princess?<br /><br /><strong>EH:</strong> </span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>Yes, there were outakes. And I wrote 'My Eyes' 2 days before we recorded it.</em></span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><i><br /></i><strong>FR:</strong> You mentioned that the drummer Stefan Sarles is now a lawyer living in England. Any word from the bass player?<br /><br /><strong>EH:</strong> <em>Chris is hard to get a hold of. He likes it that way.</em></span><strong style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><br /></strong><br />
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<strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><strong style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">:</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"> Did you guys ever tour?<br /><br /><strong>EH:</strong> <em>Stefan did not want to tour but we played the midwest -- "Duluth to Madison"</em> [pedantic editor's note: this is a reference to a line from the Replacements song "Treatment Bound"] -- <em>and some Chicago.</em> [ouch, looks like we missed them!]</span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Was anything else ever recorded by Playhouse?<br /><br /><strong>EH:</strong> <em>We were about to head back to the studio when Stefan said he had no time.</em></span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><i><br /></i></span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><b>:</b></span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"> Double Ouch. You mentioned that you were in another band after Playhouse called Small Engine City. Did they record at all?</span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><br /><b>EH:</b></span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"> <em>Small E C did a 45. Kinda cool. We got a lot of college play. I have an ADAT tape that I would like to convert but I can't get my hands on a deck.</em></span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Did the ritual wanton self-destruction of the rockscene leave such a bad taste in your mouth that it turned you off rocknroll for good?</span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><br /><b>EH:</b></span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"> <em>No regrets. I loved it all.</em></span><br />
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<strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Any other unheralded or forgotten bands from back in the day that you'd care to recommend?<br /><br /><strong>EH:</strong> </span><em style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">From the same era I recommend <a href="http://www.arcwelderband.com/index.html" style="color: purple; text-decoration: none;"><span style="color: black;">Arcwelder</span></a>, <a href="http://en.wikipedia.org/wiki/The_Cows" style="color: purple; text-decoration: none;"><span style="color: black;">Cows</span></a> and <a href="http://www.tvbc.tv/" style="color: purple; text-decoration: none;"><span style="color: black;">TVBC</span></a>, <a href="http://www.trouserpress.com/entry.php?a=rifle_sport" style="color: purple; text-decoration: none;"><span style="color: black;">riflesport</span></a> and on and on...</em><br />
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<strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> These days do you ever get the itch to record or play again in a rock-format combo? i.e., can I look forward to an unplugged version of Corner the Market on youtube any time soon?<br /><br /><strong>EH:</strong> </span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>There is some great talent here in NYC but I have to hustle to make enough money.</em></span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><i><br /></i></span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Mr. Internets tells me that you work in the film industry nowadays. Is that glamorous?<br /><br /><strong>EH:</strong> </span><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><em>I work in film production on technocranes but I don't update IMDB. Yes, I have worked with big name stars, including the Stones, but at the end of a long day, it's just a job.</em></span><br />
<span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><i><br /></i></span><strong style="font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;">FR</strong><span style="background-color: white; font-family: Trebuchet, 'Trebuchet MS', Arial, sans-serif; font-size: 13.6499996185303px; line-height: 21.8400001525879px;"><strong>:</strong> Well, again, let me just say, it's been great to hear from you. Thank you so much for contacting me, and thanks most of all for the truly wonderful record.<br /><br /><strong>EH:</strong> <em>I am glad you like the record. I am always honored when fellow musicians are fans.</em></span><br />
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<a href="http://www.trouserpress.com/entry.php?a=playhouse&">Trouser Press:</a> "<span style="background-color: white; font-family: arial, helvetica, verdana, sans-serif; font-size: 12px;">Soul Asylum's Dave Pirner co-produced</span><span style="background-color: white; font-family: arial, helvetica, verdana, sans-serif; font-size: 12px;"> </span><b style="font-family: arial, helvetica, verdana, sans-serif; font-size: 12px;">Gazebo Princess</b><span style="background-color: white; font-family: arial, helvetica, verdana, sans-serif; font-size: 12px;">, this uncommon Minneapolis trio's rawboned mini-album debut. Skittish, disorienting syncopation supports guitarist Eric Haugesag's distorted power'n'jazz chords and throaty vocals in a punk-folk-jazz hybrid that derives equally from Killing Joke, the Minutemen and Love. Melodic but no less challenging than the flintier tracks that surround them, "My Eyes" and "Rule No. 1" are standouts that indicate the extent of Playhouse's potential." -- I</span><span style="background-color: white; font-family: arial, helvetica, verdana, sans-serif; font-size: 12px;">ra Robbins</span><br />
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<img src="http://twintone.com/scrapbook/photos/playhouse/playhouse1.jpeg" /><br />
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<span style="background-color: white; font-family: arial, helvetica, verdana, sans-serif;"><b><span style="font-size: large;"><a href="http://www.twintone.com/playhouse.html">Twin/Tone bio:</a> </span></b><span style="font-size: 12px;"> </span></span><br />
<span style="background-color: white;"><span style="color: white; font-family: Arial, Helvetica;"><br /></span>
<span style="color: white; font-family: Arial, Helvetica;">The Band:</span></span><br />
<span style="background-color: white; font-family: Arial, Helvetica;"><b>Eric Haugesag</b> (How' guh sog) sings, plays the guitar, writes all the songs. He's 25, but looks 12, except for a world-weariness that's somehow crept into his eyes. He comes from a very musical family; he learned to play bass before he could even pick it up. The first song he wrote included lyrics like "Your wife is gaudy/And her doggy's naughty". He ties his showlaces different from anyone else in the world.<br />
<br />
<b>Chris Nygaard</b> (Nye' guard) plays bass. He's 22, but he too looks younger. He began playing bass right out of high school. This is his first band He met Eric when he went to school with his brother. Chris thinks Playhouse should be Rock Gods by now. They will be.<br />
<br />
<b>Stefan (Ste' fan) Sarles</b> is the drummer. He's 23. He also looks younger than that, but not too much because he's so tall. He's known Eric since nursery school, although they weren't friends unitl later. He was in bands in Madison, Wisconsin, where he went to college. Now he 's in law school.<br />
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The Band's Sound:<br />
<br />
Stefan's arms whirl all over the place, creating maniacally paced drum rhythms. Chris' melodic bass lines keep right up with the pace, whiel Eric's guitar creates a noisy, frenzied overlay that never lets up. the resultant sound is alternately furious and delicate; songs ebb and flow, bounce, rage, and float. Jittery garage pop that's funk-tinged and even sllightly psychedelic. No joke tunes for this band, thier songs are about things like the atrophied state of the music scene, nuclear holocaust, and how people treat each other, and sung in Eric's hoarse vocals. Eric listened to a lot of jazz while growing up, but he's more influenced by the structure and logic of it than the sound. He's influenced by everthing he hears, even bad bands, because they inspire him to be better than them.<br />
<br />
The Band's History (according to The Label):<br />
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The band formed in December of 1985, although Eric and Stefan had jammed together years before that. In April, 1986 they played their first gig, on Stefan's birthday, at Club Degenerate in the Seventh Street Entry. They were asked back right away, and the next month they opened two shows for the Meat Puppets. That fall they saved their pennies and recorded an 8-track demo tape with Dave Pirner from Soul Asylum producing. Pirner also co-produced the debut EP, with the band's soundman Terry Karkanen. This is Pirner's first crack at producing.<br />
<br />
The Band's History (according to The Band):<br />
<br />
"In order to have a biography you must first have a past. Playhouse has no past, we're as innocent as a little puppy. Just Wait."<br />
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Twin/Tone Bio 4/87<br />
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<dd><span style="font-family: Arial, Helvetica;"><br /></span></dd>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-82282839690516726682012-06-19T11:55:00.001-05:002012-06-19T12:03:14.616-05:00V; - Don't Let the Bastards [1980]<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/aMU3xCG5MXA?fs=1" width="480"></iframe><br />
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<b>Boston artpunk!</b></div>
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'Don't Let the Bastards' and 'Wardrobes in Hell' are two great artpunk songs with female vocals experimental dubbish warped punk. They are still active <a href="http://veetonemusic.com/vmusic.htm">WEBSITE</a></div>
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<br /></div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com3tag:blogger.com,1999:blog-6629731384562387129.post-62223081431586127292012-04-13T14:02:00.001-05:002012-04-13T14:02:52.546-05:00Mix on the Fly: Mackie<div style="text-align: center;">
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i couldn't resist. what a killer product video!</div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-1757106232984400892012-04-05T06:31:00.000-05:002012-04-05T10:30:58.252-05:00Demdike Stare - Violetta<div style="text-align: center;">
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<a href="http://www.modern-love.co.uk/artists/demdike-stare">Demdike Stare</a></div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-10829041682890573092012-03-29T11:05:00.001-05:002012-03-29T11:05:39.576-05:00SJ Esau - 'Part Of A Diagram' [2009]<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/fAoRPmdPeeQ?fs=1" width="459"></iframe>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-2775984662653818712012-03-29T10:58:00.001-05:002012-03-29T11:06:24.655-05:00SJ Esau - I Threw A Wobbly [2008]<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/2V_DU8Ko_SQ?fs=1" width="480"></iframe>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-82307229802341857762012-03-07T15:25:00.009-06:002012-03-07T16:13:15.305-06:00Mark-Almond - The Best Of Mark-Almond<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mkyhv0cruX4qsZ_Q3IM8UzQscefZJGZ1uGYQO0y-5qTBVxJU-a-21vSOZHT9CXS6qK7D1oA3jXRoOlpH9jRzd5f2PKpPve0iS56WPZqDonZl7TrG1r9U1gayjTlqLyosfoPsA_rGe_yA/s1600/CD+MARK+%2526+ALMOND+The+best+of+Mark-Almond+%25281991%2529+Front.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mkyhv0cruX4qsZ_Q3IM8UzQscefZJGZ1uGYQO0y-5qTBVxJU-a-21vSOZHT9CXS6qK7D1oA3jXRoOlpH9jRzd5f2PKpPve0iS56WPZqDonZl7TrG1r9U1gayjTlqLyosfoPsA_rGe_yA/s400/CD+MARK+%2526+ALMOND+The+best+of+Mark-Almond+%25281991%2529+Front.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5717277540820633186" /></a><br />One of my weaknesses, left over from an adolescence rooted in the 70s, is a guilty fondness for latenight, mellow, stoner, noodling jams. Call it bong-longing.<div><br /></div><div>So the other day, as I'm cruising in my auto, flicking my way through the Sirius channels, I hit upon their retro FM station and a track I swear I haven't heard in 30 years. Though it was literally the middle of a sunny day and I was as sober as Mitt Romney, I was suddenly transported to the basement of Jon Mitchell's house circa 1979, sucking deeply from his enormous bong (affectionately referred to as "Godzilla"), with cheap Sears speakers lulling the five us with the latin rhythms and 12 string guitar strums of <i>The City</i>. It was both nostalgic and funny. Ahh, the things we do in youth.</div><div><br /></div><div>There's a thread of mellow stoner music that runs from Pink Floyd through Mark-Almond on to the Beta Band and beyond. It is almost always mildly prog-rock, occasionally jazz-tinged, long tracked, and usually, but not always (see Beta Band), sonically pristine. And, it is almost always rather pointless in the grand scheme of things - the audio equivalent of oreo cookies when the munchies roll in. But damn if it doesn't hit the spot when the Jimmy Cliff glows in the bowl.</div><div><br /></div><div>This is a comp put together by Rhino in 1990. It pulls together all the noodling of these two Johns (Mark and Almond), both former John Mayall sidemen, including the nostalgia-inducing, <i>The City</i>, the last portion of which could have come directly off Beta Band's <i>3 EPs</i>.</div><div><br /></div><div>Load a bowl, or just remember the last one you did, and crack those oreos.</div><div><br /></div><div><a href="http://www.divshare.com/download/3345581-c68">Hear</a></div>arlopophttp://www.blogger.com/profile/00092823159317982207noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-20484972313548771932012-02-14T21:06:00.002-06:002012-02-14T21:20:20.579-06:00As the man said, "Fuggit."For the reopening and our staff:<div><br /><iframe width="640" height="480" src="http://www.youtube.com/embed/YYjBQKIOb-w?rel=0" frameborder="0" allowfullscreen=""></iframe></div>arlopophttp://www.blogger.com/profile/00092823159317982207noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-33923376724918661862012-02-14T19:10:00.002-06:002012-02-14T19:10:37.172-06:00david yow's actor reel<iframe src="http://player.vimeo.com/video/16910633?title=0&byline=0&portrait=0" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen="" frameborder="0" height="300" width="400"></iframe><p><a href="http://vimeo.com/16910633">David Yow - Actor's Reel</a> from <a href="http://vimeo.com/user5245676">David Yow</a> on <a href="http://vimeo.com">Vimeo</a>.</p>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-7816867194612432522012-02-14T19:08:00.001-06:002012-02-14T19:09:14.065-06:00Film of Destroy All Monsters by Cary Loren 1972–1976. Featuring Mike Kelly and Jim Shaw.<iframe src="http://www.youtube.com/embed/WD-PvgX1mJA" allowfullscreen="" frameborder="0" height="315" width="420"></iframe>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-45952270676111164892012-02-14T19:04:00.002-06:002012-02-14T19:05:40.917-06:00LIARS / there's always room on the broom<iframe src="http://www.youtube.com/embed/1uFQRkHd6qE" allowfullscreen="" frameborder="0" height="315" width="420"></iframe><br /><br /><span style="font-family: arial;font-size:180%;" ><span style="font-weight: bold;">VIDEO from kansas city's own cody critcheloe</span></span>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-49548882989274773942012-02-14T18:43:00.006-06:002021-07-24T09:41:04.551-05:00Mike Kelley<h1 class="multi-line-title-1"><span style="font-size: 78%; font-weight: normal;"><span style="font-family: arial;">during the time away we lost a great one and someone special to me.</span></span>
</h1><h1 class="multi-line-title-1">~~~
</h1><h1 class="multi-line-title-1"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/w3E0_C-y9ng" width="560"></iframe></h1><h1 class="multi-line-title-1">
</h1><h1 class="multi-line-title-1">Mike Kelley dies at 57; L.A. contemporary artist</h1><div class="mod-articlesubtitle" id="mod-article-subtitle"><h2>Mike Kelley's psychologically complex work was instrumental in making L.A. an international capital of contemporary art.</h2></div><div class="mod-latarticlesarticlepageimage mod-articlepageimage mod-articleimage" id="mod-article-image" style="float: right;"><div id="mod-article-image-box" style="height: 200px; width: 280px;"><ul class="main-image" style="height: 200px; width: 280px;"><li style="height: 200px; width: 280px;"><a class="thickbox" href="http://www.latimes.com/media/photo/2012-02/67795561.jpg" id="mod-article-image-link" target="_blank" title="Mike Kelley is shown in his studio with a work in progress in 1989. (Los Angeles Times)"><img alt="Mike Kelley is shown in his studio with a work in progress in 1989." src="http://www.latimes.com/media/photo/2012-02/67795561.jpg" style="height: 198.8px; width: 280px;" title="Mike Kelley is shown in his studio with a work in progress in 1989." /></a></li></ul></div><div class="main-image-info" style="width: 275px;">
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</div></div></div><div class="mod-latarticlesarticlebyline mod-articlebyline" id="mod-article-byline" style="margin-right: 280px;"><span class="pubdate"><a href="http://articles.latimes.com/2012/feb/02">February 02, 2012</a></span><span class="separator">|</span><span>By Jori Finkel, Los Angeles Times</span></div><p>Mike Kelley, an influential Los Angeles artist whose physically messy and psychologically complex projects laid the groundwork for present-day installation art, has died. He was 57.</p><p> He was found dead Tuesday evening at his home in South Pasadena in what several friends described as a suicide following a serious depression. "We can't confirm a suicide pending an autopsy or coroner's report," said one of the estate's trustees, art historian John Welchman.</p><p>
</p><p>in honor...DESTROY ALL MONSTERS
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</p><p>An anti-rock band founded in direct reaction to the pretensions and complacency of 1970s pop music, the Detroit-based noise deconstructionists <a href="http://allmusic.com/artist/destroy-all-monsters-p143890">Destroy All Monsters</a> earned their greatest notoriety at the peak of the punk era, thanks to a lineup that included alumni of <a href="http://allmusic.com/artist/the-mc5-p4864">the MC5</a> and <a href="http://allmusic.com/artist/the-stooges-p143693">the Stooges</a>. Named after a cult-favorite Japanese monster movie, <a href="http://allmusic.com/artist/destroy-all-monsters-p143890">Destroy All Monsters</a> was formed in 1973 by art students <a href="http://allmusic.com/artist/niagara-p436201">Niagara</a> (a former model), <a href="http://allmusic.com/artist/jim-shaw-p124269">Jim Shaw</a>, <a href="http://allmusic.com/artist/mike-kelley-p321657">Mike Kelley</a>, and <a href="http://allmusic.com/artist/cary-loren-p465219">Cary Loren</a>; influenced by everything from underground comix to film noir to psychedelia, the highly visual group was experimental and abrasive, with <a href="http://allmusic.com/artist/niagara-p436201">Niagara</a>'s <a href="http://allmusic.com/artist/betty-boop-p12341">Betty Boop</a>-vocals and squealing violin cresting atop waves of trance-like sonic dementia.
</p><p>BORED</p><p>
</p><p><a href="http://www.mediafire.com/?nzytdmgjyzn"><span style="font-weight: bold;">HEAR</span></a>
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</p>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-12513738125831674042012-02-14T18:39:00.004-06:002012-02-14T18:42:16.746-06:00SOPA WHAT!we shut down the froxx for the heat to blow over. fuggit. it never will. so blowing shall commence. blowing of the RIAA pigs, their suede-denim secret police, the DOJ's jack-booted hipster thugz from their top tier law schools. <br /><br />if you can't adjust you perish. no one evolves and adapts better than the criminal. the future is liberal and anti-ownership.<br /><br />SHAREForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com2tag:blogger.com,1999:blog-6629731384562387129.post-50460986526026982292012-02-08T13:11:00.001-06:002012-02-29T11:32:20.075-06:00Die Antwoord - I Fink U Freeky 2-6-2012<div style="text-align: center;">
listen close for the nervous twitters from the crowd at the end...<br />
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ah, it's the little things that make life worth living.</div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/461C8TO5ARU" width="560"></iframe>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-90256369429686810672012-02-03T11:31:00.000-06:002012-02-03T11:57:56.665-06:00Neil Young: Piracy is the Radio of The Internet Age<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZCXQTRzhBWR-7nZAc24PPB5yQQGoAmVIs3MyzXtWnvoj_OMcTCWxEV9Z01ODQwglLM3igYlLOdKo8ROZps8rvuSuh53CD3RLIwbYP5bgoWdQJPWAYGBlQN8ciqY52ADAhCjgC2kDujwL/s1600/Neil+Young.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZCXQTRzhBWR-7nZAc24PPB5yQQGoAmVIs3MyzXtWnvoj_OMcTCWxEV9Z01ODQwglLM3igYlLOdKo8ROZps8rvuSuh53CD3RLIwbYP5bgoWdQJPWAYGBlQN8ciqY52ADAhCjgC2kDujwL/s320/Neil+Young.jpg" width="320" /></a></div><br />
Neil Young, speaking at a conference in America, said they he wasn't particularly concerned about piracy: "It doesn't affect me because I look at the internet as the new radio. I look at the radio as gone. <br />
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Piracy is the new radio. That's how music gets around. [...] That's the radio. If you really want to hear it, let's make it available, let them hear it, let them hear the 95 percent of it." <br />
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However, he said that he still believed record companies were necessary because they would find and nurture talent. "That doesn’t exist on iTunes, it doesn’t exist on Amazon," he said. <br />
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Young's main problem with the music industry at the moment is the low quality of digital music files. <br />
He said: "The MP3 only has five percent of the data present in the original recording. … The convenience of the digital age has forced people to choose between quality and convenience, but they shouldn’t have to make that choice."<br />
<br />
Young said that fans should demand higher quality music files and new hardware on which to play them<br />
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<div style="text-align: center;"><a href="http://www.telegraph.co.uk/technology/news/9054002/Piracy-is-the-new-radio-says-Neil-Young.html">Entire Article Here</a></div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-35900765625453123472012-02-02T15:39:00.000-06:002012-02-02T15:46:53.921-06:00Public Enemy performs "Rebel Without a Pause" on Soul Train [1987]<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/-gZmd1aAsGM?fs=1" width="459"></iframe>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-8388962650456620022012-02-02T15:33:00.001-06:002012-02-02T15:33:00.138-06:00R.I.P. Don Cornelius September 27, 1936 – February 1, 2012<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOt_tgNsGIOJAeXfdcrzqCS1H2ojR2g04ZBn_M8_fbm7fGfzdYnCy2cX4Gu2MA8FKo8SSXJjLwtcArwPcJNJBIcFQYuiuwcnAnrEpnqizcnGtR2Ks9uD80wIt83Nvz8WUJRwr2m476tLJ/s1600/soul_train_9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOt_tgNsGIOJAeXfdcrzqCS1H2ojR2g04ZBn_M8_fbm7fGfzdYnCy2cX4Gu2MA8FKo8SSXJjLwtcArwPcJNJBIcFQYuiuwcnAnrEpnqizcnGtR2Ks9uD80wIt83Nvz8WUJRwr2m476tLJ/s320/soul_train_9.jpg" width="320" /></a></div><br />
<div align="center"><a href="http://en.wikipedia.org/wiki/Don_Cornelius">DON CORNELIUS</a></div><div align="center"><br />
</div><div align="center"><a href="http://blogs.villagevoice.com/music/2012/02/don_cornelius_obituary_soul_train_clips.php">Seven Classic Soul Train Clips</a></div><div align="center"></div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-36967401396447807682012-02-01T09:31:00.014-06:002012-02-01T20:04:01.380-06:00Mayo Thompson Interview [1997]<div style="text-align: center;"><br />
</div><div style="text-align: center;">If we put <a href="http://en.wikipedia.org/wiki/Corky%27s_Debt_To_His_Father">Corky's Debt to His Father</a> up here,</div><div style="text-align: center;">Drag City would get not happy.</div><div style="text-align: center;">So, go find it and dig.</div><div style="text-align: center;">in lieu of</div><div style="text-align: center;">here's a long chat</div><div style="text-align: center;">i had with <a href="http://en.wikipedia.org/wiki/Mayo_Thompson">Mayo</a> back in 1997</div><div style="text-align: center;">it was a lot of fun and honor to boot</div><div style="text-align: center;"><br />
[just found this on an ancient 80GB harddrive]</div><div style="text-align: center;">~~~~~~~~~~~~~~~~~~~~~</div><div style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0EWkR-ad_HKTI50L8Ns359WVwcOtonbzboA4rxyIxxlpy3H2x7wya7ctn7C4-QWr-QDNwY06OVl40D2uzZWj3cvakNwLX3pGOU0jPx9hOuuszgjYZNQxb3pNH3VZmQJUJgJF2V4fFSevy/s1600/Mayo+Thompson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0EWkR-ad_HKTI50L8Ns359WVwcOtonbzboA4rxyIxxlpy3H2x7wya7ctn7C4-QWr-QDNwY06OVl40D2uzZWj3cvakNwLX3pGOU0jPx9hOuuszgjYZNQxb3pNH3VZmQJUJgJF2V4fFSevy/s320/Mayo+Thompson.jpg" width="320" /></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><br />
</div><div align="left">An Interview with Mayo Thompson.</div><br />
Conducted Friday, April 11, 1997, between 9 and 10am PST<br />
<br />
Via telephones terminating in San Francisco (me), and Pasadena (Mayo).<br />
<br />
_________________________________________________________________________________<br />
<br />
<br />
Wednesday, Claudia calls to tell me that Drag City operatives are leaving cryptic messages on her machine (surprise) -- something to the effect that Mayo Thompson had read a piece I wrote in which he was a character and liked it (to say it was a live show review would be misleading, cf. <a href="http://sfpl.org/index.php?pg=2000054801">Homotiller #12</a>). <br />
<br />
Thursday the label has left me a message stating that Mayo wants to do an interview with me for HT. Great, I think, quite flattering. Maybe we’ll get together and have a right civil chat, an exchange of ideas maybe. How quaint and unlikely, of course: Claudia’s deadline and Red Krayola’s current tour coincide next Tuesday, Tax-Day, so, I am told, it’s tomorrow morning or...<br />
<br />
Friday I get to work early and prepare myself to make the call. I’ve already spent the previous evening “boning up” with copious quantities of grass, a set of headphones, and “<a href="http://www.texaspsychedelicrock.com/2009/07/mayo-thompson-corkys-debt-to-his-father.html">Corky’s Debt to His Father</a>,” Mayo’s one and only official “solo” record, recorded in Texas, 1970. The next morning I’ve scribbled down some generic interview questions so I’ll at least have something to look at while on the phone. Ride my bike in to work and slink into my cubicle trying to appear like I’m doing the Man’s work. I punch up the number and the rest is transcript. [Edited, natch, to make me read smarter than I sounded...]<br />
<br />
Phone rings three times...<br />
<br />
“Yes?”<br />
<br />
<strong>HT</strong>: Hello, may I speak with Mayo Thompson?<br />
<br />
<strong>MT</strong>: Speaking.<br />
<br />
<strong>HT</strong>: Hi, This is Bay. I talked to Levi Nook [fictional Drag City agent] the other day?<br />
<br />
<strong>MT</strong>: Yes.<br />
<br />
<strong>HT</strong>: So how are you doing this morning?<br />
<br />
<strong>MT</strong>: Better. I’m doing alright. How are you?<br />
<br />
<strong>HT</strong>: I’m doing pretty good.<br />
<br />
<strong>MT</strong>: Good. Where are you?<br />
<br />
<strong>HT</strong>: I’m at Work.<br />
<br />
<strong>MT</strong>: Where are you?<br />
<br />
<strong>HT</strong>: I’m in San Francisco, and you’re down in...?<br />
<br />
<strong>MT</strong>: Pasadena. So you wrote this piece in this magazine called Homotiller?<br />
<br />
<strong>HT</strong>: Yes, I did.<br />
<br />
<strong>MT</strong>: Nice writing, very good writing. I enjoyed this piece.<br />
<br />
<strong>HT</strong>: I’m glad you liked it. It’s interesting, as I didn’t really cover the music.Can I ask you what specifically struck you about it?<br />
<br />
<strong>MT</strong>: I thought it was very well-written.<br />
<br />
<strong>HT</strong>: Sometimes people take offense if you’re not covering their sounds. I tend to write more about my subjective experience of the evening.<br />
<br />
<strong>MT</strong>: I think that’s absolutely legitimate, for one thing. And when you did mention the band or me, you were exceedingly flattering. What interested me was what you chose to write about and the relation you took. It seemed quite good to me and I liked it.<br />
<br />
<strong>HT</strong>: I’m surprised that stuff ever made it back to you.<br />
<br />
<strong>MT</strong>: Drag City are very fastidious.<br />
<br />
<strong>HT</strong>: They are that. That brings me to one caveat I must make: while I am a large fan, I’m not a complete fan. I mean, I know there are many people more familiar with your work.<br />
<br />
<strong>MT</strong>: I have no idea what a complete fan is. But there are people who know more about me than I know about them. We take any kind of interest that we get, in whatever ways or forms it comes and are grateful for it.<br />
<br />
<strong>HT</strong>: That makes sense. OK. Second caveat being I hate the telephone. Ideally I’d like to do this in a casual setting, face-to-face. I feel kind of awkward.<br />
<br />
<strong>MT</strong>: Yeah, telephone is awkward. That’s true. Sorry.<br />
<br />
<strong>HT</strong>: And I’m far from a seasoned interviewer [ha! “rookie” is putting it kindly]<br />
<br />
<strong>MT</strong>: I appreciate the caveats in advance, but you don’t have to apologize to me, certainly, for anything like that. I mean, I’m not very...I can talk on the telephone, I do it alot. I talk freely and willingly to my friends, but “doing business” is a bit awkard and strange for me, too.<br />
<br />
<strong>HT</strong>: Right. OK, well if you’d just consider this a chat with a friend...<br />
<br />
<strong>MT</strong>: Alright. Well, let’s have a bash at it.<br />
<br />
______________________________________________<br />
<br />
<strong>HT</strong>: Ok. I’ve got two or three questions written down here. Some are more general and abstract, and a few are questions about specific people and periods. Do you mind if I turn a tape on? [Mayo assents and I fiddle with the gear.] Let’s see if that works...<br />
<br />
Your first album, “The Parable of Arable Land” came out in 1967, right?<br />
<br />
<strong>MT</strong>: Yeah.<br />
<br />
<strong>HT</strong>: The CD re-issue I have also contains “And all who Sail on it,” which came out shortly afterwards. I really love the contrast between these two albums. I know you’ve gone all over the musical and geographical map in the succeeding thirty years, and I like to think that these two are almost like a template, that they mark the outer ends of the spectrum, If that’s not getting too extreme. I mean, the first is marked by these fantastic free-form jams, while the second is marked by the short bursts of guitar,bass, drum. How did this happen? Were there two totally different environments going on? Was it a conscious attempt? A desire to taste two different jars of honey?<br />
<br />
<strong>MT</strong>: All three of those, and I think there were other things as well.<br />
<br />
<strong>HT</strong>: Were they both with same personnel?<br />
<br />
<strong>MT</strong>: No. Only Steve Cunningham and I were constant between those two records. Rick Barthelme, by that time, had gone away -- after the first album. And we had a drummer named Tony [ ]. There was actually an album in between those two called “Coconut Hotel” which people have seldom heard, and it is abstract music. It’s got a certain improvisational base to parts of it, but other bits were all worked out. But, anyway, yeah, those records do represent two poles, if you like: one being coherent songwrinting, the other is free-formness. The free-form has, over the years, been neglected most, or left to one side, in favor of improvisation incorporated into song structures. I think that’s how one deals with it these days. The “free” aspect has to do with negotiating in relation to the structure.<br />
<br />
<strong>HT</strong>: So whereas you used to do one or the other, now you try and incorporate the chaos in the structure?<br />
<br />
<strong>MT</strong>: Well...both...mmm, how should I put this. The songs are written, but not every note is orchestrated. The main melody exists: the armature, or backbone of the song.<br />
<br />
<strong>HT</strong>: A skeleton fleshed out differently each time you play it?<br />
<br />
<strong>MT</strong>: Yes. Each of the individual players has a certain latitude and the extent of that latitude is limited on one side by the limits of their capacities and imagination, and on the other side, by just what I will put up with.<br />
<br />
<strong>HT</strong>: Given the current Red Krayola line-up, you must put up with a lot.<br />
<br />
<strong>MT</strong>: Not really. It takes a lot to make me say “don’t do that.” Generally, the only time I’ll ever say something like that is when I hear that I know all too well, or that I can nail down in some sort of referential way to other music. I mean, I’m not...I’ve got nothing against other music per se; I’m interested in what’s possible. When I have an idea, there’s a certain sound which I hear, and when I don’t hear it [being played], I’ll ask for something else, look for other things. Also, there has been an effort over the years to not repeat. Of course, one is repeating in some very inescapable senses. This line is punctuated by the sound of glass clinking against tile. Basically, we wanted every record to have it’s own character; for each one to be different. Don’t want to do the same record twice, or even a different record with the same feel to it. <br />
<br />
<strong>HT</strong>: Red Krayola has had several incarnations, no?<br />
<br />
<strong>MT</strong>: Yeah well, the band started the way bands start: young people know each other. And start working together.<br />
<br />
<strong>HT</strong>: When did it transcend being a friend thing and become an associate thing?<br />
<br />
<strong>MT</strong>: After the second album [“Coconut Hotel”]. Cunningham and I were friends...<br />
<br />
<strong>HT</strong>: Cunningham was on “Coconut?”<br />
<br />
<strong>MT</strong>: Yes, with Barthelme. The three of us made the first two records together and then Steve and I made another one with Tommy [Smith], and then that collapsed. I made a solo album after that and then met Art & Language in the beginning of the 70’s and made one album.<br />
<br />
<strong>HT</strong>: Your solo record, “Corky’s Debt to His Father,” is really wonderful. It’s one of my favorites. This one sounds quite different from the preceding Red Krayola releases. If you don’t mind my saying so, it’s just pure, sweet pop.<br />
<br />
<strong>MT</strong>: That’s my interest. I’ve always characterized myself as a popular musician. I like to make popular music.<br />
<br />
<strong>HT</strong>: What can you tell me about the track “Dear Betty Baby” on this record? Recollections, or impressions of when you were doing this song, how the melody evolved, etc...<br />
<br />
<strong>MT</strong>: deep sigh, long pause. You know...I...I don’t even know how to characterize that it. I mean, what I had to say about that song is in that song, you know?. I mean what I had to say was...well...another deep sigh...it’s...<br />
<br />
<strong>HT</strong>: Was there a unified inspiration for these songs? Could you identify something different between this batch and your “band” work?<br />
<br />
<strong>MT</strong>: Well, one distinction I could readily make is that the difference between the solo album and a Red Krayola album is that when I say “I” -- when I use the first-person pronoun -- in regards to the solo album, I’m talking about me. In Red Krayola work, when you hear the word “I” it’s not always referring to the “I” the singer, or “I” Mayo Thompson, or “I” anybody.<br />
<br />
<strong>HT</strong>: So on “Corky’s” were you orchestrating and arranging more than you would on a Red Krayola record?<br />
<br />
<strong>MT</strong>: Well, it was similar to the manner we discussed before: give the players a backbone, and let them have a go. But, yes, directing more in some cases to the extent of saying “the drums should be this way” or “a little more herky-jerky” or blablabla. I played a lot of the instruments myself, on “Dear Betty Baby” there’s a bass drum and a guitar. That horn section was written by Joe Dugan. He’s the piano player on all those tunes; the one constant throughout. <br />
<br />
<strong>HT</strong>: Have you worked with any of the people that appear on the solo album since?<br />
<br />
<strong>MT</strong>: I’ve worked with [Rock Romano] susequently on one project called Saddlesore, where Barthelme and I came back together and tried to do something. We wrote a couple of tunes and made a single called “Old Tom Clark.”<br />
<br />
<strong>HT</strong>: Any intent to make another solo album?<br />
<br />
<strong>MT</strong>: I do intend to, but not with those guys. Not that I have anything against them, it’s just that I don’t know where some of them are. And I probably will not make this album in Texas.<br />
<br />
<strong>HT</strong>: Was all of this early material recorded in Texas?<br />
<br />
<strong>MT</strong>: Yep. The first three Red Krayola, and the solo. In Houston.<br />
<br />
<strong>HT</strong>: What was the scene in Houston at the time? I assume [Roky Erickson] was around?<br />
<br />
<strong>MT</strong>: Roky was in deep trouble by that time. When we first got started, some members of the [Thirteenth Floor] Elevators were living in Houston, but they were going to California, they were playing in California. They were already having problems. They were making “Easter Everywhere,” in Houston recording, and there was some incident in a hotel involving controlled substances and police and...it was the beginning of the end for them already, they had real problems. But Roky plays on our first album. He played keyboard on “Hurricane Fighter Plane” and mouth organ on “Transparent Radiation.” <br />
<br />
<strong>HT</strong>: And how did Cunningham enter the picture?<br />
<br />
<strong>MT</strong>: Steve Cunningham had started off...y’know his first associations with music were in California, he was a drum roadie for a guy named [John Ike], and made a record with a guy named Malachi (sp?) out here.<br />
<br />
<strong>HT</strong>: You’ve lived in a number of places, right?<br />
<br />
<strong>MT</strong>: I was born in Houston and the first place I wanted to go was someplace else. Y’know, where the action was. I mean, there was some action in Houston, the scene was interesting, there were interesting people there, and there was certainly a lot of good music being made. But I didn’t personally see much of a horizon there for myself, I wanted other things. I tried my hand in California a little bit in ‘67 after the band broke up the first time, but it didn’t work out. I went to New York later on and spent some time there, then finally wound up going to England for ten years starting in ‘77. After that I spent 6 or 7 years in Germany, say ‘87 to ‘93. Then I came back, or started coming back. I’m 53 years old now.<br />
<br />
<strong>HT</strong>: When you were in the States did you play with people, I mean did you try to put something together on both coasts?<br />
<br />
<strong>MT</strong>: I had my bash in both places, but nothing much really ever worked out in either place. Nothing I was very satisfied with, nothing ever really came together.<br />
<br />
<strong>HT</strong>: What drew you to these different places? Was it talk of people or scenes or connections?<br />
<br />
<strong>MT</strong>: Just, y’know...feeling the need to be away from where I was from. Not because Houston was a bad place or anything like that, it’s just that I wanted something else; I was driven by some other desire.<br />
<br />
<strong>HT</strong>: Would you consider yourself a musical nomad?<br />
<br />
<strong>MT</strong>: I wouldn’t say I’m a nomad, I mean, I like to sit down someplace and stay there if I can. And I have parked myself here and there for long periods of time.<br />
<br />
<strong>HT</strong>: Let’s talk about your time in England I know you’ve worked with a large number of people, including The Fall and The Raincoats. How did this come about?<br />
<br />
<strong>MT</strong>: I co-produced a lot of records for Rough Trade with [Geoff Travis], including The Raincoats, Stiff Little Fingers, and The Fall.<br />
<br />
<strong>HT</strong>: Specifically, which Fall tracks?<br />
<br />
<strong>MT</strong>: A number of singles tracks: “Fiery Jack,” “How I Wrote Elastic Man,” “Big City Hobgoblins,” “Totally Wired.”<br />
<br />
<strong>HT</strong>: How was it that you came from abroad and got involved with these people?<br />
<br />
<strong>MT</strong>: Through Rough Trade. When I got to England I was working with Art & Language at the time. I fell out with them and decided I would start playing music, I mean, there I was in England and I had decided I wanted to stay there, at least to try and make the best of it for a while because it was an interesting place, an interesting scene. So I met these people at Rough Trade, and Red Krayola got a contract with Radar Records, who knew about the old Red Krayola material from the ‘60’s, and in fact had just licensed it and were about to put it out. They let us make a new record called “Soldier Talk.” It was released in 1978.<br />
<br />
<strong>HT</strong>: A notoriously difficult record to find. Is there any talk of re-issuing it?<br />
<br />
<strong>MT</strong>: I would love to have it, but I don’t have the rights to it. It belongs to Warner Bros. <br />
<br />
You see, Radar Records was a Warner label built around Elvis Costello.<br />
<br />
<strong>HT</strong>: So that’s moot point? Not even up for debate?<br />
<br />
<strong>MT</strong>: Waner Bros. is not very cooperative or friendly. I can’t imagine that it’s of any interest to them whatsoever, unless they secretly think that I’m going to make it and that one day they’re going to cash in. I doubt that, though, I think that they’re just, y’know, “doin’ their thing, man.” You know? Being Big and Powerful.<br />
<br />
<strong>HT</strong>: You think that this is a malicious witholding?<br />
<br />
<strong>MT</strong>: I don’t know. Actually, I don’t think that they even think about it, frankly. It’s sort of like what does the elephant think about the mosquito at the end of it’s tail? Probably not much.<br />
<br />
<strong>HT</strong>: So has your current label approached them?<br />
<br />
<strong>MT</strong>: Yeah, we’ve tried to get it. At one time, there was a moment when there was a ray of light: we thought there was a limit on the contract, and that the material would revert to me after a certain amount of time. Then somebody read the contract and said “nope, this record’s still ours.”<br />
<br />
<strong>HT</strong>: In perpetuity?<br />
<br />
<strong>MT</strong>: Yes. Forever. “For all carriers now existent or ever to be invented in the future.” That’s what they say in the contracts, y’know. They’re anticipating dumb discs and whatever they’re gonna press records on in the future. Whatever “carriers” they’re going to invent.<br />
<br />
<strong>HT</strong>: You’ve undoubtedly dealt with a number of labels and companies over the years.<br />
<br />
<strong>MT</strong>: I have. Rough Trade was fun because it was self-activism. The punk scene was very vital. Of course, it was about dead, too. That was right about when the Sex Pistols came here and broke up onstage in San Francisco. Maybe that was the beginning of the end, though it took a long time to wither.<br />
<br />
<strong>HT</strong>: I find it nice to think that it happened here...<br />
So how did you start working for Rough Trade?<br />
<br />
<strong>MT</strong>: Well, Rough Trade had such success with the distribution thing, and they wanted to make records, but they didn’t have anyone. [Geoff] had no experience in the studio, and I was the logical candidate because I had actually been in studios and had done some work in a few. It was a case of the right place at the right time. A natural progression of things. Or perhaps I should say a “normal” progression -- I don’t think any reference to “nature” is appropriate this early.<br />
<br />
<strong>HT</strong>: Do you consider yourself a hands-off producer?<br />
<br />
<strong>MT</strong>: I keep hands-off as much as possible. I intervene where I think it’s absolutely neccessary; you know, where I can’t hold my tongue any longer and it appears something’s got to be done. In the case of The Raincoats I went along to rehearsal and heard the tunes and was asked what I thought about this and the other thing. I suggested a few things in respect to the violin playing, for example, like suggesting they check out The Velvet Underground and their use of the violin, specifically the drone overtones, stuff like that, music that comes out of Tony Conrad. It seemed appropriate that they should hear the lesson of that. Especially as [Vicky Aspinall] was a trained classical musician, and she was not familiar with that.<br />
<br />
<strong>HT</strong>: Was the aim to “unlearn” her?<br />
<br />
<strong>MT</strong>: Not to unlearn her; the classical aspect of her was fine, I mean, when she did bow and play melodies and figures like that it worked perfectly well. But there were certain other tunes which benefitted enormously from this other aspect the violin has got, which is the ability to sustain a tone for a long, long, long, long time.<br />
<br />
<strong>HT</strong>: To return to my hidden agenda, that’s one of the things that strikes me about “Dear Betty Baby.” Specifically, the way that the tone and sustain of the horns create this overwhelming sense of melancholia.<br />
<br />
<strong>MT</strong>: That’s partly a function of the horns responding to the modal aspect of the music. That particular song structure is modal: it’s not a key based in the usual blues sense. I mean, all the chords are built out of ...well, there are modulations. Of course, you could legitimately consider that song in E minor, or A or G, or whatever, but the main harmonic core of that tune is D major. From my point of view, the interesting problem there was how to create a melancholy tune with, a major, rather than minor tuning.<br />
<br />
<strong>HT</strong>: So it achieves a melancholy feel without the standard minor key.<br />
<br />
<strong>MT</strong>: Yeah, I like this challenge, this aspect of it. In the West we think of the minor key as somehow melancholy, wheareas Asians smile when they hear a minor chord. (laughs). They get happy, the sun comes out, I dunno, y’know? It’s funny, but that’s the thing about the horns at least, they respond to this modal thing and carry it to new heights. A wonderful thing he wrote there [reffering to Joe Dugan again]. I’ve always had the luck of working with people like that; individuals who are capable of all sorts of things.<br />
<br />
<strong>HT</strong>: Yes. I think that’s something that strikes anyone who’s followed your work: you tend to fall in withvery capable people, and somehow engender an environment in which the disparate elements coalesce. It’s almost alchemical. In the new configuration of Red Krayola, you’re working with some younger folks who also have distinguished reputations: George Hurley of The Minutemen / fIREHOSE, David Grubbs of Squirrelbait / Bastro / Gastr del Sol, and Tom Watson of Slovenly. Frankly, this is pretty much my short list as far as favorite contemporary American bands go. I could easily attribute our talking here today to the Minutemen, for example, who had an eye-opening, empowering influence on me in high school. All of these groups are characterized by the intelligence of their musical ideas; by their unique, grassroots interpretations of “punk.” I always admired the way that Squirrelbait took the form a little farther, incorporating these poetic non-punk lyrics. When I heard later Grubbs’ stuff, like Bastro, I wasn’t familiar with your oeuvre. When I finally put the two together, it was like “ah! this is not coming out of a void, it’s got a definite precursor.” In sum, I realized that he, too, was impressed at some point, and it was by you. How does it feel to see new generations of musicians shaped by your work?<br />
<br />
<strong>MT</strong>: Well, thank you for that. The situation for me now is very satisfying, of course. That there are people who know what one has done to some extent and have been moved by it in whatever way, either aggressively for or against, and it happens in this case that there has been sympathy. We have a good productive capacity right now. The people I have the luck of calling colleagues are very, very capable; we have so many strings to our bow. It’s quite possible that we can do even more interesting things, we’ll see. It all comes down to having a decent song; a tune to work on.<br />
<br />
<strong>HT</strong>: Where do those come from in this unit? Do different people present ideas?<br />
<br />
<strong>MT</strong>: People are always welcome to present me with ideas, as long as they understand that I won’t neccessarily be able to do anything with it, or be able to react to it. It’s taken Grubbs and I, for example, awhile to work out how we would handle it. He’s wanted to contribute lyrics and music, and he did contribute song-structures, if you like, to this new album [“Hazel”]. I brought in some vocal melodies, and we worked out the words; how the vocals would work, things like that. So we’ve sorted out a way of collaborating at that level. [Preen] has presented a tune, and eventually will present others, I’m sure. Albert [Oehlin] is a German friend of mine, and he and I have beenworking together since 1987, collaborating on various things, in art and in music, he contributes a lot of the music. He and I have been writing together for quite a while. So, I’m definitely open, and always interested in an idea, a point of departure, whatever. I think we have a lot of possibilities.<br />
<br />
<strong>HT</strong>: It is a rather eclectic blend. A sort of avant-intellectual supergroup.<br />
<br />
<strong>MT</strong>: Well, I certainly hope we can take over the Western Hemisphere (laughs). That would be very pleasant. ...The Minutemen were a wonderful, incredible band.<br />
<br />
<strong>HT</strong>: Yeah, “Double Nickels” just about turned my head inside out when I was fourteen.<br />
<br />
<strong>MT</strong>: A great record. It catches something, has a flair of something authentically --if I dare use this word -- American. And in that sense, blue-collar, but at the same time exceedingly intelligent. In fact, it makes a complete nonsense of this distinction we have between blue-collar and art. It trashes this idea, and shows that intelligence is not peculiar to one class of people. Plus, they were also really a band: they had been playing for together for years and you could just feel this in the relation between them. It’s real fun to work with someone like George, and a real challenge as well, as he’s got such a unique way of playing.<br />
<br />
<strong>HT</strong>: And how about the Slovenly connection?<br />
<br />
<strong>MT</strong>: Slovenly is a very, very good band. Watson, I found, is also somebody who knew what I had done. For my money, Watson is as heavy a musical genius as I’ve ever met. The guy is a master guitarist, also exceedingly intelligent, and a great sense of humor. He’s zany in some ways.<br />
<br />
<strong>HT</strong>: What’s it like putting all these people in one room, and saying, “OK, let’s jam.”<br />
<br />
<strong>MT</strong>: (sighs)..Well, it’s never actually happened that we’ve been able to get everybody together. We have had a considerable number of us in the same room, and it’s a quite extraordinary power we have. We can blaze like hell. It has been said to me that if we were ever to make a “live” album and play rock versions of our tunes, we could have a career as a Rock Band, no trouble. Of course, I’m not very keen on this, and while I wouldn’t mind a bit more success, I don’t want to “cut the cloth” in that direction.<br />
<br />
<strong>HT</strong>: It could get very limiting very quickly.<br />
<br />
<strong>MT</strong>: Yes, it could get boring.<br />
<br />
<strong>HT</strong>: You could become this technically scintillating King Crimson-type act.<br />
<br />
<strong>MT</strong>: Yeah, King Crimson never touched me.<br />
<br />
<div style="text-align: center;">~~~~~~~~~~~~~~~~~~~~~ </div><div style="text-align: center;"><br />
</div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-91605033690753451132011-12-13T00:31:00.001-06:002011-12-13T00:32:46.220-06:00Nina Simone - "Ain't Got No, I Got Life" [1968]<div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/L5jI9I03q8E?fs=1" width="459"></iframe></div>Baywatchhttp://www.blogger.com/profile/11463465151515489583noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-5916109978547971332011-11-27T12:58:00.007-06:002011-11-27T13:03:06.034-06:00The Velvet Underground - VU<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1VjOcxAT6K4lVZDMWv6Vd1gzQ9Oxfwx72Bwx7UAWOqsHkZsAtU80DlKy42wmLqJVvnxGswhFyMQ7dB557xMmadbDerHj31rsTVyNP_ePsMcq3kKh0IvcQLpyt9TI7lj2dHhb2f1y4c4/s1600/VU.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1VjOcxAT6K4lVZDMWv6Vd1gzQ9Oxfwx72Bwx7UAWOqsHkZsAtU80DlKy42wmLqJVvnxGswhFyMQ7dB557xMmadbDerHj31rsTVyNP_ePsMcq3kKh0IvcQLpyt9TI7lj2dHhb2f1y4c4/s400/VU.jpg" alt="" id="BLOGGER_PHOTO_ID_5679751980741664514" border="0" /></a><br />Just a dynamo of a record, especially the masterpiece "Foggy Notion."<br />____________________<br /><br /><span style="font-weight: bold;">Allmusic:</span> Composed principally of songs that would have appeared on <a href="http://allmusic.com/artist/the-velvet-underground-p5753">the Velvet Underground</a>'s unreleased fourth MGM album, this is only slightly less impressive than their first three LPs, striking a balance between the searing pre-punk of their first two efforts and the calm eloquence of the third. "Lisa Says," "Ocean," and "Stephanie Says" are some of <a href="http://allmusic.com/artist/lou-reed-p5247">Lou Reed</a>'s greatest ballads; "I Can't Stand It" is one of <a href="http://allmusic.com/artist/the-velvets-p5753">the Velvets</a>' toughest and best conventional hard rock songs. Some of the other tunes are slight (if engaging) in comparison with <a href="http://allmusic.com/artist/the-velvets-p5753">the Velvets</a>' prime work. Many of the tracks were re-recorded by <a href="http://allmusic.com/artist/reed-p5247">Reed</a> on his early solo albums, and in every instance, <a href="http://allmusic.com/artist/the-velvets-p5753">the Velvets</a>' versions are better.<br /><br /><a href="http://www.mediafire.com/?tzmrbbjux5z"><span style="font-weight: bold;">HEAR</span></a>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-10422823707192921552011-11-27T12:44:00.006-06:002011-11-27T12:57:49.971-06:00R.E.M. - Reckoning<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzwWKz89FaletdGqbxsDmI1evbhn7b8d3KjAhPqQXeS9YTAkqcn9hfegFZlOusgc-fZ2b8zRzBRzXU48-f5oQaDYgCT_OncX-3tQnZCDJdcAWLzJ0cFqglczkok8OrZeHECsDRtdbrCP8/s1600/REM_Reckoning_cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzwWKz89FaletdGqbxsDmI1evbhn7b8d3KjAhPqQXeS9YTAkqcn9hfegFZlOusgc-fZ2b8zRzBRzXU48-f5oQaDYgCT_OncX-3tQnZCDJdcAWLzJ0cFqglczkok8OrZeHECsDRtdbrCP8/s400/REM_Reckoning_cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5679751454865765186" border="0" /></a>I was never a big fan of these cats other than their first one (Murmur). I just matured enough to realize that if I like that, I might benefit from taking a look at their IRS years (aka before the jump to insurmountable self-importance). In other words, I'm an idiot.<br /><br />Reckoning has eaten me up lately. The Rickenbacher jangle, the subtle hooks, Pete Buck's sweet vests? I dunno.<br /><br />Try on this REMs.<br /><br /><a style="font-weight: bold;" href="http://www.mediafire.com/?03mmx43iesz">HEAR</a>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com1tag:blogger.com,1999:blog-6629731384562387129.post-4521084225015811602011-11-27T12:27:00.004-06:002011-11-27T12:34:12.287-06:00The Smiths - The Complete John Peel Sessions, 1983 - 1986<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjssir6Pbcr6pdu7Ih-S24X0NhO6MbuuPUlw_DlN0hFNmhczFp2bQpsyQacFnt9OZXMssSFyBr3xXcec-n_10H7LvBKdfUj9riqf7S0bBCRw9dyx-VcZKUhmc8TZsh9ZUx4a6jEG15iNwg/s1600/smiths+peel+sessions.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 280px; height: 278px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjssir6Pbcr6pdu7Ih-S24X0NhO6MbuuPUlw_DlN0hFNmhczFp2bQpsyQacFnt9OZXMssSFyBr3xXcec-n_10H7LvBKdfUj9riqf7S0bBCRw9dyx-VcZKUhmc8TZsh9ZUx4a6jEG15iNwg/s400/smiths+peel+sessions.jpg" alt="" id="BLOGGER_PHOTO_ID_5679745668873074050" border="0" /></a><br />Lilacs in your face, haters.<br /><br /><a href="http://www.mediafire.com/?h6r9fkcnthp"><span style="font-weight:bold;">HEAR</span></a>ForestRoxxhttp://www.blogger.com/profile/05933107555338442121noreply@blogger.com0tag:blogger.com,1999:blog-6629731384562387129.post-77882948492563636202011-11-24T08:38:00.001-06:002011-11-24T08:40:33.119-06:00Thank You Friends<iframe width="420" height="315" src="http://www.youtube.com/embed/JC0Wa3P_dO0?rel=0" frameborder="0" allowfullscreen></iframe><br /><br />Safe travels and love to you all!Anonymousnoreply@blogger.com0